The Light’s On At Signpost. George MacDonald Fraser
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or “I was responsible for that,” or “Well, I sort of influenced that”, which is the only personal satisfaction you can get from a movie in which your participation has been limited to tinkering little things, script-snipping and arranging and so on. Critical opinion of it has changed; at the time, the flying sequences were regarded as terrific, there was much praise for the music and the opening credits, and the end titles provoked mirth for being of such length that they even included the breakfast cereal used by Clark Kent’s earthly parents. The early “earth” scenes were interminable, and I came out asking myself why the hell they hadn’t just been content to shoot the original N – B scripts, instead of padding it out with unnecessary junk. But it was obviously going to gross a jillion, which it did.
Superman II was the better movie, probably because Dick had the direction all to himself. But I like to think back to that Paris hotel room, with Hamilton and me up to our ankles in coloured paper, and tell myself that our labours were not in vain.
* The Macmillan Film Encyclopedia describes Guy as “among England’s most technically proficient craftsmen”, which is an understatement. After his apprenticeship with Rene Clair he graduated to assistant director with Carol Reed and John Huston, and worked on such prestigious films as The Third Man and The African Queen before going on to direct a string of major pictures, including four James Bonds – one of which, Goldfinger, I regard as the best in the series.
* But we may have underestimated his talent; many professional boxers have acted, and acted well, since James J. Corbett and his fellow-champion John L. Sullivan trod the boards a century ago. Rocky Graziano, Max Baer, and Maxie Rosenbloom were all good comic actors, and more recently Jersey Joe Walcott, Tony Galento, and Henry Cooper have acquitted themselves well in supporting parts.
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