Movie |
Plastic Surgery | Black And White
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National Film Preservation Board | 2015
Best Cinematography BlackandWhite | 1967
Best Actor International | 1967 | Rock
Budget 2,500,000 USD
Box Office Collection 1,750,000 USD
In order to shoot in Grand Central Station without attracting too much attention, Frankenheimer hired a male model and a Playboy bunny to make-out on the stairs while being filmed by a fake crew. This distraction allowed the real crew to shoot with a camera in a suitcase.
Although this film is nowadays viewed as a cult classic, European critics at the Cannes Film Festival were so hostile to the film that director John Frankenheimer refused to leave nearby Monte Carlo, where he was shooting Grand Prix (1966), for the press conference. Rock Hudson was sent instead and was unable to answer the critical questions during the hostile session.
Initially director John Frankenheimer was reluctant to cast Hudson, who he felt was a lightweight actor in comparison to Laurence Olivier and Kirk Douglas, other actors he wanted for the lead part. It was only after Hudson's agent convinced him at a party that Hudson could do the role that he went ahead with Hudson. He has later gone on to praise Hudson's work in the film and felt he was impeccably cast.
The depiction of Hamilton's plastic surgery includes several shots of an actual rhinoplasty operation. Director John Frankenheimer made several of these shots himself after the cameraman fainted.
"Seconds" has gained a cult status in later years and is frequently revived. According to director John Frankenheimer it's "the only movie, really, that's ever gone from failure to classic without ever having been a success."
"Tony: I couldn't help it, Charlie. I had to find out where I went wrong. The years I've spent trying to get all the things I was told were important - that I was supposed to want! Things! Not people... or meaning. Just things. And California was the same. They made the decisions for me all over again and they were the same things, really. It's going to be different from now on. A new face and a name. I'll do the rest. I know it's going to be different. I suppose you do too."
"Nora: What kind of man is he? There's grace in the line and color, but it doesn't emerge pure. It pushes at the edge of something still tentative, unresolved - as if somewhere in the man there is still a key unturned. Tony: That's quite an analysis. Nora: Not really. When you come to think of it - it sort of fits everybody, doesn't it?"
