Elia Kazan: A Biography - Hardcover

Schickel, Richard

Hardcover

ISBN 10: 0060195797 ISBN 13: 9780060195793

Publisher: HarperCollins, 2005

Synopsis

Few figures in film and theater history tower like Elia Kazan. Born in 1909 to Greek parents in Istanbul, Turkey, he arrived in America with incomparable vision and drive, and by the 1950s he was the most important and influential director in the nation, simultaneously dominating both theater and film. His productions of A Streetcar Named Desire and Death of a Salesman reshaped the values of the stage. His films -- most notably On the Waterfront -- brought a new realism and a new intensity of performance to the movies. Kazan's career spanned times of enormous change in his adopted country, and his work affiliated him with many of America's great artistic moments and figures, from New York City's Group Theatre of the 1930s to the rebellious forefront of 1950s Hollywood; from Katharine Hepburn and Spencer Tracy to Marlon Brando and James Dean.

Ebullient and secretive, bold and self-doubting, beloved yet reviled for "naming names" before the House Un-American Activities Committee, Kazan was an individual as complex and fascinating as any he directed. He has long deserved a biography as shrewd and sympathetic as this one.

In the electrifying Elia Kazan, noted film historian and critic Richard Schickel illuminates much more than a single astonishing life and life's work: He pays discerning tribute to the power of theater and film, and casts a new light on six crucial decades of American history.

About this title

About the Author

Richard Schickel has written many books about film, including The Disney Version, Brando: A Life in Our Times, and Clint Eastwood: A Biography. He is a film critic for Time magazine and the producer-writer-director of more than thirty documentary films about figures such as Charlie Chaplin, Woody Allen, Martin Scorsese, and Elia Kazan.

From the Back Cover

Few figures in film and theater history tower like Elia Kazan. Born in 1909 to Greek parents in Istanbul, Turkey, he arrived in America with incomparable vision and drive, and by the 1950s he was the most important and influential director in the nation, simultaneously dominating both theater and film. His productions of A Streetcar Named Desire and Death of a Salesman reshaped the values of the stage. His films -- most notably On the Waterfront -- brought a new realism and a new intensity of performance to the movies. Kazan's career spanned times of enormous change in his adopted country, and his work affiliated him with many of America's great artistic moments and figures, from New York City's Group Theatre of the 1930s to the rebellious forefront of 1950s Hollywood; from Katharine Hepburn and Spencer Tracy to Marlon Brando and James Dean.

Ebullient and secretive, bold and self-doubting, beloved yet reviled for "naming names" before the House Un-American Activities Committee, Kazan was an individual as complex and fascinating as any he directed. He has long deserved a biography as shrewd and sympathetic as this one.

In the electrifying Elia Kazan, noted film historian and critic Richard Schickel illuminates much more than a single astonishing life and life's work: He pays discerning tribute to the power of theater and film, and casts a new light on six crucial decades of American history.

Reviews

When the Academy of Motion Picture Arts and Sciences decided to give Kazan (1909–2003) an honorary Oscar in 1999, it rekindled the lingering resentment over his testimony before the House Un-American Activities Committee nearly 50 years earlier. Schickel, who produced a short film for the Academy's presentation and covered the controversy in his role as Time's movie critic, has virtually no sympathy for Kazan's detractors, arguing that HUAC was "a harsh and permanent fact of American life" in the early Cold War era and, more importantly, that Kazan was testifying against Stalinists, not innocent liberals. He also observes that Kazan's early efforts at self-defense may ironically have worked against him, sealing his image in the public eye. The biography's main goal, however, is to restore Kazan's artistic achievements to their rightful prominence in his life story. Working with the director's extensive production notes, Schickel traces Kazan's rise from a fledgling actor in the Method-touting ensemble the Group Theatre to his creative pinnacle presenting Tennessee Williams on Broadway while making films like 1954's On the Waterfront. Despite Schickel's friendship with his subject, this analysis is unsparingly thorough, to the point where Schickel's forceful, personalized criticism becomes as attention grabbing as Kazan's body of work. Photos.
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*Starred Review* Both effusive and enigmatic, brazen and insecure, legendary director Elia Kazan is best known for bringing the emotional realism of mid-twentieth-century New York theater to the silver screen. But, in 1999, the accomplishments of the Greek immigrant and founding member of the Actors Studio were overshadowed by the controversy surrounding his Honorary Academy Award. (In 1952, some 15 years after abandoning the Communist Party, Kazan "named names" before the House Committee on Un-American Activities.) In this sympathetic, scrupulously researched biography, film scholar and Time critic Schickel examines the career of the directorial tour de force whose dossier includes Tony Award winner Death of a Salesman, On the Waterfront (for which he earned the Best Director Oscar), and stage and screen versions of A Streetcar Named Desire. Kazan's purpose, said playwright and best friend Arthur Miller, was always "to hit the audience in the belly because he knows all people are alike in the belly, no matter what their social position or education." Though Schickel's book focuses on the professional opus of Kazan (who died in 2003), the author also vividly conveys the director's potent personality: his exuberance, relentless work ethic, and frank assessments of the fleeting nature of fame. Allison Block
Copyright © American Library Association. All rights reserved

Excerpt. © Reprinted by permission. All rights reserved.

Elia Kazan

A BiographyBy Richard Schickel

HarperCollins Publishers, Inc.

Copyright ©2005 Richard Schickel
All right reserved.
ISBN: 0060195797

Chapter One

The Anatolian Smile

He wanted to be something -- somebody -- long before he knew what, exactly, he wanted to be. In that sense, Elia Kazan's story is a typical immigrant's story. There is something fierce and needy about this young man that chimes with the tales of thousands upon thousands of American newcomers in the first decades of the twentieth century. For these young strangers, living, often precariously, in families where English was forever the second language, the simple desire to make something of themselves -- they didn't much care what, as long as it entailed rising out of a class treated contemptuously by America's ruling WASPs -- was their ruling passion.

But making something of yourself implies a remaking of that self -- either by aping the manner, dress, speech, attitudes of the elite or by becoming a determined rebel, if not a full-scale revolutionary. The annals of the radical left (and, more recently, the radical right) are rich in figures from bourgeois families (as Kazan's briefly was) who became cultural and political subversives (as Kazan did, in his early years).

He could not, however, long maintain the dedicated political or cultural radical's vow of poverty. The pull of his family's values and ambitions was too strong. They had come to America for the simplest reasons -- to escape tyranny in their native land (they were Anatolian Greeks, ruled for centuries by Turks) -- and to make good, which they defined simply as making as much money as possible as quickly as possible. Kazan might insist that he remained a lifelong "man of the left." But he also remained his father's son and his uncle's nephew, inheriting their Depression-dashed dreams of riches.

So there was always in Elia Kazan a conflict between his ideals and his ambitions. It was a conflict he tried to ameliorate -- though he never succeeded in fully settling it -- by burying a profound anger under an air of eager accommodation, of ostensible good nature. It was a conflict that shaped the potent realism of his plays and movies, imparting to them a passion, a psychological intensity; particularly in the performances of his actors, that was largely without precedent in the theatrical arts, and hugely influential on their later history.

Kazan's autobiography, A Life, published in 1988, when he was seventy-nine years old, begins with a reflection on his seemingly perpetual outrage, and his lifelong need to cover it with his " Anatolian smile," an expression, much remarked upon by Greeks of his and previous generations, betokening a sort of noncommittal agreeability; at once distant and obliging -- but masking one's deepest feelings. Looking back Kazan wrote simply, "I used to spend most of my time straining to be a nice guy so people would like me."

The Anatolian smile may be a sort of racial tic, but after his arrival in the United States (at age four), it became a major tool of survival. His father, George -- full name Kazanjioglou -- was an old-world paterfamilias, demanding absolute obedience to his will in matters both great and small. One of George's brothers, whose story his nephew would eventually tell with candor, sympathy and irony in America, America, as well as in two novels, had preceded them and set up a carpet business, in which George joined him. By the l9zos, that business was prospering -- though "Uncle Joe" had left it -- and George and his family had moved to a fine suburban house. His father expected Elia and his brother to join him in the business-no questions asked or, for that matter, permitted.

But Kazan's mother, Athena, strong-minded and stubborn, had other ideas for him. She entered into a "conspiracy" (Kazan's word) with one of his high school teachers in New Rochelle to see if her bright lad could gain admission to a good college. They settled on Williams College, for no other reason, so far as Kazan could remember, except that its WASPy name appealed to them. He enthusiastically joined the conspiracy, working after school and on summer vacation to earn money for his tuition. When his father was informed of Elia's college acceptance, he struck his wife so hard that she was knocked to the floor. Shortly thereafter, they began sleeping in separate bedrooms.

The old man was -- and remained -- a frightening figure to Kazan. Many years later, Kazan's son Nicholas would recall that the only man he had ever seen his father fear was George Kazan, which Kazan himself admitted in his book. By the time Nick could observe the two men together his grandfather was a shrunken, silent figure, but still capable of making his famous son tremble.

It is worth observing that such characters, confident and bullying (until, generally, they got their comeuppance), became staples in all Kazan's work. They are, symbolically, fascist tyrants ruling the little nations -- fractious, rebellious, struggling for democratic emergence-that is the family in so many of his dramas.

That someday he would make such use of his own family's drama had not entered Kazan's mind when his parents deposited him, wearing a boxy, itchy blue serge suit, on the idyllic Williams campus in the fall of 1926. It did not occur to him at any time in the four subsequent years, which were anything but idyllic to Kazan. He was obliged to supplement his savings by waiting tables at fraternity houses where, amid the well-born and well-favored, he was patronized when he was noticed at all. He yearned for the frat boys' dates, the lithe, blond girls he served meals, but he was only comfortable with small, dark, intense young women. He also wanted to be smooth and articulate like their handsome swains.

But often he would go days without speaking -- a swarthy, runty, big-nosed outsider, nursing a new set of resentments. "It . . . made me rebellious. It also made me join the Communist Party at a certain time because I got resentful of being excluded. I was an outsider . . . but I also was sympathetic with people that were struggling to get up, because I struggled to get up."

Continues...

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Edition details

• Publisher: HarperCollins
• Publication date: 2005
• Language: English
• ISBN 10: 0060195797
• ISBN 13: 9780060195793
• Binding: Hardcover
• Edition number: 1
• Number of pages: 544