By Brian Neve
Drawing on new and formerly ignored assets, this e-book is knowledgeable and well timed reassessment of Elia Kazan’s lifestyles within the cinema. the result's a clean and noteworthy portrait of either the guy and his paintings which highlights the amazing and enduring contribution to American, and global, cinema of this ever interesting, Oscar-winning director. writer Brian Neve examines Kazan’s key creative collaborations--with actors equivalent to Marlon Brando and James Dean and playwrights reminiscent of Tennessee Williams and John Steinbeck--and analyzes his cinematic type, from visible suggestions to recurrent topics in movies reminiscent of A Streetcar Named hope and at the Waterfront. he's taking an in-depth examine the arguable Congressional testimony which Kazan gave to HUAC in 1952, for which he was once ostracized via many, and which frequently overshadowed his cinematic achievements. Neve additionally assesses Kazan and his movies in a much wider political and cultural context, tracing the evolution of the filmmaking approach in the course of the altering function of the studio, the purple Scares of the past due Nineteen Forties, and the censorship debates of the Fifties and Nineteen Sixties.
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Extra resources for Elia Kazan: The Cinema of an American Outsider (Cinema and Society)
Waldron is acquitted and the narration tells us that the murderer was never found. Yet the film has hinted at the real murderer and in a coda a policeman is seen reading a newspaper report that this same man has died, apparently crashing his car after being chased by the police for speeding. 14 In terms of theme, Kazan brought his own sense of the story’s sub-text, a perspective that drew on his own immigrant and political background. He wrote at the time that the town had ‘a huge conventional, business-man-like front’, and that in this kind of society ‘Everybody is desperate’.
In theatrical and social terms, Pinky’s climactic statement had, and has, an impact: she tells her white middle-class boyfriend that ‘I’m a Negro, I can’t forget it, I can’t deny it. 27 In the later forties Kazan was also beginning to work on film projects that promised greater control and involvement. As early as 1944 he had mentioned the figure of the Mexican revolutionary leader Emiliano Zapata to Molly as a theme that suggested films of ‘the calibre of the greatest Russian pictures’. In May 1948 he prompted Zanuck to write to John Steinbeck, and by June the novelist was meeting with the director and making research trips to Mexico, having agreed to write the script.
16 The semi-documentary style has often been seen as politically conservative, especially following its use in the service of anti-Communism, at first in Twentieth Century-Fox’s The Iron Curtain (1948), but the same studio’s Boomerang! and Call Northside 777 (Henry Hathaway, 1948) were well received at the time by the left-wing press. 17 The film also shares some of the doubts about the applicability of democratic values to small town America exhibited in Frank Capra’s last great (and then unappreciated) work, It’s a Wonderful Life (1946).