The Bad and the Beautiful 1953

The Bad and the Beautiful

Critics Consensus

Melodrama at its most confident, The Bad and the Beautiful is an ode to moviemaking that offers unblinking insight into the ugly egos that have shaped Hollywood history.

79%

TOMATOMETER

Total Count: 48

86%

Audience Score

User Ratings: 4,155

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The Bad and the Beautiful Photos

Movie Info

Unscrupulous movie producer Jonathan Shields (Kirk Douglas) is a child of Hollywood who ruthlessly toils his way to the top of the studio system, discarding movie star Georgia (Lana Turner), director Fred Amiel (Barry Sullivan) and writer James Lee Bartlow (Dick Powell) along the way. Although Shields manipulates them and leaves each in despair, they find success in Hollywood, thanks in part to Shields, and must decide whether or not to repay him when he offers them a collaborative project.

Cast & Crew

Lana Turner
Georgia Lorrison
Kirk Douglas
Jonathan Shields
Walter Pidgeon
Harry Pebbel
Dick Powell
James Lee Bartlow
Gloria Grahame
Rosemary Bartlow
Gilbert Roland
Victor "Gaucho" Ribera
Leo G. Carroll
Henry Whitfield
Paul Stewart
Syd Murphy
David Raksin
Original Music
Nacio Herb Brown
Original Music
Jimmy McHugh
Original Music
Robert Surtees
Cinematographer
Conrad A. Nervig
Film Editor
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News & Interviews for The Bad and the Beautiful

Critic Reviews for The Bad and the Beautiful

All Critics (48) | Top Critics (12) | Fresh (38) | Rotten (10)

Audience Reviews for The Bad and the Beautiful

  • Aug 14, 2017
    Fans of Kirk Douglas must surely consider this one of his finest performances. He plays a highly ambitious and talented movie producer whose ambition has destroyed relations with people close to him. Three of those people - an actor, director and writer - recall his betrayals. Fine film that Hollywood fans might enjoy more if they research who the characters were based on.
    Aldo G Super Reviewer
  • May 09, 2012
    Playing a hybrid of Val Lewton and David O. Selznick, Douglas delivers arguably his greatest performance. When Pidgeon acts on his behalf in attempting to reunite him with Turner, Powell and Sullivan they flat out refuse at first, recounting stories of how his professional obsession screwed them over personally. The irony of course is that none of the three would have their success without him. He may lack social skills but anyone who ever dreamed of making a movie can fully understand his immersion in the world's largest train set. He never sets out to hurt anyone, they just expect more from him than he can give. Sullivan is really the only member of the trio you can sympathise with when his ideas for adapting a troublesome novel are gifted to an established director by Douglas. Turner falls for Douglas but he lets her know from the beginning his work is all he has time for so it should be no surprise when he rejects her approaches. Powell's writer tries to stick to his artistic guns but allows himself to be seduced by Hollywood. His tragedy is the result of an accident which certainly had no direct relation to Douglas, though he does seize on it to immerse Powell in his work. The other great performance comes from Turner, shaking off the blond sex symbol tag in her portrayal of a boozehound actress, haunted by the spectre of her father, a once respected actor. Pidgeon is charismatic as an old school producer whose motto is "Give me a picture that ends with a kiss and black ink on the books". It's quite bizarre how the cast member awarded an Oscar was Grahame as her performance seems particularly hammy compared to the others on display here. Minnelli always worked with the best cameramen and here it was Robert Surtees, best known for his widescreen work on "Ben Hur". As to be expected it's a beautiful looking film with brilliant use of shadow and light which plays up the Jekyll and Hyde nature of Douglas' character. Usually Hollywood producers are portrayed as philistines who have no clue about the creative process but Douglas is the exception. He seems to genuinely know more about making a movie than the people he hires, dispensing acting, writing and directing tips which serve to elevate his material. With his "less is more" attitude he recalls the great B-movie producer Val Lewton who changed the horror genre by keeping the monsters in the shadows. There's a great scene where he demonstrates with a desk lamp to Sullivan just how effective this technique can be. Powell receives some wise instruction too when Douglas crosses out lines of unnecessary dialogue from his script, telling him the audiences imagination will be far more powerful than anything he could possibly write. If only today's overly verbose screenwriters could receive such guidance.
    The Movie W Super Reviewer
  • Dec 08, 2011
    A Kirk Douglas film, has to be based or meant to base a director that played a part in his career, just to factual to be a made up story. Its about a director that is pretty much ruthless, shows the story of three people who basically were made famous thru his ruthless actions. A good ole Black & White. 4 stars.
    Bruce B Super Reviewer
  • Apr 28, 2011
    Here is one of the best films ever directed on the subject of making films. It stands close behind "Sunset Boulevald" and it's just a step ahead of "Paris when it sizzles". I will never be a fan of Kirk Douglas but I must admit his filmography is filled with a long series of important collaborations. Here, under the hand of Vincente Minelli and next to Lana Turner, the camera works wonders on him. A really good film, by all means and by any measure.
    Anastasia B Super Reviewer

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