'Green Hell' was Whale's penultimate feature length film. Frances Marion, the screen writer, was famous in the silent era, but when the talkies came in, her scripts had to be re-written by others for dialog. She simply had no talent at all for that; her mastery was in plot and action.
Whale was coming off of 'The Man in the Iron Mask' which made lots of money for its producer, and Whale's agent told him that if he made 'Green Hell' it would put him back in the limelight.
The budget was good enough, $685,000, and he had a reasonable thirty-six days to complete it. He had the help of Karl Freund and Ted Kent, his long time favorite editor, and one of his favorite assistant directors, Joe McDonough.
The ambient temperature was screamingly high that summer; Freund's large bank of carbon arc lights didn't help. The problem with the film was the script. The dialog was worse than inane, audiences were falling out of their seats, laughing.
I think Whale may have been bipolar. He had periods of manic activity, interspersed with complete disinterest in what he was doing. He was a director who was not afraid of demanding re-writes, and he did have a talent for judging scripts. He must have known that he was attempting to turn a color-by-the-numbers canvas into a work by Picasso, but when Ted Kent approached him about the script, Whale, according to James Curtis, Whales biographer, said merely that it was "very good. Great."
Francis Marion wanted her name taken off the credits. But she wrote the script, and very little had been done to change. Her credit remained, and it was the last script she ever sold.
The reviews were terrible. In his memoirs, Douglas Fairbanks doesn't so much as mention the film. Famous Productions had lasted for the length of this one movie, the company failed before the film was released. Harry Edington, according to Curtis, "took a job as production chief at RKO."
Whale was coming off of 'The Man in the Iron Mask' which made lots of money for its producer, and Whale's agent told him that if he made 'Green Hell' it would put him back in the limelight.
The budget was good enough, $685,000, and he had a reasonable thirty-six days to complete it. He had the help of Karl Freund and Ted Kent, his long time favorite editor, and one of his favorite assistant directors, Joe McDonough.
The ambient temperature was screamingly high that summer; Freund's large bank of carbon arc lights didn't help. The problem with the film was the script. The dialog was worse than inane, audiences were falling out of their seats, laughing.
I think Whale may have been bipolar. He had periods of manic activity, interspersed with complete disinterest in what he was doing. He was a director who was not afraid of demanding re-writes, and he did have a talent for judging scripts. He must have known that he was attempting to turn a color-by-the-numbers canvas into a work by Picasso, but when Ted Kent approached him about the script, Whale, according to James Curtis, Whales biographer, said merely that it was "very good. Great."
Francis Marion wanted her name taken off the credits. But she wrote the script, and very little had been done to change. Her credit remained, and it was the last script she ever sold.
The reviews were terrible. In his memoirs, Douglas Fairbanks doesn't so much as mention the film. Famous Productions had lasted for the length of this one movie, the company failed before the film was released. Harry Edington, according to Curtis, "took a job as production chief at RKO."