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facing oppression. It was a tactic for which Stanley Kramer opt-
ed during this time as well, resulting in pictures like The Defiant
Ones (1958), which had been a successful showcase for Sidney
Poitier and Tony Curtis. One of the challenges All The Young
Men faced in preproduction was the reluctance of the distribu-
tion company, Columbia Pictures, to back the film with Poitier
as the sole star. Alan Ladd was willing to co-star, using his own
recently formed production company to co-finance the film.
There were two different advertising campaigns made for the
picture, one for release in segregated states and one for else-
where; unsurprisingly, the former downplayed Sgt. Towler's
leadership role as much as possible, while the latter empha-
sized it, including with lines of dialogue not in the finished film.
Production could only begin when Poitier was able to take
a break from the Broadway run of A Raisin in the Sun (the ex-
cellent film version of which would be released the following
year). The crew arrived at St. Mary's, Montana, one of the East-
COLUMBIA
PICTURES
(4)
