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12 Wild Facts About Butch Cassidy and the Sundance Kid

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Lovable outlaws, buddy comedies, and Westerns have always been a part of the cinematic landscape. But it was Butch Cassidy and the Sundance Kid that first combined those elements into a box office smash, setting the tone for the dozens (hundreds?) of action comedies that have followed. It also put Robert Redford on the A-list (Paul Newman was already there), and introduced audiences to the bizarrely anachronistic pop song “Raindrops Keep Fallin’ on My Head.” Here are a dirty dozen facts about one of our favorite movies about bad guys.

1. “MOST OF WHAT FOLLOWS IS TRUE” ISN’T TRUE.

That disclaimer at the beginning of the film, a variation of the familiar “based on a true story,” is tongue-in-cheek. The reality is that much of the lore surrounding Butch and Sundance was difficult or impossible to confirm or debunk, so screenwriter William Goldman (who’d primarily been a novelist before this) just went with it. In fact, that’s why he wrote a movie instead of a book: he was interested in the story, but he didn’t want to do the laborious research into day-to-day turn-of-the-century frontier life that a novel would require.

2. PAUL NEWMAN WAS IN FROM THE BEGINNING, BUT FINDING HIS CO-STAR TOOK SOME WORK.

When he wrote it, Goldman had in mind Newman—then perhaps the biggest movie star in the world—and Jack Lemmon, who’d done a 1958 Western called Cowboy and seemed like a good fit. Lemmon turned out not to be interested, and numerous other candidates were approached, including Steve McQueen (see below), Warren Beatty, and Marlon Brando. Newman’s wife, Joanne Woodward, suggested Robert Redford, a stage actor who’d been in a few films but was considered something of a lightweight. Woodward, Newman, and director George Roy Hill all pestered the reluctant 20th Century Fox bosses until they conceded to casting Redford.

3. THE PRESIDENT OF 20TH CENTURY FOX COULD HAVE LOST HIS JOB FOR BUYING THE SCREENPLAY.

Not because he bought it, but because he paid $400,000 for it. Richard Zanuck, son of Fox co-founder Darryl F. Zanuck, was authorized to spend $200,000, and later had to justify to the board of directors his decision to spend twice that much, especially since $400,000 was more than anyone had ever paid for a screenplay before. (That’s about $2.7 million in 2015 dollars, a figure that has been paid plenty of times.) The price turned out to be worth it, as Butch Cassidy and the Sundance Kid was the top-grossing film of 1969. But despite that and a few other hits, Fox was hemorrhaging money due to expensive flops like Dr. Dolittle, and Zanuck was fired in 1970.

4. STEVE MCQUEEN DROPPED OUT OVER BILLING.

If Newman was the biggest movie star in the world at the time, Steve McQueen was right up there with him. The idea of casting not one but two mega-stars as Butch and Sundance made perfect sense, but there was a problem: whose name would go first in the credits? Fox president Darryl F. Zanuck later said that he proposed an unusual arrangement where half the prints of the film would list Newman first, the other half McQueen, but McQueen (or his representatives) wouldn’t accept anything other than top billing across the board. And that was that.

5. IT WAS “THE SUNDANCE KID AND BUTCH CASSIDY” UNTIL THE CASTING WAS SETTLED.

Once they’d settled on Redford as Newman’s costar, a new (minor) issue arose. Newman thought he was playing Sundance in what had heretofore been known as The Sundance Kid and Butch Cassidy. It turned out Hill, the director, actually wanted him to play Butch, and Redford to play Sundance. No problem; Newman was fine with the switch. But now they had a situation where the character being played by the less-famous actor came first in the title. The obvious Hollywood solution: reverse the title. “The Sundance Kid and Butch Cassidy” sounds weird to us now (as does the notion of Redford being significantly less famous than Newman), but there you go.

6. THEY HAD TO CHANGE THE NAME OF BUTCH AND SUNDANCE’S GANG TO STEER CLEAR OF SAM PECKINPAH.

In real life, Butch and Sundance’s crew of bandits were collectively known as the Wild Bunch, and were so named in Goldman’s script. But as the film was going into production, Fox execs became aware of a Warner Bros. property called The Wild Bunch, written and directed by Sam Peckinpah. It wasn’t about the same guys, but it was a Western, and the story bore some coincidental similarities. What’s more, WB was rushing to get it into theaters before Butch Cassidy and the Sundance Kid. So calling anybody “the Wild Bunch” in the Butch and Sundance movie was out of the question. Fox’s solution was to rename them the Hole-in-the-Wall Gang, after a place in Wyoming that Butch (and other bad guys) sometimes used as home base.

7. NEWMAN DID HIS OWN BICYCLING STUNTS. BECAUSE THE STUNTMAN COULDN’T.

The studio sent a guy who practiced Butch’s showing-off moments for days ahead of time, but when it came time to shoot it, he couldn’t stay upright. Newman ended up doing most of it himself, which looked better on camera anyway. (The one shot he didn’t perform—the one at the end where the bike crashes through a fence—was done by cinematographer Conrad Hall.) Director Hill was duly annoyed by the waste of money on the bike stuntman.

8. NEWMAN GOT MAD AT REDFORD FOR DOING HIS OWN STUNTS.

To be fair, Redford’s stunts were a lot more dangerous. It was the scene where Sundance leaps onto the top of a moving train and runs stealthily across the cars. It wasn’t that Newman was jealous of Redford’s derring-do—he was concerned for his safety. “I don’t want to lose a costar” is what Redford recalls Newman saying. Chastened (and touched), Redford agreed it was a selfish move on his part, and he refrained from risking his life after that.

9. KATHARINE ROSS WAS BANNED FROM THE SET FOR BEING TOO HELPFUL. 

The 29-year-old actress, an Oscar nominee for playing Elaine Robinson in The Graduate, played Sundance’s girlfriend, Etta Place. In real life, she was dating (and would soon marry) cinematographer Conrad Hall, and that’s how she got into trouble. Ross was interested in photography, and while observing a scene that she wasn’t in, she asked Hall if she could operate one of the cameras. There were several cameras in use for this particular scene, so it didn’t matter (to Hall, anyway) if one of the less important ones was operated by an amateur, just for fun. Many crew members felt otherwise, and director Hill was furious when he found out. He sent word to Ross back at her hotel that she was no longer allowed on the set except when she was working. “It became a very difficult shoot for me,” she later said. “In fact, it took me a long time before I even wanted to see the film.” 

10. THE FILM HAD TO ENDURE ADDITIONAL EDITING BECAUSE IT WAS TOO FUNNY.

One of the complaints some critics had about the movie was that the glib, humorous tone felt anachronistic. They should have seen the earlier cut, which was even more uproarious. Zanuck later recalled that test-screening audiences found it too funny, funnier than the studio had in mind. They wanted it to be an amusing Western, but not an all-out comedy Western (a genre that tended to do poorly). The film was sent back for re-editing to take a few laughs out and make the whole thing feel a little more respectable.

11. THERE WAS A SUPER-POSSE IN REAL LIFE, BUT WITH A VERY DIFFERENT OUTCOME.

The film depicts several of the best lawmen teaming up to hunt Butch and Sundance as a group (which could actually make for a very interesting movie on its own). For a 30-minute chunk of the film, our heroes are on the run, barely staying a step ahead, ultimately escaping by leaping into a river and then moving to Bolivia. That’s all an embellishment of the truth. There was a super-posse, but they didn’t engage Butch and Sundance in much of a chase: as soon as Butch and Sundance heard who was in the group, they fled, knowing they’d never be able to beat them. The hunt was over before it started.

12. THEY WANTED TO SHOOT SOME OF IT ON THE SET OF HELLO, DOLLY!

The script called for a sequence where Butch, Sundance, and Etta go to New York before heading for South America. Recreating turn-of-the-century New York would be prohibitively expensive—but as it happened, 20th Century Fox had another movie in production for which just such a set had been built: Hello, Dolly!, the movie version of the hit Broadway musical. Maybe the Butch Cassidy team could borrow it for a few days? But Fox’s Zanuck nixed it for general cost-cutting reasons (and possibly because the Hello, Dolly! team objected). Instead, Hill created a montage of period photographs with the actors pasted in. 

Additional Sources:
DVD interviews and features
Paul Newman: A Life, by Shawn Levy
American Film Institute

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10 Regional Twists on Trick-or-Treating
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Walk around any given American neighborhood on the night of October 31, and you’ll likely hear choruses of "trick-or-treat" chiming through the area. The sing-songy phrase is synonymous with Halloween in some parts of the world, but it's not the only way kids get sweets from their neighbors this time of year. From the Philippines to the American Midwest, here are some regional door-to-door traditions you may not have heard of.

1. PANGANGALULUWA // THE PHILIPPINES

Rice cakes wrapped in leaves.
Suman

The earliest form of trick-or-treating on Halloween can be traced back to Europe in the Middle Ages. Kids would don costumes and go door-to-door offering prayers for dead relatives in exchange for snacks called "soul cakes." When the cake was eaten, tradition held that a soul was ferried from purgatory into heaven. Souling has disappeared from Ireland and the UK, but a version of it lives on halfway across the world in the Philippines. During All Saints Day on November 1, Filipino children taking part in Pangangaluluwa will visit local houses and sing hymns for alms. The songs often relate to souls in purgatory, and carolers will play the part of the souls by asking for prayers. Kids are sometimes given rice cakes called suman, a callback to the soul cakes from centuries past.

2. PÃO-POR-DEUS // PORTUGAL

Raw dough.
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Instead of trick-or-treating, kids in Portugal go door-to-door saying pão-por-deus ("bread for god") in exchange for goodies on All Saints Day. Some homeowners give out money or candy, while others offer actual baked goods.

3. HALLOWEEN APPLES // WESTERN CANADA

Kids trick-or-treating.
iStock

If they're not calling out "trick-or-treat" on their neighbors’ doorsteps on Halloween night, you may hear children in western Canada saying "Halloween apples!" The phrase is left over from a time when apples were a common Halloween treat and giving out loose items on the holiday wasn't considered taboo.

4. ST. MARTIN'S DAY // THE NETHERLANDS

The Dutch wait several days after Halloween to do their own take on trick-or-treating. On the night of November 11, St. Martin's Day, children in the Netherlands take to the streets with their homemade lanterns in hand. These lanterns were traditionally carved from beets or turnips, but today they’re most commonly made from paper. And the kids who partake don’t get away with shouting a few words at each home they visit—they’re expected to sing songs to receive their sugary rewards.

5. A PENNY FOR THE GUY // THE UK

Guy Fawkes Night celebration.

Peter Trimming, Wikimedia Commons // CC BY-SA 2.0

Guy Fawkes Night is seen by some as the English Protestants’ answer to the Catholic holidays associated with Halloween, so it makes sense that it has its own spin on trick-or-treating. November 5 marks the day of Guy Fawkes’s failed assassination attempt on King James as part of the Gunpowder Plot. To celebrate the occasion, children will tour the neighborhood asking for "a penny for the guy." Sometimes they’ll carry pictures of the would-be-assassin which are burned in the bonfires lit later at night.

6. TRICKS FOR TREATS // ST. LOUIS, MISSOURI

Kids knocking on a door in costume.
iStock

If kids in the St. Louis area hope to go home with a full bag of candy on Halloween, they must be willing to tickle some funny bones. Saying "tricks-for-treats" followed by a joke replaces the classic trick-or-treat mantra in this Midwestern city. There’s no criteria for the quality or the subject of the joke, but spooky material (What’s a skeleton’s favorite instrument? The trombone!) earns brownie points.

7. ME DA PARA MI CALAVERITA // MEXICO

Sugar skulls with decoration.
iStock

While Dia de los Muertos, or Day of the Dead, is completely separate from Halloween, the two holidays share a few things in common. Mexicans celebrate the day by dressing up, eating sweet treats, and in some parts of the country, going house-to-house. Children knocking on doors will say "me da para mi calaverita" or "give me money for my little skull," a reference to the decorated sugar skulls sold in markets at this time of year.

8. HALLOWEEN! // QUEBEC, CANADA

Kids dressed up for Halloween.
iStock

Trick-or-treaters like to keep things simple in the Canadian province of Quebec. In place of the alliterative exclamation, they shout “Halloween!” at each home they visit. Adults local to the area might remember saying "la charité s’il-vous-plaît "(French for “charity, please”) when going door-to-door on Halloween, but this saying has largely fallen out of fashion.

9. SWEET OR SOUR // GERMANY

Little girl trick-or-treating.
iStock

Halloween is only just beginning to gain popularity in Germany. Where it is celebrated, the holiday looks a lot like it does in America, but Germans have managed to inject some local character into their version of trick-or-treat. In exchange for candy, kids sometimes sing out "süß oder saures"—or "sweet and sour" in English.

10. TRIQUI, TRIQUI HALLOWEEN // COLOMBIA

Kids dressed up for Halloween.
Rubí Flórez, Flickr // CC BY-NC-ND 2.0

Kids in Colombia anticipate dressing up and prowling the streets on Halloween just as much as kids do in the States. There are a few significant variations on the annual tradition: Instead of visiting private residencies, they're more likely to ask for candy from store owners and the security guards of apartment buildings. And instead of saying trick-or-treat, they recite this Spanish rhyme:

Triqui triqui Halloween
Quiero dulces para mí
Si no hay dulces para mí
Se le crece la naríz

In short, it means that if the grownups don't give the kids the candy they're asking for, their noses will grow. Tricky, tricky indeed

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11 Thrilling Facts About Dial M for Murder
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In 1953 Alfred Hitchcock was looking for a new project after a film he’d been developing fell through. Sensing a need to go back to his safe space of murderous thrillers, he opted to adapt a stage play that had already proved to be a hit on British television. Though he had no particular attachment to the project, Dial M for Murder would ultimately become one of Hitchcock’s best-known—and best-loved—classics.

From the film’s use of 3D to the debut of Grace Kelly in Hitchcock’s filmography to a pivotal murder sequence that made the director lose weight from stress, here are 11 facts about Dial M for Murder.

1. IT’S BASED ON A STAGE PLAY.

Dial M for Murder is, in terms of locations and number of characters, a relatively sparse film that barely leaves its primary set. This is because it was based on a stage play by Frederick Knott, which premiered as a BBC TV special in 1952 and later opened at London’s Westminster Theater and, eventually, Broadway. After seeing the BBC production, producer Sir Alexander Korda purchased the rights to make the film version, and later sold them to Warner Bros. for $75,000.

2. ALFRED HITCHCOCK THOUGHT HE WAS “COASTING” WHEN HE MADE THE FILM.

By 1953, when Dial M for Murder arrived at Warner Bros., Hitchcock was developing a project called The Bramble Bush, the story of a man who steals another man’s passport, only to find out that the original owner is wanted for murder. Hitchcock wrestled with the story for a while, but was never satisfied with it. When Dial M for Murder landed at the studio, Hitchcock knew the play had been a hit, and opted to direct it. As he later told fellow director François Truffaut, he found the film to be “coasting, playing it safe,” as he was already known as a thriller filmmaker.

3. IT’S HITCHCOCK’S ONLY 3D FILM.

In the early 1950s, the 3D movie craze was raging, and Warner Bros. was eager to pair it with the fame of Hitchcock. So, the director was ordered to use the process on Dial M for Murder. This meant Hitchcock had to work with the giant cameras necessary for the process, but there was also a trade-off that makes the film fascinating—even in 2D. In order to make the film look appropriately interesting in 3D, Hitchcock added a pit into the floor of the set, so the camera could move at lower angles and captures objects like lamps in the foreground. As a result, the film looks like no other Hitchcock ever shot, particularly for the infamous scissors murder that’s the film's thrilling centerpiece. Unfortunately, by the time Dial M for Murder was released in 1954, the 3D fad was dying out, so the film was shown in 2D at most screenings.

4. IT WAS HITCHCOCK’S FIRST FILM WITH GRACE KELLY.

Of all of the iconic blonde stars Hitchcock cast in his films, the most famous is almost undoubtedly Grace Kelly, the actress-turned-princess who first joined him for this film. Hitchcock once described Kelly as a "rare thing in movies ... fit for any leading-lady part,” and it was said he had the easiest working relationship with her of any star. They worked so well together that they went on to make two more films, Rear Window in 1954 and To Catch a Thief in 1955.

5. IT TAKES PLACE ALMOST ENTIRELY INDOORS.

Because Dial M for Murder is based on a stage play, the original script had very little in the way of outdoor set pieces. Hitchcock wanted to keep it that way, as he later explained to Truffaut:

“I’ve got a theory on the way they make pictures based on stage plays; they did it with silent pictures, too. Many filmmakers would take a stage play and say, ‘I’m going to make this into a film.’ Then they would begin to ‘open it up.’ In other words, on the stage it was all confined to one set, and the idea was to do something that would take it away from the confined stage setting.”

Hitchcock wanted to keep the confinement intact, so almost all of the action in the film takes place indoors, largely in the Wendices' apartment. This adds to the intimacy and tension.

6. HITCHCOCK PERSONALLY CHOSE EVERY PROP.

Hitchcock was always known as a meticulous director obsessed with detail, but on Dial M for Murder he was particularly detail-oriented, in part because the 3D cameras were going to capture objects in a way his other films hadn’t. As a result, he selected all of the objects in the Wendice apartment himself, and even had a giant false telephone dial made for the famous “M” close-up in the title sequence.

7. KELLY’S WARDROBE GROWS DARKER ON PURPOSE.

Grace Kelly in 'Dial M for Murder' (1954)
Warner Home Video

Hitchcock’s exacting eye also led to an elaborate “color experiment” to portray the psychological condition of Kelly’s character. As the film begins, the colors she wears are all very bright, suggesting a happy life in which she doesn’t suspect anything is wrong. As the film grows darker for her, to the point that she’s framed for murder, the wardrobe grows darker and “more somber,” as Hitchcock put it.

8. KELLY WON A PARTICULAR WARDROBE ARGUMENT.

For the scene in which Swann (Anthony Dawson) attempts to murder Margot (Kelly) by strangling her (until she manages to stab him with a pair of scissors), Hitchcock had another exacting wardrobe request. He had an elegant velvet robe made for Kelly, hoping to create interesting textural effects as the lights and shadows played off the fabric while she fought for her life. Kelly reasoned that, since Margot was alone in the apartment (as far as she knew) and was only getting out of bed to answer the phone, she wouldn’t bother to put on a robe.

“I said I wouldn't put on anything at all, that I'd just get up and go to the phone in my nightgown. And [Hitchcock] admitted that was better, and that's the way it was done,” Kelly later recalled.

9. HITCHCOCK WAS SO NERVOUS ABOUT THE PIVOTAL SCENE THAT HE LOST WEIGHT.

Dial M for Murder was shot in just 36 days, but the director took special care with one scene in particular: the murder sequence in which Margot stabs Swann with the scissors. Not only was it a key scene in the film, but it was also a moment that required particular care to make the 3D effects work. Hitchcock agonized over the scene to such a degree that he apparently lost 20 pounds during filming.

"This is nicely done but there wasn't enough gleam to the scissors, and a murder without gleaming scissors is like asparagus without the hollandaise sauce—tasteless,” he reportedly said after one take.

10. HITCHCOCK MAKES HIS CAMEO IN A PHOTOGRAPH.

Hitchcock became known throughout his career for making cameos in his films, ranging from the very subtle (you can see his silhouette in neon outside the window in Rope) to the more elaborate (missing the bus in the opening sequence of North by Northwest). In Dial M for Murder, his cameo falls somewhere in between. He appears in a class reunion photo in the Wendice apartment, seated at a banquet table among other men.

11. IT’S BEEN REMADE FOUR TIMES.

Michael Douglas and Gwyneth Paltrow in 'A Perfect Murder' (1998)
Warner Bros.

Dial M for Murder was a film adaptation of a stage play that had also already been adapted for television in Britain, and it proved popular enough that four more adaptations followed. In 1958, NBC broadcast a Hallmark Hall of Fame production, in which both Anthony Dawson and John Williams returned to play Swann and Chief Inspector Hubbard, respectively. A 1967 ABC television production of the play co-starred Laurence Harvey and Diane Cilento. A television movie starring Angie Dickinson and Christopher Plummer was produced in 1981, and in 1998 the play served as the inspiration for the film A Perfect Murder, starring Michael Douglas and Gwyneth Paltrow.

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