Read Ebook {PDF EPUB} Clash by Night by Clifford Odets Clash by Night by Clifford Odets. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6610e8158ac94ec2 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Clash by Night by Clifford Odets. Gender: Male Religion: Jewish Race or Ethnicity: White Sexual orientation: Straight Occupation: Playwright, Screenwriter. Nationality: United States Executive summary: Sweet Smell of Success. Wrote the screenplay to Sweet Smell of Success . Father: Louis Gorodetsky (businessman) Mother: Pearl Geisinger (d. 1935) Sister: Genevieve (b. 1910) Sister: Florence (b. 1916) Wife: Luise Rainer (Austrian actress, Jewish, b. 12-Jun-1910, m. 1937, div. 1940) Wife: Bette Grayson (m. 1943, div. 1951, one daughter, one son) Daughter: Nora (b. 1945, with Grayson) Son: Walt Whitman Odets (b. 1947, with Grayson) Girlfriend: Frances Farmer (actress) Girlfriend: Fay Wray (actress) Wrote plays: Waiting for Lefty ( 1935 ) Awake and Sing! ( 1935 ) Paradise Lost ( 1935 ) Golden Boy ( 1937 ) Rocket to the Moon ( 1938 ) Night Music ( 1940 ) Clash by Night ( 1941 ) The Big Knife ( 1949 ) The Country Girl ( 1950 ) The Flowering Peach ( 1954 ) Clash By Night. Mae Doyle (Barbara Stanwyck) is a good-time girl, but now times are bad. Weary of too much booze and too many men, she returns to her girlhood home, the fishing town of Monterey, California. There she finds security as the wife of a devoted and dull fisherman (Paul Douglas) . . . and passion in the arms of his dangerously volatile best friend (Robert Ryan). Film noir master Fritz Lang directs a powerhouse cast—including rising star Marilyn Monroe—in this stark tale (adapted from a Clifford Odets play) of turbulent lives roiled by passion and desperation. tongue-tied lightning. The two previous American Lang films I had seen, Human Desire and The Big Heat, didn’t leave much of an impression on me. However, I would like to revisit both. Clash By Night on the other hand, had me at hello. Opening with stormy seas, it is as much melodrama as it is noir. The screenplay by Clifford Odets captures the best of both worlds, full of snappy dialogue and sexual intrigue. It concerns a woman who has had some tough breaks in life coming back home to live with her brother, “Home is where you come when you run out of places” she says. She meets a nice man and ends up marrying him, only to be tempted by his troubled friend. The cast is fantastic, coming in I was excited to see Barbara Stanwyck, Robert Ryan and Marilyn Monroe in the same film. Imagine my surprise that Paul Douglas, who I had only seen in Angels in the Outfield, ended up really impressing me. He has a very unique character, and it’s a shame he wasn’t used more. Stanwyck is her usual fantastic self and Marilyn Monroe is really good. I think she is undervalued as an actress these days and viewed as nothing more than a sex symbol. Even later in her career she seemed to get a lot of roles that demanded little more from her than being cute or sexy. Robert Ryan is very convincing in his role, he’s despicable, and the combination of him and Stanwyck, who it would seem sees much of what she doesn’t like about herself in him, is explosive. Lang’s direction is as strong as ever. I was particularly taken by how much he says with his shot compositions and cinematography. He uses very suggestive lighting and blocking to get his points across. There is one shot late in the film with Barbara Stanwyck in the center of the shot in the background with the imposing figures of Robert Ryan and Paul Douglas in the foreground on either side of her. Imagery like this seems to be a forgotten art, obviously Lang does it better than most, but during Hollywood’s golden age it seemed to be more or less a given. It’s rare these days to see images composed with such thoughtfulness. As long as we can see the actors it’s all good. The ending isn’t as dark as I was anticipating. When in the projection booth Robert Ryan was talking about how he’d like to cut up the faces of pretty women I assumed it was foreshadowing a violent ending. Though I’m grateful that wasn’t the case. As dark as the film is, it is nice that the ending has a modicum of hope, if it isn’t an outright happy ending. Paul Douglas’s character is so kindhearted it would’ve been painful to see anything less. It can be a cruel world, but it helps when there is still room to hope. ‘Clash By Night’: Marilyn’s Neo-Realist Heroine. Fritz Lang’s Clash By Night (1952) is one of many classic Hollywood films with progressive credentials covered in Paul Buhle and Dave Wagner’s 2002 book, Radical Hollywood: The Untold Story Behind America’s Favourite Movies . As cannery worker Peggy, Marilyn was given a rare opportunity to play an authentically blue-collar woman like herself; and though it was a supporting role, she is prominently featured in the film’s opening scenes. ( The Asphalt Jungle , and the 1951 adaptation of Arthur Miller’s Death of a Salesman , are also mentioned in the book.) “The shift from the ambience of the censored thirties is most literal, in a different sense, in Clash By Night . Adapted from a [Clifford] Odets drama, its screenwriter was former Popular Front [aka the Hollywood Anti-Nazi League] lyricist Alfred Hayes, who had most recently worked in Rome scripting (albeit without credit) scenes of Paisan , the neorealist classic directed by Roberto Rossellini. Set in the considerably less romantic ruins of contemporary Monterey, California, Clash opens realistically with a proletarian scene of boats bringing back the catch for the fish- processing plant, then sweeps in to show a young Marilyn Monroe, rising sleepily and unwillingly from her lonely bed at the call of the alarm clock, then walking to the plant for her production-line job of fish sorting. Soon enough, we learn that the catch is down, part of a larger melancholy drift: Monterey’s happiest days as a working-class town are now well behind it, and the urgency to get out has become supreme. Altogether, the opening is one of the best depictions of work in any Hollywood film. The camera in Clash then suddenly moves from the factory floor to a nearby exterior, where a lone woman, played by Barbara Stanwyck, comes into view … Unlike the kindly but simple Monroe character who soon happily marries a local, Stanwyck doesn’t belong here. The struggle that continues is not class against class, but gender against gender …”