DOCSLIB.ORG

"The Innocents", and What Passes for Experience Author(S): Pauline Kael Source: Film Quarterly, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
"The Innocents", and What Passes for Experience Author(s): Pauline Kael Source: Film Quarterly, Vol. 15, No. 4, Films from New York (Summer, 1962), pp. 21-36 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1211186 Accessed: 17/09/2009 21:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org PAULINEKAEL 21 in Hollywood today-stem from the compulsion varied themes and appeals, the excitement of a to make every single film a "blockbuster." This new distribution system will soon decline into compulsion, so characteristic of the independ- the same old sameness-the conformity that ent's insecurity, might be tempered and bal- widespread fear of the public always induces. anced if the executive producer role were to Every studio still has a chief of production, reappear-for instance, if pay-TV arrives. Its but such men are primarily negotiators, oc- immediate demand for quantity production cupied with contracts, agents, and the crises of ("Every year," Jerry Wald predicts, "365 worldwide production. They have little time brand-new stories!") might require executive for the slow processes of artistic leadership or producers who could quickly find and cultivate the encouragement of reluctant talent. There new writers and directors. Like the Irving Thal- is a hint of a possible future pattern in the berg period in the transition to sound or the Mirisch Company, with its partnership ar- Fred Coe period when transcontinental TV rangements involving Fred Zinnemann, Wil- brought "intimate drama" into the living room, liam Wyler, Billy Wilder, and Robert Wise. the very haste of pay-TV to fill new needs may Stanley Kramer has recently undertaken sev- avoid for a while the dullness of conformity to eral films using younger directors. John House- some imagined audience taste-may avoid the man manages to keep at least two film projects bureaucracy of decision-making which cramps going at once at MGM. But the creative ex- the artists with conformity. But unless there are ecutive can have only limited freedom or power strong centers of creative leadership and some as long as the present kind of "independence" financial centralization, here and there, that dominates the Hollywood scene. dares to continue supporting programs of PAULINEKAEL The Innocents, and What Passes for Experience REMARKSON MOVIECRITICS AND SOMERECENT MOVIES [The following article is drawn from radio -subject . ." broadcasts on KPFA and its associated FM sta- -LETTER, SERVING AS INTRODUC- tions, somewhat revised for publication.] TION TO Agee on Film I. MOVIECRITICS "The ability to take all that nonsense seri- ously was what made Warshow the remarkable "For me films are primarily a diversion. If I critic of film that he is." want to think, I read." -INTRODUCTION TO ROBERT WAR- -CHAIRMAN OF THE JURY AT THE SHOw's The Immediate Experi- 1961 CANNESFILM FESTIVAL ence "I do not care for movies very much and I This careless condescension would be almost rarely see them ...-to me, rather unimportant inconceivable if these gentlemen-Jean Giono, 22 PAULINEKAEL W. H. Auden, Lionel Trilling-were judging isn't a mass-medium type of movie. novels or poetry or introducing a volume of In the year of L'Avventura and Breathless, literary or dramatic criticism. Movies are still the New York Film Critics Circle selects West treated as if they were in their nickelodeon Side Story. Isn't it about time for the news- period, still regarded as a mere "popular" en- papers to have two sets of movie critics-one tertainment-even though some of the greatest to supply cornmeal gush for simpletons and motion pictures have never been popular, and advertisers, and the other to discuss the motion if they are not championed by perceptive critics pictures that have some content worth discus- will not reach any audience. The attitude that sion? All art is entertainment-it is simply a movies are just a pastime has helped to save matter of how developed your tastes are: the them from academic dry rot: "appreciation" more developed, the more entertainment you courses have killed off interest in music, paint- find in art. And the critics who reject the finest ing, and literature, but movies, ignored by films as not entertainment are defending their teachers as a Saturday afternoon vice, are one own limitations, their disqualifications as critics. of the few arts an American can respond to. American film critics all too often also treat II. THEINNOCENTS movies as a child's vice, and their casual, indif- When you see The Innocents,* you think how ferent, irresponsible criticism is supposed to be amazing that this crew of film-makers could somehow "sophisticated." Like the famous take such familiar material and make it so fresh. writers above, they know "better" than to con- Then you read the reviews and discover that sider movies as an art. (Unlike Giono, when this material, far from being familiar to movie I want to think, I just think-I don't read; and critics, is incomprehensible to them. They don't when I write, it's about something I'm inter- even get it. From Paine Knickerbocker in the ested in.) For a half-century some of the great- San Francisco Chronicle you will discover that est creative artists have been working in films, The Innocents "is dominated by the idea that and their works have been left, for the most two children-a brother and his sister-may be part, to the judgment of almost incredibly un- developing very unhealthy attitudes toward one informed newspaper reviewers, and magazine another" and that it deals with "their incestuous critics who seem to think that contempt for the love for one another." (As a friend remarked, medium is the basic prerequisite for writing "Now we know why Miles was sent down from about it. There's not much point in citing the school: that sinister business is all solved-he'd great works of the past which needed defenders snuck his sister into the dormitory.") If you and didn't find them: one would have to dis- read Bosley Crowther in the New York Times, cuss virtually every great director who ever you will find a new enigma: the children "... worked in films. A specialized audience for are played with glibness and social precocity, motion picture art has finally developed, but but it is difficult to grasp whether their manners there are almost no critics to guide them, and are actually adult or the figments of the gov- the daily paper reviewers, who have been erness' mind." If you look at Show Business coasting for years-summarizing plots, rephras- Illustrated, you may have this illumination: ing publicity handouts, and interviewing "What unnatural, hypnotic hold have Quint starlets-are often positively hostile when con- and Miss Jessel over the children? What was fronted with works that make some demands their relationship with these otherworldly tots? on their intelligence and background. Unable director: to with the new or *Producer and Jack Clayton. Screen- cope difficult, they denounce play by Truman Capote and William Archibald it as incoherent or badly made or incompre- and John Mortimer, based on "The Turn of the hensible or deliberate fraud, and, finally, as not Screw" by Henry James. Photography: Freddie "entertainment"-by which they mean that it Francis. Cinemascope. PAULINEKAEL Homosexuality has been one of the favorite ~5i-i~iiii~iii-iii-i::-:.- -;-:-:- guesses among those who have had a go at the James riddle." (Maybe . .. but not in relation to "The Turn of the Screw"!) In The Observer, you will find Penelope Gilliatt, the most errat- ically brilliant of modern film critics, at low ebb: "In the book, the governess is vaguely attracted to the uncle who hires her; Jack Clayton, born after Freud, shows that she's . iii-_:iiii--i~Fi~Eii3.iFi~.ija~i~ really in love with one of the children . And the stuffily rationalistic John Coleman of The New Statesman says: "Perhaps the children are possessed; and, on these perhapses, intelligent.. interest dissipates." Don't let these new developments in James- "Thatlittle wet tear.. ." ian scholarship keep you away from the movie -which is closer to Henry James than you might get the most credit. think from the reviews. It's a "fun" movie-with Who, for example, thought of using those all the pleasures of elegance and literacy. The curiously frozen, indistinct long shots of Miss little girl's song by Paul Dehn before the titles Jessel's ghost? We peer at these images with and then the hands with the titles are marvel- the governess's eyes, and we are transfixed by ous; from the very first scene, we know these their beauty.
Load more

Recommended publications
  • The Papers of Norman Rosten
    BROOKLYN COLLEGE LIBRARY ARCHIVES & SPECIAL COLLECTIONS 2900 BEDFORD AVENUE BROOKLYN NY 11210 718.951.5346 http://library.brooklyn.cuny.edu THE PAPERS OF NORMAN ROSTEN ACCESSION #91-003 Dates Inclusive dates: 1940s-1960s / Bulk dates: 1940s-1950s Extent 3 boxes/ 1.5 cubic foot, plus one oversized box Creators Norman Rosten (1914-1995) Access / Use The collection is open to researchers. Copyright is retained by Brooklyn College. Files can be accessed at the Brooklyn College Library Archives & Special Collection, 2900 Bedford Ave., Brooklyn, New York, Main floor Languages English Finding aid Guide presently available in-house only. Acquisition/Appraisal Collection was donated to the college library in 1991. Description Control Finding aid content adheres to that prescribed by Describing Archives: A Content Standard. Preferred Citation Item, folder title, box number, The Papers of Norman Rosten, Brooklyn College Archives & Special Collections, Brooklyn College Library Subject Headings Rosten, Norman, 1914-1995. Passover -- Fiction. Dickinson, Emily, 1830-1886 in fiction, drama, poetry, etc. Biographical Note Norman Rosten (1914-1995), poet and playwright and novelist, was born in New York City. He published many works including books on poetry, fiction and non-fiction novels, screenplays, newspapers and magazine articles, and, early in his career, wrote radio shows. Although Norman Rosten was born in New York City, his family moved upstate soon afterwards and he grew up on a farm in Hurleyville, New York. As a teenager, Rosten attended the Agricultural College of Cornell University in Ithaca with the thought of becoming a farmer. However, after the family farm burned down, his family returned to New York and, with their resettlement in Brooklyn, Rosten’s future would change as well.
    [Show full text]
  • Copyright by Michael Eugene Mckelvey 2004 the Treatise Committee for Michael Eugene Mckelvey Certifies That This Is the Approved Version of the Following Treatise
    Copyright by Michael Eugene McKelvey 2004 The Treatise Committee for Michael Eugene McKelvey Certifies that this is the approved version of the following treatise: MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons Committee: Michael Tusa, Co-Supervisor Rose Taylor, Co-Supervisor Dan Welcher Leonard Johnson Suzanne Pence David Nancarrow MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons by Michael Eugene McKelvey, B.M., M.M. Treatise Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication This document is dedicated to my mother Shirley, my wife Ann, and all of my family, friends and students, who have given me the love and encouragement to continue on my path for all these years. Acknowledgements I would like to acknowledge the following individuals for the invaluable personal and archival information they have contributed to this study: Carlisle Floyd, Stewart Wallace, Michael Korie, Christopher Alden, Bruce Beresford, Garnett Bruce, Patrick Summers, Duane Schuler, Paul Steinberg, and Noele Stollmack; David Gockley, Ann Owens, Greg Weber, Rodi Franco, Susan Bell, Laura Bodenheimer and Brian Mitchell of Houston Grand Opera; Dr. Clifford “Kip” Cranna and Bob Cable of San Francisco Opera; Ian Campbell of San Diego Opera; Joe McClain, Susan Threadgill and Vince Herod of Austin Lyric Opera; Chad Calvert of Opera Carolina; Dale Johnson of Minnesota Opera; Robert Lyall of New Orleans Opera Association; Evan Luskin of the Lyric Opera of Kansas City; and Susan Woelzl of New York City Opera.
    [Show full text]
  • Religion Five Years After the Crucible Was First Produced, Historian Edmund S
    Religion Five years after The Crucible was first produced, historian Edmund S. Morgan offered this trenchant summary of Puritanism’s inherent religious tensions: Puritanism required that a man devote his life to seeking salvation but told him he was helpless to do anything but evil. Puritanism required that he rest his whole hope in Christ but taught him that Christ would utterly reject him unless before he was born God had foreordained his salvation. Puritanism required that man refrain from sin but told him that he would sin anyhow. Puritanism required that he reform the world in the image of God’s holy kingdom but taught him that the evil of the world was incurable and inevitable. Puritanism required that he work to the best of his ability at whatever task was set before KLP DQG SDUWDNH RI WKH JRRG WKLQJV WKDW *RG KDG ¿OOHG WKH ZRUOG with but told him he must enjoy his work and his pleasures only, as it ZHUHDEVHQWPLQGHGO\ZLWKKLVDWWHQWLRQ¿[HGRQ*RG Miller’s play reflects this constellation of paradoxes in its characters’ earnest seeking after truth despite their blindness to their own ignorance, their determination to root out evil wherever they might find it except in their own assumptions and beliefs, and in their longing for a perfectly moral life that would dominate their irrepressible human passions. For them, the devil was a spiritual reality that encompassed these and other barriers to a pious and godly life. As Miller himself commented, religious faith is central to the play’s intent: The form, the shape, the meaning of The Crucible were all compounded out of the faith of those who were hanged.
    [Show full text]
  • A Remarkable Legacy: Hopwood Winners from Arthur Miller to Elizabeth Kostova
    Deep Blue Deep Blue https://deepblue.lib.umich.edu/documents Research Collections Library (University of Michigan Library) 2006 A Remarkable Legacy: Hopwood Winners from Arthur Miller to Elizabeth Kostova Jones, Morgan https://hdl.handle.net/2027.42/120274 Downloaded from Deep Blue, University of Michigan's institutional repository A REMARKABLE A REMARKABLE LEGACY LEGACY H o p w o o d Winners H o p w o o d Winners from Arthur Miller from Arthur Miller to Elizabeth Kostova to Elizabeth Kostova A A REMARKABLE REMARKABLE LEGACY LEGACY Hopwood Winners Hopwood Winners from from Arthur Miller Arthur Miller to to Elizabeth Kostova Elizabeth Kostova Special Collections Library Special Collections Library University of Michigan University of Michigan Ann, Arbor, Michigan Ann, Arbor, Michigan 2006 2006 Exhibit Hours Exhibit Hours 10:00 A.M. - 5:00 P.M. Monday - Friday 10:00 A.M. - 5:00 P.M. Monday - Friday 10:00 A.M. - 12:00 P.M. Saturday 10:00 A.M. - 12:00 P.M. Saturday Copyright 2006 by the University of Michigan Library Copyright 2006 by the University of Michigan Library University of Michigan, Ann Arbor. University of Michigan, Ann Arbor. University of Michigan Board of Regents: University of Michigan Board of Regents: David A. Brandon Laurence B. Deitch David A. Brandon Laurence B. Deitch Olivia P. Maynard Rebecca McGowan Olivia P. Maynard Rebecca McGowan Andrew C. Richner Andrea Fischer Newman Andrew C. Richner Andrea Fischer Newman S. Martin Taylor Katherine E. White S. Martin Taylor Katherine E. White Mary Sue Coleman (ex officio) Mary Sue Coleman (ex officio) Catalog design: Morgan Jones Catalog design: Morgan Jones 2 2 Introduction Introduction Avery Hopwood – what a life and what a gift! A graduate of Michigan in 1905 Avery Hopwood – what a life and what a gift! A graduate of Michigan in 1905 and a dramatist who enjoyed immense success on Broadway from 1906 until 1927, and a dramatist who enjoyed immense success on Broadway from 1906 until 1927, Hopwood led a short yet luminous life.
    [Show full text]
  • Not Even Past NOT EVEN PAST
    The past is never dead. It's not even past NOT EVEN PAST Search the site ... Film Review – A View From the Bridge (Directed by Sidney Lumet, 1962) Like 6 Tweet By Yael Schacher A View from the Bridge is the story of an Italian American longshoreman named Eddie who informs on two of his wife’s relatives, illegal immigrants Marco and Rodolpho, in order to prevent Rodolpho from marrying his niece, Catherine. Critics of the lm, and of the play by Arthur Miller on which it is based, have generally paid scant attention to the representation of migration in the story and as a result have often found the characters’ motives hard to read. Miller’s original inspiration for his “Italian tragedy” was the immediate post-WWII context, when he was immersed in the labor conicts on the Brooklyn waterfront and made a trip to Italy to visit the families of Brooklyn longshoremen. Over the next 15 years, as is clear from many drafts of the story in the Ransom Center collection, Miller, Norman Rosten (who wrote the screenplay), and Lumet, shifted the emphasis to downplay the history of illegal Italian immigration. This history begins in the 1920s when the United States passed a law that drastically limited the number of immigrants who could enter the United States from Italy (and elsewhere). But because crewmembers on ships arriving in American ports were given temporary shore leave, Italians began entering as sailors or as stowaways, who then remained in the United States permanently, often with the help of regular crew members.
    [Show full text]
  • Norman Mailer
    Norman Mailer: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mailer, Norman Title: Norman Mailer Papers Dates: 1919-2005 Extent: 957 document boxes, 44 oversize boxes, 47 galley files (gf), 14 note card boxes, 1 oversize file drawer (osf) (420 linear feet) Abstract: Handwritten and typed manuscripts, galley proofs, screenplays, correspondence, research materials and notes, legal, business, and financial records, photographs, audio and video recordings, books, magazines, clippings, scrapbooks, electronic records, drawings, and awards document the life, work, and family of Norman Mailer from the early 1900s to 2005. Call Number: Manuscript Collection MS-2643 Language: English Access: Open for research with the exception of some restricted materials. Current financial records and records of active telephone numbers and email addresses for Mailer's children and his wife Norris Church Mailer remain closed. Social Security numbers, medical records, and educational records for all living individuals are also restricted. When possible, documents containing restricted information have been replaced with redacted photocopies. Administrative Information Provenance Early in his career, Mailer typed his own works and handled his correspondence with the help of his sister, Barbara. After the publication of The Deer Park in 1955, he began to rely on hired typists and secretaries to assist with his growing output of works and letters. Among the women who worked for Mailer over the years, Anne Barry, Madeline Belkin, Suzanne Nye, Sandra Charlebois Smith, Carolyn Mason, and Molly Cook particularly influenced the organization and arrangement of his records. The genesis of the Mailer archive was in 1968 when Mailer's mother, Fanny Schneider Mailer, Norman Manuscript Collection MS-2643 Mailer, and his friend and biographer, Dr.
    [Show full text]
  • Guide to the Saul Bellow Papers 1926-2015
    University of Chicago Library Guide to the Saul Bellow Papers 1926-2015 © 2016 University of Chicago Library Table of Contents Acknowledgments 3 Descriptive Summary 3 Information on Use 3 Access 3 Restrictions on Use 4 Citation 4 Biographical Note 4 Scope Note 6 Related Resources 10 Subject Headings 11 INVENTORY 12 Series I: Personal Ephemera 12 Series II: Correspondence 19 Series III: Writings 231 Subseries 1: Public Speaking Engagements 231 Subseries 2: Essays and Articles 240 Subseries 3: Short Fiction and Poetry 250 Subseries 4: Plays 261 Subseries 5: Books 274 Subseries 6: Miscellaneous Notes and Fragments 380 Series IV: Writings by Others 388 Series V: Writings About Saul Bellow 416 Series VI: Teaching 426 Series VII: Honors and Awards 428 Series VIII: Audiovisual 429 Subseries 1: Photographs 430 Subseries 2: Audio Recordings 434 Series IX: Oversize 434 Series X: Restricted 439 Descriptive Summary Identifier ICU.SPCL.BELLOWS Title Bellow, Saul. Papers Date 1926-2015 Size 142.25 linear feet (256 boxes) Repository Hanna Holborn Gray Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Saul Bellow (1915-2005) was a writer, educator, and Nobel laureate. Born in Lachine, Quebec and raised in Chicago from the age of nine, Bellow studied at the University of Chicago, Northwestern University, and the University of Wisconsin-Madison. He taught in the Committee on Social Thought at the University of Chicago from 1962 to 1993, and at Boston University from 1993 until his death. Bellow was the recipient of many awards including the Nobel Prize, the Pulitzer Prize, the National Medal of Arts, and the National Book Award for Fiction.
    [Show full text]
  • Arthur Miller
    Arthur Miller: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Miller, Arthur, 1915-2005 Title: Arthur Miller Papers Dates: circa 1910s-2013 [bulk 1943-2005] Extent: 313 boxes (131.46 linear feet), 53 oversize boxes (osb), 34 oversize folders, 4 galley files (gf), 18 restricted boxes, 1 restricted oversize box Abstract: The papers of American Pulitzer Prize-winning playwright Arthur Miller consist of drafts of published and unpublished plays and other works, personal and professional correspondence, notebooks, photographs, clippings, and family papers which document Miller's writing career—spanning over fifty years—and range of creative output which includes plays, novels, screenplays, short stories, essays, speeches, and poetry. Call Number: Manuscript Collection MS-02831 Language: Predominately English; some printed material, letters, and documents in Chinese, Danish, Dutch, Finish, French, German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swedish, and Yiddish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
    [Show full text]
  • An Analisis of the Teeatment of the Homosexual
    ho, zo» AN ANALISIS OF THE TEEATMENT OF THE HOMOSEXUAL CHARACTER IN DRAMAS PRODUCED IN THE NEW YOEK THEATRE FEOM 1950 TO 1968 & Donald L. Loeffler A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOE OF PHILOSOPHY August 1969 11+ ABSTRACT The purpose of this study was to analyze the treatment of the homosexual character on the New York stage from 1950 through 1968. The study was concerned primarily with the male character who has been labeled a homosexual by the playwright and who has been presented on the stages in the established on Broadway and off-Broadway theatres in Manhattan. An evaluation of the accuracy with which the homosexual character was presented was considered. Selected publications and scientific investigations concerning homosexuality over the past twenty years were reviewed. The presentation of homosexual characters in productions on the New York stages was surveyed. Seventy- five scripts of dramas pertinent to the study were available and were analyzed with consideration of the homosexual's attitude towards himself, the family's attitude toward the homosexual, and society's attitude toward the homosexual. These seventy-five scripts were compared with the results of published psychological and sociological studies. The most significant conclusion of the study seemed to be that there was a positive relationship between homosexuality as understood in scientific study and the homosexuality as pre-' sented by playwrights. Whether by intuition or by a know­ ledge of scientific observation, the playwrights had presented an accurate picture of the homosexual on the stage.
    [Show full text]
  • Glimpses on History in the Development of Neurosis and Depression in the Life of Arthur Miller: with Respect to His Plays
    www.ijird.com July, 2015 Vol 4 Issue 8 ISSN 2278 – 0211 (Online) Glimpses on History in the Development of Neurosis and Depression in the Life of Arthur Miller: With Respect to His Plays Dinesh A. Gundawar Assistant Professor, Department of Arts, Commerce & Science College, Maregaon, Maharashtra, India Dr. Abhijeet K. Awari Assistant Professor, Gajanan Maharaj College, Mukutban, Maharashtra, India Abstract: Arthur Miller’s growth as a creative visionary has been shaped by many influences, of which two are prominently traced out. First, the influence he inherited and second, that he experienced during the period of his growth. Both the forces are equally responsible in providing a personality that Miller claims to be his own. The tragic impulses the audience find in his plays are the creation of a creative faculty that is unique and belongs only to Arthur Miller. There were many playwrights who were his contemporary, and who shone, in some respects, brighter than he could. But, none could mesmerise the audience with such piercing accuracy, as Miller could. Undoubtedly, Miller’s contemporaries are great in their own right and in their own chosen areas. But, Miller’s area of creativity, that is, the genre of social tragedy remains unintersected by any of his contemporaries. His contemporaries, Tennessee Williams and Edward Albee, and his seniors, Elmer Rice and O’Neill, do have their impact on Miller. Miller is shaped by many other influences. 1. Introduction It may be noted that lives in the contemporary society Miller belonged to were dominated by hysteria, neurosis and volatility of human psyche.
    [Show full text]
  • Kommen Teret Sidney Lumet Filmografi
    ELGIN HOUR Øverst Henry 60 min. drama, sendt i sæsonen 1954-55. Lu­ Fonda i »12 Kommen­ met instruerede »Crime in the Streets« af vrede mænd«. Reginald Rose (8.3.55 - med bl. a. John Cas- Derunder scener savetes, Preston Foster, Mark Rydell og fra »Bag for­ Glenda Farrell). teret tæppet«, »Den THE U.S. STEEL HOUR slags kvinder« 60 min. drama, sendt i perioden 27.10.53- »Manden i Sidney 11.6.63. Lumet har instrueret »Meanest Man in slangeskind«. the World« (6.7.55), og »Family Happiness« (11.2.59 - med Gloria Vanderbilt og Jean- Lumet Pierre Aumont). STAR STAGE filmografi Lumet har instrueret »The Toy Lady« (9.9.55). ALCOA HOUR 60 min. drama sendt i perioden 14.10.55-30.9. 57, derefter 30 min. programmer indtil sept. Sidney Lumet Filmografi 60. Lumet har instr. »Finkle's Comet« efter roman af Herman Raucher, og »Tragedy in a Skønt Sidney Lumet hævdes at have instrueret ca. 350 TV-produktioner, fortrinsvis serie-epi­ Temporary Town« efter manus af Reginald soder men også selvstændige TV-spil, er det Rose. kun en lille del, der kendes fra omtale i bran­ chebladet »Variety«. Her en kort oversigt over SWIFT COLOR SPECIAL hvilke serier Lumet har bidraget til samt Lumet har instr. »Mr. Broadway« (11.5.57 - hvilke episoder, det har været muligt at finde efter manus af Sam & Bella Spevack og med titler på. P C. bl. a. Mickey Rooney, Gloria De Haven og Eddie Foy, Jr.). DANGER Serie bestående af 30 min. episoder, sendt THE SEVEN LIVELY ARTS ugentligt i tiden 3.10.50-21.12.55.
    [Show full text]