By Peter Ackroyd
A short but definitive new biography of 1 of film's maximum legends: excellent for readers who need to know extra concerning the iconic megastar yet who don't are looking to decide to a long work.
He was once the first actual icon of the silver monitor and is likely one of the such a lot recognizable of Hollywood faces, even 100 years after his first movie. yet what of the guy in the back of the moustache? Peter Ackroyd's new biography turns the highlight on Chaplin's existence in addition to his paintings, from his humble theatrical beginnings in song halls to profitable an honorary Academy Award. every thing is the following, from the glamor of his golden age to the murky scandals of the Nineteen Forties and eventual exile to Switzerland. There are captivating anecdotes alongside the best way: taking part in the violin in a brand new York inn room to masks the sound of Stan Laurel frying beef chops and lengthy Hollywood lunches with Mary Pickford and Douglas Fairbanks Jr. This masterful short biography deals clean revelations approximately essentially the most well-known faces of the final century and brings the Little Tramp vividly to lifestyles.
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The text is what the writer gives him, but, as he says, the subtext is what the director directs, and the more the text can be conveyed by subtext, the happier Kazan seems to be. With that attitude, it’s easy to assume that writers had a tough time with Kazan. Budd Schulberg’s script for On the Waterfront, for example, first published in 1980, twenty-six years after the film appeared, often bears little resemblance to what appears on the screen. Is this competitive? Is it Schulberg getting his own back?
In The Dramatic Event (New York: Atheneum, 1968), 110. 36 jon ath a n rosenbau m leo br audy “The Director, That Miserable Son of a Bitch” Kazan, Viva Zapata! and the Problem of Authority My advice and warning to people starting out in this field is not to surrender authority to anyone. eli a k a z a n A strong man makes a weak people. v i va z a pata! W henever the discussion turns to a particular film director, the whole question of the auteur theory reemerges, with its assumptions—or at least its conjectures—about personal style, aesthetic control, and, most basic of all, the equivalence between authority and value: What makes a Kazan film and what makes it good?
Confronted with an extremely varied and uneven body of work, one is irresistibly drawn to the solace of formulas. In his conscientious, thoughtful study of Kazan (born 1909) in the Seghers series Roger Tailleur proposes a gradual movement from “third” to “second” to “first” person—a plausible enough theory, particularly when one comes to the later films, although Kazan seems to contradict it in an interview when he asserts that The Arrangement (1969) is “about Judith Crist’s neighbor or Vincent Canby’s cousin .