DeMille had a reputation for being a tyrant on the set, and he
despised actors who were not willing to take physical risks; such was
the case with Victor Mature in Samson and Delilah,
when Mature refused to wrestle the lion, though the lion was tame and
its teeth had been pulled. (DeMille remarked that Mature was "100%
yellow"). Paulette Goddard's refusal to risk personal injury in a scene involving fire in Unconquered cost her DeMille's favor and probably a role in The Greatest Show on Earth. During on-location filming in Egypt of the Exodus sequence for 1956's The Ten Commandments, the then 73 year-old DeMille ran up a 107-foot ladder to the top of the massive Per Rameses set and suffered a near fatal heart attack. Aided by his daughter Cecilia, but against his doctor's orders, he was back directing the film within a week.
According to one famous story,
DeMille once directed a film that required a huge, expensive battle
scene. Filming on location in a California valley, the director set up
multiple cameras to capture the action from every angle. It was a
sequence that could only be done once. When DeMille yelled "Action!,"
thousands of extras playing soldiers stormed across the field, firing
their guns. Riders on horseback galloped over the hills. Cannons fired,
pyrotechnic explosives were blown up, and battle towers loaded with
soldiers came toppling down. The whole sequence went off perfectly. At
the end of the scene, DeMille yelled "Cut!" He was then informed, to
his horror, that three of the four cameras recording the battle
sequence had failed. In Camera #1, the film had broken. Camera #2 had
missed shooting the sequence when a dirt clod was kicked into the lens
by a horse's hoof. Camera #3 had been destroyed when a battle tower had
fallen on it. DeMille was at his wit's end when he suddenly remembered
that he still had Camera #4, which he had had placed along with a
cameraman on a nearby hill to get a long shot of the battle sequence.
DeMille grabbed his megaphone and called up to the cameraman, "Did you
get all that?" The cameraman on the hill waved and shouted back, "Ready
when you are, C.B.!".
In another famous story, DeMille was on a
movie set one day, about to film an important scene. He was giving a
set of complicated instructions to a huge crowd of extras, when he
suddenly noticed one female extra talking to another. Enraged, DeMille
shouted at the extra, "Will you kindly tell everyone here what you are
talking about that is so important?!" The extra replied, "I was just
saying to my friend, 'I wonder when that bald-headed son of a bitch is
going to call lunch.'" DeMille glared at the extra for a moment, then
yelled, "Lunch!"
In another story, DeMille welcomed a new
assistant to his private bungalow on the Paramount lot. "This is an old
building," he told the young man. "You'll notice the floor slants down
and to the left. I'm placing you in the left side office at the end of
the hall, so you can watch the heads as they roll by."
In still
another story, DeMille was sitting in a Paramount executive's office,
discussing a film he wanted to make. The climax of the film would be
yet another huge battle sequence, requiring thousands of extras. When
the studio executive complained that it would cost hundreds of
thousands of dollars to pay all the extras needed for the battle,
DeMille smiled wickedly. "I've got that covered," he said. "We'll use
real bullets."
Yahoo Slaves drop Shoppach, add Pierzynski---who is now on both of our teams. Soviet Girls bring up Kottaras for a week as Johjima is injured. Also add M. Izturis, one of our old standbys, who for some unknown reason is batting 3rd for the LA Angels. Slaves are a typically bad Paledave team. Soviet Girls are in 4th (we were 15th two weeks ago), and playing fantastic even with Big Papi sitting. Dexter Fowler stole five bases last night, and that was in the first four innings of his game. Could be a good year.
A man disappears. He takes off for the sea; the closer he gets, the stranger the landscape becomes. The road he is on continually rises; everything else does not. Houses just off the road are seventy feet below the road. He is given shelter for a night with a widow; in the morning the rope ladder is gone. He is trapped with the woman. The existence of the man and the woman boils down to one thing: shoveling sand away. Sand permeates everything: their house, their lungs, skin, eyes, the air; it is constant. Clearing it away just leaves room for more sand to come. The man and the woman enter into a most complex psychological, kinky, and erotic relationship. There is a happy(??) ending.
Kenzaburō Ōe was one of Abe's (1924-1993) friends. Oe said he thinks Abe's novels are beyond his work and are as great as Kafka's and Faulkner's. Oe also said that Abe should've received the Nobel Prize in Literature that he himself had won, though the latter had been nominated many times. Critics likened his literary style to Alberto Moravia for its modernist influence.
It's an odd book, very hard to classify, easy to admire, harder to love. It is not a difficult read, but as in Kafka, I wonder about the reliability of the third-person omniscient narrator. Kafka is the obvious comparison, as are Sartre's No Exit, Beckett, Jack London, Dinesen, and Mishima. It is a nightmare piece, and it is very plot-driven. Yet there are asides throughout, ranging from entomology, Existentialism (the overriding theme here), different animals, a Neil Sedaka song. And always the sand, the sand which is a character in its own right. I grade it as an A-; The Woman In The Dunes is not for everyone.
The film adaptation of Woman in the Dunes won the Special Jury Prize at the 1964 Cannes Film Festival and was nominated for the Best Foreign Language Film Oscar in the same year (losing out to Italian film Yesterday, Today and Tomorrow). In 1965 director Hiroshi Teshigahara was nominated for the Best Director Oscar.