The Exile (1947 film)

In January 1941 it was announced Fairbanks had bought the screen rights to a novel and would appear in a film based it, which he would make with Hal Roach. Fairbanks, Jr., a well-known anglophile, sought to make the film as a tribute to his father Douglas Fairbanks, a star of swashbuckler films of the silent period.[6][7]

Plans to make it were interrupted by Fairbanks' service in World War Two. In January 1946 he announced he would star in and produce a film version called The Exile as part of a three-picture deal between International Pictures and Fairbanks' production company, the Fairbanks Company, which he had formed with Clarence Erickson. Fairbanks would produce all three - the others were an adaptation of Terry and the Pirates, and a film called Happy Go Lucky. Finance would be provided by International who would also arrange facilities at Universal studios and The Exile would be distributed by United World.[8][9]

In July 1946 Robert Coote signed to play a support role.[10]

In November Clemence Dane was reportedly doing work on the script.[11]

"When people ask me if I'm following in my father's footsteps, I tell them his footsteps were so light they didn't leave a trace," said Fairbanks. "The proof of it is that his pictures were so carefully tailored to him that no remakes by others have ever been entirely successful. Still I find myself drifting back to the kind of roles he played - by public demand, as it were... However my stunting is more of a piece de resistance than the thing itself, if you get what I mean. Now that I have my own company I'll proabbly go in for the swashbuckling type of thing. I'm not necessarily wedded to it; our stories will be of varied dramatic content, but I find that I can whip up more enthusiasm for those of a romantic and slightly fantastic nature, like The Exile."[12]

This was Max Ophüls first film in Hollywood, after he was fired from his initial project, Vendetta, due to disagreements with producer Howard Hughes. Ophüls was recommended to Fairbanks by Robert Siodmak, the well-known director at the time of The Killers. Fairbanks signed Ophus in December 1946.[13] "He needed the money desperately to get back to Europe and was a most interesting director," said Fairbanks.[14]

The film was going to star a newcomer, Paule Croset.[12][15]

In April 1947 Maria Montez was borrowed from Universal for a relatively small part. Press reports at the time said this was done at Montez's request over Universal's objections.[16]

The film was produced by Universal-International Pictures, and while the initial plan was for the film to be made in Technicolor, budget constraints meant that the movie had to be shot in black and white.

Filming started in May 1947. Though the studio was initially concerned by Ophüls unorthodox filming methods, preferring to film in long takes full of complex camera movements, they eventually warmed to his filmmaking techniques and formed a good relationship. Due to this being his first American film, Ophüls was paid $22,600, compared to the usual $75,000 or more that established Hollywood directors commanded.[17]

The bulk of the film was shot on a large set created by Howard Bay. "This is not a realistic set," he said, "but a romantic one fashioned to fit the mood of the story. We aimed at the picturesque rather than scenes from the workaday world; the exaggeration is deliberate."[18]

Fairbanks later said the film was one of his favorites. "It should have been done in color but we ran out of money and Universal forced Maria Montez on us. But I love it.[14]

Under her contract with Universal, Montez was normally entitled to top billing in a film. She agreed to accept second billing for The Exile but changed her mind and wanted top billing, and wound up suing for $250,000 in damages. Universal had agreed to give Fairbanks top billing so deferred the issue to court.[19] A judge put a temporary stop on any billing until the issue was resolved.[20] In December Montez's lawyer Greg Bautzer announced the matter had been settled out of court. Montez would receive first billing and in equal size font to Fairbanks. (In the end credits would read "Starring Maria Montez, Henry Daniell, Nigel Bruce, Robert Coote and introduces Paule Croset with Douglas Fairbanks".)[21] Montez also received a pay out rumored between $15,000 and $30,000.[22]

In August 1947 Universal elected not to pick up its option on Montez's services for the following year, making her freelance.[23]