Casting By

Casting actors and actresses for movies and television shows would seem to be a thankless job, until one realizes that without the proper person in a role, the whole project might seem ill-conceived. East coast casting agent Marion Dougherty and her west coast counterpart, Lynn Stalmaster are the two principles spotlighted here, paving the way for their associates and colleagues to get the recognition they deserve for working with filmmakers in making the best casting choices possible. Despite a terrible early performance on TV's "Naked City", Dougherty took another chance on actor Jon Voight in 1968, sending him to meet with director John Schlesinger for "Midnight Cowboy"; Schlesinger and Jerome Hellman tested Voight but really wanted Michael Sarrazin for the part of Joe Buck, who wasn't available, causing Dougherty to actually push for Voight--as an agent might. This documentary from Tom Donahue includes some surprise commentators and lots of film clips. I would have liked to see more examples of movies in which the casting was off, but Donahue and his subjects are too polite to embarrass anyone. The intention is to shed light on an unsung profession and how it affects the show business world, and this is accomplished with great style. *** from ****

Great story. Historic documentary I'm glad I saw this in my lifetime specially in my early career as a casting director for Arab Actors in Hollywood. Recommended for everybody in this business specially casting people

CASTING BY is a surprisingly entertaining documentary. Its title is somewhat misleading as it's doesn't really explain the occupation of casting directors, rather it is a valentine to Marion Dougherty, the woman who coined the term as she carved out a unique role when she began working in the entertainment business. Ironically, she wanted to be an actress herself, but didn't pursue a career, believing it would be too difficult. Fortunately, an entry level position at NBC producing live plays sponsored by Kraft proved a better fit for her theatrical instincts. As she was living in New York City, she had ample opportunity and desire to go to the theater where she discovered the talent whom she cast. The film has a treasure trove of footage of the first roles given to future stars, the most entertaining one is a 22 year-old Warren Beatty imitating fellow Lee Stasberg graduate Marlon Brando. Fortunately, Ms Dougherty, who was not an acting teacher, remanded him that "The Method" did not mean "The Mumble."

The cavalcade of stars whose careers she launched is astonishing, but equally important is the serendipitous era in which she achieved prominence. The cinema of the 1970s was groundbreaking in that talent was allowed to trump looks, and the collapse of the studio movie-making machine allowed risqué movies like "Midnight Cowboy," "Panic in Needle Park," and "Taxi Driver" to be made.

Marion Dougherty's LA counterpart, Lynn Stalmaster, is profiled as another example of a casting director. But based in LA, the criteria and talent pool meant that his accomplishments are complementary to hers, but not comparable.

The movie is enjoyable, fast-paced and certain to be enjoyed by cinephiles, but should not be viewed as a representation of the profession of casting directors.

This writer has first-hand knowledge of the acting industry in Los Angeles. The majority of casting directors do not have anywhere near the authority of those interviewed in the movie. While it is a more difficult proposition for an LA-based casting director to go to the theater to discover talent, few make the effort nor have any appreciation for the actor's craft. Crassly, some actually teach acting classes and charge fees for aspiring actors to meet them.

Just as in the modeling world, there are the Victoria's Secret models at the top and an exploitative ugly underbelly that are not depicted together, so it is in the casting business. There's a documentary to be made there, but this movie is not it. It is about the cream that has justifiably risen to the top and gifted us with some of the greatest actors we may ever see.

A kind of professional biography of Marion Dougherty (1923 - 2011), a casting director who began working in New York before moving to Hollywood. She was evidently peerless on the New York scene, able to catch all the shows and picking the right people for roles, like John Travolta for Barbarino, and then sending them to Los Angeles.

If a movie or a TV series were to be about New York, instead of polished California types, she would ship off REAL New Yorkers, who looked and spoke as if they'd just been pulled in off the streets In the early years, her office was a dilapidated brownstone and she rented out a few rooms to theater people without much money. Later, of course, following her success, the brownstone became a fortress and struggling actors like Ed Lauter had to trick their way inside to see her.

She did some very important work in Hollywood too. At United Artists, the protocol was to leave the casting director and the movie director alone while they did their jobs. Until Michael Eisner took over at UA. Eisner was apparently hated by everyone. He was the kind of guy who brings pleasure whenever he goes. He was about to fire Dougherty when she received an offer from Warner Brothers. Hearing of that development, Eisner flung himself at her feet and begged her not to leave because they needed her talents so badly. Savvy, by now, Dougherty tells us, "I knew that if I turned down Warners, he would fire me one minute later, so I took the offer." She was apparently well liked, as well as sensitive and skilled, otherwise, why would all these well-known people from both sides of the camera spend their expensive time telling anecdotes about her and praising her?

I do wish, though, that we'd heard about some examples of her failures. There MUST have been some, because casting directors aren't infallible. For instance, I was once offered the part of the intercontinental chief villain opposite Jacqueline Smith in a miniseries. The casting director took me to the director for his approval. He looked me up and down and said, "Perfect." Something interfered and I couldn't take the part, but I later read the book the miniseries was based on and it described the chief villain as "fat, ugly, and stupid." Well, I happen to be sinewy, handsome, and brilliant, so if THAT'S not an example of miscasting, what is?

At times, the tribute come perilously close to a polemic against the male establishment but it never quite crosses the line. In the final few minutes, it slips into sloppy sentimentality, with half a dozen big names addressing Marion directly through the camera and telling her how much they love her. Except for that, it's an effective piece. I couldn't agree more with her colleagues who complain that the casting director has become less important because now the production companies simply assign actors to the role. Whether they fit the part or not is irrelevant, as long as it brings in money.

I don't see how the decline in Hollywood movies can be denied. Late in her career Dougherty tells us that she was given the job of casting a comedy about a funny dog. It was too much of a humiliation after "Midnight Cowboy", "Slaughterhouse 5", and "The Friends of Eddie Coyle." She'd be horrified now. Hollywood is grinding out remakes. Then remakes of remakes. They've copied television series like "The Flintstones". Now they're making movies (I can no longer call them "films") based on video games like "Battleship." The depths of Hollywood's philistinism are plumbless.

I was lucky enough to see this Film twice at the Miami International Film Festival this spring! I went with several friends and we all agreed it was a Superb Film. It illuminated a very interesting and often overlooked part of the creative process of film making. The film not only educated it's viewers about the the casting process but allowed the viewer to slowly see just how very vital the Casting Director has been in so many well known and groundbreaking films! Most importantly this film made its point with great humor, warmth and feeling. I have been a fan of the Director Tom Donahue for several decades (starting with his amazing first Documentary in Film School).

The editing of the interviews with the many wonderful actors, other Casting Directors, and the film's focus Marion Dougherty was perfect! Providing so many great old clips from the artists' body of work and other films was very entertaining and brought their words to life! I would recommend this film to anybody!