Film
At the suggestion of RKO studio chief Charles Koerner, Frank Capra read "The Greatest Gift" and immediately saw its film potential. In 1945, RKO, anxious to unload the project sold the rights to Capra's production company, Liberty Films, which had a nine-film distribution agreement with RKO, for $10,000, and threw in three scripts adaptations for free. Capra claimed the script was purchased for $50,000.00. Capra, along with writers Frances Goodrich and Albert Hackett, with Jo Swerling, Michael Wilson, and Dorothy Parker brought in to "polish" the script, turned the story and what was worth using from the three scripts into a screenplay that Capra would rename It's a Wonderful Life. The script underwent many revisions throughout pre-production and during filming. Final screenplay credit went to Goodrich, Hackett and Capra, with "additional scenes" by Jo Swerling.
In the film, the main character George Pratt (George Bailey in the film) was played by James Stewart, the angel Clarence was played by Henry Travers and Mary Thatcher (George's wife, Mary Hatch in the film) was played by Donna Reed. Other characters were talked about in the story, such as, a Potter who owned a photographer studio. His brother Harry, who drowned in a river because George wasn't alive to save him. His parents were also in the story and instead of Mary becoming an old maid like in the film, she married a man called Art Jenkins.
Read more about this topic: The Greatest Gift (story)
Famous quotes containing the word film:
“If you want to tell the untold stories, if you want to give voice to the voiceless, you’ve got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you’re dumb and blind.”
—Salman Rushdie (b. 1948)
“Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or despatched as microfilm into the sidereal void.”
—Jean Baudrillard (b. 1929)
“Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film.... You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves.”
—Don Delillo (b. 1926)