By Elia Kazan
"This is the simplest autobiography I've learn by way of a favourite American in I don't understand how a long time. it truly is ceaselessly soaking up and that i think the reason for this is that it matters a guy who's trying to discover a coherent philosophy that may be tricky adequate to comprise all that's gruesome in his individual and his event, but shall turn out sufficiently compassionate to offer sincere judgment on himself and others. by some means, the writer brings this off. Elia Kazan: A lifestyles has that candor of confession that's attainable in basic terms whilst the private wounds have healed and honesty can in attaining what honesty so not often arrives at--a wealthy and hearty taste. by way of such capacity, a recognized director has written a e-book that gives the type of human wealth we discover in a tremendous novel." --Norman Mailer
during this notable autobiography, Kazan at seventy-eight brings to the undiluted telling of his story--and revelation of himself--all the fervour, energy, and fact, the virtually outrageous honesty, that experience made him so bold a level director (A Streetcar Named wish, demise of a salesperson, All My Sons, Cat on a scorching Tin Roof, Tea and Sympathy), movie director (On the Waterfront, East of Eden, Gentleman's contract, beauty within the Grass, child Doll, The final rich person, A Face within the Crowd), and novelist (the number-one best-seller The Arrangement.)
Kazan offers us his feel of himself as an interloper (a Greek rug merchant's son born in Turkey, an immigrant's son raised in big apple and proficient at Williams College). he is taking us into the just about unintended sojourn on the Yale Drama tuition that prompted his dedication to theatre, and his edgy, intriguing apprenticeship with the recent and surprising staff Theatre, as stagehand and level manager--and as actor (Waiting for Lefty, Golden Boy) . . . his first frightened after which profitable makes an attempt at directing for theatre and flicks (The epidermis of Our the teeth, A Tree Grows in Brooklyn) . . . his go back to ny to co-found the Actors Studio (and his lengthy and ambivalent dating with Lee Strasberg) . . . his emergence as most desirable director on either coasts.
With his director's eye for the telling scene, Kazan stocks the fun and issues of construction, his exact insights on performing, directing, and generating. He makes us believe the shut presence of the actors, manufacturers, and writers he's labored with--James Dean, Marlon Brando, Tennessee Williams, Vivien Leigh, Tallulah Bankhead, Sam Spiegel, Darryl Zanuck, Harold Clurman, Arthur Miller, Budd Schulberg, James Baldwin, Clifford Odets, and John Steinbeck between them. He provides us a frank and affectionate portrait of Marilyn Monroe. He talks with startling candor approximately himself as husband and--in the years the place he obsessively sought event outdoor marriage--as lover. For the 1st time, he discusses his Communist get together years and his wrenching determination in 1952 to be a cooperative witness ahead of HUAC. He writes approximately his start as a writer.
The velocity and natural drama of his narrative, his grab of the lifestyles and politics of Broadway and Hollywood, the fervour with which he observes the boys and girls and worlds round him, and, chiefly, the sincere with which he pursues and captures his personal essence, make this probably the most interesting autobiographies of our time.
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Additional info for Elia Kazan: A Life
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