Hubbry Logo
Cash McCallCash McCallMain
Open search
Cash McCall
Community hub
Cash McCall
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Cash McCall
Cash McCall
Cash McCall
View on Wikipedia
from Wikipedia

Cash McCall
Theatrical release poster
Directed byJoseph Pevney
Screenplay byLenore J. Coffee
Marion Hargrove
Based on
Cash McCall
by
Produced byHenry Blanke
StarringJames Garner
Natalie Wood
CinematographyGeorge J. Folsey
Edited byPhilip W. Anderson
Music byMax Steiner
Distributed byWarner Bros.
Release dates
  • January 20, 1960 (1960-01-20) (Los Angeles)[1]
  • January 23, 1960 (1960-01-23) (USA)
Running time
102 minutes
CountryUnited States
LanguageEnglish
Box office$1,750,000 (US/ Canada)[2]

Cash McCall is a 1960 American romantic drama film in Technicolor from Warner Bros., produced by Henry Blanke, directed by Joseph Pevney, and starring James Garner and Natalie Wood. The film's screenplay by Lenore J. Coffee and Marion Hargrove is based upon the novel of the same name by Cameron Hawley.

The film's storyline concerns a wealthy entrepreneur who buys moribund businesses in order to first refurbish and then sell them at a considerable profit. During his latest acquisition, he's attracted to the daughter of the company's owner, which complicates both his professional and private life.

Plot

[edit]

Grant Austen, the head of Austen Plastics, yearns for retirement. So when Schofield Industries, his largest customer, threatens to take its business elsewhere, Austen hires a consulting firm, which finds an interested potential buyer, the notorious businessman Cash McCall.

Cash meets with Austen and his daughter Lory, who owns part of the company. Austen conceals the problem he has with Schofield Industries. Afterwards, Cash speaks to Lory privately. It turns out they met the previous summer and were attracted to each other. However, when Lory showed up at his cabin soaking wet from a summer rainstorm later that night, Cash, not ready for a serious relationship, gently turned her away. Mortified by the rejection, she fled back into the storm. When he was unable to get Lory out of his mind, Cash realized he had made a big mistake. He overpays for Austen Plastics just so he can reconnect with her.

Before the deal is finalized, Gil Clark, Cash's new assistant, discovers that Austen Plastics holds patents essential to Schofield Industries. Its alarmed boss, retired Army General Danvers, tries to buy Austen Plastics himself. Cash then decides that he could run Schofield more profitably and starts secretly buying up controlling interest in the second company.

In the middle of all the deal making, Cash proposes marriage to Lory, and she accepts. However, Maude Kennard, the assistant manager of the hotel where Cash resides, wants Cash for herself and tricks Lory into believing that she is Cash's girlfriend. Meanwhile, one of Austen's business acquaintances, Harvey Bannon, convinces him that Cash swindled him and paid much less than the company is worth, prompting Austen to sue Cash. Eventually, everything is cleared up, and Cash and Lory reconcile, while Gil talks Grant into going back to work.

Cast

[edit]

Production

[edit]

This was one of three theatrical films produced with Garner as leading man during the period in which he was still playing the lead in the Warner Bros. television series Maverick (the other two were Darby's Rangers and Up Periscope). Garner subsequently left the studio upon winning a contentious lawsuit and continued his movie career. Cash McCall screenplay writer and comedy novel best seller Marion Hargrove had also written several scripts for Garner's Maverick series.

Garner wrote in his memoirs that he felt it was "not much of a movie, but I liked Natalie."[3]

Reception

[edit]

The film received mixed reviews from critics. Howard Thompson of The New York Times called it "a painless, amusing movie exercise that now and then touches solid ground."[4] Variety wrote that the film suffered from characters that were "stock and, in some cases, foolish," and a script that "borders on the ridiculous in piling on the number and kind of [McCall's] multifarious enterprises," but "for audiences willing to accept a surface story for romantic shenanigans, the picture will suffice."[5] Harrison's Reports wrote: "True, not too much attention to detail has been devoted to the real intricacies of business and high finance, but it's still a pleasant piece of entertainment certain to delight audiences who crave life's complexities dished out in simple mouthfuls."[6] Richard L. Coe of The Washington Post declared: "Exactly what the makers of 'Cash McCall' thought they were doing I don't know, but they have come up with a boozy fairy tale which to men will have all the appeal 'Cinderella' presumably has for females."[7] The Monthly Film Bulletin wrote, "The financial wangling is often quite amusing ... but nothing can prevent the film's romantic stretches seeming a trite and tedious makeweight to Cash's amoral escapades in the financial jungle."[8]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Cash McCall

View on Grokipedia
from Grokipedia
Cash McCall is a 1955 novel by American author Cameron Hawley that follows the high-stakes world of corporate acquisitions through the enigmatic financier Cash McCall, who buys and revitalizes failing businesses while navigating personal entanglements, including a romance with the daughter of a plastics company owner. The book explores themes of ambition, free enterprise, and moral ambiguity in mid-20th-century American business, drawing comparisons to Hawley's earlier success Executive Suite. Published by Houghton Mifflin on November 7, 1955, it received praise for its authentic portrayal of corporate dynamics and relatable characters, achieving bestseller status and serialization in Life magazine. The was adapted into a romantic drama film directed by Joseph Pevney and produced by , starring in the title role as the charismatic dealmaker and as Lory Austen, the love interest tied to a struggling plastics firm. Released on January 20, , the film runs 102 minutes and blends elements of romance, comedy, and business intrigue, with supporting performances by , , and . Filmed on California's , it marked Garner's post-Maverick transition to leading man status and Wood's return to after a brief hiatus. Both the and highlight Cash McCall's unorthodox methods—acquiring undervalued companies, turning them profitable, and selling at a premium—while questioning the ethics of such "corporate raiding" in an era of economic boom. The story's enduring appeal lies in its critique of capitalism's glamour and pitfalls, influencing later depictions of wheeler-dealers in popular media.

Synopsis and Background

Plot

Cash McCall is a charismatic and ambitious entrepreneur who specializes in acquiring distressed companies, turning them around, and reselling them at a substantial profit. His latest target is Austen Plastics, a struggling firm owned by Grant Austen, but Cash's interest is twofold: the and the chance to rekindle a romance with Grant's daughter, Lory Austen, who once rejected his advances during a years earlier. Despite Lory's current engagement to the principled consultant Gil Clark, Cash pursues her relentlessly, blending his ruthless business tactics with unexpected emotional vulnerability as he reveals his genuine affection. This pursuit highlights Cash's character as a man driven by both sharp entrepreneurial instincts and a desire for personal redemption through love. As negotiates the acquisition of Austen Plastics for $2 million, tensions rise when Grant faces financial pressures from threats by Danvers of Scofield Industries to shift business away from the firm. Complicating matters further, Danvers, a cutthroat executive eager to exploit the firm's assets, enters the picture, prompting to plan a quick resale to outmaneuver him and secure a windfall. Lory, torn between her loyalty to her father and her growing feelings for , becomes increasingly conflicted, especially after learning of the impending resale, which she interprets as a of her family's legacy. Meanwhile, Maude Kennard, the jealous assistant manager at 's luxury hotel, interferes by spreading rumors and manipulating situations out of unrequited affection, exacerbating the misunderstandings and nearly derailing the romance. These events underscore the film's exploration of corporate takeovers, where personal clash with profit motives, and illustrate Lory's internal struggle between familial duty and her attraction to 's bold, redemptive spirit. In a climactic turn, Grant confronts over the resale to Scofield Industries, leading to a heated standoff that threatens legal repercussions and family bonds. Lory, believing has exploited her father for personal gain, temporarily rejects him, amplifying the theme of trust in high-stakes and romance. However, reveals his was designed to protect the company from Danvers's destructive intentions, ultimately selling it at a premium while ensuring its survival and profitability. The misunderstandings resolve as Lory recognizes 's underlying integrity, leading to their and a that redeems his seemingly opportunistic ways. The concludes with triumph and romantic fulfillment, emphasizing how ethical navigation of corporate intrigue can foster personal growth and lasting partnerships. The film adapts these elements from Cameron Hawley's 1955 of the same name.

Literary Source

The novel Cash McCall was published in 1955 by Houghton Mifflin, marking the second major work by Cameron Hawley, a former high-ranking executive at Armstrong Cork Company who retired in 1951 after rising through the ranks over 24 years. Hawley, drawing from his extensive business experience, followed his debut success (1952)—a that explored corporate power struggles—with this tale of high-stakes finance in post-war America. The core plot follows Cash McCall, a enigmatic financier under forty who secretly acquires distressed companies, revitalizes them through shrewd management, and sells for profit, mirroring the film's narrative but with far greater depth in financial mechanics such as valuation, , and . Unlike the film's romanticized adaptation, the novel emphasizes economic theory and corporate intricacies, portraying McCall's exploits as a celebration of free enterprise and amid the era's conformist business culture, with romance as a subordinate thread linking personal stakes to professional gambles. Hawley weaves in detailed explorations of merger risks, capital allocation, and the human costs of ambition, providing an insider's view of how entrepreneurs navigate bureaucratic and competitive pressures. The novel's conclusion aligns with the film's in its business sale and romantic resolution, highlighting the rewards of capitalist ventures. Cash McCall garnered strong initial sales, reaching the New York Times bestseller list and selling briskly in its first year, fueled by excerpts in Life magazine that piqued public interest in the "behind-the-scenes" world of mergers. Critics lauded Hawley's authentic portrayal of corporate America during the 1950s economic boom, praising its blend of suspenseful deal-making and insightful commentary on the "romance of business" without overt moralizing. The book was seen as a worthy successor to Executive Suite, offering a vivid, non-technical lens on the era's financial dynamism that resonated with both business professionals and general readers.

Production

Development

The rights to Cameron Hawley's 1955 novel Cash McCall were first acquired by in December 1955, but subsequently obtained them in the late 1950s, setting the stage for the film's adaptation. Screenwriters Lenore J. Coffee and Marion Hargrove developed the screenplay, drawing from the book's themes of corporate maneuvering and romance while prioritizing the latter to create a more accessible narrative; as noted in contemporary reviews, their script featured "disarming, slam-bang encounters and footnotes on big-scale, financial finagling," downplaying intricate business details in favor of emotional interplay. Joseph Pevney was selected as director due to his established track record in handling dramatic narratives, including films like Man of a Thousand Faces (1957) and (1958), which showcased his ability to blend character-driven stories with tension. Veteran producer Henry Blanke, who had overseen numerous projects since the , managed the logistics, including financial oversight to ensure efficient resource allocation for this mid-budget drama. Planning emphasized visual enhancement through filming, chosen to heighten the appeal of the story's upscale business environments and romantic sequences, aligning with Warner Bros.' strategy for color productions in the era. The overall phase, spanning late 1958 into early 1959, focused on streamlining the adaptation for a concise runtime while preserving the novel's core exploration of and personal stakes.

Filming

Principal photography for Cash McCall took place from early May to early July 1959, primarily at in , with additional location shooting along the coast to provide authentic scenic backdrops for key sequences. The film employed cinematography, overseen by George J. Folsey, to deliver a polished, vibrant aesthetic suited to its corporate drama. Its final runtime measured 102 minutes, encompassing simulated business environments like boardrooms constructed on studio soundstages for controlled production efficiency. Minor production delays arose from actor scheduling conflicts, particularly Natalie Wood's prior contract negotiations with Warner Bros., which had temporarily sidelined her from studio projects. Director Joseph Pevney mitigated such issues by prioritizing swift takes, fostering a brisk pace that aligned with the film's themes of high-stakes business dealings.

Cast and Characters

Principal Cast

James Garner starred as Cash McCall, the film's protagonist and a charismatic corporate raider who buys distressed companies, turns them around, and sells them for profit. Fresh off his breakout success as in the Warner Bros. television series Maverick (1957–1962), which propelled him from supporting film roles to status, Garner made Cash McCall one of his first major starring vehicles in feature films. Natalie Wood portrayed Lory Austen, the daughter of a plastics manufacturer targeted by McCall, whose romantic involvement with the tycoon creates personal and ethical conflicts for her character. Born in 1938, Wood was 21 years old during the 1959 filming, marking her return to the screen after a year-long hiatus following earlier projects. She was in the midst of transitioning from child actress—best known for (1947) and her breakout dramatic turn in (1955) at age 16—to sophisticated adult roles that showcased her as a leading . Promotional materials for the film, including lobby cards and posters, prominently featured Garner and together to underscore the central romantic pairing, often depicting intimate moments that highlighted their on-screen rapport.

Supporting Roles

portrayed Grant Austen, the owner of Austen Plastics and a weary businessman seeking by selling his company, serving as a whose interactions with the leads highlight familial and ethical dimensions of corporate decisions. Jagger, an Academy Award winner for Best Supporting Actor for his role in (1949), brought gravitas to the character through his established screen presence in dramatic roles. Nina Foch played Maude Kennard, Cash McCall's trusted assistant and confidante who manages his hotel operations and offers shrewd business advice, contributing to the film's exploration of professional loyalties. Foch, with a prolific spanning over 50 feature films and extensive stage work including Broadway productions, infused the role with poised authority drawn from her diverse acting experience. E.G. Marshall appeared as Winston Conway, the Austen family's who provides legal guidance during the high-stakes company acquisition, representing institutional opposition to McCall's aggressive tactics. His portrayal underscores the adversarial legal elements in business negotiations. Henry Jones depicted Gilmore "Gil" Clark, a management consultant who advises on the plastics firm deal and later assists McCall, injecting moments of levity into the corporate intrigue through his character's opportunistic demeanor. Together, these supporting performances form an ensemble that amplifies the film's tensions around corporate maneuvering, with each actor's role intersecting briefly with the principals to reveal the broader web of financial and personal stakes without overshadowing the central romance.

Release and Reception

Premiere and Distribution

Cash McCall had its world premiere on January 20, 1960, in , . The film was distributed by , which rolled out a wide U.S. release three days later, on January 23, 1960. Warner Bros. launched marketing campaigns featuring trailers that spotlighted the film's romantic elements and James Garner's suave portrayal of the ambitious businessman. These trailers, available through National Screen Service, included preview panels to build anticipation in theaters. Posters emphasized Natalie Wood's glamorous image, often depicting her in elegant settings to appeal to romance enthusiasts. The studio supplied combination ad mats and 8x10 stills for local promotions, encouraging exhibitors to highlight the stars' chemistry. Distribution prioritized the U.S. and Canada, with Warner Bros. handling theatrical bookings via established networks. International expansion was limited in 1960, starting with European markets such as Finland on July 1 and West Germany on July 22.

Critical Response

Upon its release, Cash McCall received mixed reviews from contemporary critics, who appreciated its light entertainment value but critiqued its formulaic structure and superficial treatment of business themes. Bosley Crowther of The New York Times described the film as a "painless, amusing movie exercise that now and then touches solid ground," praising its avoidance of pretentiousness while noting its reliance on familiar romantic and corporate tropes. Similarly, Variety acknowledged the film's appeal for audiences open to "a surface story with some romantic shenanigans," but faulted its "stock and, in some cases, foolish" characters and lack of depth in the script. Critics frequently highlighted the performances as a highlight, particularly the on-screen rapport between leads and , which added charm to the proceedings despite the predictable plot. Crowther commended Garner's "humor and personality" in portraying the slick financier, alongside Wood's engaging turn as his love interest, while supporting players like and provided solid foils in the business intrigue. Variety echoed this, calling Garner and Wood "intelligent actors capable of handling more incisive material," suggesting their talents elevated the otherwise conventional narrative. However, the film's foreseeable romantic resolution and business machinations drew consistent complaints for lacking originality, with reviewers viewing it as a glossy but unremarkable Hollywood product. In retrospective analyses, the film has been reassessed as a revealing snapshot of , capturing the era's fascination with high-stakes corporate takeovers and entrepreneurial bravado through its depiction of Garner's character reviving failing companies for profit. The picture garnered no major awards or nominations, reflecting its modest artistic ambitions amid a crowded field of releases.

Box Office Performance

Cash McCall earned $1,750,000 in U.S. and rentals, placing it 69th among releases. This figure contributed to an estimated worldwide gross of approximately $3-4 million, reflecting typical distribution patterns where domestic rentals represented a significant portion of studio income. The film represented a modest success for Warner Bros., recouping its production costs and generating profit. However, it underperformed relative to the star power of , whose subsequent lead in (1961) achieved far greater commercial impact, ranking 8th in its year with substantially higher earnings. In the broader 1960 market for romantic dramas, attendance was pressured by increasing television penetration, which contributed to an overall decline in theatergoing and favored spectacle-driven blockbusters over mid-budget character studies.

Legacy

Home Media and Availability

The film Cash McCall was first released on by Warner Home Video in 1994, providing an early option for viewers interested in the 1960 production. A DVD edition followed as part of Warner Home Video's Signature Collection, released on February 3, 2009, which included the title alongside other films featuring the actress, such as Gypsy and . This manufactured-on-demand DVD, later reissued under the banner on August 20, 2019, offers standard-definition presentation without additional special features beyond the original trailer. As of 2025, no official Blu-ray edition has been released, limiting high-definition physical media access to none. In terms of restorations, while no major theatrical re-release or extensive archival overhaul has been documented, the film's original cinematography has influenced digital transfers aimed at preserving its vibrant palette, as seen in the 2009 and 2019 DVD versions. The title is cataloged and accessible through film archives, including the () Catalog of Feature Films, where detailed production notes and synopses are available for research purposes. For modern access, Cash McCall remains under copyright protection, with no status, ensuring controlled distribution by It is available for digital rental or purchase on platforms such as , Apple TV, and at Home, typically at standard definition. Occasional full airings occur on (TCM), with clips and trailers also viewable on through official Warner Archive channels.

Cultural Impact

Cash McCall contributed to the emerging genre of corporate romance films in the early , blending intrigue with romantic elements in a manner that prefigured later depictions of high-stakes and personal relationships. The film's portrayal of Cash McCall as a charming corporate raider who revitalizes failing companies echoed the era's fascination with entrepreneurial success, influencing subsequent Hollywood explorations of capitalism's moral ambiguities. The movie reflected the post-World War II economic optimism of the , showcasing a dynamic landscape where innovative could transform industries amid rapid growth and corporate expansion. It also subtly highlighted traditional roles in the professional sphere, with female characters like Lory Austen positioned primarily in relational support to male-driven enterprise, mirroring societal norms of the time. James Garner's suave portrayal of the titular businessman reinforced his screen persona as a likable rogue in high-finance settings, a type he revisited in later roles. The film receives minor references in discussions of and literature, drawing from Cameron Hawley's to illustrate positive views of free-market . In legacy terms, Cash McCall appears in James Garner's autobiography The Garner Files, where he reflects on the production and his rapport with co-star . It endures as a minor classic within Wood's filmography, valued for its period snapshot of ambition and romance despite lacking major parodies or adaptations. Its mixed critical reception helped cement its status as a niche entry in ' output rather than a blockbuster phenomenon.

References

  1. https://www.kirkusreviews.com/book-reviews/a/cameron-hawley-2/cash-mccall/
  2. https://www.tcm.com/watchtcm/titles/16133
  3. https://www.rottentomatoes.com/m/cash_mccall
  4. https://www.imdb.com/title/tt0052680/
  5. https://www.tcm.com/tcmdb/title/16133/cash-mccall
  6. https://www.barnesandnoble.com/w/cash-mccall-cameron-hawley/1001666670
  7. https://www.atlassociety.org/post/hawleys-heroes-and-the-romance-of-business
  8. http://www.quebecoislibre.org/12/120415-5.html
  9. https://www.librarything.com/award/1.0.0.1955/New-York-Times-bestseller-1955
  10. https://catalog.afi.com/Catalog/MovieDetails/52845
  11. https://www.nytimes.com/1960/01/28/archives/cash-mccall-explores-business-world.html
  12. https://www.imdb.com/name/nm0678928/
  13. https://www.imdb.com/title/tt0052680/locations/
  14. https://time.com/3009166/james-garner-maverick/
  15. https://www.oratlas.com/age/how-old-was-natalie-wood-in-cash-mccall
  16. https://www.moviestillsdb.com/movies/cash-mccall-i52680
  17. https://www.oscars.org/oscars/ceremonies/1950
  18. https://www.themoviedb.org/person/13026-nina-foch?language=en-US
  19. https://www.tcm.com/video/200906/cash/
  20. https://archive.org/details/pressbook-wb-cash-mccall
  21. https://www.cinematerial.com/movies/cash-mccall-i52680
  22. https://www.imdb.com/title/tt0052680/releaseinfo/
  23. https://www.ultimatemovierankings.com/1960-top-box-office-movies/
  24. https://www.ultimatemovierankings.com/1961-top-box-office-movies/
  25. https://www.boxofficepro.com/a-century-in-exhibition-the-1960s-the-collapse-of-the-studio-system/
  26. https://www.ebay.com/itm/275377667647
  27. https://www.dvdtalk.com/reviews/36177/natalie-wood-collection-splendor-in-the-grass-inside-daisy-clover-gypsy-sex-and-the-single-girl-cash-mccall-bombers-b-52/
  28. https://www.blu-ray.com/dvd/Cash-McCall-DVD/209254/
  29. https://www.justwatch.com/us/movie/cash-mccall
  30. https://www.cambridge.org/core/journals/business-history-review/article/making-sense-of-business-and-community-in-hollywood-films-19282016/D8B3773CF3E8E30A6BC0DEFBEBB4D388
  31. https://digital.library.adelaide.edu.au/dspace/bitstream/2440/106452/4/04whole.pdf
  32. https://iea.org.uk/wp-content/uploads/2016/07/upldbook417pdf.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.