Film Scripts One: Henry V, The Big Sleep, A Streetcar Named Desire

by George P. Garrett (Editor)

The Film Scripts Series is a new printing of some of the greatest screenplays ever written. Each of the four volumes in the series – edited by George P. Garrett, O. B. Hardison, Jr., and Jane R. Gelfman – contains three classic shooting scripts written by some of the finest writers to ever work in Hollywood. Every volume also features a highly informative introduction, a glossary of technical terms, an extensive bibliography, and the credits for each film. These enduring screenplays will be of great interest to the general film buff, the aspiring screenwriter, and the professional filmmaker. Of particular value to the screenwriter and filmmaker is the fact that all scripts are printed in standard screenplay format.



Film Scripts One



Henry V (1946, United Artists, reissue 2007, Park Circus-UK): Script by Laurence Olivier and Reginald Beck; Directed and produced by Laurence Olivier; Academy Award for Laurence Olivier (honorary award for his outstanding achievement as actor, producer, and director); Academy Award nominations for best picture, best actor (Laurence Olivier), best art direction, and best score.



The Big Sleep (1946, Warner Bros. Pictures): Script by William Faulkner, Leigh Brackett, and Jules Furthman, based on the novel by Raymond Chandler; Directed by Howard Hawks; Starring Humphrey Bogart and Lauren Bacall.



A Streetcar Named Desire (1951, Warner Bros. Pictures): Script by Tennessee Williams, adaptation by Oscar Saul; Directed by Elia Kazan; Starring Marlon Brando, Kim Hunter, Vivien Leigh, and Karl Malden; Academy Awards for Vivien Leigh, Kim Hunter, Karl Malden, and best art direction; Academy Award nomination for Marlon Brando.

552 pages, Paperback

First published July 1, 1989

Reviews

[Anisha Inkspill · Rating 5 out of 5]

Reading screenplays is one of my fun things, as I see how the story unfolds with its camera cues and scene cuts. This is a book that sits on my shelf, and these are the only screenplays I have that have the authentic layout, down to margin size and font type. I’m amazed this book has not fallen apart, my copy is spiral bound with a green cover of a faint image of a film strip.

Published in 1971, this book makes a concerted effort to explain to the reader of how to read a screenplay, not only does it have tips, glossary and a very, very concise summary of cinematic history, each of the 3 screenplays starts with an intro (which has some background to that screenplay or movie). And if that’s not enough, it includes a glossary, and an appendix with examples of a shooting schedule, and a daily call sheet.

Then there are the 3 screenplays, all shooting scripts, and all very different, almost like these were chosen to demonstrate that. Every time I read this book I’m just stunned by the generosity of this book’s content.

Below is a little bit more about each screenplay.



Henry V (1944), directed by Laurence Olivier
This is adapted from the play by William Shakespeare of the same name, and Laurence Olivier had some input in the screenplay.

I’ve not yet got round to reading Shakespeare’s Henry V, my impression of it is it’s a serious play but I wouldn’t have guessed that from the opening of from the playfulness in this screenplay that happens between the camera and actors. This is achieved with comical affect, that doesn’t run through the screenplay but returns right at the end. This made it a fun read and also made me want to watch the movie.



The Big Sleep (1946), directed by Howard Hawks
Adapted from the novel by Raymond Chandler of the same name.
The first thing that struck me about this one is the character information. Philip Marlowe is described as:

”Doghouse Riley” – private detective, working for the DA, husky, confident, we-dressed but not flashy. 38 years old – not married.

This attention to detail runs through the screenplay, which made it easier for me to read but at the same time I wondered how the actors and actresses would replicate the directions, like this scene with Marlowe and Carmen:

[MARLOWE’s] expression indicates that things may pick up shortly.

OR this one where Marlowe is leaving the Sternwood estate:

In the mirror [MARLOWE]can see Norris standing in the drive still watching him, guarding the house which Marlowe realizes he is not to enter again.

Against the black and white cinematography, the 1946 movie sizzles with the Bogart-Bacall chemistry, but the first time I watched this the actual story left me puzzled, as the plot is complicated by many storylines. It would be reading this screenplay that clarified the mystery in a mystery, but I’m still not sure if the story strands gel together well with the searching of Shawn Regan. Then again, this doesn’t matter as I’m left with the sense that the story is secondary to the presence of these characters who leave behind a much stronger impression.



A Streetcar Named Desire (1951), directed by Elia Kazan
This is adapted from the play by Tennessee Williams of the same name, who also wrote the screenplay.

The screenplay is not an easy read, it includes deleted scenes and dialogue, and the scenes and dialogue that replaced them all bunched together. I like this, as I get to see the journey of that story that’s been written for the screen.

This screenplay reminded me of the power struggle between Stanley and Blanche which would lead to an explosive end. I read the stage play a couple of years back and posted a review here, but reading my review now, it doesn’t convey how powerful and unsettling this story is, so as soon as I get a chance I’ll revisit this play.