After the Fox

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After the Fox
After the fox544.jpg
Theatrical release poster by Frank Frazetta
Directed by Vittorio De Sica
Produced by John Bryan
Written by Neil Simon
Cesare Zavattini
Starring Peter Sellers
Britt Ekland
Lydia Brazzi
Paolo Stoppa
Victor Mature
Tino Buazzelli
Vittorio De Sica
Music by Burt Bacharach
Piero Piccioni
Cinematography Leonida Barboni
Edited by Russell Lloyd
Distributed by Delgate / Nancy Enterprises
United Artists
Release date(s) 1966 (1966)
Running time 103 min
Country Italy
United Kingdom
Language English
Italian
Box office $2,296,970 (rentals)[1]

After the Fox (Italian: Caccia alla volpe) is a 1966 British-Italian comedy film starring Peter Sellers and directed by Vittorio De Sica. The screenplay is in English, by Neil Simon and De Sica's longtime collaborator Cesare Zavattini.[2][3]

Despite its notable credits, the film was poorly received when it was released. It has since gained a cult following for its numerous in-jokes skewering pompous directors (including Cecil B. de Mille, John Huston [who appears briefly in the movie, portraying Moses for De Sica in a film shoot within the film], Federico Fellini, Michelangelo Antonioni, and De Sica himself), vain film stars, their starstruck audiences, and pretentious film critics.[4] The film was remade in 2010 in Hindi as Tees Maar Khan.

Plot[edit]

The story begins in Cairo where Okra (Akim Tamiroff), using a bikini-clad accomplice (Maria Grazia Buccella) as a distraction, hijacks $3 million in gold bullion. The thieves need a way to smuggle the two tons of gold bars into Europe. There are only four master criminals considered able to smuggle the gold: one is French (but so crippled he can barely move his wheelchair); one is Irish (but so nearsighted that he is arrested after trying to hold up a police station instead of a bank); one is German (but so fat he can barely get through a door). The only man cunning enough to outwit Interpol is Aldo Vanucci (Peter Sellers), also known as The Fox, a master criminal with a talent for disguise.

But Vanucci is in prison. He knows about the smuggling contract but is reluctant to accept it because he does not want to disgrace his mother and young sister Gina (Britt Ekland). But when his three sidekicks inform him that Gina has grown up and doesn't always come home after school, an enraged, over-protective Vanucci vows to escape. He succeeds by impersonating the prison doctor and convincing the guards that Vanucci has tied him up and escaped. The guards capture the real doctor and bring him face to face with Vanucci, who flees with the aid of his gang. Vanucci returns home where his mother tells him that Gina is working on the Via Veneto. Vanucci takes this to mean that Gina is a prostitute. Disguised as a priest, Aldo sees Gina, who is provocatively dressed, flirting and kissing a fat, middle-aged man. Aldo attacks the man, but it turns out that Gina, who aspires to be a movie star, is merely acting in a low-budget film. Aldo’s actions cost her the role, but he realizes that the smuggling job will make his family’s life better. He makes contact with Okra and agrees to smuggle the gold into Italy for 50 percent of the take. Meanwhile, two policemen are constantly on Vanucci’s trail, and he uses several disguises and tricks to throw them off. After seeing a crowd mob an over-the-hill American matinee idol, Tony Powell (Victor Mature), it strikes Vanucci that movie stars and film crews are idolized and have free rein in society. This idea forms the basis of his master plan.

Vanucci poses as an Italian neo-realist director named Federico Fabrizi. He plans to bring the gold ashore in broad daylight as part of a scene in an avant-garde film. To give the picture an air of legitimacy, he cons the vain Tony Powell to star in the film, which is blatantly titled The Gold of Cairo (a play on The Gold of Naples, a film De Sica directed in 1954). Powell’s agent, Harry (Martin Balsam) is suspicious of Fabrizi, but his client wants to do the film. Fabrizi enlists the star struck population of Sevalio, a tiny fishing village, to unload the shipment. However, when the boat carrying the gold is delayed, Fabrizi must actually shoot other scenes for his faux film to keep up the ruse. The ship finally arrives and the townspeople unload the gold. But Okra double-crosses Vanucci and, using a movie smoke machine for cover, drives off with all of the gold. A slapstick car chase ensues, ending with Okra, Vanucci and the police crashing into each other. Vanucci, Tony Powell, Gina, Okra, and the villagers are accused of being co-conspirators. As evidence against them, Vanucci’s "film" is shown in court. An Italian film critic leaps to his feet and proclaims the disjointed footage to be a masterpiece. Vanucci suffers a crisis of conscience and confesses his guilt in court, thereby vindicating the villagers, but proclaiming that he will escape from prison once again.

The film's final scene shows Vanucci escaping from prison by impersonating the prison doctor again. This time, however, he ties the doctor up and walks out of the prison in his place. As he attempts to remove the fake beard that is part of his disguise, he discovers that the beard is real, and realizes that the “wrong man" has escaped from prison.

Cast[edit]

Production[edit]

This was Neil Simon's first screenplay. At the time, he had three hit shows running on Broadway: Little Me; Barefoot in the Park; and The Odd Couple. Simon has said that he originally wanted to write a spoof of art house films such as Last Year at Marienbad and Michelangelo Antonioni's films, but the story evolved into the idea of a film-within-a-film. Aldo Vanucci brings to mind the fast-talking cons of Phil Silvers and the brilliant dialects of Sid Caesar. This is probably no coincidence since Simon wrote for both on television.[5]

In his 1996 memoir Rewrites, Simon recalled that an agent suggested Peter Sellers for the lead, while Simon preferred casting "an authentic Italian" such as Marcello Mastroianni or Vittorio Gassman. Sellers loved the script, however, and it was he who asked Vittorio De Sica to direct.[6]

De Sica's interest in the project surprised Simon, who at first dismissed it as a way for the director to support his gambling habit. But De Sica said he saw a social statement to be made, namely how the pursuit of money corrupts even the arts. Simon believed De Sica also relished the opportunity to take potshots at the Italian film industry. De Sica insisted that Simon collaborate with Cesare Zavattini. Since neither spoke the other's language, the two writers worked through interpreters. "He had very clear, concise, and intelligent comments that I could readily understand and agree with", Simon wrote. Still, Simon worried that inserting social statements into what he considered a broad farce wouldn't do justice to either. Yet After The Fox does touch on themes found in De Sica's earlier work, namely disillusionment and dignity.[7]

Peter Sellers told the press that his main reason for doing the film was the chance to work with Vittorio De Sica. After the Fox was the first film produced by Sellers’ new Brookfield production company, which he formed in partnership with John Bryan (art director), a former production designer. It was also their last production, as Sellers and Bryan had a rift over De Sica. Sellers complained that the director “thinks in Italian, I think in English,” and wanted De Sica replaced. But Bryan resisted for financial and artistic reasons. De Sica, meanwhile, grew impatient with his petulant star and did not like Sellers’ performance or Simon’s screenplay.[8]

Victor Mature, who had retired from films five years earlier, was lured back to the screen by the prospect of parodying himself as Tony Powell.[citation needed] Mature was always a self-effacing star who had no delusions about his own work. At the height of his fame he applied for membership in the Los Angeles Country Club, but was told that the club did not accept actors. He replied: "I'm not an actor – and I've got 64 films to prove it!"[9] A clip from Mature's 1949 film Easy Living (in which he plays an aging football star) appears in the film.

According to Neil Simon, Sellers demanded that his wife, Britt Ekland, be cast as Gina, the Fox's sister. Ekland's looks and accent were wrong for the role, but to keep Sellers happy De Sica acquiesced. Still, Simon recalled, Ekland worked hard on the film.[10] Sellers and Ekland made one other film together, The Bobo (1967).

Also featured are Akim Tamiroff as Okra, the mastermind of the heist in Cairo; Martin Balsam as Tony's agent, Harry; Maria Grazia Buccella as Okra's voluptuous accomplice; Lydia Brazzi as Mama Vanucci; and Lando Buzzanca as the chief of police in Sevalio. Simon recalled that the Italian supporting cast learned their lines phonetically.[11] Tamiroff had been working on and off for Orson Welles filming Don Quixote, playing Sancho Panza. The film was never finished. Buccella was a former Miss Italy (1959) and placed third in the Miss Europe pageant. She was considered for the role of Domino in Thunderball.[12] Lydia Brazzi was Rossano Brazzi's wife. She was not a professional actress.

The budget for the film was $3 million, which included location shooting in the village of Sant' Angelo on Ischia in the Bay of Naples as well as the construction of an exact replica of Rome's most famous street, the Via Veneto, on the Cinecittà lot. The Sevalio sequences were shot during the height of the tourist season. Reportedly the villagers of Sant' Angelo were so busy accommodating tourists that they had no time to appear as extras in the film. The extras were brought in from a neighboring village.[13]

Simon lamented that De Sica insisted on using his own film editors, two individuals who did not speak English and thus did not understand the jokes.[14] The film was later re-cut in Rome by one of John Huston's favorite film editors, Russell Lloyd, but Simon believes more funny bits "are lying in a cutting room in Italy." The voices and accents of the Italian comic actors were dubbed in London, mainly by Robert Rieti, and edited in Rome by Malcolm Cooke, who had been a post-sync dialogue editor on Lawrence of Arabia.[citation needed]

Simon summed up his opinion of the film: "To give the picture its due, it was funny in spots, innovative in its plot, and was well-intentioned. But a hit picture? Uh-uh...Still today, After the Fox remains a cult favorite."[15]

The film received mixed reviews in its day. New York Times critic Bosley Crowther summed up his review, "It's pretty much of a mess, this picture. Yes, you'd think it was done by amateurs."[16] Variety thought "Peter Sellers is in nimble, lively form in this whacky comedy which, though sometimes strained, has a good comic idea and gives the star plenty of scope for his usual range of impersonations."[17] Opinion continues to be divided. After the Fox is rated 6.5 on IMDB, but has an 83% rating on RottenTomatoes.com.[18]

Burt Bacharach composed the score, and with lyricist Hal David wrote the title song for the film. The title song "After the Fox", as performed by The Hollies and Sellers, was released as a single in September 1966 (b/w "The Fox-Trot", United Artists UP1152) but did not chart.[citation needed]

Release[edit]

The film has some kinship with What's New Pussycat?, which was released the previous year and also starred Sellers. That film was the first written by Woody Allen who, like Neil Simon, had been a staff writer for Sid Caesar. Even the advertising tagline on the posters and trailer for After The Fox proclaimed, "You Caught The Pussycat...Now Chase The Fox!". The poster art for both films was illustrated by Frank Frazetta.[citation needed]

Considering this was Simon's first original screenplay, parallels can be drawn with fellow Sid-Caesar-staff-writer Mel Brooks's first screenplay, The Producers, which satirized Broadway and also features con-men and a final courtroom scene followed by a jail scene.[citation needed]

Influence[edit]

The scene in the film where Aldo speaks to Okra through the beautiful Maria Grazia Buccella inspired a similar scene in Austin Powers in Goldmember (2002), in which Austin Powers talks to Foxxy Cleopatra through the Nathan Lane character.[citation needed]

The Bollywood movie Tees Maar Khan (2010) is an "official" remake of After the Fox.[19]

References[edit]

  1. ^ "Big Rental Films of 1967", Variety, 3 January 1968, pg 25.
  2. ^ Zavattini's 18 Most Notable Films. Films101.
  3. ^ Zavattini and his collaboration with de Sica. Encyclopaedia Britannica
  4. ^ After the Fox: Overview. Allmovie.
  5. ^ Crowther, Bosley (1966-12-24). After the Fox (1966) - Screen: 'After the Fox': First Neil Simon Film Has Local Premiere. The New York Times, December 24, 1966. Retrieved from http://movies.nytimes.com/movie/review?res=9F05E5D8103CE53BBC4C51DFB467838D679EDE.
  6. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  7. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  8. ^ McKay, James. The Films of Victor Mature. ISBN 978-0-7864-4970-5
  9. ^ Kevin Thomas, 'Victor Mature Hits Stride', Los Angeles Times (1923-Current File) [Los Angeles, Calif] 07 Dec 1966: D15.
  10. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  11. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  12. ^ Production notes for Thunderball — MI6.co.uk
  13. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  14. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  15. ^ Simon, Neil. Rewrites: A Memoir .ISBN 0-684-82672-0
  16. ^ http://www.nytimes.com/movie/review?res=9F05E5D8103CE53BBC4C51DFB467838D679EDE
  17. ^ http://variety.com/1965/film/reviews/after-the-fox-1200421159/
  18. ^ http://www.rottentomatoes.com/m/after_the_fox/
  19. ^ Rediff (2010-12-22). It's official: Tees Maar Khan is a remake. Rediff.com, 22 December 2010. Retrieved from http://www.rediff.com/movies/report/tees-maar-khan-is-an-official-remake/20101222.htm.

Bibliography[edit]

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