Production
It marked the debut of Allied Artists Pictures, the higher-budget division of Monogram Pictures, formerly a low-budget film studio. The story was originally optioned by Liberty Films in 1945 for director Frank Capra (who decided to direct It's a Wonderful Life instead); later that year producer-director Roy Del Ruth acquired the story. The casting of Ann Harding and Victor Moore was announced in June 1946, Don DeFore and Gale Storm in July, and filming proceeded from August 5 to mid-October 1946. The production schedule and Christmastime climax of the story suggest a Christmas release was originally planned, but for whatever reason, the movie's release was delayed until Easter 1947.
The screenplay was adapted for a radio version on Lux Radio Theater in May 1947, with Don DeFore, Charles Ruggles, Victor Moore, and Gale Storm repeating their roles; and a live television production for Lux Video Theatre in 1957, with Ernest Truex, Leon Ames, Diane Jergens, and William Campbell.
Among the four songs in the movie, "That's What Christmas Means to Me" was not the Varnick-Acquaviva minor hit for Eddie Fisher but another song written by Harry Revel which is hard to find anywhere these days. There are at least three songs with that title, one is by Stevie Wonder is a perky hit – but again, not the Eddie Fisher song of the 50s. Also, Betty Rhodes recorded "You're Everywhere" in 1947.
Read more about this topic: It Happened On Fifth Avenue
Famous quotes containing the word production:
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)