Posts Tagged ‘Harold Clurman’

“In a letter to Brando in which (director Elia Kazan) explores the differences between the Terry Malloy and Stanley Kowalski characters he argues as follows: ‘Marlon, this part is much closer to you and to myself too.’ Kazan also compares Terry’s ‘swagger’ early in the story with his own confidence and pride previously, as the ‘white-haired boy-director.’ At other points in the Notebook he compares Terry’s early relationship with Mickey (Johnny Friendly) with his own relationship with Harold Clurman and with ‘a Commie who regards Jack Lawson, or V. J. Jerome as the authority.’ While there is no distinctive visual style or mise-en-scene that ties this film to Kazan, the striving for autobiographical expression in Kazan’s work is arguably first strongly evidenced in On the Waterfront.” As a child of Stanislavsky, Kazan brings his own ‘affective memories’ to his direction of actors and of the emotional ‘beats’ of the drama.”
On the Waterfront
Joanna E. Rapf

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