[Originally published in The Weekly, September 15-21, 1982]
Bill Richert and Tony Perkins were standing on top of the world when somebody cut the power. From this eyrie, banked by vast computers and embraced by a luminous diorama of the solar system, John Cerruti (Perkins) could monitor every salient fact on the face of the globe, catalogue it, and consider its implications for the financial and political future of the Keegan dynasty—the Kennedyesque family and megaconglomerate whose ins and outs define the texture of modern reality in Richard Condon’s dazzling novel Winter Kills. Richert had whipped this kaleidoscopic narrative into a fluid screenplay and was halfway through the process of realizing the film itself. But in the giddy orbits of other, less reliably monitored galaxies, the source money twinkled away. Now, on the soundstage floor far below, studio representatives with no sense of irony were killing the lights, shutting his picture down. It stayed shut down for a year and a half.
It’s been like that throughout the history of this brilliant film. The $6.5-million project was announced in 1976: a major production to be shot on locations round the globe, and literally all-star at every level. Jeff Bridges and John Huston headed a cast that also included Perkins, Richard Boone, Toshiro Mifune, Sterling Hayden, Eli Wallach, Dorothy Malone, Tomas Milian, Ralph Meeker, and an unbilled Elizabeth Taylor. The production designer was Hitchcock mainstay Robert Boyle; the cameraman, Vilmos Zsigmond. Maurice Jarre would compose the score. And the story! Just as Richard Condon had anticipated the assassination era with his Manchurian Candidate, so in Winter Kills had he supplied the perfect metaphor for life after Watergate—a surrealistic study of Power from an incestuous inside view, with lashings of assassination conspiracy arcana and roman à clef titillation. A more unlikely candidate for shelving would be hard to imagine.Read More “William Richert on ‘Winter Kills’”