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| Elia
Kazan |
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| Director
/ Producer / Screenwriter |
| 1909 - 2003 |
| Born September 7,
Istanbul, Turkey |
| Key
Production Country: USA |
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Key Genres: Drama,
Family Drama, Message Movie,
Americana |
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Collaborators: Lyle
Wheeler (Production Designer), Karl Malden (Leading Character Player),
Harmon Jones (Editor), Alfred Newman (Composer), Marlon Brando (Leading
Player), Darryl F. Zanuck (Producer), Joseph MacDonald
(Cinematographer), Boris Kaufman (Cinematographer), Gene Milford
(Editor), Richard Day (Production Designer) |
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Highly Recommended: A
Streetcar Named Desire (1951), On the Waterfront (1954), East of Eden
(1955), Baby Doll (1956), Wild River (1960), America, America (1963) |
| Recommended: A
Tree Grows in Brooklyn (1945), Boomerang!
(1947), Pinky (1949), Panic in the Streets (1950), A Face in the Crowd
(1957), Splendor in the Grass (1961) |
| Links: [
IMDB ] [ All-Movie
Guide ] [
Film Reference ]
[ Elia
Kazan: Postage Paid ] [ World
Socialist Web Site: Hollywood Honors Kazan ] [ DGA
Article ] [ Reel
Classics ] [ PBS
American Masters ] [ Spartacus
Educational Page ] [ Internet
Broadway Database ] |
| Books: [
Elia
Kazan: A Life ] [ Kazan
- The Master Director Discusses His Films ] [ Elia
Kazan: Interviews ] [ Elia
Kazan: A Biography ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: A Streetcar
Named Desire (1951), On the Waterfront (1954), East of Eden
(1955), Baby Doll (1956), A Face in the Crowd (1957),
Wild River (1960),
Splendor in the Grass (1961), America, America (1963) |
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250 Quintessential Noir Films:
Boomerang! (1947), Panic in the Streets (1950) |
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"In
works like Viva Zapata, On the Waterfront, East
of Eden, Baby Doll and Wild River (his
quietest and best film), he abandoned the studio for location
shooting, but retained the services of Actors Studio stars like
Brando, Dean and Steiger, effectively revolutionising film
acting; in retrospect, however, many of the performances look
less naturalistic than overwrought, just as the direction,
despite the focus on 'serious' issues, often seems
overemphatic." -
Geoff
Andrew (The Director's Vision, 1999) |
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"As
an archetypal auteur, he progressed from working on
routine assignments to developing more personal themes,
producing his own pictures, and ultimately directing his own
scripts. At his peak during a period (1950–1965) of anxiety,
gimmickry, and entropy in Hollywood, Kazan remained among the
few American directors who continued to believe in the cinema as
a medium for artistic expression and who brought forth films
that consistently reflected his own creative vision." -
Lloyd Michaels (The St. James Film Directors Encyclopedia, 1998) |
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"All
of Elia Kazan's films have strong social themes, a keen sense of
location and superb performances. Despite his betrayal of his
friends at the McCarthy hearings in 1952, Kazan's reputation as
one of the finest directors in the US has never wavered." -
Ronald Bergan (Film - Eyewitness Companions, 2006) |
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"A social critic who examines Americans and the American dream,
Kazan has turned out some of the most powerful cinema studies
since World War II.." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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"When
you know what an actor has, you can reach in and arouse it. If
you don't know what he has, you don't know what the hell is
going on." -
Elia Kazan |
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