Production
Although the film is set during the Christmas season, studio head Darryl F. Zanuck insisted that it be released in May, arguing that more people went to the movies during the summer. So the studio rushed to promote it while keeping its Christmas setting a secret. Fox's promotional trailer depicted a fictional producer roaming the studio backlot and encountering such stars as Rex Harrison, Anne Baxter, Peggy Ann Garner, and Dick Haymes extolling the virtues of the film. In addition, the movie posters prominently featured O'Hara and Payne, with Gwenn's character kept in the background. The film opened in New York City at the Roxy Theatre on June 4, 1947. By contrast, modern home video packaging has Gwenn and Wood dominating the imagery, with the DVD release having Kringle in his Santa Claus costume.
The Christmas window displays seen in the film were originally made by Steiff for Macy's. Macy's later sold the window displays to FAO Schwartz in New York. FAO Schwartz then sold the windows to the Marshall & Ilsley Bank of Milwaukee, Wisconsin, where they are on display every December in the bank's lobby on North Water Street.
The house shown at the end of the film is a 1703 square foot single family home built in 1943 at 24 Derby Road, Port Washington, New York. The home looks practically the same as it did in 1947, except that the roof line has been altered by the addition of a window.
Read more about this topic: Miracle On 34th Street
Famous quotes containing the word production:
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)