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KAZAN

Name: KAZAN
Author: Jeff Young
ISBN: 1-55704-338-8

THE MASTER DIRECTOR DISCUSSES HIS FILMS

by Jeff Young ‧ RELEASE DATE: June 1, 1999

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The artistically lauded but politically tainted film director reveals his method and insights in this capacious interview collection. In 1971, director (later producer) Young persuaded Kazan, his favorite director, to sit for hundreds of interviews, on the stipulation that they would be published in book form only after Kazan’s autobiography appeared. It was worth the wait. Young’s book records Kazan’s views on each of his films, from A Tree Grows in Brooklyn (1945) through The Visitors (1972), with Young commenting on Kazan’s final work, The Last Tycoon (1976), for which there was no interview. The most interesting material provided by this psychologically oriented director (co-founder of the Actors Studio) is his takes on actors, about whom he is extremely perceptive, and on the role of character in films. Kazan says his films are sparked by a protagonist with an “inner conflict” that results in meaningful change. Brando was ideal for him: “mature and adolescent at the same time.” In James Dean he immediately spotted “vicious hatred and anger because of love frustrated.” Whether discussing actors, editing, or scoring, Kazan presents himself as a humanist. Though pressed, he refuses to codify his technique: “You develop your own methodology each time out.” As for Kazan’s decision to name names to the House Committee on Un-American Activities in 1952, Young (whose family was affected by the blacklist) probes but opens no new ground. The director reiterates that he acted “out of principle . . . I thought that was the right thing to do.” Kazan’s revelations prompt interest in less-seen films (Wild River) and generate questions about what makes for enduring art. What is the alchemy of immediacy and universality that makes On the Waterfront a classic but Gentlemen’s Agreement an antique? Though debate over Kazan’s ethics continues, his works stand, and his reflections on them make this a valuable piece of film history. (60 b&w illustrations, not seen)

Pub Date: June 1, 1999

ISBN: 1-55704-338-8

Page Count: 352

Publisher: Newmarket Press

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 1999

Categories:

GENERAL NONFICTION

- BOOK REVIEW
APPALACHIAN FALL
by Jeff Young with Ohio Valley ReSource

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.