Arthur Penn from Wikipedia, the Free Encyclopedia for Other People Named Arthur Penn, See Arthur Penn (Disambiguation)

Home , Arthur Hiller, Arthur Penn, Dead of Winter, Mickey One, The Left Handed Gun, The Missouri Breaks

Arthur Penn From Wikipedia, the free encyclopedia For other people named Arthur Penn, see Arthur Penn (disambiguation).

This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (February 2014) This article needs additional citations for verification. Please help improve this article byadding citations to reliable sources. Unsourced material may be challenged and removed.(September 2010)

Arthur Penn

Born Arthur Hiller Penn September 27, 1922 Philadelphia, Pennsylvania, United States

Died September 28, 2010 (aged 88) New York City, United States

Occupation Film director, producer

Spouse(s) Peggy Maurer (1955–2010; his death) Children Matthew Penn, Molly Penn

Arthur Hiller Penn (September 27, 1922 – September 28, 2010)[1] was an American director and producer of film, television and theater. Penn directed critically acclaimed films throughout the 1960s such as the drama The Chase (1966), the biographical crime filmBonnie and Clyde (1967) and the comedy Alice's Restaurant (1969). He also got attention for his revisionist Western Little Big Man (1970). By the mid-1970s his films were received with much less enthusiasm. In the 1990s he returned to stage and television direction and production, including an executive producer role for the crime series Law & Order.[2]

Contents [hide]

 1 Early years

 2 Career

 3 Personal life

 4 Work

o 4.1 Filmography

o 4.2 Stage

 5 See also

 6 References

 7 External links

Early years[edit] Penn was born in Philadelphia, Pennsylvania, the son of Sonia (Greenberg), a nurse, and Harry Penn, a watchmaker.[3] He was the younger brother of Irving Penn, the successful fashion photographer. During the 1920s, he moved in with his mother after she divorced Penn's father. Some time after, he came back to his sickly father, leading him to run his father's watch repair shop. At 19 he was drafted into the army. Stationed in Britain, he became interested in theater. He started to direct and take part in shows being put on for the soldiers around England at the time. As Penn grew up, he became increasingly interested in film, especially after seeing the Orson Welles film Citizen Kane.[citation needed] He later attended Black Mountain College in North Carolina, and was a featured commentator in the documentary Fully Awake about the college.[4]

Career[edit] After making a name for himself as a director of quality television dramas, Penn made his feature debut with a western, The Left Handed Gun (1958) for Warner Brothers. A retelling of the Billy the Kid legend, it was distinguished by Paul Newman's sharp portrayal of the outlaw as a psychologically troubled youth (the role was originally intended for the archetypal portrayer of troubled teens, James Dean).[citation needed] The production was completed in only 23 days, but Warner Brothers reedited the film against his wishes with a new ending he disapproved of. The film subsequently failed upon release in North America, but was well received in Europe.[5] Penn's second film was The Miracle Worker (1962), the story of Anne Sullivan's struggle to teach the blind and deaf Helen Keller how to communicate. It garnered two Academy Awards for its leads Anne Bancroft and Patty Duke. Penn had won a Tony Award for directing the stage production, written by William Gibson, also starring Bancroft and Duke,[6] and he had directed Bancroft's Broadway debut in playwright Gibson's first Broadway production, Two for the Seesaw.[citation needed] In 1965 Penn directed Mickey One. Heavily influenced by the French New Wave, it was the dreamlike story of a standup comedian (played by Warren Beatty) on the run from sinister, ambiguous forces. In 2010, Penn commented: "You know, you could not have gone through theSecond World War with all that nonsense with Russia being an ally and then being the big black monster. It was an absurd time. TheMcCarthy period was ridiculous and humiliating, deeply humiliating. When I finally did 'Mickey One', it was in repudiation of the kind of fear that overtook free people to the point where they were telling on each other and afraid to speak out. It just astonished me, really astonished me. I mean, I was a vet, so it was nothing like what we thought we were fighting for."[7] Penn's next film was The Chase (1966) a thriller following events in a small corrupt Southern town on the day an escaped convict, played by Robert Redford, returns. Although not a major success, The Chase nonetheless caught the mood of the turbulent times, a 'state of the nation' tale of racism, corruption and the violence endemic in American society.[citation needed] Reuniting with Warren Beatty for the rural gangster film Bonnie and Clyde (1967), Penn once again showed that he had his finger on the pulse of the zeitgeist, perfectly catching the youthful disenchantment of the late '60s. Although set 30 years earlier, during the Depression, it was very much in the spirit of the contemporaneous "counter-culture". Bonnie and Clyde went on to become a worldwide phenomenon, at the same time pushing the limits of acceptable screen violence with its bloody machine-gun climax (two years before Sam Peckinpah'sThe Wild Bunch).[citation needed] The film was strongly influenced by the French New Wave and itself went on to make a huge impression on a younger generation of filmmakers. Indeed, there was a strong resurgence in the "love on the run" subgenre in the wake of Bonnie and Clyde, peaking with Badlands (1973; in which Penn received acknowledgement in the credits). Next came Alice's Restaurant (1969), based on a satirical ballad by Arlo Guthrie. His next film after this was a return to the western genre,Little Big Man (1970), a "shaggy dog" account of the life of a white man (played by Dustin Hoffman) who gets adopted into the Cheyennetribe. In 1973 Penn provided a segment for a promotional film for the Olympics, Visions of Eight along with several other major directors such asJohn Schlesinger and Miloš Forman. His next film was a paranoid thriller set in Los Angeles, Night Moves (1975) about a private detective (played by Gene Hackman) on the trail of a runaway. Next came a comic western, The Missouri Breaks (1976), a ramshackle, eccentric story of a horse thief (Jack Nicholson) facing off with an eccentric bounty hunter (played by Marlon Brando). In the 1980s, Penn's career began to lose its momentum with critics and audiences: Four Friends (1981) was a traumatic look back at the Sixties, returning to the old themes of Vietnam, civil rights, sexual politics, and drugs. Next came Target (1985), a mainstream thriller reuniting the director with Gene Hackman, and Dead of Winter (1987) was a horror/thriller in the style of Alfred Hitchcock, which he took over directing during production.[8] Subsequently, Penn returned to work in television, including an executive producer role for the crime series Law & Order. Throughout the years, Penn had maintained an affiliation with Yale University, occasionally teaching classes there.[9]

Personal life[edit] In 1955, he married Peggy Maurer. They had two children, a son, Matthew Penn and a daughter, Molly Penn. In July 2009, Penn was hospitalized with pneumonia.[10] In July 2010, Penn reflected on his life and career, including his relationship withAlger Hiss: ...During that period [Mickey One] I met Alger Hiss, and we became very close friends. In fact, Alger got married here in my apartment. And so I became more of a student of the Hiss period than I knew what to do with, frankly.[7] Penn died in Manhattan, on September 28, 2010, a day after his 88th birthday from congestive heart failure.[1] He is survived by his two children, Molly and Matthew.

Work[edit] Filmography[edit] Stage[edit]

 The Left Handed Gun (1958)  Two for the Seesaw (1958)

 The Miracle Worker (1962)  The Miracle Worker (1959)

 Mickey One (1965)  An Evening With Mike Nichols and Elaine May

 The Chase (1966)  All the Way Home (1960)

 Bonnie and Clyde (1967)  Toys in the Attic (1960)

 Flesh and Blood (1968)  Golden Boy (1964)

 Alice's Restaurant (1969)  Wait Until Dark (1966)

 Little Big Man (1970)  Sly Fox (1976)

 Visions of Eight (documentary) (segment The Hightest) (1973)  Who's Afraid of Virginia Woolf? (2000)

 Night Moves (1975)  Fortune's Fool (2002)

 The Missouri Breaks (1976)

 Four Friends (1981)

 Target (1985)  Dead of Winter (1987)

 Penn & Teller Get Killed (1989)

 The Portrait – Television film (1993)

 Inside – Television film (1996)