Dirtymouth (1971)

R | 102 mins | Biography | 19 May 1971

Director:

Herbert S. Altman

Producer:

Herbert S. Altman

Cinematographer:

Bert Spielvogel

Editor:

Edna Paul

Production Company:

Superior Films
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HISTORY

The working title of the film was A Tough Gig. Shooting took place in New York City, Philadelphia, PA, and Miami, FL, in late 1969 and early 1970. The conclusion of filming was announced in the 8 Apr 1970 Var. As indicated in the 9 Jun 1971 Var, production cost around $200,000.
       Under the new title, Dirtymouth, the picture was screened for the press on 11 Jun 1970 in New York City, as noted in the 17 Jun 1970 DV review. Shortly after, Marvin Worth Productions, Douglas International Corp., and Sally Marr (mother of the film’s late subject, comedian Lenny Bruce) sued Superior Films for copyright infringement. The plaintiffs claimed to have sole rights to two of Bruce’s books, The Essential Lenny Bruce (New York, 1967) and How to Talk Dirty and Influence People (Chicago, 1965), which they planned to use as source material for The Lenny Bruce Story, Marvin Worth’s upcoming production for Columbia Pictures. Filmmaker Herbert S. Altman was accused of stealing material from those books for two one-minute monologues and “29 other lines and routines” in the Dirtymouth screenplay, as stated in a 23 Jun 1971 Var article. On 7 Oct 1970, LAT announced that Federal Judge Morris S. Lasker had issued a preliminary injunction against exhibition of Dirtymouth “so long as it contain[ed] any material infringing on the writings of Lenny Bruce.” Lasker reversed the ruling the following month, after Altman removed contested scenes, as noted in the 25 Nov 1970 and 9 Jun 1971 issues of Var. ...

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The working title of the film was A Tough Gig. Shooting took place in New York City, Philadelphia, PA, and Miami, FL, in late 1969 and early 1970. The conclusion of filming was announced in the 8 Apr 1970 Var. As indicated in the 9 Jun 1971 Var, production cost around $200,000.
       Under the new title, Dirtymouth, the picture was screened for the press on 11 Jun 1970 in New York City, as noted in the 17 Jun 1970 DV review. Shortly after, Marvin Worth Productions, Douglas International Corp., and Sally Marr (mother of the film’s late subject, comedian Lenny Bruce) sued Superior Films for copyright infringement. The plaintiffs claimed to have sole rights to two of Bruce’s books, The Essential Lenny Bruce (New York, 1967) and How to Talk Dirty and Influence People (Chicago, 1965), which they planned to use as source material for The Lenny Bruce Story, Marvin Worth’s upcoming production for Columbia Pictures. Filmmaker Herbert S. Altman was accused of stealing material from those books for two one-minute monologues and “29 other lines and routines” in the Dirtymouth screenplay, as stated in a 23 Jun 1971 Var article. On 7 Oct 1970, LAT announced that Federal Judge Morris S. Lasker had issued a preliminary injunction against exhibition of Dirtymouth “so long as it contain[ed] any material infringing on the writings of Lenny Bruce.” Lasker reversed the ruling the following month, after Altman removed contested scenes, as noted in the 25 Nov 1970 and 9 Jun 1971 issues of Var. However, Altman claimed that Marvin Worth continued to impede the release of his film by sending threatening letters to exhibitors “implying that the film could still get into trouble.” Worth’s deal with Columbia Pictures was soon cancelled, and his project was restructured into the Broadway production, Lenny, that opened at the Brooks Atkinson Theatre on 26 May 1971.
       Altman personally arranged the 19 May 1971 openings of Dirtymouth at the Penthouse and R.K.O. 59th Street Twin Cinemas in New York City. Reviews in DV and the 20 May 1971 NYT were negative. A planned title change to The Story of Lenny Bruce—Dirtymouth was announced in the 9 Jun 1971 Var, which indicated that a national release, to be handled by Chevron Pictures’ Marty Grassgreen, was scheduled for later that summer.
       Lead actor Bernie Travis also appeared as Lenny Bruce in two off-Broadway plays, the 2 Jun 1971 Var noted.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
6 Mar 1970
p. 23
Daily Variety
17 Jun 1970
p. 3, 8
Daily Variety
9 Sep 1970
p. 2
Daily Variety
13 Jan 1971
p. 2
Los Angeles Times
7 Oct 1970
Section E, p. 21
New York Times
20 May 1971
---
New York Times
30 May 1971
Section D, p. 4
New York Times
27 Jun 1971
Section SM, pp. 12-13, 16
Variety
8 Apr 1970
p. 3
Variety
8 Apr 1970
p. 27
Variety
19 Aug 1970
p. 27
Variety
21 Oct 1970
p. 46
Variety
25 Nov 1970
p. 18
Variety
21 Apr 1971
p. 1, 50
Variety
19 May 1971
p. 15
Variety
26 May 1971
p. 9
Variety
2 Jun 1971
p. 6
Variety
9 Jun 1971
p. 3, 24
Variety
23 Jun 1971
p. 4
Variety
30 Jun 1971
p. 32
Variety
24 Nov 1971
p. 16
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
PRODUCERS
Exec prod
Assoc prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
FILM EDITOR
Film ed
MUSIC
SOUND
MAKEUP
Makeup
SOURCES
SONGS
Songs sung by The Free Design.
PERFORMED BY
DETAILS
Alternate Titles:
A Tough Gig
The Story of Lenny Bruce--Dirtymouth
Release Date:
19 May 1971
Premiere Information:
New York opening: 19 May 1971
Production Date:
late 1969--early 1970
Physical Properties:
Sound
Color
Movielab
Duration(in mins):
102
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
311
SYNOPSIS

A fictionalized study of the last years in the life of controversial nightclub entertainer Lenny Bruce, the film deals with his court appearances in New York, California, Pennsylvania, and Illinois on obscenity and drug charges; his increasing paranoia; and his eventual death from drug ...

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A fictionalized study of the last years in the life of controversial nightclub entertainer Lenny Bruce, the film deals with his court appearances in New York, California, Pennsylvania, and Illinois on obscenity and drug charges; his increasing paranoia; and his eventual death from drug overdose.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.