MADISON AVENUE (1961)

Title: MADISON AVENUE

Year of Release: 1961

Director: Bruce Humberstone

Genre: Drama

Synopsis: The machinations of an ad man manipulating people and milking situations in New York City's Madison Avenue.

Within a film history context: Motion pictures dealing with the advertising industry, and advertising in other veins, have been in existence since the silent era. One of the first to tackle the topic was Donald Crisp's IT PAYS TO ADVERTISE (1919). In this movie, a complicated chain of events with an industrialist father and his son, with the father's soap utilized by the son in an advertising coup, without the father's knowledge at first, leads to a happy ending for all concerned. Advertising again caused waves in HOOK LINE AND SINKER (1930), directed by Edward Cline. Here, a duo of salesman assist a young woman in advertising a dilapidated hotel as an exclusive resort for the wealthy, but their plan is foiled, with comic results. Marital issues, though, were at the core of Alfred E. Green's HOUSEWIFE (1934). A female copywriter insinuates herself into the life of her employer, being her former boyfriend, with conflict emerging in the form of his wife. This was one of many teamings between Bette Davis and George Brent in this Warner Brothers production. In ARTISTS AND MODELS (1937), directed by Raoul Walsh, an advertising company is in financial trouble, with a contract in limbo, and a model ignored as being too classy for a campaign plans to get even with the ad executive who did this. Busby Berkeley's MEN ARE SUCH FOOLS (1938) was different than the other films as a woman was an advertising executive, torn between her career, and being a housewife. The result of advertising on a man's life was featured in GOING PLACES (1938), directed by Ray Enright. With Dick Powell in the lead role of a sports store employee who masquerades as a jockey, it offered Mr Powell an entertaining comedic part. Glenn Tryon's BEAUTY FOR THE ASKING (1939) mixed romance and business themes, following a young woman whose face cream becomes a success, but her personal life is enmeshed with her past fiancé, and his wife. The 1940s was also a time of varied movies on the advertising theme in cinema. 

ON THEIR OWN (1940), directed by Otto Brower, was about a family who operate several residences, but their advertising for families to live in the complex causes consternation with a neighbour. Mitchell Leisen's TAKE A LETTER, DARLING (1942), similar to MEN ARE SUCH FOOLS, had a female advertising executive, with Rosalind Russell in the lead role, falling for a painter who becomes her secretary, played by Fred MacMurray. It was interesting in that a female character was the employer of a male character, something uncommon at the time. ALL BY MYSELF (1943), directed by Felix Feist, was again concerned with a career woman, and her romantic exploits in an advertising firm. Jack Conway's THE HUCKSTERS (1947) was more of a character portrait than other films in the genre. Starring Clark Gable, it was about a man returning to the advertising industry after serving in World War II, but finding life rather difficult. With an illustrious cast including Deborah Kerr, Ava Gardner and Sidney Greenstreet, it was a star vehicle that was popular with audiences at the time. Richard Wallace's LET'S LIVE A LITTLE (1948) was romance-oriented, with Hedy Lamarr as a cosmetics executive squiring an advertising executive played by Robert Cummings. The 1950s and early 1960s followed the romantic line of both the 1930s and 1940s films, with some notable exceptions.

IT SHOULD HAPPEN TO YOU (1954), directed by George Cukor, was a comedy about a young woman advertises herself on a billboard, and this changes her life forever. It focused more on the personal effect of such a decision, but in a humorous and touching manner, in star Judy Holliday's best tradition. Jerry Hooper's THE TOY TIGER (1956) had Laraine Day as an advertising executive who conspires to rehire an artist for her agency, with many hurdles arising from her decision. A FACE IN THE CROWD (1957), directed by Elia Kazan, was about a drifter who became a media darling, but with costs for him in the long run. One of Mr Kazan's most famous films, and more dramatic and serious in nature than other examples from the genre, it has been lauded for its realism, and the performance of Andy Griffith in the main role. Less serious was Frank Tashlin's WILL SUCCESS SPOIL ROCK HUNTER? (1957). Romantic, and comic, frissons eventuate when a television ad man calls upon an actress to be the spokesperson for a lipstick, but he must act her lover in reciprocation. More subtle in its comedy, but with a suspenseful ring, was NORTH BY NORTHWEST (1959), directed by Alfred Hitchcock. In this movie, an advertising executive is thought to be a government agent by foreign spies, with many breathtaking moments of sheer escapism as only Mr Hitchcock could deliver. Arriving in the early 1960s, Delbert Mann's LOVER COME BACK (1961) was a Doris Day-Rock Hudson vehicle, with advertising executive rivals battling it out, and finding time for love, in a comic and romantic teaming between the two stars. MADISON AVENUE, compared to the movies, was a lightly dramatic story that had elements in common with the advertising movies which had romantic themes, but more affinities with films that explored the industry in greater coverage.

It was similar to THE HUCKSTERS in that a male advertising executive was spotlighted, but not to the same degree of depth in MADISON AVENUE. Clint in MADISON AVENUE does not have a clear backstory as such for the audience to truly understand his motives; he just seems to act by rote, which makes the character somewhat distant. The viewer never feels why Clint wants to climb the corporate ladder so much, and why he does what he does, and treats others the way he does. It is not a fully-rounded character to the extent of those in THE HUCKSTERS, WILL SUCCESS SPOIL ROCK HUNTER?, and LOVER COME BACK, to name several examples. In addition Anne, the film's female advertising executive also falls to the same fate as Clint in MADISON AVENUE. She largely exists as a plot device rather than as a real person, which weakens the film as a whole. The reporter character Peggy fares much better, but her sudden, unrealistic shift at the film's end does not imbue her protagonist with credibility. These points, though, are just some of the reasons why MADISON AVENUE falls far short of being a convincing, compelling film. 

It feels as if the film is just talk without much action, with everything seeming to be of an earlier era, that is, more of the 1940s than of the 1960s. MADISON AVENUE tries to be hard-hitting, with its poster purporting to be such but, it just does not come off. This can be attributable to a lack of humour that pervades the film, making it stale, which filtered down into the acting, inciting a lack of passion in the performers. There is the saying play it like you mean it, but this seems to be have been lost during the course of MADISON AVENUE. Spicier dialogue and situations, more overt conflict, splashier sets, and colour photography would have made the film a much better viewing experience. As it stands, measured against the other films from the genre about advertising, MADISON AVENUE is, unfortunately, a lifeless film that could have been much more dynamic if it had the correct handling, and overall presentation.

Overview: Bruce Humberstone was a director who made over forty films in his career, beginning in 1932 until his final one in 1961, being MADISON AVENUE. His debut movie, STRANGERS OF THE EVENING (1932), was a mystery about bodies disappearing from the city morgue, and starring Zasu Pitts. Mr Humberstone followed this with another mystery-themed film, THE CROOKED CIRCLE (1932). Here, some detective are on a mission to find a cultish group, and it again starred Zasu Pitts in the lead role, with James Gleason in support. Next, he tackled the Tarzan-ish KING OF THE JUNGLE (1933), with athlete Buster Crabbe as Kaspa the Lion Man. More light films followed for Mr Humberstone. MERRY WIVES OF RENO (1934) was concerned with the exploits of three couples who aim to gain a divorce in Reno, with comic results. Crime was on the agenda in SILK HAT KID (1935), with a bodyguard falling for his nightclub owning employer, with problems ensuing. Bruce Humberstone made four entries in the Charlie Chan series in the 1930s, which had a mystery-comic angle. More for a family audience was CHECKERS (1937), starring child star Jane Withers. In this film, a young girl and a man assist the recuperation of a horse, which allow it to enter a race. Comedy was on view this time in RASCALS (1938), again with Jane Withers, and concerned with the exploits of gypsies. The 1940s were a time when Mr Humberstone made some of his more famous films.

SUN VALLEY SERENADE (1941) was a comedy musical starring skating champion Sonja Henie in a tale of a Norwegian woman finding romance in an Idaho ski resort. Homicide was explored in I WAKE UP SCREAMING (1941), with Carole Landis as the murder victim, and Victor Mature being framed for the crime. TO THE SHORES OF TRIPOLI (1942) was much more topical for the time. Detailing life on a marine base in San Diego before the Pearl Harbor attack, it featured a stellar cast including Maureen O'Hara and Randolph Scott. PIN UP GIRL (1944) was a showcase for Betty Grable, as a singer masquerading as a Broadway star to win the attentions of a soldier. One of Mr Humberstone's most entertaining movies was WONDER MAN (1945). Starring Danny Kaye as a reincarnated man who urges his twin brother to find and capture his killers, its theme was excellently explored by the director, and star in high style. WITHIN THESE WALLS (1945) was entirely different in concept. The character study of a judge charged with the duty of taking the reins at a raucous prison, it offered Thomas Mitchell a great role as the crusty lawmaker. Into the 1950s, Mr Humberstone's output was not as prominent as his 1940s offerings, but there were several notable movies he directed that warrant attention.

HAPPY GO LOVELY (1951) was a comedy musical with Vera-Ellen as a showgirl who brings out the warmth in David Niven's staid businessman. SHE'S WORKING HER WAY THROUGH COLLEGE (1952) was another musical for Mr Humberstone. In this film, Virginia Mayo assumed the showgirl role, both charming professor Ronald Reagan, and putting on a grand show. With THE DESERT SONG (1953), Kathryn Grayson was involved not only in dance but also, intrigue in Morocco, becoming involved with Gordon MacRae as her romantic interest. Exotic locales were again in evidence with THE PURPLE MASK (1955). In this film, set in 1800s France, Tony Curtis was a highwayman who Napoleon tries to capture, but evades justice, indulging in questionable practices. Mr Humberstone made several film episodes in the Tarzan series before shooting MADISON AVENUE in 1961. Unfortunately, his last feature film was not the best way for Mr Humberstone to end his cinematic career, and could be said to be his least successful effort.

MADISON AVENUE lacks the spark and energy that many of Bruce Humberstone's other films possessed, such as WONDER MAN and HAPPY GO LOVELY. One would imagine that, witnessing his movies such as the compelling I WAKE UP SCREAMING, that MADISON AVENUE would have been a force to be reckoned with in terms of its approach and storytelling, but, unfortunately, it falls flat. The story is uninvolving, as if the characters are going through their paces, with little emotional investment for the audience to savour. It could have been an explosive expose of advertising, and the personalities who create this environment, but the dialogue and situations are too sluggish to keep the attention. It feels as if the film belongs more to the 1940s than the early 1960s, when film tastes were changing, and viewers seeking harder fare. With the exception of two characters, the remainder do not elicit much interest, seeming more like plot devices than real people, but this has more to do with the material being unexciting than the quality of the actors. It feels as if the movie is something that has not been given a great amount of thought, but was just intended as a time filler for its one and a half hour duration. One of Bruce Humberstone's lesser films, MADISON AVENUE distinguishes itself as a film loaded with talent, but that this talent has not been utilized to make what should have been a much better product.

Acting: Unfortunately, the performances in this film are not what is to be expected from the caliber of the actors' previous work in other movies. Dana Andrews, generally a stalwart performer, comes off as colourless and dry in MADISON AVENUE. It is as if he is going through the motions here, without actually feeling something for the material. His brand of cinematic toughness that was at its best in films such as LAURA just does not work in the film, which is a shame. The film needed someone passionate such as Burt Lancaster or Kirk Douglas to make it come alive, to make the audience believe in Clint's foibles. Similarly for Eleanor Parker, usually a lively and thoughtful actress in her other movies. In seeking to spice up her role, she tries to bring pizzazz to it, but the blandness of the script is something Miss Parker cannot overcome. The film even stunts Eddie Albert, an actor whose range was unlimited on screen, as brittle but humorous, sympathetic men. The movie succeeds in making him seem dull and unintelligent, a sad feat that makes one relish his other performances to no end. 

On the other hand, Jeanne Crain does well in her role as reporter Peggy opposite Dana Andrews. While the chemistry they shared from other films is around to a small degree in MADISON AVENUE, here she provided one of the two great performances in the film. Her tightly-controlled acting, and effective use of eyes suits her hard-boiled reporter character, but the screenplay does not help with her character's iffy motivations. Kathleen Freeman, in the other role of note, is lively as Miss Parker's secretary, the only character whose heart is in the correct place. Miss Freeman does well in her supporting role, spicing up the proceedings as much as possible in the short amount of time she is present on screen.

Soundtrack: The instrumental score for the movie is passable and unobtrusive, summing up the light mood of MADISON AVENUE quite well.

Mise-en-scene: The black and white cinematography, while trying to create a mood of noirish suspense by emphasising shadows and darkness, only makes the sets and backgrounds appear dingy. The sets seem to have appeared in earlier Twentieth Century Fox movies, and have been recycled for MADISON AVENUE, which does not make the film visually exciting in any way. Alas, it only adds an aura of cheapness which benefits the film in no manner. It would have been a better decision to shoot the film in colour as it was in the CinemaScope widescreen format, and added a certain glamour to the movie that shooting in black and white could not do for this movie. Costuming is adequate for the players, but nothing really striking in retrospect that makes them seem chic or distinctive.

Award-worthy performances in my opinion: Jeanne Crain, Kathleen Freeman. 

Suitability for young viewers: Suitable for children with adult discretion. Mild adult themes.

Overall Grade: D

Link: IMDB Page

Trailer