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What we don't understand is why director Elia Kazan changed the ending of the play when he made the movie. The play ends in near perfection, after an ambivalent reconciliation between Stella and Stanley and another new deal: "This game is seven-card stud." Kazan's Hollywoodized ending affects a high-handed moral tone that doesn't exist anywhere in the play. Frankly we blanched...

Author: By Richard Shepro, | Title: THE SCREEN | 3/28/1974 | See Source »

...different sort of short on the same program is Pie in the Sky, an improvised farce on the American pipedream, featuring a young Elia Kazan...

Author: NO WRITER ATTRIBUTED | Title: screen | 12/6/1973 | See Source »

...hadn't seen Elia Kazan's film of East of Eden (1954) until last summer. I was stunned by its emotional power, particularly by the performance of James Dean in his first starring role. Though based on just a part of Steinbeck's giant novel, Kazan's film possesses an epic authority far beyond most American films. Ted McCord's camerawork is one of the first outstanding uses of cinemascope...

Author: NO WRITER ATTRIBUTED | Title: screen | 10/25/1973 | See Source »

East of Eden. 1955 with Raymond Massey, J. Harris Dean, Burl Ives, directed by Elia Kazan. James Dean's best performance in which his capacity for portraying a rebel youth is fully used, unlike the more acclaimed Rebel Without a Cause, which was a spinoff of Brando's prototypical 50's motiveless wandervogel in The Wild One. Set on John Steinbeck's 30's Northern California farmland, Kazan strips the Nobel Prize winner's story of all its forced Biblical parallels. And in focussing the story upon the character played by Dean he creates the sort of lean, energetic, powerfully...

Author: NO WRITER ATTRIBUTED | Title: the screen | 7/10/1973 | See Source »

East of Eden. 1955 with Raymond Massey, J. Harris Dean, Burl Ives, directed by Elia Kazan. James Dean's best performance in which his capacity for portraying a rebel youth is fully used, unlike the more acclaimed Rebel without a Cause, which was a spinoff of Brando's prototypical 50's motiveless wandervogel in The Wild One. Set on John Steinbeck's 30's Northern California farmland, Kazan strips the Nobel Prize winner's story of all its forced Biblical parallels. And in focussing the story upon the character played by Dean he creates the sort of lean, energetic, powerfully...

Author: NO WRITER ATTRIBUTED | Title: the screen | 7/6/1973 | See Source »

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