| Staircase | |
| Director: | Stanley Donen |
| Producer: | Stanley Donen |
| Screenplay: | Charles Dyer |
| Starring: |
|
| Music: | Dudley Moore |
| Cinematography: | Christopher Challis |
| Editing: | Richard Marden |
| Studio: | Stanley Donen Films |
| Distributor: | 20th Century Fox |
| Runtime: | 96 minutes |
| Country: | United Kingdom |
| Language: | English |
| Budget: | $6,370,000[1] |
| Gross: | $1,850,000 (US/ Canada rentals)[2] |
Staircase (also known as L'Escalier) is a 1969 British comedy-drama film directed by Stanley Donen and starring Richard Burton and Rex Harrison.[3] The screenplay was by Charles Dyer, adapted from his 1966 play of the same name.
The film concerns an ageing gay couple who own a barber shop in the East End of London. They discuss their loving but often volatile past together and ponder their possible future without each other, as Charles is about to go on trial for dressing as a woman in public.
The two main characters are named Charles Dyer (the name of the playwright/screenwriter) and Harry C. Leeds, which is an anagram of his name.[4]
Dyer "opened up" the script to show the couple's neighbourhood, expanded the action to cover a period of ten days, and added characters. Rex Harrison and Richard Burton portrayed the couple and Cathleen Nesbitt and Beatrix Lehmann were featured as their mothers.
The film was produced by 20th Century Fox.
Because of Great Britain's tax laws, the stars insisted that the film be shot in Paris, which added to the film's budget, already inflated by their salaries ($1 million for Harrison, $1.25 million for Burton). Reportedly Elizabeth Taylor was shooting The Only Game in Town (1970) at the same time as this film was in production. While that film is set in Las Vegas, Taylor demanded that director George Stevens shoot in France so she could be close to her husband. This caused the budget of The Only Game in Town to grow higher than most large-scale, high-profile films that Fox was producing at the time.
The film's score was composed by Dudley Moore.
According to Fox records, the film required $10,675,000 in rentals to break even, and by 11 December 1970, had made $2,125,000.[5] In September 1970, the studio reported a loss of $5,201,000 on the film.[6]
Vincent Canby of The New York Times wrote "Although Burton and Harrison are interesting actors whose styles command attention even when the material does not, 'Staircase' is essentially a stunt movie ... Unlike Harry and Charlie, who eventually come to edgy terms with the emptiness of their lives, I couldn't quite come to terms with the emptiness of the movie."[7] Variety wrote that "Harrison and Burton have dared risky roles and have triumphed," but noted that the film "comes uncomfortably close to being depressing."[8] Roger Ebert gave the film 1 star out 4, calling it "an unpleasant exercise in bad taste...[Donen] gives us no warmth, humor or even the dregs of understanding. He exploits the improbable team of Rex Harrison and Richard Burton as a sideshow attraction."[9]
Gene Siskel of the Chicago Tribune gave it 3 stars out of 4, calling it "a satisfactory film achievement with a very good story. Richard Burton is marvelous in holding up Staircase. Rex Harrison is more of a broken step...[he] swishes and preens too much but controls the part as the movie progresses."[10]
Stanley Kauffmann of The New Republic wrote- "Staircase is a flabby film that, as it goes along, seems to realize its flabbiness and grabs frantically at bits of sordidness to prove that it really is serious.."[11]
Charles Champlin of the Los Angeles Times wrote "We cannot will ourselves to forget that these are Harrison and Burton playing at being homosexuals. These are performances and even if they are good (as they are) and for the most part quite restrained (as they are), we still look at the craft and not into the tortured soul."[12]
Gary Arnold of The Washington Post wrote "Artistically, the depressing thing about 'Staircase' is that it has no surprises. We see everything coming a few beats or lines or minutes before the filmmakers and the stars, deliberately planting the clues and laying the groundwork and working up the old momentum, finally throw their best punches."[13]
Penelope Gilliatt of The New Yorker wrote "Written by someone else and directed by a man more fond, it could have been a love story, and it could have been wonderful. Instead of that, it comes out like some total-immersion course in Camp banter, conceived in a way that keeps signalling the heroes' freakishness. The lack of affection for them makes the film depressing ... Only Burton's acting runs deep and true and comic."[14]
Nigel Andrews of The Monthly Film Bulletin wrote "It is the air of unreality over the film that makes it finally so unsatisfying—the desultory studio street, the barber's shop permanently empty of customers, the sheer improbability of some of the acting (notably Beatrix Lehmann's grotesque cameo as Charlie's mother). If one were charitable, one could regard the whole thing as a vehicle, an opportunity for Harrison and Burton to show their paces in extravagant character roles ... Neither, however, can quite save the film from its inflated production values and the feeling that it has been cleaned up a little for popular consumption."[15]
The play inspired Jean Poiret and Michel Serrault to write, and star in, La Cage aux Folles,[16] which was itself later adapted by Mike Nichols as The Birdcage (1996).