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HISTORY

The working title of this film was The Fugitive . Destiny was originally planned as the third of four episodes in Universal's 1943 anthology film Flesh and Fantasy (See Entry), which was directed by Julien Duvivier and produced by Duvivier and actor Charles Boyer. According to HR , this particular episode of the omnibus film was to begin production in late Oct 1942, with stars John Garfield, on loan from Warner Bros., and Teresa Wright. Wright, however, was forced to turn down the role when she was ordered to rest by her physician, while Garfield was suspended by his home studio for refusing the loan-out role. According to HR news items, the filmmakers had intended to shoot the entire episode outdoors in the Malibu Lake area, but a fire destroyed the planned location. In mid-Nov 1942, HR announced that Alan Curtis, a former M-G-M player newly signed to a Universal contract, would replace Garfield, and that musical star Gloria Jean would take Wright's place, appearing in her first drama since her debut in the 1939 Universal film The Underpup (see AFI Catalog of Feature Films, 1931-40 ; F3.4859). HR news items also noted that Bonita Granville had been considered for Jean's role.
       Shooting on the Duvivier-Boyer produced episode ran from early Dec 1942 to early Feb 1943, with Paul Ivano acting as director of photography. Modern sources report that once Universal decided it could not use the episode in Flesh and Fantasy , it paid producers Duvivier and Boyer $25,000 each to relinquish their rights to the deleted segment, then ... More Less

The working title of this film was The Fugitive . Destiny was originally planned as the third of four episodes in Universal's 1943 anthology film Flesh and Fantasy (See Entry), which was directed by Julien Duvivier and produced by Duvivier and actor Charles Boyer. According to HR , this particular episode of the omnibus film was to begin production in late Oct 1942, with stars John Garfield, on loan from Warner Bros., and Teresa Wright. Wright, however, was forced to turn down the role when she was ordered to rest by her physician, while Garfield was suspended by his home studio for refusing the loan-out role. According to HR news items, the filmmakers had intended to shoot the entire episode outdoors in the Malibu Lake area, but a fire destroyed the planned location. In mid-Nov 1942, HR announced that Alan Curtis, a former M-G-M player newly signed to a Universal contract, would replace Garfield, and that musical star Gloria Jean would take Wright's place, appearing in her first drama since her debut in the 1939 Universal film The Underpup (see AFI Catalog of Feature Films, 1931-40 ; F3.4859). HR news items also noted that Bonita Granville had been considered for Jean's role.
       Shooting on the Duvivier-Boyer produced episode ran from early Dec 1942 to early Feb 1943, with Paul Ivano acting as director of photography. Modern sources report that once Universal decided it could not use the episode in Flesh and Fantasy , it paid producers Duvivier and Boyer $25,000 each to relinquish their rights to the deleted segment, then hired writer Roy Chanslor to compose a new screenplay around the shot footage. The revised production did not resume shooting until Aug 1944. According to the Var review, Destiny consists of the original episode from Flesh and Fantasy in its entirety--approximately thirty minutes featuring Curtis and Jean--and a new beginning and ending.
       An Aug 1944 HR news item included Martha O'Driscoll in the cast of Destiny , but she did not appear in the film. HR production charts also include June Vincent and Samuel S. Hinds in the cast, but they did not appear in the released film. Modern sources add the following names to the crew credits: Cam op Fleet Southcott and Walter Strenge; Sd mixer Joe Lapis; and Stunts Carey Loftin, Frosty Royce and Johnny Daheim. Modern sources add to the cast: Dale Van Sickel ( Motorcycle policeman ), Dorothy Vaughan ( Maggie ), Bill O'Brien ( Waiter ), Bob Reeves, Ken Terrell and Bud Wolfe ( Policemen ), Kate MacKenna, Bob Pepper, Lois Schoonver, Reba King, Tom Steele and Helen Thurston. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
9 Oct 1944.
---
Daily Variety
1 Dec 44
p. 3.
Film Daily
21 Dec 44
p. 8.
Hollywood Reporter
13 Oct 42
p. 6.
Hollywood Reporter
22 Oct 42
p. 6
Hollywood Reporter
23 Oct 42
p. 2.
Hollywood Reporter
26 Oct 42
p. 1.
Hollywood Reporter
6 Nov 1942.
---
Hollywood Reporter
7 Nov 42
p. 1.
Hollywood Reporter
19 Nov 42
p. 4.
Hollywood Reporter
23 Nov 42
p. 4.
Hollywood Reporter
25 Nov 42
p. 4.
Hollywood Reporter
8 Jan 43
p. 7.
Hollywood Reporter
11 Jan 43
p. 2.
Hollywood Reporter
27 Jan 43
p. 6.
Hollywood Reporter
3 Feb 43
p. 9.
Hollywood Reporter
18 Aug 44
p. 1.
Hollywood Reporter
1 Sep 44
p. 13.
Hollywood Reporter
1 Dec 44
p. 3.
Motion Picture Herald Product Digest
7 Oct 44
p. 2131.
Motion Picture Herald Product Digest
9 Dec 44
p. 2215.
New York Times
3 Feb 45
p. 16.
Variety
13 Dec 44
p. 8.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Exec prod
Assoc prod
WRITERS
Story idea by
PHOTOGRAPHY
Dir of photog
Dir of photog
2d cam
ART DIRECTORS
Art dir
FILM EDITOR
Film ed
SET DECORATORS
Set dec
COSTUMES
Gowns
SOUND
Dir of sd
[Sd] tech
Re-rec and eff mixer
Mus mixer
VISUAL EFFECTS
Spec eff photog
Spec eff
PRODUCTION MISC
Scr clerk
Scr clerk
SOURCES
SONGS
"I'll See You in My Dreams," music by Gus Kahn, lyrics by Isham Jones
"Only Those Who Listen to a Dream," music and lyrics by Paul Webster.
DETAILS
Alternate Title:
The Fugitive
Release Date:
22 December 1944
Production Date:
early December 1942--early February 1943
late August--mid September 1944
Copyright Claimant:
Universal Pictures Co., inc.
Copyright Date:
28 November 1944
Copyright Number:
LP13114
Physical Properties:
Sound
Western Electric Recording
Black and White
Duration(in mins):
65
Length(in feet):
5,839
Country:
United States
PCA No:
10518
Passed by NBR:
No
SYNOPSIS

After a high-speed police chase, gambler and ex-convict Cliff Banks jumps from a bridge into a river to elude capture. Later that night, he gets a ride from Betty, an unsuspecting librarian, to whom he recounts his problems: When he first arrives in Los Angeles, Cliff meets and falls for Phyllis, a nightclub singer, who introduces him to Sam Baker, a thief. During their first robbery together, Sam shoots and wounds a night watchman. Later, Cliff parlays his share of the robbery money into $10,000. Seeing the injured watchman at the racetrack, however, Cliff asks Phyllis to hold his money in case he is captured, but when he safely returns to the nightclub that night, the singer has disappeared. Cliff is later captured by the police and given a three-year sentence in San Quentin. Learning that there is a $1,000 reward for his capture, Cliff leaves Betty and makes his way to a roadhouse, whose proprietor, Marie, offers him food and shelter. He tells Marie that after his release from prison, he got an honest job, only to meet up with Sam once again: After Cliff agrees to give the thief a ride into town, Sam robs a bank and jumps into Cliff's car, leading to the high-speed chase. Back at the roadhouse, Cliff concludes his story and lies down. Thinking that Cliff has fallen asleep, Marie calls the police, but the fugitive overhears her and escapes. He then makes his way to the country home of Clem Broderick and his blind daughter Jane, who offer him refuge from a lightning storm. The next morning, Cliff steals some money and a necklace ... +


After a high-speed police chase, gambler and ex-convict Cliff Banks jumps from a bridge into a river to elude capture. Later that night, he gets a ride from Betty, an unsuspecting librarian, to whom he recounts his problems: When he first arrives in Los Angeles, Cliff meets and falls for Phyllis, a nightclub singer, who introduces him to Sam Baker, a thief. During their first robbery together, Sam shoots and wounds a night watchman. Later, Cliff parlays his share of the robbery money into $10,000. Seeing the injured watchman at the racetrack, however, Cliff asks Phyllis to hold his money in case he is captured, but when he safely returns to the nightclub that night, the singer has disappeared. Cliff is later captured by the police and given a three-year sentence in San Quentin. Learning that there is a $1,000 reward for his capture, Cliff leaves Betty and makes his way to a roadhouse, whose proprietor, Marie, offers him food and shelter. He tells Marie that after his release from prison, he got an honest job, only to meet up with Sam once again: After Cliff agrees to give the thief a ride into town, Sam robs a bank and jumps into Cliff's car, leading to the high-speed chase. Back at the roadhouse, Cliff concludes his story and lies down. Thinking that Cliff has fallen asleep, Marie calls the police, but the fugitive overhears her and escapes. He then makes his way to the country home of Clem Broderick and his blind daughter Jane, who offer him refuge from a lightning storm. The next morning, Cliff steals some money and a necklace from a dresser drawer, which Jane discovers missing before the fugitive can leave. Cliff, however, becomes fascinated by Jane's spirituality and connection to nature and gives back the money and necklace. Afterward, he is allowed to stay on at the farm. That night, Cliff dreams that he accidentally shoots Clem and tries to force himself on Jane. He awakes the next morning and tells Jane that he is no good and must leave, but the blind girl asks him to stay until her father returns from a bear hunt. Clem then accidentally shoots himself, but Cliff tells Jane that he cannot take her father into town without risking arrest. He changes his mind, though, and once in town, is immediately arrested. Fortunately, Sam has been captured and has confessed to the crime, so Cliff is released. He then returns to the farm with Jane to start a new life. +

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.