Claude Binyon(1905-1978)
- Writer
- Director
- Script and Continuity Department
A writer with powerful leanings towards wit and satire, Claude Binyon
started out as a reporter for the Chicago Examiner. Unsuited to being a
straight newspaperman, he was quickly fired. Nonetheless, the editors
of the paper recognised writing skill when they saw it and recommended
him to the show biz magazine Variety. Between 1925 and 1932, Binyon
contributed not only articles to Variety, but also famous (or infamous)
headlines like 'Sticks Nix Hick Pix', a form of slang which translated
to 'country folk don't like movies about country life' (Binyon's
article disputing Hollywood's long-held belief that rural audiences
were loath to watching films about city life). Binyon was eventually
dismissed from Variety when he began to moonlight as the author of
humorous short stories for other publications.
The second part of Binyon's career was spent at Paramount, where he came under contract as a screenwriter from 1932 until 1946. He was in his element with idiosyncratic or screwball comedy, of particular note being the classic W.C. Fields opus Mississippi (1935), described by Andre Sennwald of the New York Times as 'madly funny at sufficient length'; and two Claudette Colbert ventures, Aller et retour (1935) and À Paris tous les trois (1937). Arguably Binyon's best screenplay was the madcap farce La folle confession (1937), with a clever satirical courtroom scene and witty, rapid-fire dialogue, tailor-made for stars Carole Lombard, Fred MacMurray and John Barrymore.
By the late 1930's, Binyon was also more frequently tasked with non-comedic assignments, effectively handling A-grade musicals (Les bébés turbulents (1938),L'amour chante et danse (1942),La blonde incendiaire (1945)) and, not so effectively, westerns; evidence: Arizona (1940). Binyon combined writing with direction for The Saxon Charm (1948), the ponderous story of an egocentric Broadway producer (played by Robert Montgomery) who inflicts misery on all around him. While not exactly a flop, the film failed to make much headway at the box office. By contrast, Binyon's best effort as writer/director was the satirical Un grand séducteur (1952), which cleverly poked fun at moviedom's chief rival, television, as expressed through the inimitably erudite and barbed delivery of its star, Clifton Webb. Binyon teamed up with another comedy veteran, Leo McCarey (who also produced and directed), for the screenplay of La brune brûlante (1958), which was at once a satire on the American way of life and also sheer slapstick, reminiscent of the Keystone Kops and complete with a frenetic scene played out by Paul Newman and Joanne Woodward in a missile control room.
In the 1960's, Binyon's output diminished greatly, though he wrote, in collaboration with John Lee Mahin and Martin Rackin, the screenplay for the rollicking western-comedy Le Grand Sam (1960). After disastrous critical reviews for his work (with Robert G. Kane) on Un mari à tout faire (1964), Binyon called it a day and retired. He died in Glendale, California, of heart problems in 1978, at the age of 72.
The second part of Binyon's career was spent at Paramount, where he came under contract as a screenwriter from 1932 until 1946. He was in his element with idiosyncratic or screwball comedy, of particular note being the classic W.C. Fields opus Mississippi (1935), described by Andre Sennwald of the New York Times as 'madly funny at sufficient length'; and two Claudette Colbert ventures, Aller et retour (1935) and À Paris tous les trois (1937). Arguably Binyon's best screenplay was the madcap farce La folle confession (1937), with a clever satirical courtroom scene and witty, rapid-fire dialogue, tailor-made for stars Carole Lombard, Fred MacMurray and John Barrymore.
By the late 1930's, Binyon was also more frequently tasked with non-comedic assignments, effectively handling A-grade musicals (Les bébés turbulents (1938),L'amour chante et danse (1942),La blonde incendiaire (1945)) and, not so effectively, westerns; evidence: Arizona (1940). Binyon combined writing with direction for The Saxon Charm (1948), the ponderous story of an egocentric Broadway producer (played by Robert Montgomery) who inflicts misery on all around him. While not exactly a flop, the film failed to make much headway at the box office. By contrast, Binyon's best effort as writer/director was the satirical Un grand séducteur (1952), which cleverly poked fun at moviedom's chief rival, television, as expressed through the inimitably erudite and barbed delivery of its star, Clifton Webb. Binyon teamed up with another comedy veteran, Leo McCarey (who also produced and directed), for the screenplay of La brune brûlante (1958), which was at once a satire on the American way of life and also sheer slapstick, reminiscent of the Keystone Kops and complete with a frenetic scene played out by Paul Newman and Joanne Woodward in a missile control room.
In the 1960's, Binyon's output diminished greatly, though he wrote, in collaboration with John Lee Mahin and Martin Rackin, the screenplay for the rollicking western-comedy Le Grand Sam (1960). After disastrous critical reviews for his work (with Robert G. Kane) on Un mari à tout faire (1964), Binyon called it a day and retired. He died in Glendale, California, of heart problems in 1978, at the age of 72.
