The Centennial of Elia Kazan

Today marks the centennial of director Elia Kazan’s birth, and doubtless Hollywood will soon be giving us souped-up special editions of his finest film work, if they haven’t already. Though DVD extras can be uneven, this is still an exciting prospect.  Kazan’s best work truly deserves re-discovery, since for the most part it defies dated-ness. His then groundbreaking use of “the Method”, adapted from famed Russian dramatist Constantin Stanislavski, had much to do with his movies packing an unusually powerful punch.

 Co-founder of the Actor’s Studio, Kazan was perhaps the foremost “Method” disciple, who almost mystically encountered its most powerful purveyor in an actor he discovered and shot to fame: Marlon Brando.

 This diminutive Greek-American was nothing if not prolific in show business, and in the 40’s and 50's, most everything he did was good, and quite often great.

 He started out acting in the thirties under his nickname Elia “Gadget” Kazan (friends called him “Gadge”), then switched to directing both plays and films. He helmed some of Tennessee Williams’s most recognized titles on Broadway, including Cat On A Hot Tin Roof and A Streetcar Named Desire, the vehicle that gave us Marlon.

 His very first feature as a director, A Tree Grows In Brooklyn (1945), based on the book by Betty Smith about a struggling Irish-American family in Brooklyn, remains a beautiful, heartrending film, annoyingly not available on DVD. (I recommend you grab it when and if it does appear.) Two other films from later in his career also elude my official seal of approval, but again not for reasons of quality: Viva Zapata! (1952), an offbeat but fascinating Western with Brando, can only be found on a sub-standard quality DVD, while America, America (1963), arguably the director’s last great work about the American immigrant experience, is only available on VHS.

 After Tree, Kazan’s 40's work endures as solid material -- two then-groundbreaking features come to mind: 1947’s Gentleman’s Agreement (which tackled the then-taboo theme of anti-semitism, and 1949’s Pinky (which dealt with racism). Still, both these films don’t quite hold up to the best of Kazan’s output from then on.

 Without a doubt his first two pictures with Brando (and the late, great Karl Malden)- A Streetcar Named Desire (1951) and On The Waterfront (1954) -- remain his most famous and enduring films. Yet there are five other, less celebrated Kazan movies on DVD that also deserve your undivided attention.

Panic In The Streets -- This stunning suspenser centers around an increasingly desperate search for two criminals on the lam in New Orleans (played by Jack Palance and Zero Mostel), who, unbeknownst to them, have been infested with Bubonic plague. If health inspector Dr. Clint Reed (Richard Widmark) and police captain Tom Warren (Paul Douglas) don't nab their quarry fast, this killer plague will spread and put the whole country at risk. A breathlessly exciting film, Panic stands as one of the best manhunt pictures ever made, with the plague twist adding an extra jolt of tension. Kazan's peerless on-location shooting never obscures the terrific acting from the four central characters, comprising both hunters and hunted. Palance is positively magnetic. Look fast for the director himself in a walk-on as a morgue assistant. (1950)

East of Eden (1955) -- Eden is the age-old, redemptive story of Cain and Abel, updated to 1917 Monterrey, originating via the pen of writer John Steinbeck (best-known for The Grapes Of Wrath). In his first starring film role, the iconic James Dean plays "bad" son Cal, who aches for the love and approval of his upright, uptight father, Adam Trask (Raymond Massey). Julie Harris plays Abra, the love interest of "favored" brother, Aron (Richard Davalos). Ultimately, she becomes romantically torn between the two brothers. Another 50's Kazan landmark, Eden boasts vibrant color and atmosphere, top-flight performances and a dazzling screenplay adapted from the Steinbeck novel by Paul Osborn. Oscar-nominated Dean, Harris, Burl Ives and Oscar-winner Jo Van Fleet (as Cal's reclusive, disreputable mother) stand out in stellar ensemble. Don’t pass this one by.

Baby Doll (1956) -- In the Deep South, glum-faced cotton-gin proprietor Archie (Karl Malden) is married to coy, dim-witted teenage nymph Baby Doll (Carroll Baker), who sleeps in a crib, sucks her thumb, and refuses to yield her virginity to her husband until her 20th birthday. When wily Sicilian rival Silva Vaccaro (Eli Wallach, a Broadway veteran in his film debut)) arrives with plans to take over Archie's business -- and his lovely young wife -- Archie's insecurities turn quickly into raging, desperate acts of jealousy. Notorious in its time as the filthiest picture ever made, this steamy, depraved black comedy from the poison pen of Tennessee Williams is expertly handled by Kazan, who had the picture shot in crisp, stark black-and-white. Malden's disturbing portrayal of cuckold-to-be Archie is a far cry from his later TV stint on Streets of San Francisco, believe me. But also see it for a wonderfully sleazy Wallach, and the Oscar-nominated Baker, who scores as manipulative coquette Baby Doll, especially in a porch-swing scene with the lusty Silva. One of Kazan's trashiest efforts -- in the best sense.

A Face In The Crowd (1957) -- Local radio interviewer Marcia Jeffries (Patricia Neal) decides to interview transients at the local jail for a human interest story. There, she spots a drunken Arkansas hayseed named Larry “Lonesome” Rhodes (Andy Griffith), who she discovers has rare gift for gab and song. Before long, due to Marcia’s initial boosting, “Lonesome” becomes a wildly popular network TV star. Little does she know she's creating a monster.  This engrossing and sobering tale about the precarious and poisonous nature of fame in our mass-media age seems even more timely today. Budd Schulberg's script (who also wrote On The Waterfront) literally sizzles, and Neal is superb. As to Andy, this role made him, but he sure is a long way from Mayberry! An impossibly cute, young Lee Remick (as Betty Lou, Lonesome’s baton twirling, clueless child bride, and Tony Franciosa as a slimeball talent agent do fine work;  the legendary Walter Matthau is also on hand in a subtle, sad-sack turn as a wise but weary network executive. This is one ;&ldquoFace” you’ll never forget.

Splendor In The Grass (1961) -- Rich kid Bud Stamper (Warren Beatty) and high-school beauty Deanie Loomis (Natalie Wood) are going steady in 1920s Kansas, but though the torch of love burns hot and bright, Deanie resists giving up her virginity to Bud, whose sexual frustration drives him into the arms of other, “looser” girls. The fragile Deanie, meanwhile, is driven over the edge by her shrewish mother (Audrey Christie) and her own raging hormones. Handsome and emitting the masculine musk that would soon turn him into a rakish sex symbol, Beatty makes an assured screen debut in Kazan’s Grass, starring opposite an exquisitely lovely and tortured Wood, playing one of Hollywood’s most memorable sexual hysterics. (Reportedly, the two young stars had some sexual hysterics off the sound-stage as well.) Think Douglas Sirk or Tennessee Williams and you have some idea where Kazan’s wonderfully executed tale of young love, scripted by William Inge, eventually tumbles. Keep an eye out too for Phyllis Diller and a young Sandy Dennis, also making her big-screen debut.

 Kazan’s fate was not to make any more truly great pictures after America, America two years later. More painful and controversial was his decision in 1952 to testify before the infamous House Committee on Un-American Activities (HUAC). By naming names, the director helped demolish careers while saving his own. Though he never apologized and said he truly feared Communist infiltration at the time, his decision created an enormous outcry from within his own profession, and must have haunted him, especially when a number of his colleagues sat on their hands when he was finally awarded an Honorary Oscar in 1999. He died four years later, at 94.

 Judge the man as you see fit, but Kazan’s prodigious body of work speaks for itself.

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Comments

[3fingerbrown]

I recommend Richard Schickel's biography of Kazan for its general good writing and thoroughness, but in particular for the author's revisionist take on Kazan's infamous testimony before the committee. If it doesn't convince you to see Kazan in a different light, you'll at least read the best currently available defense of the great director's actions. If after reading it you still think Kazan was some kind of arch fiend, you'll at least do so after hearing his side of the story fully articulated.

The presentation of the honorary Oscar is on YouTube. I was disappointed to see that Kazan in his speech forgot to recognize a real stand-up guy, Karl Malden, who for years twisted arms within the Academy to have his old friend honored.

[John Farr - Huffpost Blogger]

I'll look for the schickel book.
thanks.

[RepugsOut08]

I'm glad you mentioned "A Face In The Crowd," John.
As Glenn Beck warns people to keep their children home from school on the day President Obama talks to them about personal responsibility, this film seems completely contemporary.
Ironic as well, because of Kazan's testimony before the same kind of persons he portrayed in this film.
I understand the anger directed at Kazan for his part in the blacklisting, but if every American was forced to watch this film, maybe the Limbaughs and Becks of the world could be seen for what they are. Perhaps some atonement in this film.
No matter how angry a person might be at Kazan for his testimony, they'd be foolish to avoid his films. Some of the best ever put on celluloid.

[John Farr - Huffpost Blogger]

you are right, and the parallels in "face" definitely show through.

[Jelperman]

So Kazan helped make this Method Acting nonsense (whereby actors are encouraged to be pretentious OCD nutcases) popular? If you combine that with the man being a ratfink for HUAC, he deserved to be booed off the stage!

[MollyMoviestar]

Good new for movie fans! Viva Zapata! will be available from Fox on DVD in a month or so.

[John Farr - Huffpost Blogger]

finally!

[tkondaks]

Farr writes above that there was a"roar of protest on being awarded an Honorary Oscar in 1999".

But that's incorrect. There were a few notables -- such as Nick Nolte and Ed Harris (and his wife) -- who did not applause but many, many more who did and stood, such as Warren Beatty, Kurt Russell, Karl Malden, Kathy Bates, Meryl Streep, Helen Hunt...

And don't take MY word for it; there is a youtube documenting it and you can see how many stood and applauded (most) and who didn't (not too many):

http://www.youtube.com/watch?v=3YziNNCZeNs



.

[John Farr - Huffpost Blogger]

I've revised the wording in my article- however, the camera showed the people sitting and not clapping, and his past was definitely hanging over him that night.

[Holypat777]

Hi, John

I remember watching that night. I didn't know anything about at that time but after reading up a bit I got the whole story.

You'd expect people to let go or even realize that he may have "named names" under pressure. Sad, but at least his work still stands up. I only saw "Splendor In the Grass." Pretty good.

That was a very dark time for the film world.

[tkondaks]

Your revision is curious. Your correction reads: "...especially when a number of his colleagues sat on their hands...",

Well, in the video, there is no one sitting on their hands. Some have their hands in their laps and some have their arms folded. So perhaps your choice of words is meant in a figurative sense.

If so, you've chosen words used by Richard Dreyfuss in a piece he wrote for the Los Angeles Times on March 17, 1999 entitled "Sitting on my hands on this one." See:

http://articles.latimes.com/1999/mar/17/local/me-18260



.

[williamwilliam]

He made some great movies.

Its too bad we'll never know what great movies
The Hollywood Ten may have made.

[tkondaks]

Very few of the Hollywood Ten were prevented from making any sort of movies they wanted to as they had "fronts".

[williamwilliam]

Not to sound too cynical, but that's exactly the counterargument I expected.

Its morally hollow and dead in the eyes.

[JGatsby]

Having a "front" was nothing like being free to make any sort of movie you want. I would think that's obvious but I guess not. To begin with not everyone would be willing to deal with a "front" (the fronts didn't really fool most people it was just to give them plausible deniability if they were called in by HUAC). Also, a screen writer gets the best jobs due to his/her track record which is kind of hard to highlight if you are going through a front. And finally, plenty of directors and actors (e.g. Zero Mostel) were black listed as well. You can't front for a director or actor. The blacklist was a pathetic time in our history. HUAC is about as un-American as you can get in terms of what this country is supposed to stand for, freedom of expression and speech. I think its important to remember those who went along and let it happen. BTW, besides his amazing prose one of the reasons I so admire Dashell Hammett is that even though he was an old man at the time he told the HUAC guys in no uncertain terms where to stick it and ended up going to jail for it. He was a real american.

[John Farr - Huffpost Blogger]

agree!

[devadasi]

I was thrilledl to see your piece on Kazan.....I adore this genius of a complex man.....I read his autobiography a while back and keep going back to it for some of Kazan's pearls of wisdom; he understood artists and there was something Zorba like about him. His life was so rich, his relationships with women terribly interesting. I highly recommend his autobiogra­phy......h­e holds nothing back. I have the video of 'A Tree Grows in Brookly' and 'America, America'. All of his movies are classics. The only one I haven't seen is 'Baby Doll'.......I need to find out where I can rent the DVD. I wish I had had the privilege of meeting him. He was truly one of the most talented Greek Americans to come to our shores......how very fortunate for all of us.

[sexyrexy]

you will enjoy Baby Doll. Eli Wallach was so sinister & years ahead of LOLITA..
yes,agreed, I loved his autobiography but geez! he did go on about about his sexploits.. lol..

I loved most of all his insight of Brando & James Dean.. interesting.

[tkondaks]

I, too, read his autobiography and concur with devadasi.

I would also add that anyone that wants to condemn Kazan regarding "naming names" should first read the book and his reasons for what he did.

[John Farr - Huffpost Blogger]

agree- I'm sure baby doll is available on netflix.

[sexyrexy]

I believe BABY DOLL was showing on Turner Classics not too long ago--same with VIVA ZAPATA.

[coolsilverfoxx]

Thanks, John, for helping us remember a giant of a directorial artist.

In the end, I think his friends Marty & Bob were right to champion him for the Lifetime Achievement Oscar, despite his "naming names" before HUAC. We only have a right to judge these artists on their work, for their work. And we all would be losers in the name of "no-forgiveness".

[John Farr - Huffpost Blogger]

I could not agree with you more.

[JGatsby]

I respectfully disagree with both of you. To me "lifetime achievement" is about more than just your art. It also should be about being a mentor to people, showing principals in your art, etc. No one who was a rat for HUAC could satisfy that.

[stagebandman]

I am an avid Oscar watcher, and had read that there would be much booing and protesting when Kazan received his honor in '99. When the event occurred, however, there was very little diversity presented, and he was given a lengthy standing o. The Hollywood community is nothing if not forgiving, and I think that was the case here. It was a heartfelt greeting, and, as an artist, well deserved.

His "exile" after the HUAC incident was no doubt deserved, but one cannot deny his body of work. Just another example of how politics can force a wedge in the artistic world.

[John Farr - Huffpost Blogger]

It's good to hear you remember it that way...kazan certainly merited the honor on the basis of his work.

[tkondaks]

Nobody has to "remember" it that way, John, because there is a youtube of the moment and you'll see that most did stand and applause and few sat and even fewer did not applause:

http://www.youtube.com/watch?v=3YziNNCZeNs



.

[Steamboater]

Forgiving Kazan would have been right if Kazan had apologized to the very community he worked in, in fact, to the america he admittedly loved but he never did. Even Jane Fonda apologized for her comments while in North Vietnam and continues to do so, and although her stance on the Vietnam War deserved bravos, she knew what she had done while on enemy gound was reprehensible. That said, Fonda at least never helped to destroy careers and lives as Kazan did. He was a fine director though but you can't seperate the man from the artist. It's the man who makes the artist and Kazan should be taken as a whole and not awarded any kudos for slices of his life.

[tkondaks]

Have you read Kazan's autobiography? Please do so before making such comments.

It was Kazan's career that was jeopardized due to the lying, conniving, dishonest, and vile Communist Party of America. Yet despite what they did to him, he prevailed in his career in theatre and cinema.

When it came time to "naming names", he did so very reluctantly but decided to do so because he felt that anyone associated with this vile, lying group -- the Communist Party -- should have the decency and honesty to say they were part of it and not hide behind some misplaced "right" that they didn't have to (and, of course, this was confirmed by the Supreme Court which upheld the contempt of Congress convictions of the Hollywood Ten).

And, of course, of the people Kazan named: two gave him permission to do so, several were already known by the committee, and some were dead.

[Steamboater]

I wonder how much pressure was put on those who did applaud Kazan at the Oscars by studios and the Academy Award higher-ups etc.

Some of those who testified never recovered from doing so. Actor Larry Parks ("The Al Jolson Story" and "Jolson SIngs Again") testified and his career was ruined. He did some work abroad after that and then with his wife, who's career was severely damaged just by association with a 'communist', never recovered until she was featured in TV's "All In The Family". Both of them though did do well on Broadway in "Bells Are Ringing" but Parks lost at both ends; he testifed and was still assumed to be a communist and although he did some very mediocre films after he testtified, for all intents and purposes his' regning film career was over.

[John Farr - Huffpost Blogger]

I'm not sure how far he would have gone anyhow, honestly- a pretty bland performer...

[LMPE]

Elia Kazan was born Elias Kazanjoglou in Greece (then part of the Ottoman Empire). His family immigrated to the United States when Elia was four.

When Kazan won the lifetime achievement award, Abraham Polonsky wished that he won get shot on stage. While EK made some truly fine films ("On the Waterfront", "Baby Doll", "A Face in the Crowd"), he did a really vile thing to get famous. He was the personification of Faust.

One of his later, widely scorned movies was 1969's "The Arrangement", starring Kirk Douglas as a man going through a midlife crisis and Faye Dunaway as his mistress. I actually didn't find it a terrible movie.

[John Farr - Huffpost Blogger]

it would be interesting to watch this, but I doubt it's up there with his work from the fifties.

[Steamboater]

"The Arrangement" was a an awful book and was worse as a movie. As to Kazan doing something vile to get famous, no; Kazan did something vile and became infamous.

[devadasi]

Steamboater....I think we get your drift already...I liked the movie "The Arrangement'...it was quirky and bohemian.