The 1952 anthology film that famously lost a segment before its New York premiere

The 1952 anthology film that famously lost a segment before its New York premiere
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In short: O. Henry's Full House brought five classic tales to the screen, but the production faced a rocky start. After a poor reception in Los Angeles, one segment was cut entirely, forcing critics to rename the project. It eventually returned to the lineup, but the behind-the-scenes drama remains a fascinating footnote.

Released in 1952 by 20th Century Fox, O. Henry's Full House was an ambitious anthology featuring five distinct stories by the celebrated author. The film was notable for its unique framing device: John Steinbeck served as the narrator, marking his sole appearance on camera to introduce each segment. The production utilized five different directors and various screenwriters, with a musical score composed by Alfred Newman.

The film's journey to theaters was complicated. When it premiered in Los Angeles in September 1952, it included Howard Hawks' adaptation of The Ransom of Red Chief. However, the segment was so poorly received that the studio pulled it before the New York opening in October, leading some to refer to the truncated version as O'Henry's Four of a Kind. The missing segment was later restored for home media releases. The production also saw internal friction; Nunnally Johnson, who wrote the original screenplay for the Hawks segment, requested his name be removed after Ben Hecht and Charles Lederer were brought in to rewrite the script for stars Fred Allen and Oscar Levant.

The remaining segments showcased a range of talent and cultural influence. Henry Hathaway's The Clarion Call featured Richard Widmark reprising his role as Johnny Kernan, a character inspired by the Joker from Batman comics. This performance reportedly influenced Frank Gorshin's later portrayal of the Riddler. Other segments included the poignant The Last Leaf, directed by Jean Negulescu, and the classic holiday tale The Gift of the Magi, directed by Henry King. The film remains a complex example of mid-century studio collaboration, marked by both creative ambition and significant editorial intervention.

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