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:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“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)
“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)