code catchers
by Douglas Messerli
Rod
Serling (screenplay, based on a novel by Fletcher Knebel and Charles W. Bailey
II), John Frankenheimer (director) Seven
Days in May 1964
While watching John Frankenheimer’s likeable
entertainment Seven Days in May again
yesterday, I was struck with just how old-fashioned were its narrative
structures. Part of the problem, is the result, obviously, of the pop-fiction
work on which it was based, Fletcher Knebel’s and Charles W. Bailey’s novel of
the same name; and no one has ever suggested that the film’s screenwriter, Rod
Serling, was more than a kind of hack whose dramas are primarily dependent upon
ironical shifts of reality. But, unlike the far more witty and complex story of
Frankenheimer’s earlier work, The
Manchurian Candidate, this tale is told with an almost plodding commitment
to a horizontal storyline. In fact, the director reminds us of its simple
calendar-based structure again and again, counting down the days of crisis as
if the film were akin to some kind of 1940s romance in which the pages of life
flip, one by one, forward, the words “Time Passes” flashing across the screen.
From the very beginning, the director
sets out his major opponents, President Jordan Lyman—a slightly paunchy and
gruff liberal, Fredric March—and the dashing and passionately conservative
General James Mattoon Scott (Burt Lancaster). In between them stands the
intelligent assistant to Scott, Colonel Jiggs Casey, played with fierce determination
by Kirk Douglas, whose cleft chin has never been more on display.
Casey believes in the constitution,
while the arch-conservative Scott apparently is ready to stage a coup,
information about which piles up in the first few scenes as if the film’s
creators were attempting to bombard their audience not through weapons but with
word-bound clues. All but one of the country’s major generals has agreed to
bet, apparently through Scott, on the Preakness horse race. An unknown desert
base, ECOMCON, is suddenly mentioned in small talk. A right wing Senator pays a
late night visit to General Scott. All of this occurs at a time when the
President is about to sign an anti-nuclear treaty with the Soviet Union, and
just a few days before military maneuvers at Mount Thunder, where Lyman will be
watching, out of sight of any of his staff or news reporters.
When Casey brings up these coincidences
to the President himself, both Lyman and his aides laugh it off. The fools! Don’t
they know this is the way every coup begins?
In short, Frankenheimer creates little
tension, pouring out the story as if it were something he needed to quickly get
off his chest, before settling down to the complications of Casey, Girard, the
President’s aide (Martin Balsam), and Lyman’s political friend, the alcoholic Senator
Ray Clark (Edmond O’Brien), are sent off in search of evidence. And even here
everything goes pretty much by the book. Clark finds that there is, in fact, an unknown desert camp (and
is held captive within); aide Girard tracks down the one commander who has
refused to bet on the Preakness—code for going along with coup—and gets a
signed confession (he dies in a sudden plane crash); Casey takes up Eleanor
Holbrook’s (Ava Gardner) invitation for dinner since she has been Scott’s
former lover. Holbrook refuses his offer of sex, but predictably provides him
with what he seeks through a series of love letters Scott has sent. We never
discover what are in those letters, but we know, vaguely, that they contain incriminating evidence.
Understandably,
the President suddenly declines to attend the war exercises, and, soon after—as
if Frankenheimer is in a hurry to wrap his film—calls in the offender, laying
his cards on the table and demanding the General’s resignation. Scott refuses,
realizing that the President has little evidence (he actually has only the
mysterious letters, which he, just as mysteriously, refuses to use). The
General even attempts to convince the President that Lyman himself had long ago
given his approval of ECOMCON! For a few precious minutes it appears that Seven Days in May might even have a plot
complication. But no luck! With deus ex machina
precision, Senator Clark is released, reporting back to the President, and the
signed confession is discovered among the plane’s wreckage, hidden in Girard’s
cigarette case.

Scott and his cronies have no choice but
to resign. The President goes on television to assure the nation that all is
well, the director thus ending this slightly paranoiac film with a homily
instead, as he had in The Manchurian
Candidate, with a profanity.
If at times it almost seems that this
movie might take us into a secret world of unpredictable occurrences, writer
and director seem to have determined to take the straight path to the
conventional. Unlike the novel, General Scott doesn’t even have to die in a car
crash, but presumably lives out his life in comfy obscuration. I should have
mentioned, however, the opening credits are great!
Los Angeles,
December 30, 2012
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