Cast & Crew
At the Pentagon in Washington, D.C., Col. Leland gathers a group of psychologists, including Lt. Vicki Loren, to brief them on the situation at the Army's Arctic radar station, where 104 men have been stationed for seven months. Although the Army assumed bachelors would be better equipped to handle the isolated outpost than married men, the soldiers are "restless," manifesting their discomfort in bursts of violence, negligence and disrespect. When Leland asks the psychologists for advice about how to take the men's minds off women, Vicki suggests that they be allowed to choose their perfect furlough. The men will then select one of their group to go on the trip, and the others will be so identified with this man that they will all live vicariously through him, thus breaking the tension. In the Arctic, the sluggish men are, indeed, infused with energy by this assignment, and at the urging of Corp. Paul Hodges, suggest a three-week trip to Paris in the company of Argentinean movie star Sandra Roca. Although Leland is annoyed that the men did not choose a more staid vacation, and Sandra initially does not want to leave America, her manager, Harvey Franklin, launches a huge press campaign, and the positive publicity convinces everyone to go along with the plan. Sandra is to draw the winning number out of a hat, and even though Paul hoodwinks half his fellow soldiers into giving them his numbers, a mild-mannered man wins the draw. The man's laryngitis prevents anyone but Paul from hearing that he has won, and Paul is quickly able persuade him that his fiancé would not take kindly to his trip, which must live up to the expectations of every man on base. Paul comes forward with the winning number, but when Leland discovers the corporal's history of womanizing, he angrily insists that Vicki and Maj. Collins chaperone the couple in Paris. Paul and Sandra meet and are instantly attracted to each other, and on the plane sleep in adjacent berths. Sandra's broken window sash prompts Paul to suggest that they switch berths, but in the morning Vicki and Collins mistakenly assume that they have spent the night together, and redouble their efforts to keep them apart. To that end, Paul is stationed on a different floor of their Paris hotel, with two M.P.s guarding him constantly. Over the next few days, Paul and Sandra are accompanied everywhere by an entourage, watched over by Vicki and Sandra's publicist, Liz Baker. One night at a club, when Vicki instructs Paul to write postcards to the soldiers while Sandra dances with Collins, a frustrated Paul offends Vicki by suggesting that her severity is unnatural and frigid. Later, he fashions a rope out of sheets and climbs through Sandra's window, only to find Vicki standing guard. Desperate, Paul then calls a bellboy to his room, steals his uniform, and marches out of his room undetected. In the hall, however, he is spotted by a manager, who instructs him in French to change a lightbulb. Not understanding the language, Paul blunders through the room until he is finally identified. After two weeks without a moment alone, Paul pleads with Vicki for permission to take a walk, and although she agrees, she rushes out after him. He finally evades her at a café, and by the time she returns to the hotel, he has already spirited Sandra away on a picnic. There, the tipsy starlet announces that she is secretly married to a publicist, prompting the now gentlemanly Paul to toast to their happiness. On the way back to the hotel, they run out of gas, and are helped by Henri Valentin and his son Rene. They bring the couple to their winery, where Sandra falls into the vat of grapes and consequently returns to the hotel not only drunk but soaking wet. Although Paul insists their outing was innocent, Vicki, whose excessive worry has prompted Liz to diagnose her as lovesick, refuses to believe him. He is so incensed him that he drags her to the Valentins'. While corroborating Paul's story, they knock Vicki into the vat, and she is forced to stay for dinner waiting for her clothes to dry. Vicki transforms a bed sheet into a fetching gown, prompting Paul to see her in a new light, and after dinner his sincere compliments inspire her to kiss him. They return to the hotel, where Paul retires to his room and Vicki joins Collins and Liz in the ailing Sandra's room. After the doctor announces that Sandra not only has a cold but is also pregnant, everyone assumes that the baby is Paul's. When they confront Sandra, she mistakenly believes they know about her marriage and cheerfully informs them that Paul just wants to be friends. While Vicki orders Paul, who denies that the baby is his, to be confined to his quarters, Leland and Harvey fly to Paris, where Harvey plans for Paul and Sandra to marry. Liz tells Paul that Vicki is leaving town, prompting him to elude the M.P.s and chase her to the airport. After a long pursuit, however, Vicki still refuses to believe Paul, and he leaves in anger. Their taxi driver assumes Paul has gotten both Sandra and Vicki pregnant and spreads this news throughout the hotel, inspiring the hotel bartender to treat Paul to free drinks. When the doctor, returning to check on Sandra, hears the rumor and announces it to Leland and the group, the colonel orders Vicki be brought back to the hotel. Once she is there, Harvey finds Paul and drags him to Sandra's room, where a confused Sandra reveals her marriage to everyone. Paul asks to be allowed to return to the base, and Vicki, ashamed of her suspicions, lies to Leland that she is pregnant in order to force Paul to marry her. Although Paul pretends to remain angry, he is delighted with the arrangement. Back at the Arctic base, the soldiers watch the newsreel of Paul and Vicki's wedding, thrilled to see what a great time they have had on their furlough.
Patty Lou Arden
Leslie I. Carey
Russell A. Gausman
James F. Mobley
The Perfect Furlough -
Leigh isn't the only object of Curtis's affections here, or even the primary one at first. He plays an army corporal at an isolated base in the Arctic who wins a lottery designed to raise the morale of all the troops stationed there. The prize is a furlough in Paris with a glamorous movie star, a publicity stunt for her studio. Linda Cristal is the starlet whose producer sends press agent Elaine Stritch and a host of others to chaperone the outing. The Army, for its part, sends along a beautiful military psychologist to keep tabs on him, which of course, leads to romantic complications and--a bit risqué for its time--real and rumored pregnancies.
Although Leigh's previous roles varied between dramas, romances, period pieces, and comedies, this was Curtis's first major comic lead. He had made a relatively overlooked comedy, No Room for the Groom in 1952, directed by melodrama king Douglas Sirk, of all people, and a small role (still billed as "Anthony Curtis") in Francis (1950), of talking mule fame, but this was really the first in which his comic skills and timing made an impression on critics and audiences alike. Daily Variety said, "He has a particular knack for underplaying or throwing away a reaction line that often tops the laugh or matches it." The following year, he appeared with Jack Lemmon and Marilyn Monroe in what is considered one of the greatest American comedies of all time, Some Like It Hot (1959). A number of humorous roles dot his long career after that.
The production was in the works for at least a couple of years before its fall 1958 release. According to a December 17, 1956, article in the Los Angeles Times, Stanley Shapiro's original story for The Perfect Furlough presented his character as a stodgy scientist uninterested in the Parisian trip he has won. The same article suggested Jayne Mansfield or Mamie Van Doren for the role of the Hollywood starlet. In March 1957, the same paper reported that Robert Stack was being considered to play Paul and Dorothy Malone to play Lt. Vicki Loren, the psychiatrist role played by Leigh but described in the article as "a public relations representative in the French capital." At that time, Stack and Malone had appeared together in back-to-back dramas directed by Douglas Sirk, Written on the Wind (1956) and The Tarnished Angels (1957).
According to a January 10, 1958, Hollywood Reporter article, producer Carl Krueger filed a $4 million breach of contract suit against Linda Cristal and Universal, stating that Cristal had signed an exclusive contract with him in 1955, and requested that she be prevented from working on this production. On January 24, 1958, the paper reported that a federal judge denied the injunction.
Other items in the industry press at the time of production noted that the studio planned to add a title song to the film, to be written by novelist and poet Robert W. Service, "the poet laureate of the Yukon." No such song was included in the viewed film, nor has it ever been discovered. Quite likely it was not written, as Service died in September 1958 just prior to the film's premiere. The same article stated that, in honor of Alaska's impending statehood (officially proclaimed January 3, 1959), the film's world premiere would be held there. There is no indication that ever took place, and most sources list the initial release date as October 1958. General audiences likely didn't get to see the film until a few months later. The Hollywood Reporter reported in November 1958 that Universal would hold back the film's release until January 1959 to avoid the box office competition of the holiday releases. Since the New York Times review by Bosley Crowther is dated January 22, 1959, that decision was apparently carried through.
This was the fifth feature film directed by Blake Edwards. After two minor pictures intended to make an unlikely movie star out of popular recording artist Frankie Laine, Edwards cast Curtis in the title role of the drama Mister Cory (1957). Edwards' career continued to rise after The Perfect Furlough, following up with such hits as Operation Petticoat (1959), again with Curtis, opposite Cary Grant, and Breakfast at Tiffany's (1961). He is perhaps best known for his films in the Pink Panther series he created as well as 10 (1979), S.O.B. (1981), and Victor Victoria (1982), all starring his wife, Julie Andrews.
The Perfect Furlough was nominated for a Golden Globe Award as Best Motion Picture Comedy.
Look for an early appearance by teen heartthrob Troy Donahue as Sgt. Nickles and former Dead End Kid Frankie Darro as the hapless patient with the broken leg in the base hospital.
Director: Blake Edwards
Producer: Robert Arthur
Screenplay: Stanley Shapiro
Cinematography: Philip Lathrop
Editing: Milton Carruth
Art Direction: Alexander Golitzen
Music: Frank Skinner
Cast: Tony Curtis (Cpl. Paul Hodges), Janet Leigh (Lt. Vicki Loren), Keenan Wynn (Harvey Franklin), Linda Cristal (Sandra Roca), Elaine Stritch (Liz Baker)
By Rob Nixon
The Perfect Furlough -
TCM Remembers - Pauline Kael/Troy Donahue
Pauline Kael, who died September 3rd at the age of 82, was one of the handful of film critics who made a noticable impact on the way we view movies. Her mix of personal feelings with more abstract aesthetics inspired numerous other critics (sometimes called "Paulettes") and in a few cases even made big hits of movies like Bonnie and Clyde (1967). She claimed to never see a movie more than once or to change her mind about it later. Several collections of her work are available, most with mildly risque titles like I Lost It at the Movies, Kiss Kiss Bang Bang and Going Steady.
Kael was born June 19, 1919 in Petaluma, California but moved with her family to San Francisco during her teens. There she majored in philosophy at University of California at Berkeley though she didn't graduate (the school later gave her an honorary degree). That's when she started to develop a serious interest in movies. In addition to the usual writer's assortment of jobs (seamstress, cook, retail clerk) she started writing about film in 1953; her first review was of Charlie Chaplin's Limelight which she disliked. She wrote for several small publications and did a radio show on the groundbreaking network KPFA before finally landing a job at the high-profile McCall's only to be fired shortly after she panned The Sound of Music (1965) (which she called The Sound of Money). During this period she was also managing and programming Berkeley Cinema Guild Theatres (one of the country's earliest repertoire cinemas despite being basically small rooms above a laundry), and was briefly married to avant-garde filmmaker James Broughton.
The turning point came in 1965 when I Lost It at the Movies not only attracted major critical attention but became a strong seller in book stores. Two years later legendary editor William Shawn hired Kael as film critic for The New Yorker, completing her jump into the limelight. Kael never shied away from controversy as two other events proved. In the early Sixties she engaged in an infamous and surprisingly bitter debate with critic Andrew Sarris among others about the merits of auteurism, the French-born philosophy that believes the director is the chief creative person behind any film. Kael's anti-intellectual streak came forward but since auteurism wasn't meant to be a genuinely rigorous theory (such attempts came later in the 70s) this was a sort of Brer Rabbit vs. tar baby fight that Kael could never win. The other notorious controversy occured in 1971 with her essay "Raising Kane" which was intended to show that screenwriter Herman Mankiewicz deserved as much if not more credit for Citizen Kane (1941) than Orson Welles. While Mankiewicz's contribution had clearly been underappreciated, most of Kael's conclusions and even some of her factual basis have been disproven though she never bothered to revise the essay.
In 1979, Kael made a detour to Hollywood by the urging of Warren Beatty. She was meant to be an "executive consultant" at Paramount but actually making movies is quite a different matter than writing about them so Kael lasted only five months. She went back to The New Yorker, eventually retiring in 1991 partly as a result of Parkinson's Syndrome. She still kept up with movies though, loving such smaller films as Vanya on 42nd Street and actors like Jim Carrey (who "has practically kept movies alive the past few years" she said in 1998).
By Lang Thompson
Troy Donahue 1936-2001
Troy Donahue died September 2nd at the age of 65. He was a fixture in movies during the 1950s, playing an assortment of heartthrobs and borderline tough guys. Donahue was actually Merle Johnson Jr, born in New York City on Jan 27, 1936. He went to Columbia University and started acting in small theatrical roles which eventually led to film appearances, the earliest ones uncredited. His first was Man Afraid (1957) but Donahue also made brief TV appearances at the time on shows like Wagon Train. He signed with Warner Brothers in 1959 and immediately jumped to stardom in films like A Summer Place and Imitation of Life (both 1959). He was busy in a variety of films during this periods - notably Parrish (1961) and Rome Adventure (1962) - but also starred in the TV series Surfside 6 (1960) and Hawaiian Eye (1962 and predating Hawaii Five-O by several years). Donahue's career declined as the Sixties became more turbulent but he still made notable appearances in The Godfather Part II (1974), playing a character with Donahue's own real name, and Monte Hellman's Cockfighter (1974). Most of Donahue's later films were direct-to-video efforts like Nudity Required and Omega Cop but trash aesthete John Waters, a huge fan, used him for Cry-Baby (1990).
By Lang Thompson
TCM REMEMBERS CARROLL O'CONNOR 1924-2001
Carroll O'Connor - who died June 21st at the age of 76 - will be best remembered for portraying Archie Bunker on TV's All in the Family but his career actually was much more extensive. Born in New York on August 2nd, 1924, O'Connor served in the merchant marine during World War II before attending the University of Montana where he worked on the school newspaper. Before graduating, he followed his brother to another college in Ireland (he would later get a Masters in speech from Montana). It was in Ireland that O'Connor started acting in several local productions. He returned to the U.S. for his Broadway debut in 1958 and shortly after started to appear on numerous TV shows like The Untouchables and Naked City. His first film was Parrish (1961) though he eventually acted in over a dozen films during the Sixties including Cleopatra (1963), Marlowe (1969), Hawaii (1966) and Point Blank (1967). O'Connor even auditioned for the part of the Skipper in the TV series, Gilligan's Island, but it was his role as Archie Bunker in a 1971 sitcom that made him a star. All in the Family was an American version of the British sitcom Till Death Do Us Part that met some initial resistance (ABC rejected the first two pilots) but quickly captivated American audiences and became the country's top-rated TV show. Archie became such an icon that his chair is now preserved in the Smithsonian. The series lasted until 1979 and brought O'Connor four Emmys, even leading to a four-year spinoff Archie Bunker's Place starring O'Connor. (It also produced one of TV's oddest spinoffs in1994's 704 Hauser about a multi-racial family living in Archie Bunker's old house. It had no cast members from the earlier series and only lasted six episodes.) In 1988, O'Connor took the role of a Southern sheriff in a TV series based on the movie In the Heat of the Night and found himself in another hit, this one lasting until 1995. He also occasionally played Helen Hunt's father on Mad About You. By all accounts, O'Connor was nothing like Archie Bunker; in fact, O'Connor was an active anti-drug crusader, partly the result of his son's drug-related suicide.
By Lang Thompson
TCM REMEMBERS JACK LEMMON 1925-2001
Whether playing a cross-dressing jazz bassist or a bickering roommate, Lemmon has kept his fans in stitches for fifty years. But beneath that comedian's facade, the actor had a very serious side, which occasionally surfaced in such films as Days of Wine and Roses (1962) or Costa-Gavras' political thriller Missing (1982). Lemmon was truly a one-of-a-kind actor and his track record for acclaimed performances is truly remarkable: 8 Oscar nominations (he won Best Supporting Actor for Mister Roberts (1955) and Best Actor for Save the Tiger (1973), a Life Achievement Award from the American Film Institute, 8 British Academy Award nominations, 4 Emmy Award nominations, numerous Golden Globe nominations, a two-time Best Actor winner at the Cannes Film Festival, the list goes on and on.
Lemmon entered the world in a completely novel fashion; he was born prematurely in an elevator in Boston in 1925. The son of a doughnut manufacturer, Lemmon later attended Harvard University but was bitten by the acting bug and left the prestigious college for Broadway. Between theatrical gigs, he played piano accompaniment to silent films shown at the Knickerbocker Music Hall in New York. Later, Lemmon claimed that he learned more about comic technique by watching these Chaplin, Keaton and Harold Lloyd two-reelers than acting school could have ever taught him.
From Broadway and early TV appearances to Hollywood, Lemmon moved West to make his screen debut in It Should Happen to You (1954), opposite Judy Holliday in a variation of her 'dumb blonde' persona that had won her an Oscar for Born Yesterday (1952). In It Should Happen to You, Holliday plays a struggling actress who soon wins fast fame as the product of promotion. Lemmon plays her levelheaded boyfriend but finds himself on the sidelines when the suave and sophisticated Peter Lawford appears on the scene. It Should Happen to You, directed by George Cukor, was a popular success and Lemmon and Holliday were quickly teamed again in Phffft! (1954), another lightweight romantic comedy. A year later, Lemmon hit the major leagues when he supported Hollywood heavyweights Henry Fonda, James Cagney and William Powell in Mister Roberts (1955). As Ensign Pulver, a deckhand who avoids work whenever possible, Lemmon won a Best Supporting Actor Oscar®.
Onscreen, Lemmon's characters often found that they were the wrong men for their jobs. In Cowboy (1958), Lemmon plays a city slicker venturing out on the wild frontier. His romantic visions of the West are soon changed by the hard-living, hard-drinking reality. Cowboy is based on the autobiography of Frank Harris, and, like the author, Lemmon found himself adapting to the rough and tumble lifestyle on the trail.
Lemmon brought a new comic persona to Hollywood films. He combined elements of screwball and slapstick comedy with his own self-deprecating humor to create satiric portraits of the contemporary American male. The sometimes cynical comic sense of director Billy Wilder provided Lemmon with the perfect complement. Together they made seven films, but it was their first, Some Like It Hot (1959), that captured the sheer comic genius of their collaborations together.
From sexual antics to social critique, Lemmon and Wilder sharpened their comic knives on the hypocrisies they saw in American culture. The Apartment (1960) focused on a working stiff who lends his home to his supervisors for their extramarital affairs. Problems arise when Lemmon falls for his boss's paramour - it gets even more complicated when she tries to kill herself in his pad! Though The Apartment was a comic success, with each passing year the film's serious side seems even more dark and derisive. Illicit love and the corruption of big business might not seem to be the stuff of hit comedies, but Wilder and Lemmon found humor in the most unlikeliest of places. Director and comic star went on to make five more films: Irma la Douce (1963), The Fortune Cookie (1966), Avanti! (1972), The Front Page (1974) and Buddy Buddy (1981).
Billy Wilder and Lemmon's lifelong comic foil Walter Matthau (nine collaborations with Lemmon in 32 years, including their most popular film, The Odd Couple, 1968) brought some of the comedian's finest funny moments to the screen. But there was a serious side too. Lemmon waived his salary to act in Save the Tiger (1973), the 'great American tragedy' of a businessman at the end of his rope. Lemmon won his second Academy Award for the film. In Missing (1982), directed by the uncompromising Costa-Gavras, Lemmon played a patriotic father searching for his kidnapped son in Latin America. The closer he gets to his goal, the clearer it becomes that a government conspiracy is behind his son's disappearance. Missing was inspired by a true story - the production was condemned by the Reagan administration and awarded the Golden Palm at the Cannes film festival.
Very few actors today can match Lemmon's range on the screen. He has acted in everything from lightweight sex farces (How to Murder Your Wife, 1965) to musicals (My Sister Eileen, 1955) to social dramas (Days of Wine and Roses, 1962) to political thrillers (The China Syndrome, 1979). Turner Classic Movies cherishes the memory of this remarkable talent.
By Cino Niles & Jeff Stafford
ANTHONY QUINN, 1915-2001
Not many actors can boast that they've inspired a Bob Dylan song but Anthony Quinn - who passed away June 3rd at the age of 86 - was one of the select few. But that's just one of many incidents in a life that can only be described as colorful. If a novelist had invented a character like Quinn, she would be accused of unbelievable invention. But in Quinn's case, it's all true.
Quinn was born April 21, 1915 in Mexico. His parents were involved in Pancho Villa's revolutionary struggle and must have made a striking couple since the father was half Irish and mother Mexican Indian. The couple were married on a train of rebel soldiers. After Quinn's birth, the family soon moved to East Los Angeles (after a quick Texas detour) where Quinn grew up in the shadow of Hollywood. (A branch of the Los Angeles County Public Library now occupies the site of Quinn's childhood home; in 1981 it was renamed in his honor.) At the age of 11 he won a sculpture award and shortly after began studying architecture under Frank Lloyd Wright. It was Wright in fact who suggested the possibility of acting to Quinn and even paid for an operation to cure a speech impediment. Along the way, Quinn also dabbled in professional boxing (he quit after his 17th match, the first he lost) and street-corner preaching. He continued to sculpt and paint for the rest of his life while also becoming a noted art collector.
Quinn's acting debut was in 1936 initially in a handful of barely noticable spots as an extra until he landed a speaking role in Cecil B. DeMille's The Plainsman, supposedly on the recommendation of the film's star, Gary Cooper. One unanticipated result was that Quinn married DeMille's daughter the following year; they appeared together in Phil Karlson's Black Gold (1947) and had five children. Quinn also appeared on stage in 1936 playing opposite Mae West. Quinn continued in film parts that gathered acclaim: Crazy Horse in They Died With Their Boots On (1941), a gambler in The Ox-Bow Incident (1943), a soldier in Guadalcanal Diary (1943).
But it was the 1950s when Quinn broke out. Viva Zapata!(1952) provided him a wonderful role which he used to win a Best Supporting Actor Academy Award. Oddly enough, in Viva Zapata! Quinn worked with Marlon Brando who he had replaced in the original Broadway production of A Streetcar Named Desire. (Director Elia Kazan tried to start a rivalry between the two actors but they were great admirers of each other.) Quinn again won Best Supporting Actor playing painter Paul Gauguin Lust for Life (1956) which at the time was the shortest on-screen time to win an acting Oscar. The following year came was a Best Actor nomination for George Cukor's Wild Is the Wind (1957). As he did throughout his career, Quinn rarely hesitated to take work whereever he found it, which resulted in dozens of potboilers like Seven Cities of Gold (1955) but also a few cult favorites like Budd Boetticher's The Magnificent Matador (1955). It was a trip to Italy that brought Quinn one of his most acclaimed roles: a simple-minded circus strongman in Federico Fellini's La Strada (1954). Quinn directed his only film in 1958, The Buccaneer, a commercial failure he later attributed to producer Cecil DeMille's interference. Towards the end of that decade he appeared in Nicholas Ray's The Savage Innocents (1959) as an Eskimo, inspiring Bob Dylan to write "Quinn the Eskimo" (a Top Ten hit for Manfred Mann in 1968). In 1965, his relationship with an Italian costumer created a minor scandal when it was revealed that the couple had two children. Quinn divorced DeMille's daughter and married the costumer.
He continued the same mix of classics and best-forgotten quickies throughout the 1960s and '70s. A key role in Lawrence of Arabia (1962) only confirmed his talents while he again earned a Best Actor nomination for the unforgettable lead role in Zorba the Greek (1964). The gritty crime drama Across 110th Street (1972) is one of the best American movies of its decade, enhanced by Quinn's turn as an embattled police captain. Quinn was a pope in The Shoes of the Fisherman (1968), an Islamic leader in The Message (1976), a thinly disguised Aristotle Onassis in The Greek Tycoon (1978) and an assortment of gangsters, con men, military leaders and what have you. The rest of his career might be summed up by the year 1991 when he gathered critical acclaim for his appearance in Spike Lee's Jungle Fever, was nominated for a Razzie as Worst Actor in Mobsters, co-starred with Bo Derek in Ghosts Can't Do It, worked beside John Candy and Macaulay Culkin in Chris Columbus' Only the Lonely and made a film so obscure it appears to have never appeared on video. Quinn married his third wife in 1997; they had one son. He had just completed the title role in Avenging Angelo (with Sylvester Stallone) at the time of his death.
By Lang Thompson
TCM Remembers - Pauline Kael/Troy Donahue
We even have his pre-Army record. He is the only high school student who was ever sued for breach of promise by his teacher.- Colonel Leland
Lieutenant. As a psychologist to a patient, what's wrong with me?- Paul Hodges
Well, I don't know you well enough to say.- Lt. Vicki Loren
Well, I do know there's something wrong with me. For an example, here I am a grown man and I still like women.- Paul Hodges
There's absolutely nothing abnormal about a man liking women, Corporal. But there is a limit.- Lt. Vicki Hodges
What do you do after you catch the limit? You throw the next one back?- Paul Hodges
Oh, come off it, Lieutenant, admit it! The guy bugs you.- Liz Baker
As far as I'm concerned, a bug is something you find crawling in your bed.- Lt. Vicki Loren
I rest my case.- Liz Baker
He's loose in Paris?- Colonel Leland
...Well?- Harvey Franklin
Well...everybody's loose in Paris.- Liz Baker
According to a December 17, 1956 Los Angeles Times article, Stanley Shapiro's original story for The Perfect Furlough presented "Corp. Paul Hodges" as a stodgy scientist uninterested in the Parisian trip he has won. That article suggested Jayne Mansfield or Mamie Van Doren for the role of "Sandra Roca." A March 2, 1957 Los Angeles Times item reported that Robert Stack was being considered to play Paul and Dorothy Malone to play "Lt. Vicki Loren," a role the article described as "a public relations representative in the French capital."
Hollywood Reporter reported in November 1958 that Universal would hold back the film's release until January 1958 to avoid the box office competition of the holiday releases. The Daily Variety reviewer noted that "although Tony Curtis never gets much credit for these light comedy performances, they take skill. He has a particular knack for underplaying or throwing away a reaction line that often tops the laugh or matches it."
According to a January 10, 1958 Hollywood Reporter article, producer Carl Krueger filed a $4 million breach of contract suit against Linda Cristal and Universal, stating that Cristal had signed an exclusive contract with him in 1955, and requested that she be prevented from working on The Perfect Furlough. On January 24, 1958, Hollywood Reporter reported that a federal judge denied the injunction. A June 22, 1958 Hollywood Reporter item noted that the studio planned to add a title song to the film, to be written by novelist and poet Robert W. Service, "the poet laureate of the Yukon." No such song, however, was included in the viewed film, and it is possible that it was never written, as Service died on September 11, 1958. The article also stated that, in honor of Alaska's impending statehood, the film's world premiere would be held there. No further information about a premiere has been found.
Released in United States Fall September 30, 1958
Opened in New York City September 30, 1958.
Released in United States Fall September 30, 1958