THE PRIZE (1963)

This rather long, illogical Communist spy yarn, distributed by MGM, fits the era and is more suspense than thriller, more nonsense than common sense. Director, Mark Robson, formed the Irving Wallace novel into a blend of intrigue and sarcastic wit.  Alfred Hitchcock's influence is quite evident, even in the glaring process screen backgrounds, but there is certainly nothing low budget about this film, what with the lead cast's salaries and crew in Stockholm. The intricate plot takes about fifty minutes to get propelled while the Nobel sub-plots lengthen the film with no relevance after exiting the theater. Right from the opening credits, with its use of snare drums and syncopated rhythms, you may guess correctly that Jerry Goldsmith wrote the score.

Newman arrives with skepticism in Stockholm to receive his Nobel Prize in Literature. His lack of Nobel enthusiasm and less-than-classy behavior do have their effect. Newman tells the press he has not written a book in years and wonders why he was nominated in the first place. The committee is aghast to learn he has maintained a living writing pulp fiction detective novels. All their noses automatically turned upward.

Elke Sommer, in her first American role, serves as Newman's assistant upon arrival. She is strictly by the book and expects no hanky-panky on the drive from the airport. Every moviegoer knows it is just a matter of time before she succumbs to Newman's bright blue eyes. Somewhat oddly, she is never in harm's way despite her close association with Newman. Her character is one-dimensional and not thoroughly defined, relying only on her memorable attractiveness and stacked hair. Which was all that was needed for most males of the era. No one came out of a Sommer film stunned by her acting skills. Do not confuse this film with The Oscar. That film takes the prize for the most embarrassing high-profile film of the Sixties.

On a 180-degree career path to Sommer is classically pretty, Diane Baker, perhaps known more to television viewers than moviegoers. Her upper-class, reserved appeal is her strongest asset for her intermittent role, with little to suggest she is integral to the script. She plays the niece of Edward G. Robinson's first character

Robinson is a pivotal character but there is little for him to do. He is also on the Nobel ticket but is kidnapped by the Communists with his “identical twin brother” taking his place. The plan is to move Uncle Edward behind the Iron Curtain giving his brother the propaganda opportunity to make disparaging remarks about the U.S. during his acceptance speech. When Robinson 2.0 unites with Baker, it is not clear if she is part of the scheme or not. But Newman notices a change in Robinson's manner upon their second meeting and it begins his speculations. No one takes him seriously except a couple of Communist agents. Newman becomes their primary target. His wit goes into hiding.

For a writer with little appetite for real-life dangers nor the expertise to handle such, Newman manages a few fantastical escapes. His processed “Hitchcockian” fall into the river is reminiscent of the falling scenes in Vertigo. How he survived such a free fall one may wonder. However, the real prize goes to the scene with the Communists trying to run him down on an iron truss bridge. It is the agent's third bridge attempt, who is now on foot, that sets up his ridiculous escape. A farm truck approaches the bridge at speed. That is to say, in a blur. Newman runs to the opposite side of the truck. After the truck passes he appears to have vanished. Even if he knew where to get a superhuman handgrip on the side of the truck, the force would have pulled his writing arm from his shoulder socket! His screams of agony would have made him easy to track. But there he goes, clinging to the side of the truck, face to face with a goat, in 007 glory. It is a ridiculous moment.

In the end, Newman has the Nobel thrust upon him anyway, making little sense after insulting the Nobel committee nor for his doing anything in recent years to warrant it. Like former President Obama receiving his Nobel for simply existing in his first year.

Note: On the road to a career peak, after a few speed bumps, this movie is tailor-made for the likes of Newman. An anti-establishment figure with grumpy witticisms. Doubt there were other “A-listers” as appropriate, though James “Our Man Flint” Coburn comes to mind. But not James Dean, had he lived. Newman inherited a couple of early roles that were slated for Dean. James Dean and Elke Sommer? I sense a new female casting.