Advertising & Behind-the-Scenes
20th Century Fox sponsored a nationwide contest for the Hello, Dolly! poster. It was 22-year-old Philadelphia College of Art student Richard Amsel's drawing that won (see his original Dolly logo below, and a large version of the Dolly one-sheet with the final art).
Amsel, of course, went on to design iconic movie posters (Raiders of the Lost Ark, The Sting), early Bette Midler album and poster art, as well as many TV Guide covers. Amsel also created the poster image for Streisand's 1972 film, Up the Sandbox.
“Hello, Dolly!” Movie Program
- 8-1/2 x 11-1/4 inches; 48-pages; color and black & white photos; Star bios; Creative Team bios; Cast & Credits
- Published by Twentieth Century-Fox Film Corporation
- Written by Jack Hirshberg
- Designed by Robert Geissmann
Behind-the-Scenes on “Dolly”
Above: Streisand on location at Trophy Point with cinematographer Harry Stradling. Stradling told American Cinematographer magazine about photographing Streisand in Hello, Dolly!: “She's one of the greatest talents I've ever worked with. She knows photographic quality—what's good and what's not good. She knows what height the camera should be and just where it should be placed for her closeups—and she's learned all this during the short time she has been in pictures. She even does her own makeup because, as she says, she knows her own face better than anybody else does. I find her as easy to photograph as any of the hundreds of stars I've worked with since I've been in the industry. The contours of her face give her a rare beauty. She's just a very wonderful, really brilliant, woman.”
One story often repeated is that Walter Matthau and Streisand came to blows on June 6, 1968 on the Garrison, N.Y. set. Director Gene Kelly explained the situation to columnist Earl Wilson. “They really got angry,” he said. “They quarreled in front of everybody. I said ‘Cut the lights,’ stopped everything. We went into a little store and straightened it out. Then we did the scene. This happens to everybody in every picture and isn't serious.”
“It was a hot day on location,” Matthau confessed to another writer. “Bobby Kennedy had just been shot, and I was in a mean, foul mood—so I took it all out on Barbra, poor girl.”
Barbra explained her version of the story in 1983: “One day I had an idea about something I thought would be funny involving a scene in a wagon. I said, ‘What do you think of this?’ and people started to laugh. But all of a sudden Walter Matthau closed his eyes and started screaming: ‘Who does she think she is‘? I’ve been in 30 movies and this is only her second, the first one hasn't even come out yet, and she thinks she's directing? Who the hell does she think she is?’ I couldn't believe it. I had no defense. I stood there and I was so humiliated I started to cry, and then l ran away. And what came out in the papers was Walter Matthau complaining about Barbra Streisand."
When Earl Wilson pressed Kelly for more information about the incident, including the rumor that Streisand yelled at him, Kelly responded: “Absurd. I wish every actor would be like her. I came onto this picture with my dukes up because I heard she might be uncooperative. but she's the most cooperative girl I ever worked with. She'll try anything to be good. There has never been any friction between us and I predict there never will be.”
In 1977, a good ten years after filming took place, producer Ernest Lehman talked to Mary Daniels about the friction between the costars. “Barbra would call me all the time and say: ‘You've got to do something about Walter Matthau. You don't know what he told me today in front of 200 people.’
“Walter finally gave it to her one day on location. I don't say he's right; he just felt she had too much to say. But she's a big star, a perfectionist. She doesn't settle for anything less than the best, and if you want to work with Barbra Streisand, you have to put up with that.”
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