Blake Edwards in 1966
William Blake Crump
July 26, 1922
Tulsa, Oklahoma, U.S.
|Died||December 15, 2010 (aged 88)|
Santa Monica, California, U.S.
(m. 1953; div. 1967)
(m. 1969; his death 2010)
William Blake Crump (July 26, 1922 - December 15, 2010), better known by his stage name, Blake Edwards, was an American filmmaker.
Edwards began his career in the 1940s as an actor, but he soon began writing screenplays and radio scripts before turning to producing and directing in television and films. His best-known films include Breakfast at Tiffany's, Days of Wine and Roses, 10, Victor/Victoria, and the hugely successful Pink Panther film series with British actor Peter Sellers. Often thought of as primarily a director of comedies, he also directed several drama, musical, and detective films. Late in his career, he transitioned to writing, producing, and directing for theater.
Born William Blake Crump July 26, 1922, in Tulsa, Oklahoma, he was the son of Donald and Lillian (Grommett) Crump (1897-1992). His father reportedly left the family before he was born. His mother married again, to Jack McEdwards, who became his stepfather. Mr. McEdwards was the son of J. Gordon Edwards, a director of silent movies, and in 1925, he moved the family to Los Angeles and became a film production manager. In an interview with The Village Voice in 1971, Blake Edwards said that he had "always felt alienated, estranged from my own father, Jack McEdwards". After attending grammar and high school in Los Angeles, California, Blake began taking jobs as an actor during World War II.
Edwards describes this period:
I worked with the best directors - Ford, Wyler, Preminger - and learned a lot from them. But I wasn't a very cooperative actor. I was a spunky, smart-assed kid. Maybe even then I was indicating that I wanted to give, not take, direction.
In the 1954-1955 television season, Edwards joined with Richard Quine to create Mickey Rooney's first television series, The Mickey Rooney Show: Hey, Mulligan. Edwards's hard-boiled private detective scripts for Richard Diamond, Private Detective became NBC's answer to Sam Spade and Philip Marlowe, reflecting Edwards's unique humor. Edwards also created, wrote, and directed the 1959 TV series Peter Gunn, which starred Craig Stevens, with music by Henry Mancini. In the same year, Edwards produced Mr. Lucky, an adventure series on CBS starring John Vivyan and Ross Martin. Mancini's association with Edwards continued in his film work, significantly contributing to their success.
Edwards's most popular films were comedies, the melodrama Days of Wine and Roses being a notable exception. His most dynamic and successful collaboration was with Peter Sellers in six of the movies in the Pink Panther series. Edwards later directed the comedy film 10 with Dudley Moore and Bo Derek.
Operation Petticoat was Edwards' first big-budget movie as a director. The film, which starred Tony Curtis and Cary Grant and was produced by Grant's own production company, Granart Company, became the "greatest box-office success of the decade for Universal [Studios]" and made Edwards a recognized director.
Breakfast at Tiffany's, based on the novel by Truman Capote, is credited with establishing him as a "cult figure" with many critics. Andrew Sarris called it the "directorial surprise of 1961", and it became a "romantic touchstone" for college students in the early 1960s.
Days of Wine And Roses, a dark psychological film about the effects of alcoholism on a previously happy marriage, starred Jack Lemmon and Lee Remick. It has been described as "perhaps the most unsparing tract against drink that Hollywood has yet produced, more pessimistic than Billy Wilder's The Lost Weekend". The film gave another major boost to Edwards's reputation as an important director.
Darling Lili star Julie Andrews married Edwards in 1969. While a few critics such as George Morris thought the film a major picture ("it synthesizes every major Edwards theme: the disappearance of gallantry and honor, the tension between appearances and reality, and the emotional, spiritual, moral, and psychological disorder" in such a world. Edwards used difficult cinematography techniques, including long-shot zooms, tracking, and focus distortion, to great effect."), the film failed badly with most critics and at the box office. At a cost of $17 million to make, it was seen by few, and the few who did were unimpressed. It brought Paramount Pictures to "the verge of financial collapse", and became an example of "self-indulgent extravagance" in filmmaking "that was ruining Hollywood".
Edwards is best known for directing most of the comedy film series The Pink Panther, the majority of installments starring Peter Sellers as the inept Inspector Clouseau. The relationship between the director and the lead actor was considered a fruitful, yet complicated one, with many disagreements during production. At various times in their film relationship, "he more than once swore off Sellers" as too hard to direct. However, in his later years, he admitted that working with Sellers was often irresistible:
We clicked on comedy and we were lucky we found each other because we both had so much respect for it. We also had an ability to come up with funny things and great situations that had to be explored. But in that exploration there would often times be disagreement. But I couldn't resist those moments when we gelled. And if you ask me who contributed most to those things, it couldn't have happened unless both of us were involved, even though it wasn't always happy.
Five of those films involved Edwards and Sellers in original material; those films being The Pink Panther (1963), A Shot in the Dark (1964), The Return of the Pink Panther (1975), The Pink Panther Strikes Again (1976), and Revenge of the Pink Panther (1978). (1968's Inspector Clouseau, the third film in the series, was made without the involvement of Edwards or Sellers.) The films were all highly profitable: The Return of the Pink Panther, for example, cost just $2.5 million to make but grossed $100 million, while The Pink Panther Strikes Again did even better.
After Sellers's death in 1980, Edwards directed three further Pink Panther films. Trail of the Pink Panther (1982) consisted of unused material of Sellers from The Pink Panther Strikes Again as well as previously seen material from the earlier films. Curse of the Pink Panther (1983) and Son of the Pink Panther (1993) were further attempts by Edwards to continue the series without Sellers but both films were critical and financial disappointments. Edwards eventually retired from film making two years after the release of Son of the Pink Panther.
In addition to the Pink Panther films, Edwards directed Sellers in the comedy film The Party.
In 2002, Edwards received the Laurel Award for Screenwriting Achievement from the Writers Guild as well as the Special Edgar from The Mystery Writers of America for career achievement.
In 2000, Edwards received the Contribution to Cinematic Imagery Award from the Art Directors Guild.
In 1993, Edwards received the Preston Sturges Award jointly from the Directors Guild and the Writers Guild.
In 1991, Edwards received a star on the Hollywood Walk of Fame.
In 1988, Edwards received the Creative Achievement Award from the American Comedy Awards.
In 1983, Edwards was nominated for an Academy Award for Best Screenplay for Victor/Victoria as well as winning Best Foreign Film and Best Foreign Screenplay in France and Italy, respectively for Victor/Victoria
Between 1962 and 1968, Edwards was nominated six times for a Golden Laurel Award as Best Director by Motion Picture Exhibitors.
In 1963, Edwards was nominated for a Golden Globe as Best Director for Days of Wine and Roses
In 1962, Edwards was nominated for Outstanding Achievement by the Directors Guild for Breakfast at Tiffany's
In 1960, Edwards was nominated for an Edgar for Best Teleplay by the Mystery Writers of America for Peter Gunn
In 1959, Edwards was nominated for two Primetime Emmys as Best Director and Best Teleplay for Peter Gunn
Having grown up in Hollywood, the stepson of a studio production manager and stepgrandson of a silent-film director, Edwards had watched the films of the great silent-era comedians, including Charlie Chaplin, Buster Keaton, Harold Lloyd, and Laurel and Hardy. He and Sellers appreciated and understood the comedy styles in silent films and tried to recreate them in their work together. After their immense success with the first two Pink Panther films, The Pink Panther (1963) and A Shot in the Dark (1964), which adapted many silent-film aspects, including slapstick, they attempted to go even further in The Party (1968). The film has always had a cult following, and some critics and fans have considered it a "masterpiece in this vein" of silent comedy, though it did include minimal dialogue.
Edwards married his first wife, actress Patricia Walker, in 1953. They had two children, and divorced in 1967. She appeared in the comedy All Ashore (1953), for which Edwards was one of the screenwriters.
Edwards was greatly admired, and criticized, as a filmmaker. His critics are alluded to by American film author George Morris:
It has been difficult for many critics to accept Blake Edwards as anything more than a popular entertainer. Edwards' detractors acknowledge his formal skill, but deplore the absence of profundity in his movies. Edwards' movies are slick and glossy, but their shiny surfaces reflect all too accurately the disposable values of contemporary life.
Others, however, recognized him more for his significant achievements at different periods of his career. British film critic Peter Lloyd, for example, described Edwards, in 1971, as "the finest director working in the American commercial cinema at the present time". Edwards' biographers, William Luhr and Peter Lehman, in an interview in 1974, called him "the finest American director working at this time". They refer especially to the Pink Panther's Clouseau, developed with the comedic skills of Peter Sellers, as a character "perfectly consistent" with his "absurdist view of the world, because he has no faith in anything and constantly adapts". Critic Stuart Byron calls his first two Pink Panther films "two of the best comedies an American has ever made". Polls taken at the time showed that his name, as a director, was a rare "marketable commodity" in Hollywood.
Edwards himself described one of the secrets to success in the film industry:
For someone who wants to practice his art in this business, all you can hope to do, as S.O.B. says, is stick to your guns, make the compromises you must, and hope that somewhere along the way you acquire a few good friends who understand. And keep half a conscience.