Elia Kazan: A Life

Elia Kazan: A Life

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by Elia Kazan
     
 

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Elia Kazan's varied life and career is related here in his autobiography. He reveals his working relationships with his many collaborators, including Harold Clurman, Lee Strasberg, Clifford Odets, Arthur Miller, Tennessee Williams, Marilyn Monroe, Marlon Brando, James Dean, John Steinbeck and Darryl Zanuck, and describes his directing "style" as he sees it, in

Overview


Elia Kazan's varied life and career is related here in his autobiography. He reveals his working relationships with his many collaborators, including Harold Clurman, Lee Strasberg, Clifford Odets, Arthur Miller, Tennessee Williams, Marilyn Monroe, Marlon Brando, James Dean, John Steinbeck and Darryl Zanuck, and describes his directing "style" as he sees it, in terms of position, movement, pace, rhythm and his own limitations. Kazan also retraces his own decision to inform for the House Un-American Activities Committee, illuminating much of what may be obscured in McCarthy literature.

Editorial Reviews

From the Publisher

“A huge sprawling autobiography.”

Publishers Weekly - Publisher's Weekly
Flashes of sudden insight or eloquence keep the reader turning the pages of Kazan's garrulous 864-page autobiography. The famous director, now 78, apparently wanted it all: comfortable domesticity (provided by three wives) and a bachelor's sexual freedom. An ambitious Anatolian of Greek ancestry craving acceptance in America, a bourgeois adventurer, a truth-teller and wearer of masksthese paradoxes in his own character are the driving force of his life and career. Kazan, an ex-Communist, makes no apologies for his agonizing decision to name names before the House Un-American Activities Committee during the McCarthy era. Focusing on Death of a Salesman, America, America and many other plays and films he directed, his expansive memoir includes cutting portraits of Lillian Hellman and Arthur Miller, as well as glimpses of Odets, Cagney, Bankhead, Monroe, Brando, Goldwyn, dozens more. Kazan is candid about his own flaws and generous in his assessment of others. Photos not seen by PW. 35,000 first printing. (May)
Library Journal
Noted director Kazan has written a candid account of his amazing life. After years of struggle to be an actor, Kazan found his theatrical forte in directing. In the 1940s he was the toast of both Broadway and Hollywood, with such productions as A Streetcar Named Desire and Death of a Salesman , and films such as East of Eden. The 1950s brought problems with the House Un-American Activities Committee, with which he cooperated (in a controversial decision) after much soul-searching. Kazan is frank about his constant extramarital affairs. Most fascinating are the characterizations of friends such as Arthur Miller, Tennessee Williams, etc. Overlong, perhaps, but always interesting, this is an important addition to collections. Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
New York Times Book Review
[Kazan's] comments on directing are almost invariably informative and astute. He is illuminating on picture, position, movement, pace, rhythm, and his own limitation….indispensable account of American theater and film and an impassioned testament.
New York Times Book Review

Product Details

ISBN-13:
9780306808043
Publisher:
Da Capo Press
Publication date:
08/28/1997
Pages:
860
Sales rank:
1,162,542
Product dimensions:
6.12(w) x 9.02(h) x 1.95(d)

Meet the Author


Elia Kazan's work includes stage productions of A Streetcar Named Desire, Death of a Salesman, and Cat on a Hot Tin Roof as well as films like On the Waterfront, East of Eden, and Splendor in the Grass. He is also the author of The Arrangement, America America, and The Assassins, among others.

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Elia Kazan 5 out of 5 based on 0 ratings. 2 reviews.
TomBarnes39 More than 1 year ago
Elia Kazan was drawn to show business but in the early days of his career he showed little aptitude for any place in the theatre. He was quite good at painting sets and by simply hanging around was eventually given a few bit parts in several plays. He got little notice from the critics but Harold Clurman took him under his wing and Kazan grew some as an actor within the Group Theatre. Most of the group had socialist leanings but Kazan was too much of an individual to follow any structured ideology and he let it be known that he would never become a part of the communist party. During the 30's there was very little money to be made by working with the Group Theatre. He finally found a way to augment his income, and that was doing radio plays and was pretty good at it. Kazan's wife Molly's great grandfather was president of Yale University. Kazan slipped around the edges of conflict; Molly stood up right in the center of the storm. Molly's principals permitted no deviation from her obligations of what was right. In the late forties and early fifties the Stanislavsky method of acting was making its way from the Moscow Arts Theatre to New York. Lee Strasberg and Kazan opened the Actors Studio on West 44th Street in an old church building. At the time there were a number of adherents to the Stanislavsky Method teaching their brand of the method and each claiming to have tapped into the authentic Stanislavsky system while pointing out the others as imposters. In time Lee Strasberg and the Stanislavsky method were one. During one summer in Hollywood Kazan turned his life around. He made the decision that he would never make it as an actor. His friend Clifford Odets wrote a screenplay for Lewis Milestone and it gave Kazan a chance to spend time with and learn from one of the great film directors the art of script writing as well as the basic mechanics of directing. The film they worked on was never made but Kazan got the guidance and the inspiration he needed to begin his career as a director. Back in New York Kazan was hired to direct 'The Skin of our Teeth' and in spite of fighting over every line with Tallulah Bankhead from start to finish he managed to bring a successful play to Broadway. He then followed that up by rescuing a play starring Helen Hayes called Harriet. Kazan brought the play back to life from the brink of disaster. Then he suddenly had two Broadway hits on his hands at the same time. A Tree Grows in Brooklyn came a bit later, and that also turned into a big hit. Kazan paid his dues in Hollywood with a couple of lack luster films followed by Street Car Named Desire with Marlon Brando on Broadway and film. Then his big success came with On the Waterfront. Kazan had more than a little conflict in his personal life, that of a wife and family and a mistress along with the HUAC Hearings in Washington. Elia Kazan has written in the highs and lows of his life and career, and there are times you might find the book a bit tedious in detail - but if you'll follow along to the end you will be richly rewarded for your effort. Tom Barnes author of 'Doc Holliday's Road to Tombstone.
Anonymous More than 1 year ago