Norman Jewison: Commercial Success, Critical Failure

An Honors Thesi s (1 D c199)

by

Ant.hnny L. Beeson

Thes is Di reel.or

Hall SUit.e Univprsit:,,-

('lune i e ,I nd i ana

February, 1987

f'>...;pec\.pd dat(~ of graduation: >Ja;.- 19M! Sc '2.0 \! ·1 ' ... 1he.:;i:J L.D .. d\J·f2;'(

I ;;';;"1 I QS7 , BJ.f4 Table of Contents

In t roduc~ T i. on ..

Commen t a 1':'>- on:

F. i . ;:-; . r ...... 6

.And Jusr.icp for Ai ] 0

1:2

T h p f 0 \J r f, Lm s j n rom par j s r' n . l ;)

Jewison as a riirertor. 1 I

Cone 1 us jon .•.• 1 H

R i. hI i og raph:v •. I~ Introduction

The f ~ I m s () f '\ 0 r man J tCO~'; i son are a stu d :.~ 1 n C Cl n t nl s t s . h 11 i ] e r-tlmost Cill of t.he fi Ims in Ci (1irr>ctin!:!, car'eer hhi('h t)(~gan In 1::lt:i2 hCi n=~ been successful, thpy ha\e alsn bf~en (-h('> c.;llh.)(·et ni neg;-lt \\-P, !'-.()met JOlt'S revIews from film

C I' j t. I rs . for I-',pst J) reet.or, In the Heat Flddler' un tl:e h'o(~f, oid not go unsC'athpd. ( Fin I p r, 2 (i ( - 2 () 8 i (,\1 0 cit z, 1 H b - j 9 j )

fn the se(' t -j ons on :.. 0 r m Ci 'I ,J e his () n in the I ~1 i-~; e d i T. i () n 0 j

hCit·]PS \io r i t. z • Joel F j J I.L e j' '~ ThE->

in the ilm revipws In the hibil0g- ra[lh~- al' the eno of tllis papPI' • one theme surfaces aga i Jl aWl again: \ornan tee h n i cal 1 ~l pro fie i p nt, '1 t tim f: s b r i I -

1 ian t, but his f i ! m S 0 \. t:'" r' s j m nil r,'t the i r' SUb,jP(,T maLt.f~j', reducing theIr sO('lHl significance.

Rearing- this in mind ,he signifirnnce of Norm8n ,Jeh'lson and four of his Jl:OSt. recent fiLms.

make no (' i aims of possess i ng tp{~hn i ea I expel't.i se in 1 he [1 rea of fi 1m, Rm s i mr i,'t- Fl freC]llPfl t. mel\-l e-goer.

1n Toronto, lie hegR11 his a sc-ri pT h-ri t.Fr and He'tor

t. 0 p r n ri u (, e variet.y ShOhS tllr the anad 1811 Hroad('ast.l ng (:()rpor- at.ion. His pro\.;pss as a riir'f"c-toJ' jandf~rl him F1 hhpre he 'tour Hit H];d st'veral val'i p t~c shows \.;i t h as Harry 2

Garland, Danny Kaye, and Jackie Gleason.

In 1962 Jel-lison directed his first theatrical film, 40

Pounds of Trouble. From there he has gone on to direct fifteen more films including: The Cincinnati Kid, The Russians arc

Coming, tte Russians are Coming, The Thomas Crol-ln Affair, Jesus

Agnes of God, and the four films which are the subject of this paper.

(Finlor, 207-208) (Moritz, 188-191) 3

Rollerballc

Rollerball is a postulation of a future world with style, but no substance. A world run not by multi-national corporations, for there are no nations, but by an all-powerful coalition of corporations known as the "Majors:" transportation,

food, energy, etc. The future world is a Vtopia. War, pc,verty,

sickness, all ills of society have been eliminated, but at the

cost of individual freedom. "All it (the majors) asl~s of

anyone ... is not to interfere with management decisions." Thus,

when the game's greatest star, Johnathon E., refuses to retire

and begins questioning management's decision making process, a

showdown is set up between the corporation and the individual.

As tte film progresses the dark underside of the corporation

lS revealed. For example, it is discovered that Johnathon's

first wife was taken from him by a jealous executive. In another

example an executive at a party given in Johnathon's honor

h'"hispers to another executive that "Evans is out." This offhand

remark further illustrates the ability of the corporation to

crush individuals. It is never revealed what Evans' crime was,

or what he did wrong (if anything at all), the point is clear,

individuals do not matter in this totalitarian regime. Utopian

pleasure is purchased for the cost of individual freedom.

At the party mentioned earlier an odd assortment of revelers

leave the party in search of excitement. In what I consider the

film's best scene, the decadent mob descends on a row of pine

trees (a symbol of liberty) and jubilantly attack the trees Hith 4 a flame-thro~ing pistol. The mob is clearly representative of the corporation, destroying everything in their path, anything natural, singular, or individually beautiful.

The film's focal point and central metaphor is the game of rollerball itself. The corporate leaders have designed the game not merely for amusement, to continually reinforce the message of the futility of individual effort. The players are meant only to represent cogs in a machine, cogs that are very easily rer:laced. t\evertheless, Johna thon E. emerges as a ,. star, .. an unanticipated symbol of the possibility of individual success.

To further accentuate the unimportance of the individual

theme, director Norman Jewison shot the film against a sleek,

ultramodern backdrop. All of the corporate offices look the

same; spacious and c lear l~- lit with straight lines and gently

sloping curves. The buildings are stately and magnificent, yet

they are permeated with an odd dehumanizing aura.

t\orman Jewison also uses various, more subtle, directing

skills to create the proper mood for the film. Jewison's choice

of architecture has already been mentioned, but his choice of

lighting coincides with the architecture to create the overall

effect. For instance, the office buildings and interiors are all

extremely well lit. Combined with the smooth architecture, the

lighting creates a cold, foreboding atmosphere. ;--lr.

Bartholomew's office, as an example, is very bright, but not the

least bit cheerful. As a contrast the rollerball track and arena

are very dark with lots of shado~s. The track takes on a very primitIve appearance. r t. lsi 1 t e rail;.' a pIt..

"los t of fi 1m 1 S n () t qui t e s h a r p () r (~i ear 1;.- f 0 c U s p ri .

T h 1 s t. f' n d ~, 1 () g i vet h (' f i 1 m CJllR j 1 t y pmpha s i 7: i ng t IH~ film's nigi1Lmarp ,'lsion of the future.

In the end inrli\'idualism triumphs. •J 0 h lW tho n. 1,-.' i i h t h p h;l I I r a i sed h i g h, p () i s pdt. () s t r i k Fan rl k ill n t'i n a lop P 0 n f' n t reaii7F'S hm,' insane the sit.uat.ion has bp('ome, \\'hnt he has about tn do h'FlS not part of anvthing resemhling sport. He ]paves his countf'J'pRrt behind anc uses the bali for' i t. sin tt~ n rl p d purpose, t.o score :\ goa I. The c h a 111 p i () nth ens I.. a t p S B r n 11 n d the t r a (' k t () t h c· c h 0 r U S (0 t' fans chant:tng his name. r n t.he fi na I frames, he i s sh()~"n out 0 f focus, an :t nd i \'j dUB t h t ul'red r'ecogn i t i on , ,,,h i ('h is t.h e film's theme Bnrl wR1'ning.

One OJ t.he major (' r' i t j (' ism S 0 f the f i I m h' 0 I t e r h B j j 1."', U, :1 t

Obviousl;;:, this is not. "ih n t "i 0 ]'mlUl

.J PW j son had in mind. Thp problf.,m is not. thRt· t.lle ti 1m ('on1.Rins violence, but the spor1s contt>:~t in \-'tlich the \'iCllenc~i' h'8S fj lmf"(j and the desensitiy.atlon t. () violpnce tha t cnntarni na.tl'·s contempOf'Hry filmgoers.

A !", a >; p () rl s fan haVE' ] i 1e1'B l 1 ,Ii t.h()\lsanos of inc ide n t s () f "i () 1 en C Pin S i) () l' tin g e v p n t s . Somp of them ha\'t' h"PIl quite spvprp. In addit.ion, grelv up in R g e n I" r R t j \J n "h i c- h S R \J t.he r'isp () f the most violent te1p\1S1011 IH'()grRms in the hist,ory

J)(~at.hs in thpse shoh's ~ere r () 11 t.i rH" a n rl effect, is a numbi ng t;)h'?rds the d(~at.h or a ",ielpn" character'. \'isual irna~(p n f asp () r t s 0 ~ 1 (' I, e 11 i n g ] y v i () J e n t r: hat. the au die n (' p

\-.IOU 1 d llP turned off. -".Iso, audif-'nep \.Jas meant infuriat.ed at th~~ (' Y'assness () f a futuristjr' so(-ipt;.' that h'ouL.-l h' fit. (' h s lH . has po r t n n d k e e p t rae k 0 f s t. a tis t i (' S () n th(~ number (if

This IS ,.: her' p t fl p film fails. !f anything the f11m is not

the amount o f v i 0 j p n C' p 1n sport.s Hnd fiJmgoer IS exposed to, in f{ollf~rhall tame. To he t ru 1;.' f"frpet i vP, thp film to be morp horrifying,

lif\pd this film ver;. The rna1n reHson

1 s the' (·e~lt.ral ('onfliet bf,t,"f·en the individu31 Hnd l.hp c\)rporHtp spnse of r'ommon good." .J Ph' i son is effer-tive In

,)oilna1hon F. l~. a SImple !linn ~"ho I lyeS in h society that he int.uiti\el': i\n()l,J~.is

11 18 his search, hoth in the C'orporat,e ,,'o,'ld Rnd insirjp himself, that ><:iv('s the fi 1m it.s powpr.

F.I.S.T.

J n F. I • S . T. .\ 0 r man .J e \,' 1 S () n s h i f 1 S his earnera to and strllggJes of the /\mprir'an lahor mO\PIllf'nt T h j s f 1 I m i s n () 1, :1 g 1 luno r i 7.eri a('('()un t. ()f PUl'P hpl'oism, but by flO means is it. s :vmpa the t, i (' to management's vIew. it is a personal film, and In many ways is Jess the overa I j issue of unIonism 7 than it is l,i th the relationship of two friends who play an important role in the history of a union very similar to the

International Brotherhood of Teamsters.

The film's theme centers around a question of ethics and morality, or do the ends justify the means? This question is the foundation upon which this film builds its story.

The main character, Johnny Kovak is portrayed as a man who cares deeply about his fellow workers. When a dock worker drops some crates, Kovak is there to help pick up the produce. When the men are pushed too far, Koval.. takes their grievances to management. Eventually Kovak finds work as a union organizer for the mythical Federation of Interstate Truckers, F.I.S.T. After an aborted strike ends in the death of a friend and fellow union man, Kovak decides that in order to defeat the tyrannical management of the local trucking firm and gain decent working conditions for his men, the union needs "push." He gets this

push, or power, from an unsavory character named Vince Doyle and

his gang cf mafia thugs. In exchange, Kovak and F.I.S.T. become

indebted to Doyle's superior, Babe Milano.

This "pact with the devil" creates a rift between Kovak and

his best friend, Abe Belkin. Belkin is an interesting contrast

to Kovak. They both yearn for better treatment for the truckers,

but whereas Kovak will use any means necessary, Belldn remains

staunchly idealistic.

Unlike Rollerball, F.I.S.T. is shot in sharp focus to

emphasize, particulary early in the film, a stark realism. Color 8 is used to enhance this effect, also. BroT"'n seems to be the primary color used and this symbolizes the dreariness of the of the working conditions faced by the men. Even the actors seem to wear almost exclusively brown and shades of brown in their clothing. There is, however, one vivid exception. In the scene in which Kovak angrily leaves the senate hearings on union/ mob activities, he is bathed in bright sunlight and is greeted by a huge contingent of cheering truckers who are wearing slightly

lighter clothing. A tribute through symbolic use of light and color to the triumph of the union.

Jewison makes frequent use of positioning of actors and

their relative importance. For instance, in Rollerball the

executive sit in a section that is above both the regular crOl.;d

and pit-like track. This lends itself to several shots looking

up at the ruling class. Jewison uses the same technique in

F.I.S.T. ~anagement occupies a second story office where

managers can literally look down on the common workers.

As the film ends Je>-"ison shows a series of still shots of

the truckers jubilantly cheering as they had been at the Senate

hearings. Whatever the cost, Kovak had championed these people.

On a more personal level, r did not like F.r.S.T. as well as

Rollerball. From what I have read about this movie

several heated arguments among Jewison, actor Sylvester Stallone

and co-writer Joe Ezterhas. It is not difficult to imagine what

those arguments were about. Stallone, perhaps 1n the interests

of his career, seems to be pushing in this film for a completely 9 s~vmpat.hpt; (' "in hova i, . and Eziprhas hTere probahl~ shooting for a (' h a r ,3. c· t e I' closer to the real-life of

.J i. mm:-- Horf;'i. Like hovak, .fimm:-' Hoffa dlCl ha\'f~ thF' intprests of his fello~ workers at heart. but ties nnri less-t.han-arlmi rahl e personal hpha \' i or no resemhlancp t.o thp charaetpr t'H'oug;ht t.O t.he screen by S t. a I Lon e • what. F. I . S , T . I'P('11 j;'J need I,d h-a s a het. t er act.or fOt, thp stCirri ng role, or rtl 1east snmeonp "'ho \

.~nothpr aspeC't. of t.he fi 1m that. is i s t.he length.

A g a in, 0 1 J t~; i d F' forces played H sigrli f-icant imp act 011 t. h p fin n I produrt. The Film CiS it is now is much short.er than t.herllm

Jewison or;ginalJy made. The studio heads felt that the origin"l

,,'CiS Jess mCirl\etahl e because of I ts length.

The studio h'as prohah 1;.- right nevertheless, the jump from the

;1()s to the fj()s is t.(lO ('omp I ete, too sllorlen. '!'oo many questions are left lln:HlSh'Pf'ed: \1' hat h Cl. P pen P d 1 0 A b P H elk i n inC a 1 j t' 0 r' n i a',>

gCiin po",pr in h'as the relat.ioIlship he1h'ppn I\oval\: Rnd the mafia

~-eal~s? oTlrp Clgain shm

(~(H1f'ern fo}' jncij\-jdual rjghts a.nd the riignjr.,v of the COmllIOl'l m;ln.

One of Jeh'ison's strengths is his ability to fi I TTl peop 1 pin action and el jrit an emotional response. In r.T.S.T. there is a. st.rang sense of common va.lues and seIlS i 1 i \-} r.~-. For instanrp, tllerl' is a ",onderi'lll courtship sc'elle in h'llieh the hoval'; 10 character tries to make a good impression on the mother of a young lady. There is also a very poignant funeral for one of the early unien organizers who is killed by a mob of strikebreakers .

... And Justice for All

... A~d Justice for All is an exploration of our current legal system and its inadequacies. The central figure in the story 1S a young idealistic lawyer named Arthur Kirkland. In addition to his regular law practice he is a court appointed public defender. He defends both his paying clients and his less fortunate court appointees with equal vigor.

The theme of ... And Justice for All may be stated in the

form of a question. Are we living up to our stated, lofty

ideals? Is there Justice for All? The answer is a resounding

"no~" The screenplay by Valerie Curtin and Barry Lcyinson makes

it clear that, according to common folk, Justice is not "for

all," but for the fortunate few.

The story centers on two of Kirkland's cases. The first

involves a young man who is originally stopped on the highway for

having a broken taillight. Because he fits the description of a

murderer, the young man is arrested and due to faulty legal

advice (not by Kirkland) he plea bargains his way right to

prison.

When Kirkland is finally brought into the case, the evidence

which proves the young man's innocence is ruled inadmissable by a

certain judge named Fleming because it is brought in three days 1 1 late.

.J udg p Flpming ]' .'.'"> hirkland's othpr significant. cljent.

Accused ill 8 vicious rape i n(' i ripnt., Fleming forces h i r 1\ 1 an ri t. () sc1. his d F~ fen s p for polit.i(:al rpasons. The t,pns inn callspri h;\'

1hpse anc1 nther injust,icps is hrought to thf' bo iIi n g po i n t. h' hen

Kirkland tha1' \< I t"lTl i ng i s gu i I t.:v and ,.; iii , quite probably, get a h' a y h' i t, h i t. pnd of the fi 1m i\lrl,ianri e:>;plorles i n fllry anrl of ,:ha t hf' has sppn and

entlrf' jlldicial s y s t pm) i s () 11 t, () for d p r ' "

For this fi 1m .J p" i son uses most I y natural I ighting and color. Thf'rp arp t.wo significant s;\'mhols 1n this fj 1m. hllgp, almost cartoon-likf'. h p n c h w h p r p ,J 11 d g f' F J em i n g lit. ('. r a I I y

t.IH~ lah'. ,If'wi son lISPS anot.hf'r symholic scenf' when

Fleming gives his views on prison. "Prison shouid be scary. 1pt the prisoners create thf';r own Hel The scene 1S shot. insiriE~ a plastic enclosed SHimming pooL on Fleming's estate. 1 tis

Fleming's own views from his own microcosm.

As the credits roll through the final scenp, Kirkland s~arps bewi Idpreri int() is ama7.ed at. h'hat. has happened

... And Justice for Al I IS a good example of Jewison's common man approach t,o life qUI tf-' hI''' I I . ~or instance, the 1S a scene in which Rj Ily, one of hi rk I and J s un fortuna t.e clients, s~atps that

is rrn7.Y for put.t i ng ani n nor p n t, man in an aLrpad~ overcrowded prison. 12 this situation, but that does not matter to the average person.

As children we are taught that the system works, and we go on believing that way until we are proven wrong. Therefore, the plea bargaining, the injustices, and the ability of the rich to hire expensive lawyers ~ho can practically guarantee an acquittal

for any crime just does not make sense to the average person.

The problem I have with this film is the comedy clement.

Some critics have described this film as a black comedy. I have

to disagree. The film is not that cynical. In fact, the comedy

is almost playful. As an example, one of Kirkland's associates

experiences a nervous breakdol,'n, shaves his head, and ends up

throwing dishes at people. He is not really crazy, just sort of

silly. Along these same lines a friend of Kirkland's is a

suicidal ~udge. A true black comedy would have portrayed this

character as violently self-destructive. In this film he is

merely a curiosity. This is just a mild criticism. I believe

Jewison adequately made his point with strong social satire, but

this film may have had a greater impact on audiences if it would

have been a more cynical, black comedy.

A Soldier's Story

The most critically acclaimed of the four Jewison films I am

examining is A Soldier's Story. Thematically, A Soldier's Story

is an examination of the destructive power of prejudice.

Fuller's excellent screenplay expounds on this theme by showing

not the overt violence of white racism, but the less obvious 13 psychological effects of prejudice.

The story centers on the investigation of the murder of

Sergeant Katers, the manager of a black baseball team/platoon in the rural south of World War II America. Assigned to the investigation is Captain Davenport, a Howard University trained military lawyer who is sent from Washington to find the truth.

Along the way Captain Davenport faces his share of obstacles

from white soldiers and officers, his presence is particularly contested by Colonel Nivens who remarks, "the worst thing you can do in this part of the country is to pay too much attention to the death of a negro under mysterious circumstances." Most of

the prejudice 1S more subtle; consisting mostly of reluctant

salutes and condescending stares.

The investigation ultimately leads Davenport to discover

that the murder of Sergeant Waters was not committed by the Klan,

nor was the crime carried out by two white officers who were

present the night of Water's slaying. The murderer was a member

of Water's own platoon and was in retaliation for Water's heinous

involvement in the suicide of another black soldier. It turns

out that Water's himself was extremely prejudiced towards

southern, rural blacks and meant to exercise their kind from the

black race. This is eerily ironic when considered in the context

of World War II Naziism that was taking place in Germany.

Sergeant Water's prejudice was not merely for spite. A

painful incident in World War I and a strong desire to elevate

the black race in white society provided strong motivational 14 reClson~, for h i h R r t. inn s . Yet sheris tClI",ar'ds t.he end of t.hp fi 1m are not for SergeRnr

\\Rter's eruelt,\-, nor Rrp they shed for the bJael\ race. are s~:ed for all ppopiec;; ""hn hRve succumbed to, Rnci bpen v i (' t, i m i zed bv, , prejudire.

For \ormRn ,je""i son uses most 1 y nRt.ura I

i gh 1, in g. The rurRl sout,hprn atmosphere was b:-.- "nn

I () cat. ion" ~-' i 1 min g in thp sout,h. Rut RS in other fj j ms, J(,h'i son

USPS dFl rkness and bo I d ro 1 () n:; t.o pmphasi7.p a point. The hp,n:y shRdows and bolo colors Rrp part.icularl:,>T effecLi\'e in rreating an

murder he wa s i nvo 1 \'ed 1 n d II r' i n g \\ 0 rid War 1. An 0 the r s r e n f' i n

i.ghting is s r e n pin \~ h i (' h

CaptR in DR \'pn po r t. stRres r'emorspfu I I y out of a window when the a w f 11 1 t r 11 t. his f II 1 I y r p v e R J eo. a so ft blue light

l.hRt ~hen combined \.J i t. h a gently fall ing rain, reflects the sRdness on CRpt.a i n Davpnport~' s fRre.

As t,hf' film ends Rno thp creoits sero I I up t h ,~ s r rep II ,

J e~' i son sh CH.JS a compan:v ()f blacl{ soldiers marching over a hlll.

On p 0 f S e r~( p R n t WR t. p r ' sam bit ion s h R d b pen for t he b i a ('j{ so I rii p r s

to b P 3 1 1 0 H edt () j 0 i n i nth P (,.' 3 r i n f', u r 0 p e • A I tho II g h his mt" t. hod s

for i mprov j ng the h] :1.(,1\ mRn' s pos j t. ion 1.Jf'rp I,Tong, admirablp. The hi 1 lis 1'1 symbo I of prpjud i r('. hhen the soldiprs

mRrch over thp crest they arp not oniy integrating the army, but

Rlso American soriety.

Onp of thp reasons t.h j s f i 1m ."as so critically sllccessful 1 ;)

H CI S its il \ u min CI t ion of a h Cl s i (" t r 11 t h: pre j u d i (" f> is hTong. st.O r:--- 1 i n p It n d S 11 b j p(~ t. rna t. t. E" r of this film arE" more ("omplpx than the other ~hrep films, hut ,Jeh'ison is able t.O hri ng truth Ollt I harken hack, Clgain, to the scene in which the

Da':enport. The scene is char'gpd "j1-h pn\.,JPl'flJl emotional appeal.

P,rhaps most.

Quite simp]:--', it is of a highpr quality and, thus,

J e \, j son f jim .

The four films in comparison

The that most bonds four fi 1ms t.oget.her 1S inclusion of a strong;, hiQ;hly indl\""ichwlis,ic

T h 1~ 0 \l g h e Cl C n 0 f t. h p 8 e c en t r al f j g u res ,J e h' i 80 n i s

d iff p r F n (~e , o h s t. i'l ("I e s through dogged det.erm ina t ion t.O

Though .Johnny hoval\ dies in tlv, end of E_ •. J.S.T___ ., hjs effort.s havp

learl tn helt.er pay 8nri ",orking ('ondit.ions for his fellow ,,-orkers.

A.rthur hi rli 1 a.nd may be d isba t'red aft.f·~r aetion III ••• Anrl

(~()ntemrt· for " s:--' s t pm" () f .iustice ill th;s c:ountr:--' ha.s become, Fi na I 1:--, t.hprp tS U1e charaeter of .)ohnat.rlon f'" in

R 0 1 I p r' b B I I T his (' h a r a ole t~, mn ret h B nan y 0 t. her, be s t p p] t. 0 m i z p s the spirit of indi\-idw'll ism ann :lan'8 indomitable spirlt. 16

On the subject of style all four films share other common traits. For instance, all of the films use bold colors to emphasize an atmosphere of danger and foreboding. I am thinking in particular of the Rollerball arena and Big ~ary's saloon in A

Soldier's Story.

Jewison frequently has two opposing viewpoints argued by two people in a one on ono" confrontation In the four films. This h'orks well ""hen used in the context of individual versus group si tuations.. In their frequent clashes Jehnathon E. defies Mr.

Bartholomew's orders, but these orders represent more than

Bartholomeh" s persena] Kishes. He represents the entire corpora t ic,n. Similarly, Abc Belkin represents idealism in

F.I.S.T., Judge Fleming stands for a pragmatic vieK of justice in

. . . An d J 1.:,;.;:is::-t=--=i...::c'-'o"----=f'-'o"-'r~___"A~l::...::::..l , and Colonel Nivens represents racial prejudice in A Soldier's Story.

Anoth er de\"ice Jewison uses is s;rmbol ic placement of authority above the common people. As I have mentioned earlier, examples cf this can clearly be found in the first three films.

I have included a sentence or twe concerning the ending of each film because the way JeKison has chosen to end these four

films re-amplifies the points made in the respective films: the obscuring of the indi vidual, the importance of the common ,,'o1'ker, the insanity of our judicial system, and the triumph of the black race over prejudice. 1 '/

Jewison as a director

Though 1'-ormrin .J e ,.". 1 S 0 r: i s Holl,v',,"oorl's mnsl prol ifil' riirectors; nevertheless he remalns one of rihout, . This rsn he ntt.rihuted, at least. in prirt, st;;,'l e. I fl ,':3 t.("'h i ng H ,J e hi son f i 1 m, t, h e d i no c tin g rl 0 e s not. g r a b one's at ten t. i on . Lnlike mOI'e notahle d 0 f' S not 11 S p f 1 I m 1'1 s H S h 0 h' r~, ". p for his 0 w n t. alp n t. s . fnsiPHo, IIp

I'll lows the rictors anrl sereenl"ri tPl'S rlet,erml np the HOI~th ot' his fi I ms. be(~ClUSe .TeL i son sudden 1,v- hpcarne a hettel' d i rf'('tor, but bpe8.use of supeJ'lor <-l(:ting and H fine s('[·eenplriY.

'>.ls(), ,J Ph' j son dops nnt 1 i s 1 his nrime prominently 1n the

C'rpdi t.8 . \or dops he li\-(' a flamboyant. 1 ifestyle. All of t.hi s

IpHd!-:. to anrl h:is fllms. 18

Conclusioq

Perhaps, it lS not ~orman Jewison's competence as a director that makes him an important filmmaker. It is not his choice of

lighting, sets, casts, screenplays, locations, or anything tech-

nical in nature that sets him apart. Although he is a fine

filmmaker, he may never be recognized as a master. But the at-

tribute that docs set him apart, the quality that sho~s through

in all of his films and cements his importance in not only con-

temporary cinema, but alse contemporary society, is his concern

for people. ~orman Je~ison cares deeply about the dignity of

people ... and that is important. i9

Bibl'lograph:v

Rollerba Ii ------~

A 1 Pf~rt, Ho lis. " F 11 t U r e .J 0 r h . "

Hollis nelt.hf'r recommends t.he fi 1m, nor dise-T'edits it, he mereiy points to the game as the fi 1m's major' flshT. The 11.urilPncp he saw t.he 1'i im h'it.h riisapp()intf~d him grent.ly b~' cheering the violent aot ion in the fj 1m as if they l,el~e 1-i81ching Cln act\lal sporting eVF~nt.

Canby, V i n(~en t. ,. Sr' i - F i: F t'om Sports 1'0 Shs rks. ' 29 .J un e I 9 7 ;), sec. 2: (j 2

In addition t.o his regular review, Canby hTote a srathing, satirir11..1 edit.orial on this film in \-.'h1ch hf~ arcuses !\orman Jewjson of having an imagination "the slzp of a six-pacl\: of heel' and 8 I arge bag of pret ze Is." Je\.;i son responded in t.hl" form of a let t e r (,,", e>J Yo t::'!i_I i me s, i 3 .J 11 I .v , 1 9 7 ;), s e (. • 2 : 1 1) i n h' h i c h h P refuterl Canby's argument. t.hat R()l.JS'rb~l.l was not. rea Ii st iC8 I 1~­ VIolent and ac~c~\lsed C:anb~' of possessing t.he saTTle ment.alit.y ClS th·' "Corporation" rieple-t.ed in the fi im.

rocks, .Tay. ">.io Score." T i TTl e 7 .J u I ;.T 1 ~~ '/ ;) : '-I n

Th is revi ewer gi ves t.he fi I m a poor gradp. He rpfprs to thf' script as "confusing."

Forhps, Cheryl. "Rol]prbail ~vho \I; i 1 Fo 1 j m,?" To.0.9.L H Aug. 1:-1,"5: 18

This artie-Ie mprely outLines the plot.

Gammon, C i i \'e . "Rollerhall ~ 1 Apr. l~,/f) >l4-4H

This interest.ing articlp details the technical aspect of creat.ing t.ILe flC't.lt.iollS sport. of RoJ lerbai I for' t h f~ f i 1m.

(}i J l1at.t., Penelope. "Skat es, Hi l\f~s, Sharks." 1~75:b'i-bH

Gilliatt bemo8ns the fi 1m's lach of explaIned rules, "pol it.leally infnnt. ego," Hnd JR.f'\~ of intelligent. female roies. 20 hi1uffmi1nn, Stanlpy. "Dog JY75:20

This rpV1PlN" pans the film as be i ng a s tel nda rd se I pnCf' fictIon cl ~rhe. h auf f man n cd so ref e r s to ,j e h~ i son's d ire (' t, i II gas bping fTPdiocrp.

;'>]oses, Sam., " :'1 () vie T a I i\ • "

Ovel'[l I, f'los,'s gIves a po\)r rpvich tJ) the fi 1m. He STates, "Fe" [HOOP I,~ h~ i I I care h~hR 1. happens beT.\~pen the h~homps nnyhoh'. ,.

Siskel, G(~ne. "Rol1f'rbalL's l--'oin1',g ]J1111 thp 1'1i nd ... Tlihune :::7 .Junp 1975, sec. 3 : :.S

Siskp dpjivprs i1noth.'r sC'i1t~hing rpvie,,' in ,,,hl('h hp atl',achS the fi 1m as heing too soiemn and revejOpntii11. He aiso descl'ihes the point of lhp film HS being too ohvious and moralizing.

.'-ltPITi tt, David. .. Ro lip r ba 1 I - - \ i 0 ! en t. , i"Ioraiisti<' ralf'" ot Fll t II rf~ .. , Christian Sc~ienc(~ i'Ionitor 7 ,J II l:v 1 9 I fi : :.-: L ~.- ---~------~-----.------~---~-~.-

Onp of tilp few positi\p rpvieh's of the fi 1m, Sterritt lRllds the t'] n e a (' t. i n g .

Stprritt, !)a\'id. ":'-)o'vies as 'an Art l.oci;;p(j lip Inside an [ n cl 11 S 1, Y';\' • ~_b r j.-:c;,!,.t~~~~i e n~_~,'i0 n_it~().r: L 5 A 11 g • 1~J7:i:~2

Sterritt> interviPHs Jpl·Jjson and dis('ussps thp fi 1m.

F. I . S. T.

Ansen, j)avicl. "S,vlvpstpr Hoffa's St.Ol',v."

This int>elligent r('vie",' points to t,he film's "staginess":ls its fatal t'la~". ".)PHison direC'ts ... as if he Hel~p rF'-('r(~ating ;In old movie, not life."

Ri~hard A. "Carhon opies. 20 :vlay 1 ~J7 8: 4- ()8

ac("usps t. h e ti i In 0 f me reI y he i n g n (' 1 on P 0 f T IH' (~ 0 d fat her \-,' i t h plot \~ a ri a t ion san d dis 1 i 1\ F' S t. h pia r 1\ () f rha ract.er f'xpl ora t ion. 21

Brill, steven. "The Facts Behind 'F. I.S. T'" Esquire 23 ~lay 1978:85

Brill is an expert on the Teamsters and is disappointed in the film. ~ot because it is historically inaccurate, but because the film trivializes a much more complex story.

Canby, Vincent. " 'F. I . S. T. ' Delivers." New York Times 14 May 1978:210-211

The same Vincent Canby who so viciously attacked Rollerball, writes a quite good review for this film. Canby praises the emotional power projected in the film.

Gilliatt, Penelope. "Warlords." New Yorker 8 May 1978:121-123

Gilliatt accuses the film of being overtly '·right-~.;ing·' Hi th a somewhat xenophobic streak in which unions are considered nothing but Bolshevik agitators.

Haskell, Nolly. "Camera Obscura." Neh' Yorh: 8 Ma:r 1978:74-78

Haskell states that she enjoyed this films simple charm, but nevertheless derides its lack of authenticity.

Hatch, Robert. "Films." The Nation 3 June 1978:675-676

The reviewer praises Rod Steiger's small role, but pans Stallone's performance.

Kauffmann, Stanely. "Onward to the Past!" The ~eh- Republic 20 May 1978:24-25

Kauffmann praises Stallone's performance and the film's 30s style. Kauffmann also finds other critics' penchant for lam­ basting this film's old-fashioned romanticism amusing. He states, "what h-as ... holy in 1938 is sin in 1978, even among those who mourn the changes of time."

Lownsbough, John. "~.I.S.S.E.D." MacLean's 15 May 1978:86-87

This review complains that the film never makes "connection" with the audience and describes the main problem as being lack of character depth in the starring role. 2, :2

Schickp.I, lCichard. \)a y 19'( H : '( 4

The Lt.le of this artictf': p:'(p1ains thp. rpvipwpr's attit.llde. S chi c J~ p I f () 1] n d t h p f j 1 III b 0 ring and R co III P L p t p fail 11 r e . He s UH Eo S t hat. S 1. al . 0 n p , sac t. i n g i S 11 t t p r I y I" ron g for t h plio f fa - i ~ k e chRract.pr and tabs .lewison's dirpct,ing as being "V8guP and distant."

Sis k pi, (} p rlf~ . " R p P p tit jon h 0 's 'F. I • S . T .' ~1 p 5 S R g P • " Trjbl:!JI£:' L({qpr. 197H, sec. 3::l

Siskpj is lmprpsspd h1'ith thp. serollri ha]f of thp film anrl it,s depiet.inn of a :'iUs SenAte heAring. Ypt 0\'p1"a11 hp found t.hf' fi 1m "lifeless" Rnd bpI jpvps A r(~-erlit.ing might. hf·lp the fi 1m.

St.ein, :'-1.1" ","orman .jPl.Jlson: 'I WAnt F.l.S.T. t.o Peoplp. , .. N p '''_)~() r 1,--,[ i!l1£ s 7 Ma~' 1 9 I R , SPC. :2: 1 '/ , :2 H

I nth i sin t e r \' i p I'; J Ph' i son e:'( po 11 n d son f i J III mR k j n g a n rl t~~ s ~J_-,- s p e c i f i cal I y . T h p f i 1m d ire C tor R 1 s n di s c 11 sSP S t h p d i 1 em mao f mR ld n ,S{ q 11 a I i r y r'i 1 III S t. hat, at. t. h p sam e tim P, S II C e p (' d R t t_ h e box _. 0 f fi c e . H p a Iso tal k s abo 11 ,t his up com i n g f i I III (._,-,--'-:...~,IJQ

.J u s tic e _fs2.,l=-6JJ..l "h i (' h h pea I j s "a b 1 a. c k co III e d y a b () utI a,,, y p r s . l'

Sterritt, David. "Stal1on~~'s LRtpSt. Proves He's a liP11l1ine Star." Ch..r..i.§j, i ~, Sc,i pW:f 1"15]n U.:.Q.t::. 2.f Apr. I 97 H : 1 H

Sterri tt has nothing hut" kind Hords for Sta 1 lone and the fi 1m. In U'le rpvipw SUlJ lone 15 prnispd YOl' his "pl'ofes~ion- alism" and ,/pwison for his "so('iai

\iallp~', .Ipan. !'Sta1lonp's Latest" Fight." 82

This arti('lp chroniclps thp trials and tribulRtions lJl',·oi\-(·d Hit h t ~ h p ma lei n g 0 f t h p f.i ) III • Inc I II d f'd i s the s tor y () f h () H St 011 onp rph'l'ot PUlP s('ri pt and rpmadp the hO\'ol{ chara\;t,,~r .

------'------.. . And ,Just,lcp for All

\dlpr, Rpnata. "ExasperRtion." Nph' Yorker 22 Oct. 1979:17J-;Hi

Th is rev i p,,'pr fInds lack of RlJ1,hpnticit~- pVf>r;.-lJhprp 1 n t hf': f i I man d p" i n t. S 01] t spvpra j J PgR I f 1 8.HS in thp plot. <\nsen, DavHi. "Disordpr In the Court \eh'Sh'peh. ~2 ()('t,. 1~79: 102.1U4

Ansen c:a 11 s t.he fj 1m ,. t. hem 0 s tin t ere st. i n g f i J m .J e \" i son h 8 S made in .vears" ;:)Tld I'll t.hough he fillds part.s of the film s1.raining c: red i b il i t. y, 0 ye r a I 1 he 1 s impressed with the sincere feelings e';pr('s~~"d by t.he aetors.

( an by, \,i i nc<~n t • l\eh' York rimes 19 (Jet. 1979:119 --~------~------

(anby strite's that the film is h;vstf'rical. :\or. hyst.er](;all:, funn:-, j\l>d ilystpriral. flf~ ronteTlcis that. this "satirizps not.hing, having no oirect.ion and no pOInt of vleF."

Crist, .Jlld- tho "J)i sorder in the CO\lrt." ;)0"------Pius--- dec'. 1 ~}7 ~: 5b-:::!

( . r i st. hT i t. e san ext rem e I :-­ positive reVlew in whieh she praises Pacino's sincprity as an aet.or and Jewison's attention to ,. e\.-eryday clet.R i 1 • ,.

Denhy, Ua\--d. "Ahbott and Costello ~leet Felix f. ranld urte;." \~eh' \ 0 r 1\ :~ 9 Of't. 1 9 7 (~ : H 5

ThlS re\.-ipHel~ finds fauLt, (as others ha\.'e) h·it.h the films ere d i h i lit.~! an (1 a Iso its use () f S \l C h h' ide ext rem e s of comf'dy Rnd t. ragedy .

Hatch, Rlchard. "Noyies." The Gation ~7 Uct. 19i~:,i12

Hat.eh calls the film "poh'erful' and finds no loss ()f (~ red i h i 1 i t ~T Ln R n .v 0 n e () f 1. h e sub P lot s , but admits a laC'k or knowledge cOllcerning jegal qllPst~i()ns.

Rich, Fr-ank. "hangal"OO Court

I?if'h contenos that. hy pxaggf'rating the lpgi'll S:istem to sllC'h an i TIC red i b I p dpgree, t.he sa tire lS i nf:ffec t i ve. II e a Iso fin d s fault wii.h the film's h'ilri emotionFd s\.Jings .

S c h 1 e s j n g p r, Art h u r .J I' • .. ..l.. n d .J us tic e for ~ 0 n e ... De'~' 197~~:4K

This r-eview statf'S that the fi 1m is out ot C'ontrol and lacks of rI good sRt.i.rf" sUf'h as Paddy (hR;.'efsky's 'i~_:t\,;,0J'tL H(n';F~ver, Schlesinger rlirl enjo;.- i-'acino's performant'e anrl believes the fi 1m makes an important point anout the Jurlif'ial system. :-lisl<;pl, Cpne. "'.Justiee' Perpetrat.es a Travest,v." (:J:llca~!L<2 Tribune I~ Oet. 1979, SPf'. 3:3

Siskel finds pverything in the fi 1m overdone and aCf'uses .Jel..:ison of taking a superior st,anf'e anrl morali?;ing to a fall!t. Hp also found Pa(~ino t.o be bori.ng in the lead role.

Railey, Ppter. "Int.rodll('ing: Ado!ph Caesar. " Fbi2~ l)e(' . 1~84:G(),62

Tn this article the impact of the Sergeant Waters rolp lS explorerl hy the man who played him on stage anrl ln the fi 1m.

Reale, Lewis. "The St.ruggle, Sacrifice and Hope Behind 'Soldier's Stor.\', ,.. ~ hiCago II:LbJ:!.n~ 7 Oct.. J 9~H, se(~. l:l: :"i-h

This articJe concerns the making of t.he fi 1m ,"Ind, in part.i(~lJiar. the difficult.;,' Jt~wison nad in getting financial backing for the film. Inh~,'estingl,\" .Jel,ison C,n (.:'i.fXf'l' make the f': 1m, he> h'as hi 11"Flg to dirt'ct tht' fi 1m r'OI' l)() pi\~'. Tic"

Direetr.r's Gui Id fOj'('ed him t(, charge sr:;u,(J()(J, (1Ii.s norTllni f p' (> iss 1 • L;) m', J I i I) n .

Remrose, .John. i n h'nnks ... '1;)c'I,('B n I s Sept,. 198,+:7~

13 e m r 0 s e R l' pia u d s t h F' t'i n f' S cor p P n p I a:v and f> '( C' e I I p n t R C' t i 11 g .

Billingsle~·, Lloyd. "A, Sol d j p r 's S tor :-- . " ()(' t . ~ H 4- : 1 1 2

The revi Ph'er finds sppC:'lal pleasure 1 n th is fi I IT) ab'-Jut "people" 11'1 a ,VPHr so (iolTJinaiJ'd by S(' i en('p fiction ;lnd spP('ial pffeC'ts.

'oope I', Ca ro I. " , So I die J' , s Story' Saiutf:." 19H4-:1i-19,'i'b

Cooper ('omment.s on of qu:~ I i t:-' f i 1 ms for h I Rei, act,ors. hap], PRllljne. h a e I e x p () 11 n d son ttl e d iff i c' 11 1 t, ips 0 f bringing a play to the hi g ser'pen and apYl I HUrls .]e\vi son' s pff()l~ts, ~he liked his pacing () f t h (' fl I man d I 1 S 0 (, (";1 s ion R I h 1 1m () t' , The ae t () r s n r' f~ n I s () pI'ai spn for thpi l~ work,

Kauffmnnn, StRneJ:--:, "FH i 1 I:\'oundup. " 1 :1 H 4 : :~ 4

The 1"(,\-IP\;P1' likps the film, but fp]t the flashback scpnes here somf'hha t pnOl i -:.- hmH1 J 0d , Tllf~ revi Ph'er a I so fe Jr. t 11a t t/Oh'a I'd R,ollins \,a~;; nd', lwa!'ly as good ae; Sidney Poit~ier "as 111 l!,L-.!t,_~:~ fie R r,---.J:>J~,-I'l.p N i g h t .

tiroll, Jac!~. Vs. Hlack Vs. hhite." ]() ~f'pt. 1 ~ H 4 : '~:=i

Kroll gives the fi 1m a good re\'iew, but h'i th i.he 1"(,:s(,1"­ vatlon thaT he did not I ike the rhanged ending (the pIa:,' entis tragiraJ Iyl and felt 1he 5t-yle h'as too rc'minisePllt Df In inp t/E'at o f ....t.t~_-':.j'-E,ht_.

O'Brien, Tom. ":'Ioza r t ~ i\illrde r " ( ommom.. :ea 1 I ~ (Jc 1. 1 ~ 8 4: ;-;:i k

This revlewcr finds t' a \l I i, h' i t. h t. hell S P 0 f f] B S h hac I~ s . ()' Bf'i en found t hem ovel~ I y long and ch~st.r\lcti\·e in terms of the t'i 1 m ) s c () n ti n ui t. y ,

Sis k e 1, (; p n e , .. B 1 Cl (' l, R 0 1 P S Help Enrich ',4. UL!__ S~ilQ_-'-:[L__ ib Ul}~ L H S P pt.. j~H~, Sf~('. 7:5

Sisl;;el praises the qual ity and variety this 1i 1m, espeeia11;,-- 1.he'\(joi ph CaeS:lI' perforrnarH'p as Serge:ln: Waters.

Siater, JELck. "HollYhlood's 1'1 f' 11 ... Lssen('p ,\ OY • j ~ ~ 4 : ~: 2 - h 4 , 1 3 H , i 4 1

Sled,pr's arti(~jp IS a ('hronology of bJark mBlf'" roles in f i 1 rn from Paul Poherson In LJ'!lj)el:g_!~_.J:gJ..1£':..~ to the act.orsin this f'i 1m.

Van Gejdpl~, l.ahTenre. "I-'i 1m: 'Soldier"s Story,'" \Ph l 0 r'l~ 'J' 1 m(:':" ---~------~----- 14 sept. 1~1i::i4, sec. :~:~i

A P()~,itIve rev i P\.!, \ Rn {ielder p r a i s est. :l!~ arring and ,}pl-Jison's part,in ('xp8nding t.he play to tilE' srrppn. Finipr, ,Joe1 ~:. R n CJ J\ s, I ~ K ;)

tlq Horhota, C;c·orgp. ",jPl,json :-;~j(l()ts for rhe Trtlth." L, ~, 0(' t.. I ~ 7 ~J : b - K

I,yon, (hri~::;tophpr, ('-d. T h p n t p r'n1'1 t i 0 1I a I D1(~ tJ.~)r~Cl,l':V~_ J.~Lr~LL'!l:;-;. C\ lid Filmmakprs ~ vols. i. h i cag'): :-,t ••lamps Prf~ss, i ~K..J:. YO l. L

~1 () r i t. 7:, (h H rip s . pd ., p t 8 I. Llll~.L~D.L Ii L()"g r 1'1 pI2.Y. Ju~<:trJ}C~oi\. l:~ 7 ~J • Ynrh: il. h. hilson, l~jH(J -_ .... _------