Film Titles Not Always A Good Clue To The Subject (Press, 3 February 1986)

On 3 February 1986, a Hollywood film quiz presented the question of what "Kiss of the Spider Woman" actually is. Contrary to some misconceptions, it is not a remake of a 1940s zombie movie or a Mel Brooks spoof; instead, it is a highly regarded drama featuring William Hurt as a homosexual prisoner sharing old movie plots with Raul Julia, a political prisoner, in a Brazilian jail. Despite its ambiguous title, the film has achieved significant success, earning approximately US$19.3 million (NZ$31 million) in a limited release in the United States. The article delves into the complexities of film titling, acknowledging that the names of movies have historically played a crucial role in their success. The piece references director David Selznick, who believed that a striking title combined with star power and an intriguing storyline greatly contributes to a film's success. Examples include "Gone with the Wind" and "Duel in the Sun," which were effectively marketed due to their compelling titles. The conversation then turns to anecdotes about the sometimes arbitrary nature of title selection in the industry. For instance, Louis Mayer, the head of MGM, once assured that "Mrs Miniver," despite its perplexing title, would attract audiences thanks to the star power of Greer Garson. The film went on to become a significant hit during World War II. In the present day of Hollywood, marketing has gained precedence, and film titles are subjected to rigorous scrutiny and audience testing. Jerry Weintraub, producer of "The Karate Kid," described how initial doubts about the film's title arose after the movie was completed. Despite misgivings, the film generated significant box-office success, demonstrating the influence of word-of-mouth promotion. Further anecdotes highlight the struggles producers face with titles. Michael Douglas discussed his challenges with "The China Syndrome," which Columbia Pictures thought might be misleading. He defended the title, believing it accurately represented the film's theme. Similarly, Irwin Winkler noted how United Artists initially rejected the title "Rocky," wanting to rename it "The Contender." Winkler and his co-producer eventually prevailed with their choice. Jeff Katzenberg remarked on the ongoing debates around film titles across the industry, with examples like "Beverly Hills Cop" illustrating how certain titles, once deliberated, can become iconic. Despite the discussions, industry veterans assert that while titles are important, the ultimate success of a film hinges on its overall appeal rather than just its name. One anecdote tells of a film that performed poorly regardless of its title change from "Speed Is of the Essence" to "Believe in Me," illustrating the point that the film's quality is the true determinant of its success.

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