The Carpetbaggers (film)

The Carpetbaggers
Company type	Film
Industry	Motion picture
Founded	1964
Founder	Joseph E. Levine (producer)
Headquarters	United States
Products	Drama film

The Carpetbaggers is a 1964 American drama film helmed by director Edward Dmytryk, adapted from the bestselling 1961 novel The Carpetbaggers authored by Harold Robbins. The movie features George Peppard in the role of Jonas Cord, a character inspired loosely by the industrial magnate Howard Hughes. It also marks the final screen appearance of Alan Ladd, who plays Nevada Smith, a former gunslinger from Western lore turned actor. The ensemble cast includes Carroll Baker, portraying a figure modeled after Jean Harlow, alongside Martha Hyer, Bob Cummings, and additional performers.

The film gained recognition for its candid portrayal of sexuality, aligning with the sexual revolution of the 1960s and echoing the novel’s frequent themes involving sex and sadism.

Plot

Jonas Cord Jr. inherits his father’s explosives company and swiftly grows his fortune by acquiring shareholders’ stakes and settling with his stepmother, Rina Marlowe. He becomes a trailblazer in aviation, eliminates his competitor Winthrop, then weds Winthrop’s daughter Monica. However, he abandons Monica when she expresses a desire for a traditional family life, though she holds onto hope despite his neglect.

Cord resumes an affair with Rina to hasten his divorce from Monica, who later discovers she is expecting a child. After the baby is born, Cord requests proof of paternity but is turned down.

Simultaneously, Nevada Smith—a former stakeholder who has become a Western film star—is financially backed by Cord to create a movie about his outlaw history. This funding grants Cord control over the studio producing Nevada’s films. Despite Cord’s meddling, the film succeeds; Rina ascends to stardom while Nevada’s career declines. In retaliation against Cord, Rina marries Nevada.

Following Rina’s fatal car accident, Cord loses control of the studio to Dan Pierce, an employee loyal to previous management. After battling alcoholism for some time, Cord rejuvenates the studio by promoting emerging talent Jennie Denton, with whom he begins a romantic relationship and engagement.

Pierce tries to blackmail Jennie over her involvement in an earlier pornographic film, but Cord dismisses the threat, revealing he was aware of her past and elevated her career for his own advantage. Heartbroken, Jennie leaves him.

Nevada confronts Cord in a physical altercation that forces Cord to confront the consequences of his actions both personally and professionally. Seeking atonement, Cord returns to Monica, who forgives him and reconciles with him.

Development

Producer Joseph E. Levine initially declared he would ignore the restrictions imposed by the Production Code when adapting Robbins' novel. Nevertheless, after securing an agreement with Paramount Pictures in 1963, the film adhered to the Code’s guidelines, although Levine engaged in extensive negotiations with the Production Code Administration to maximize provocative content. Following discussions with chief censor Geoffrey Shurlock, Levine authorized filming a nude scene featuring Caroll Baker that was utilized for promotional purposes in Europe; a version where she wore a robe was released in North America.

John Michael Hayes was contracted to write the screenplay in June 1962. Shortly thereafter, he was also tasked with adapting Where Love Has Gone.

Casting

Sonny Tufts was among those considered for the role of Nevada Smith but ultimately lost the part to Alan Ladd. After Ladd secured the role, Paramount and producer Levine announced a prequel centered on Smith, titled Nevada Smith.

Joan Collins disclosed in her 1978 autobiography Past Imperfect that she turned down the role of Rina Marlowe due to pregnancy. The character, inspired loosely by actress Jean Harlow, was eventually portrayed by Carroll Baker, who had previously depicted Harlow in Paramount’s 1965 biographical film.

Robert Cummings was selected to play an agent. His wife recalled that Alfred Hitchcock once praised Cummings’ suitability for villainous roles despite his youthful appearance, marking a departure from his usual parts.

Filming

Principal photography commenced on June 4, 1963, primarily on the Paramount Studios lot, supplemented by location shoots in Boron and Pasadena, California. Carroll Baker’s wardrobe reportedly cost $40,000.

Nude scene

Carroll Baker’s nude scene was filmed on a closed set and generated considerable attention. In a 1964 interview with the New York Times, Baker justified the scene as essential to her character's development and stated it was her own idea.

Although omitted from the American release, the nude sequence contributed significantly to the film’s notoriety. At that time, Screen Actors Guild contracts forbade nudity. Baker denied that the scene was intended as a publicity maneuver.

Post-production

To prevent receiving an X rating from the Motion Picture Association of America (MPAA), Paramount edited the film to obscure explicit nudity. The studio also contemplated releasing it without an MPAA Code Seal, similar to United Artists’ strategy with The Man with the Golden Arm (1955).

Release

The Carpetbaggers held its premiere at Denver’s Paramount Theatre on April 9, 1964, with Paramount investing $50,000 in the event. The Los Angeles debut occurred on June 5, 1964, at Grauman's Chinese Theatre. The film opened in 23 theaters across the New York City area on July 1, 1964.

Home media

Paramount Home Entertainment issued The Carpetbaggers on DVD in 2003. On August 26, 2020, Australian distributor Imprint Films released a Blu-ray edition. Kino Lorber followed with a U.S. Blu-ray release on November 23, 2023, featuring a 4K restoration sourced from original film elements.

Box office

The movie earned $28.4 million domestically, ranking as the fourth highest-grossing release of 1964. Variety reported domestic rentals totaling $13 million. Worldwide box office revenue reached $40 million against a $3 million budget, representing the pinnacle of George Peppard’s career success.

Critical reception

Bosley Crowther, writing for The New York Times, condemned the movie as a "sickly sour distillation" of Robbins's novel, describing Peppard's acting as "expressionless, murky and dull." Meanwhile, Variety observed that the film's psychological aspects were ambiguous and criticized the script for placing excessive emphasis on sexual innuendo.

Philip K. Scheuer from the Los Angeles Times dismissed the production as "trash" characterized by "unrelenting audacity and poor taste," whereas Richard L. Coe of The Washington Post referred to it as "wild, fruity nonsense," though he recognized its psychological connections. The film was among those cited, along with Kiss Me, Stupid, in discussions about cinema’s potentially harmful influence on society and its detrimental effect on the reputation of American movies.

In 1965, it ranked among the 13 highest-grossing films in the United Kingdom; however, many UK critics considered it either "vulgar and tasteless" or described it as an "upmarket dirty movie." The Monthly Film Bulletin commended Dmytryk’s straightforward direction but felt the film lacked the finesse required to manage its provocative subject matter adequately.

Filmink magazine singled out Robert Cummings for praise, calling his portrayal of a "magnificently slimy agent" simply "terrific."

Awards and honors

Elizabeth Ashley earned nominations for Best Supporting Actress from both the BAFTA and Golden Globe awards for her portrayal of Monica.

Soundtrack

The film’s score was re-recorded by Elmer Bernstein for an album issued by Ava Records. Later, in 2013, Intrada Records released the full original soundtrack on CD, which included the Ava re-recording as bonus tracks (22-31).

Seal / Main Title 2:26
A Maverick 0:52
Rina's Record 3:32
The Forbidden Room 2:42
Sierra Source (Alternate) 1:41
Sierra Source 2:39
Separate Trails 2:03
Monica's Shimmy 0:31
Lots of Lovely Ceilings 2:02
Nevada's Trouble 7:12
Get a Divorce 1:35
Movie Mogul 0:35
Two of a Kind 5:11
Sierra Source Pt. 2 2:14
Rina's Dead 1:02
Speak of the Devil 1:29
New Star 3:05
Bad Bargain 0:51
Jonas Hits Bottom 5:40
Finale 1:26
Love Theme from The Carpetbaggers 3:10
The Carpetbaggers 2:31
Love Theme from The Carpetbaggers 2:40
Speak of the Devil 2:01
Forbidden Room 2:19
The Carpetbagger Blues 3:52
Main Title from The Carpetbaggers 2:10
New Star 2:16
The Producer Asks for a Divorce 2:39
Jonas Hits Bottom 2:50
Finale 1:44

Bernstein’s theme was also interpreted by Jimmy Smith, with arrangements by Lalo Schiffrin. This rendition was utilized for the UK BBC 2 financial program The Money Programme and served as the introduction to the BBC’s coverage of The Budget in 1987.

Prequel

Two years later, a prequel titled Nevada Smith (1966) was released. Following Alan Ladd’s passing before the debut of The Carpetbaggers, Steve McQueen took over his role.

In popular culture

Mad magazine spoofed the film in issue #92 under the title The Carpetsweepers.

Sources

External links