The Power and the Prize
Brief Synopsis
Cast & Crew
Henry Koster
Robert Taylor
Elisabeth Mueller
Burl Ives
Charles Coburn
Sir Cedric Hardwicke
Film Details
Technical Specs
Synopsis
In New York, the aging George Salt, ruthless president of Amalgamated World Metals, has arranged for vice chairman Cliff Barton, his beloved protégé, to marry his niece and ward, Joan Salt. After George announces that Cliff will fly to London to finalize a deal with an English company on a West African mining project, Cliff reminds him of the upcoming Saturday wedding. George then lectures Cliff about the necessity of having a "public" wife who understands that the company comes first and orders him to postpone the nuptials. Joan learns about Cliff's departure at dinner that night, but makes no protest in front of her bullying uncle. The next day, George explains to Cliff that instead of supplying the investment capital for the West African deal, he aspires to merge with the British company, force them to relinquish controlling stock and name Cliff as the chair. His plan is for Cliff to first confine discussions to Amalgamated's ability to limit costs and raise profits, prompting the English company to accept when Amalgamated insists on taking over the operation on the last day of negotiations. Although Cliff believes the tactic is unethical, he defers to his boss. Once in London, Cliff meets the English company's director, Mr. Carew, who immediately trusts Cliff's truthful nature despite his suspicions about Americans. In a phone conversation with George, Cliff expresses concern about the strategy, but George orders him to continue as planned. By Friday, Cliff has established Amalgamated's concerns about cost and sets Monday to begin negotiations. Assigned by Mrs. Salt to investigate some of her London-based charities, he then visits an organization that finds work for artistically talented refugees from Central Europe. Having learned from one of Carew's workers, Mr. Chutwell, that the organization is a prostitution ring frequented by executives, Cliff confronts director Miriam Linka, a pianist and concentration camp survivor, about the allegations. Miriam declares that she can find only manual labor jobs for her clients and, in desperation, some of the women turn to prostitution. When Cliff writes a $1,000 check toward the organization's "legitimate" work, Miriam caustically accuses him of trying to assuage his guilty conscience. The following day, when Cliff returns to her office, Miriam charges that Americans only donate money to receive tax write-offs rather than donating to prevent injustices against war victims, but finally gives in to Cliff's dinner invitation. That night Miriam, demoralized by Chutwell's use of her girls as "entertainment," announces to Cliff that she has resigned her position and loudly declares that she must stand for the truth. Taken by her fearless integrity, Cliff asks for another date and ends the evening with a kiss. On Sunday, Cliff warns George that English pride will prevent Carew from accepting the deceptive deal, but George again orders him to continue. That night after Miriam suggests he find a less passionate woman, Cliff tells her he has found one in the kind, sweet Joan, but knows he would only be happy with Miriam. On Monday, as planned, Cliff announces to Carew that Amalgamated cannot justify the risky investment and must assume authority over the operation. Always the gentlemen, Carew reminds Cliff that "the proud sometimes seem foolish, but they die last" and refuses the offer. Also believing the Almagamated deal to be unwise, Cliff asks Carew to meet with him when the Englishman visits New York to consider other offers. That night after Cliff proposes to her, Miriam insists that her ideals prevent her from marrying a wealthy capitalist. Confident that she will change her mind, Cliff announces he will make arrangements for her to visit him. Upon Cliff's return to New York, George laments that his protégé has failed him, but Cliff retorts that George's greed for power ruined the deal. Seeking to secure an immediate visa for Miriam, Cliff visits his friend, Washington bureaucrat Howard Carruthers, who suggests the couple marry in Mexico and promises to arrange a visitor's visa on the condition that Cliff secure a company letter stating he is unable to leave for London to marry his bride. Cliff returns to New York, and after informing a relieved Joan that he is breaking up with her, gives George the prepared letter for Carruthers. Infuriated, George reviles Cliff for wanting to marry a "stateless, nameless refugee," but signs the letter. Days later, George holds a meeting with Carew, Mr. Pitt-Semphill, Chutwell and Amalgamated controlling stockholder Guy Elliot in which he blames Cliff for the deceitful proposal. Chutwell adds that Cliff's new love is a prostitute and a Communist. Incensed that Cliff has not been invited to the meeting to defend himself, Carew discontinues negotiations. Hours later, George tells Cliff that his association with the disreputable Miriam ruined the deal and pressures Cliff to resign before the upcoming board meeting. Days later, after competitor Dan Slocum informs Carew that Amalgamated is firing Cliff because his mishandling of his deal, Carew asks Cliff to tell the board that his final decision rests on its treatment of Cliff. Later, Elliot informs Cliff that he is privy to George's deception and asks if Cliff has investigated Miriam's background, but Cliff assures him he is satisfied that Miriam is not a Communist. Meanwhile, Mrs. Salt warns the newly arrived Miriam that Cliff will be ruined if he does not resign the next day and advises that the couple should leave town, lamenting that her own marriage has grown cold because of the pressures of public life. Perceiving a ruse, Miriam suggests that Mrs. Salt is revealing heartfelt revelations to a stranger because she fears for her husband, not Cliff. When Cliff finally tells Miriam he has resigned, insisting that they return to London, she refuses to run from the problem and encourages him to fight. Cliff is thus prompted to tear up his resignation in front of George and Elliot and assert that George's need for absolute power will cause the company to fold. Elliot then informs them both that his investigation of Miriam concludes that she is an honorable and brave woman who has refused both Russian and American attempts to force her into being a spy. Following Elliot's suggestion, George resigns and names Cliff as his predecessor at the board meeting. As he leaves the building, George prophesizes to Cliff that the young leader will also one day be forced to step down when a fresh face changes the business. Later, Carew and Chutwell see the enamored Miriam and Cliff off on their chartered plane to Mexico, as airport grounds men load her new Steinway onboard.
Director
Henry Koster
Cast
Robert Taylor
Elisabeth Mueller
Burl Ives
Charles Coburn
Sir Cedric Hardwicke
Mary Astor
Nicola Michaels
Cameron Prud'homme
Richard Erdman
Ben Wright
Jack Raine
Tom Browne Henry
Richard Deacon
Tol Avery
Marie Brown
Vernon Rich
Alena Murray
Elizabeth Flournoy
Van Kirk
John Zaremba
Mary Scott
Violet Rensing
John Banner
Norman Rainey
Owen Mcgiveney
Paula Trent
Bruce Conrad
Marjorie Hellen
Theona Bryant
Jack Gargan
Francis Ravel
Albert Pollet
Curt Furburg
Max Barwyn
Paul Busch
Barry Brooks
William Remick
Kay English
Crew
Robert Ardrey
George Boemler
George J. Folsey
A. Arnold Gillespie
Sydney Guilaroff
William A. Horning
Bronislau Kaper
Dr. Wesley C. Miller
Nicholas Nayfack
Richard Pefferle
Hans Peters
Helen Rose
Robert Saunders
William Tuttle
Charles Wallace
Edwin B. Willis
Film Details
Technical Specs
Award Nominations
Best Costume Design
Articles
The Power and the Prize (1956) - The Power and the Prize
The Power and the Prize casts Burl Ives as the ruthless head of a large corporation who has picked one of his executives (Robert Taylor) as his successor. Before handing over the reins, however, Ives wants to make sure that Taylor is willing to act unethically, as Ives has. As a test, he sends Taylor to London to negotiate a shady deal that would give Ives control over a British mining outfit. Once in England, Taylor finds he can't go through with it and falls in love with a German refugee (Elisabeth Mueller). Ives then turns against him. Though widely praising the good cast (which also includes Mary Astor and Charles Coburn), critics were lukewarm: "The Power and the Prize is something of a message picture," said one, "and there are those who may resent the sugarcoating. On the other hand, it says what it has to say well and the romantic angle gets the proper play."
While he's no household name today, in 1956 Henry Koster was certainly an experienced and respected director known for his excellent work with actors. (He directed six of them to Oscar nominations.) Born in Berlin as Hermann Kosterlitz, Koster was a German Jew who by the time of Hitler's rise to power had just started to transition from a successful writing career to directing. One day in 1932, Koster lost his temper at an SS officer in a Berlin bank and punched him out cold. Realizing what the consequences would be, Koster immediately left for the train station and fled to Paris on the next train. (It didn't matter that he was still in the middle of making a movie.) Soon he was directing pictures in Hungary for his friend, producer Joe Pasternak. When Pasternak went to Hollywood in 1936 he took Koster with him, and the two saved Universal from bankruptcy by making a number of hugely popular Deanna Durbin vehicles, starting with Three Smart Girls (1936). Koster received an Oscar® nomination for The Bishop's Wife (1947), a Samuel Goldwyn production, and also directed Harvey (1950), perhaps his best-known film. After a stint at MGM, Koster wound up at Twentieth Century-Fox, where he remained until his retirement in 1965. There were various loanouts along the way, however, including one back to MGM to direct The Power and the Prize.
In an interview years later, Koster recalled his casting of Elisabeth Mueller, a beautiful Swiss actress who had appeared in a handful of German movies and was making her Hollywood debut. "Her character was running an office of Jewish refugees in London," said Koster. "I was interested in that because I had gone through that, and experienced quite a bit of the consequences of Hitler's dictatorship in Europe.
"We didn't have a girl to play the part. I saw a photograph in a magazine of a girl named Elisabeth Mueller, who was on the stage in Switzerland. [The studio] said to me, 'Why don't you call her? You can at least speak German to her.' The studio was very happy if you found a new star. They always wanted to find a new Garbo or Hedy Lamarr. I got her phone number somehow. I told her my name and that I was making a picture, and asked if she could come and make a test. She asked, 'Where are you calling from? Zurich?' I said, 'No, from Hollywood.' And she almost fainted. Hollywood to all European actors means heaven."
Mueller made a strong impression ("she should be rated as a 'comer,'" announced Variety), but after the movie she returned to Zurich to work on the stage and make a few more European films. In 1959 she would star in one more Hollywood production, The Angry Hills opposite Robert Mitchum, before retiring from the screen.
Producer: Nicholas Nayfack
Director: Henry Koster
Screenplay: Robert Ardrey, Howard Swigett (novel)
Cinematography: George J. Folsey
Film Editing: George Boemler
Art Direction: William A. Horning, Hans Peters
Music: Bronislau Kaper
Cast: Robert Taylor (Cliff Barton), Elisabeth Muller (Miriam Linka), Burl Ives (George Salt), Charles Coburn (Guy Eliot), Cedric Hardwicke (Mr. Carew), Mary Astor (Mrs. George Salt).
BW-99m. Letterboxed. Closed captioning.
by Jeremy Arnold
The Power and the Prize (1956) - The Power and the Prize
The Power and the Prize (1956) - The Power and the Prize
The economic boom in America after World War II beget a particular type of business drama that was hardwired to the nation's need to repurpose itself for the Cold War and the Space Race. A clutch of big studio films produced in the mid-Fifties sought to take audiences behind the normally closed doors of American enterprise. MGM's The Power and the Prize (1956) often takes a back seat to other entries in the business subgenre, behind United Artists' Patterns (1956) and MGM's earlier Executive Suite (1954). Nonetheless, in a review published on September 12, 1956, Variety averred that The Power and the Prize possessed "a great many truths - possibly too many for a single picture."
It's easy to see why The Power and the Prize might be overlooked when stacked up against the star-studded (William Holden, Barbara Stanwyck, Fredric March) Executive Suite (which spawned a short-lived TV series in 1976) and the Rod Serling-scripted Patterns (which Serling had adapted first for The Kraft Television Theatre the previous year). Nevertheless, when viewed and considered on its own terms, the film is a satisfyingly pointed exposé of corporate greed, even given the then-fashionably soap operatic bent of its romantic subplot. With his patent leather hair and trademark stoicism, star Robert Taylor (who had just come from an atypically villainous turn in Richard Brooks' The Last Hunt, 1956) seems at forty-four a bit long in the tooth to play the brash young protégé of Amalgamated World Metals head honcho Burl Ives (who was only two years Taylor's senior). While William Holden or Paul Newman might have been age-appropriate choices, Taylor acquits himself rather well in the part, bringing surprising nuance, charm and delicacy to the role of a corporate raider whose love affair with "a stateless, placeless, nameless refugee out of Central Europe" comes close to sparking an international incident when the woman in question is tagged as a possible Communist (and a prostitute to boot).
Based on the 1954 novel by Howard Swigett, The Power and the Prize places particular emphasis on the co-opting of individuality, of private lives and private rights, by "this society of power," which it likens angrily to both the death industry of the Nazi concentration camps and the Communist lockstep of the Iron Curtain. "There is no private life, not here," one character laments late in the film. "Not for a man that matters. No love, no inward rightness. There is only Public Relations."
The Power and the Prize marked MGM's first black and white feature shot in CinemaScope. (Director Henry Koster had previously directed The Robe [1953], the first film to be released in that widescreen process.) The experiment turned out to be something of a bust for Metro, with critics lamenting that the expanse of the 2.35:1 aspect ratio robbed intimate scenes of texture and warmth. The production is also noticeably setbound, with New York City reduced to a matte painting seen through Burl Ives' penthouse office window, Long Island shemped unconvincingly by the craggy Malibu coastline, and London represented by the same old backlot "New York Street," albeit hosed down to give it a sense of English damp. Nevertheless, Koster's ensemble cast makes up for the deficit with a core of strong performances, by turns amusing and passionate. Leading lady Elisabeth Mueller had been a find of Henry Koster (formerly Hermann Kosterlitz), who had seen the Swiss stage actress in a magazine photograph and invited her to Hollywood with the blessing of MGM (still on the lookout for the next Greta Garbo fifteen years after Garbo's retirement from films). Mueller received mixed reviews from the critics and returned to Europe postproduction, where she appeared opposite Robert Mitchum and Stanley Baker in Robert Aldrich's The Angry Hills (1959) before largely withdrawing from films.
In smaller roles, Sir Cedric Hardwicke is delightful as the head of a British smelting company that Amalgamated is keen to swindle, Richard Deacon is amusing as Taylor's former Yale buddy and both Mary Astor and Charles Coburn sit out nearly the entire film before Robert Ardrey's script gives both players a chance to kick out the jams in scenes of their own. Blink and you'll miss him in his brief encounter with Robert Taylor on a London stairway but delivering precisely one word of English is John Banner, destined for small screen greatness as the bumbling Sgt. Schultz of the CBS sitcom Hogan's Heroes.
Producer: Nicholas Nayfack
Director: Henry Koster
Screenplay: Robert Ardrey, based on the novel March or Die - The Story of the French Legion by Howard Swigett
Cinematography: George J. Folsey
Art Direction: William A. Horning, Hans Peters
Music: Bronislau Kaper
Film Editing: George Boemler
Cast: Robert Taylor (Cliff Barton), Elizabeth Mueller (Miriam Linka), Burl Ives (George Salt), Charles Coburn (Guy Eliot), Cedric Hardwicke (Mr. Carew), Mary Astor (Mrs. George Salt), Nicola Michaels (Joan Salt).
BW-99m. Letterboxed. Closed Captioning.
by Richard Harland Smith
Sources:
The Films of Robert Taylor by Lawrence J. Quirk
Henry Koster: A Directors Guild of America Oral History, interview by Irene Kahn Atkins
Halliwell's Film Guide
The Power and the Prize (1956) - The Power and the Prize
Quotes
Trivia
Notes
Although Elisabeth Mueller is listed second in the closing cast credits, she is listed after Nicola Michaels, in the middle of the opening cast credits. The Power and the Prize marked the American film debut of Mueller and was Michael's feature film debut. As noted in reviews, The Power and the Prize marked the first time the CinemaScope process was utilized for a black-and-white film. According to a July 26, 1954 Daily Variety news item, M-G-M purchased the rights to Howard Swiggett's novel that year. A November 30, 1954 Hollywood Reporter news item adds that M-G-M signed William Roberts and Sonya Levien to write the screenplay based on the novel; however, onscreen credit for the screenplay is given to Robert Ardrey and the extent of Roberts' and Levien's participation in the final film has not been determined.
Helen Rose received an Academy Award nomination for Best Costume Design (black-and-white) for the film, but lost to Jean Louis for The Solid Gold Cadillac. As noted in a June 7, 1956 Hollywood Reporter new item, actors Mary Scott and Sir Cedric Hardwicke were married at the time of the production.
Miscellaneous Notes
Released in United States Fall October 1956
CinemaScope
Released in United States Fall October 1956