Word: elia
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Dates: during 1950-1959
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Anthony Quinn, now 41, is a Hollywood actor who in 20 years before the cameras has seldom been permitted by his employers to create anything more significant than a three days' growth of beard. In 1952 Director Elia Kazan gave Quinn a good part in Viva Zapata!, and he won an Oscar as the year's best supporting actor. In 1954, while on a visit to Italy, Quinn made a memorable meatball of the carnival strongman in Federico Fellini's La Strada, and last year he produced a vivid portrait of a genius as Painter Paul Gauguin...
...dwells almost without variation or relief upon carnal suggestiveness."-The statement is true enough, but there is room for doubt that the carnality of the picture makes it unfit to be seen. The film was clearly intended-both by Playwright Tennessee Williams, who wrote the script, and by Elia Kazan, who directed it-to arouse disgust; not disgust with the film itself, but with the kind of people and the way of life it describes. To the extent that it succeeds, Baby Doll is an almost puritanically moral, work of art. And yet, as the script continues, long after...
...instance, most of us are so disposed to admire the work of Tennessee Williams and Elia Kazan that when Bentley points out how author and director got in each other's way in the production of Cat on a Hot Tin Roof, the revelation comes as something of a shock. But Bentley is right: Williams did write what might be called a "dirty" play, and Kazan did do his best to dress it up in grandeur and golden light. And Bentley is right because, unlike most other drama critics writing today, he can see the implications of a production...
...character and writings of poor Charles Lamb. He drowned his sorrows in drink, diluted his tragedy with splashes of nervous, tense humor, indulged in "conceits and quiddities" that might grate on some modern sensibilities. His letters make better reading than the essays he wrote under the name of "Elia" (anagram for "A Lie"). This selection by T. S. Matthews, onetime managing editor of TIME, is shrewdly contrived to show why Lamb was not merely pitied for his sufferings but loved as well for his goodness. Indeed, the most remarkable thing about Lamb's terrible life is that...
Almost at once Marilyn found friends in the theater-Cheryl Crawford, Elia Kazan, the Strasbergs, Arthur Miller, Norman and Hedda Rosten, Maureen Stapleton. "For the first time," she says, "I felt accepted, not as a freak, but as myself." She showed a nice talent for painting (watercolors), and she read aloud from poems she could hardly understand. Friends sent her to the Actors Studio. After about six months of study and exercise, she finally worked up courage to do a 20-minute scene from Anna Christie before the other students, many of them practiced professionals. They praised her work...