The conspiracy movie financed by drug money and destroyed by its distributors

There can’t be many 1970s movies which had Elizabeth Taylor in the cast yet which did not bill her in the credits. But, then, Winter Kills has a production history so quirky and so labyrinthine that it is worthy of a movie about its own production.

I saw it once about 25 years ago and – believe me – see it once and you don’t forget it.

I saw it again last night at the National Film Theatre in London.

Winter Kills is a baroque fictionalised fantasy about the conspiracy to assassinate President John F. Kennedy. It is so quirky that it can be described (although this is slightly misleading) as a black comedy.

It is based on a book by Richard Condon, author of The Manchurian Candidate – a book also about a political assassination but published before Kennedy’s death.

With an iconic cast and crew to die for, Winter Kills was produced by two wealthy drug dealers – Robert Sterling and Leonard Goldberg – who had made their names and a lot of money by releasing the Emmanuelle soft core porn movies in the US.

But they did not actually have the $6.5 million budget needed to make Winter Kills themselves.

Leonard Goldberg believed that, if you borrowed a large enough amount of money, the debtors would have to let you finish the movie to ensure getting their money back. The problem was that the film went at least $4 million over budget and, at one point, the production manager had a sawn-off shotgun shoved under his chin until he paid for a generator.

Eventually, in mid-production, Goldberg was murdered by the Mafia – his brains shot out, handcuffed to his bed – for failing to pay his debts – and, later, Robert Sterling was sentenced to 40 years in prison for marijuana smuggling. The production went so far over budget that it was shut down three times – twice by the unions – and it declared bankruptcy.

First-time director William Richert and several of the cast and crew eventually went to Germany and filmed a comedy called The American Success Company. They sold distribution rights on that movie, which made them enough money to finish shooting Winter Kills after a two-year hiatus.

Although “quirky and idiosyncratic” is an understatement for the Byzantine plot, the movie got good – occasionally rave – reviews when it was released.

The New York Times called it “a funny, paranoid fable… furiously funny”.

Rolling Stone labelled it “Boisterous Burlesque”.

Newsweek’s rave review said it was: “flamoyantly absurd, extravagantly confusing, grandiosely paranoid and more than a little fun”.

The New Yorker critic was so bemused that be went to see the movie a second time and then said – admiringly – that it  “was like listening to some marvelous, entertaining drunken storyteller”.

But it made little money because it was pulled quickly from cinemas after distributors Avco Embassy Pictures told director William Richert: “It’s not really in the best interests of Americans to watch a picture like this.”

Richard Condon, author of the original bestselling book, wrote an article in Harper’s magazine titled Who Killed Winter Kills? in which he pointed out that the Avco Embassy conglomerate had major defence contracts in which the Kennedy family were involved and that assassinated President John Kennedy’s brother Edward was thought likely to run for President in the near future.

Avco Embassy certainly chopped some scenes out (including Elizabeth Taylor’s two scenes) which William Richert re-inserted when he eventually bought his film back and re-released it on DVD.

Winter Kills is a bizarrely-plotted semi-fantasy film with strangely-scripted lines perfectly delivered by A-list actors.

Anthony Perkins has some of the most interesting, including:

“People tend to accept the plausible if it is wondrously documented… We pioneered these methods in modern society until, today, as we see, our politicians and political structure could not survive without them. Life and truths have been turned into diverting, gripping, convincing scenarios.”

Winter Kills is a maze of fanciful plots and bizarre scenes. As Anthony Perkins’ character says: “the techniques of fiction playing like searchlights upon a fancied facade of truth.”

It gives some of Michael Powell’s weirder films a run for their money.

You can see a trailer here and a 37-minute feature on the making of Winter Kills here.

The downside of being a dead celebrity: Liz Taylor, Charlie Drake, Rod Hull, Bob Hope & the Queen Mum

The Queen Mother was 101 years old when she died and she had cost the BBC a fortune by not dying earlier. Her death – codenamed ‘Blackbird’ at ITV where the Transmission Controllers had envelopes containing details of what to do when she did eventually die – was clearly going to be a big news story and her funeral a complicatedly large state event so, to my knowledge, the BBC ran a full rehearsal of her death and coverage of her funeral three times. It cost a fortune.

She must have been well-pissed off when Princess Diana died because everyone was unprepared. There were certainly no plans for Diana to have a big funeral because, at that point, she was not a member of the Royal Family and had no constitutional position. So, when the Royal Family were, in effect, forced by the press and – to my mind – surreal public opinion to give Diana a big fuck-me funeral, they used the plans for the Queen Mother’s funeral.

As a result, the Queen Mother’s funeral itself was a less big-scale anti-climax.

Dying can be difficult at the best of times, but pity the poor celebrity.

Elizabeth Taylor sadly mis-timed her death on Wednesday. On a normal slow news days, she could have expected to be the lead item on TV News bulletins. But it was Budget Day in the UK – economic pundits and bullshitting politicians stretched as far as the eye could see and there were expensive Outside Broadcast and studio links nationwide – plus there was lots of news coming in from Libya and still news report aftershocks from the earthquake-tsunami-nuclear story in Japan, where TV companies had, by now, flown expensive reporters into place and were paying for on-the-spot film crews.

So poor Elizabeth Taylor’s death did not quite get the level of coverage she could have otherwise expected.

This morning, TV scriptwriter Nigel Crowle pointed out to me two slightly bizarre angles to her death.

One was that one of her rivals for the key role in 1944 movie National Velvet – which made her a star – was future Baroness Shirley Williams.

Shirley was pipped at the post by Elizabeth and went on to found the Social Democrat Party while Liz went on to marry Richard Burton twice.

It’s unlikely that, if Shirley had got the role, she would have gone on to marry Richard Burton and Elizabeth would have founded the SDP, but stranger things have happened.

The other odd fact Nigel mentioned is that Elizabeth Taylor’s obituary in the New York Times was written by Mel Gussow who died six years ago.

This is no great surprise – Associated Press wrote the template for Britney Spears’ obituary in 2008.

What does surprise me is that British newspapers seem to have discovered a tone of reverence for Elizabeth Taylor which they never quite gave her in life. Something of a reverse on the situation for dead UK comedian Charlie Drake, who was much cherished during his life.

After his death, veteran TV producer Michael Hurll let rip about Charlie in an interview on the Chortle comedy industry website

Hurll worked with Charlie when he was a holiday camp redcoat: “He was a nasty man then,” Hurll said, “and he stayed a nasty man – a horrible, horrible man”.

Hurll, old enough not to care, went on to call Jerry Lewis (still alive) “a nasty piece of work” and Bob Hope (dead) “the nastiest man I’ve ever worked with”. As for Rod Hull: “He was the most miserable, nastiest man you ever met… Just a horrible, horrible man.”

Dying can be difficult at the best of times, but pity the poor celebrity facing the uncertainties of posthumous reviews.

I still retain memories of reading an Andy Warhol obituary (I can’t remember where) which ended with the climactic words: “He was a short man who wore a wig”.

Ex-gangster ’Mad’ Frank Fraser – not a man to meddle with in life – once told me over a cup of tea that he wasn’t “really frightened of anything but I’m a bit worried what they’ll say about me after I die.”

He seems a very nice chap. He offered me free dental work.

Just don’t ask me about Cilla Black…