Um Homem e Dez Destinos

For all the MGM-ness of it -- the all-star roster of contract players and freelancers, the classy production values, Louis Calhern doing his reliable devilish-rogue act -- it has touches that one associates with neither the plush studio nor the time period. It's pretty frank about high-powered execs and their mistresses, for one, and the handheld camera of the opening sequence (through unfakeable Wall Street locations, yet) and lack of background music are more typical of independent movies of a few years later. Contrast it with "Woman's World" from the same year, which is also a corporate-power-struggle yarn (and also has June Allyson as a devoted, gauche corporate wifey), but is fake from the get-go. This one is dated in Holden's we're-all-in-this-together speechifying, not to mention the one-company factory town, and Stanwyck's histrionics are a bit over the top. (Hey, I love her too; her unchecked hysterics have to be Robert Wise's fault.) But the dialogue is terser than one generally associates with Ernest Lehman, the shady stock maneuvers are unfortunately as relevant as ever, and the juicy melodramatics still pack a punch. In fact, as corporate drama goes, it's as entertaining as all getout. Fredric March is a standout in a high-powered cast, and Shelley Winters, for once, underplays.

When the president of a major furniture conglomerate drops dead, all of the company's executives (William Holden, Barbara Stanwyck, Fredric March, Walter Pidgeon, Paul Douglas, Louis Calhern, Dean Jagger) converge in the executive suite for a vote on who will take over. But before this climactic meeting takes place, we learn about each executive's motives and desires. Make way for the clash of egos and ambitions!

Helping to define the human element of these ruthless, driven businesspeople, we gain a revealing look into the simplicity of their domestic lives. And helping to add to the intensity of this over-wrought boardroom melodrama, director Robert Wise smartly (or not so smartly, perhaps) forgoes any musical soundtrack. Instead the background is filled with the real life sounds of a major company such as this.

The all-star cast provides perhaps the biggest punch in all of "Executive Suite". Standouts particularly are Holden, Stanwyck, March, and Foch. Despite her devastating lack of screentime, Stanwyck is able to give one of the best performances of her mutifaceted career as a woman on the verge -the high-strung lover of the deceased president. In an exemplary showcase of scene-stealing, Holden has a final showdown with Stanwyck - this dynamite sequence tops them all. This smart coporate drama is given the glossed-over MGM treatment, but is nonetheless gripping and realisitic, thanks in part to outstanding performances and direction (watch for the amazing opening scene where we watch from the ailing president's point-of-view). "Executive Suite" is intelligent, mature storytelling, Hollywood style.

Robert Wise is perhaps better known as a director of musicals - West Side Story, The Sound of Music, Star!,etc. However, he was also adept at grabbing our attention and holding it, as with The Day The Earth Stood Still (classic sci-fi) and Somebody Up There Likes Me (launching Paul Newman as a prize fighter). Here, he takes an incredible cast, gives them each something to chew on and let's us in on the fun. It also won Academy Award nominations for Best Art Direction, costumes and Cinematography. It won a special jury price at the Venice Film Festival and Golden Lion and WGA nominators for director and writer, so there's some laurels attached. There are many standout scenes and performances -- June Allyson proving she can make more out of the generic housewife and a negligee, Frederic March as a scheming, palm sweating numbers man, Shelley Winters in her bombshell mode, but remarkably restrained(and no one wants to kill her in this movie!), and then there are the standouts of Walter Pidgeon (& that voice)behind leaded glass spectacles and a wild mop of hair, Barbara Stanwyck stealing the thunder away from the major roles just by listening in her chair, with William Holden blustering his way into a couple of decent monologues(his angry white man bit isn't always as compelling from movie to movie)but Nina Foch won a best supporting actress nod for her caring and steadfast senior admin. Only Paul Douglas doesn't seem to be completely connected with his head salesman caught in a scandalous jam. Never one for a subtle role, he doesn't quite have the hang of pretending to talk to someone on a phone, but he does bring a gravitas to his situation once it's a Sword of Damocles over his head. Despite all of this mincing about characters, EXECUTIVE SUITE is a remarkably fascinating power struggle that holds up nearly fifty years later. The few quirks of the film that ground it in the the 50s are easily overpowered by a brilliant ensemble. Wise allows that none of these characters is perfect, but that makes them all the more watchable as they try to wend their way thru the maze put before them. Who needs a Max Steiner soundtrack when there's so much more to the silences between great actors. Four stars out of five - MDMPHD

In a Friday afternoon in Wall Street, the president of the Tredway Corporation Avery Bullard has just had a meeting with investment bankers and sends a telegram scheduling a meeting at the furniture factory in Millburgh, Pennsylvania, at six PM with his executives. Bullard has never appointed an executive vice-president for the corporation after the death of the previous one but when he is getting a taxi, he has a stroke and dies on the street. A thief steals his wallet to get his money and his body goes to the morgue without identification. The investment banker George Nyle Caswell (Louis Calhern) sees Bullard's body from his window and decides to use the information to make money, asking a broker to sell as much Tredway stocks as possible until the end of the day, with the intention of buying them back Monday morning by a lower price making profit. Meanwhile the executives unsuccessfully wait for Bullard in the meeting room. When they learn that Bullard is dead, the ambitions accountant VP and Controller Loren Phineas Shaw (Fredric March) releases to the press the balance of Tredway showing profit and assumes temporarily the leadership of the company, expecting to be elected the next president by the seven-member board. However, the VP for Design and Development McDonald "Don" Walling (William Holden) and the VP and Treasurer Frederick Y. Alderson (Walter Pidgeon) oppose to Shaw. There is a struggle in the corporation for the position of president and Shaw blackmails the VP for Sales Josiah Walter Dudley (Paul Douglas) that is married and has a mistress, his secretary Eva Bardeman (Shelley Winters), to get his vote. Caswell needs to cover the 3,700 stocks he sold and Shaw promises to give to him the stocks for the price he sold if he is elected president. The VP for Manufacturing Jesse Q. Grimm (Dean Jagger) is near to retire but is a close friend of Frederick and supports him. Therefore the heir of Tredway and Bullard's mistress Julia O. Tredway (Barbara Stanwyck) will be responsible to give the casting vote. But she is disenchanted with the corporation. Who will be elected the next president?

"Executive Suite" is a realistic film about struggle for power in a corporation. Serious films about the Machiavellian competition in a company, such as "Glengarry Glen Ross", "Le couperet" or "El método", are usually engaging and "Executive Suite" is surprisingly great since it is not dated. The film is directed by Robert Wise, who is one of the best directors in Hollywood ever. The cast is top-notch and Fredric March has one of his best performances. The final speech of Don is a lesson for classes of motivation. My vote is eight.

Title (Brazil): "Um Homem e Dez Destinos" ("A Man and Ten Destinies")

If you ask me, director Robert Wise could do no wrong. He hardly ever set a foot wrong, and 'Executive Suite' is vintage Wise.

Mr. Bullard, bullying president of a huge furnishing corporation, dies, leaving everyone in doubt as to who should take over. The vultures are closing in, the major stockholder, a loose canon, is shamelessly wooed, dirty deals are struck, and there is even some insider trading taking place. It sure ain't pretty, but it's the name of the game and anything goes.

Robert Wise sets a steady pace, a brisk, business-like unfolding of a drama that deserves comparison with Shakespeare. It is done with quick cutting, drab, corporate sets, and filled to the brim with those covert glances that, in the end, decide the outcome. "Efficiency has become a dirty word, budget control has a bad odor", says prospective new manager Fredric March (another brilliant, Oscar-worthy performance) when he senses that he is losing the battle, and young gun William Holden rises to the occasion with an attention-grabbing speech that is not likely to be quickly forgotten: "We will never again ask a man to do something to poison his pride in himself or his work".

'Executive Suite' is an ensemble film, and one could go on praising every single member of the cast. And yet Robert Wise remains the engineer of this masterpiece of dynamic and still highly relevant cinema.