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Elia Kazan

 
Elia Kazan
(born Sept. 7, 1909, Constantinople, Ottoman Empire — died Sept. 28, 2003, New York, N.Y., U.S.) U.S. stage and film director. At age four he immigrated to the U.S. with his family. An actor with the Group Theatre (1932 – 39), he became a noted Broadway director with plays such as The Skin of Our Teeth (1942), A Streetcar Named Desire (1947; film, 1951), Death of a Salesman (1949, Tony Award), J.B. (1958, Tony Award), and Sweet Bird of Youth (1959). In 1947 he cofounded the Actors Studio. He was praised for his naturalistic style in movies such as A Tree Grows in Brooklyn (1945), Gentleman's Agreement (1947, Academy Award), On the Waterfront (1954, Academy Award), and East of Eden (1955). Though bitterly attacked for his cooperation with the House Un-American Activities Committee in the early 1950s, in which he turned over names of suspected communists, he received an honorary Academy Award for lifetime achievement in 1999.

For more information on Elia Kazan, visit Britannica.com.

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American Theater Guide:

Elia Kazan

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Kazan, Elia (1909–2003), director and actor. Born in Istanbul but raised in America, he attended Williams College and did graduate work at Yale before joining the Group Theatre as an apprentice. He appeared with the company as an actor in such plays as Men in White (1933), Waiting for Lefty (1935), Johnny Johnson (1936), Golden Boy (1937), and The Gentle People (1939). Kazan's first major directorial assignment was Casey Jones (1938), but it was his freshly imaginative staging of The Skin of Our Teeth (1942) that gave his career its major boost. Among his subsequent successes (some of which he co‐produced) were Harriet (1943), One Touch of Venus (1943), Deep Are the Roots (1945), All My Sons (1947), A Streetcar Named Desire (1947), Death of a Salesman (1949), Tea and Sympathy (1953), Cat on a Hot Tin Roof (1955), The Dark at the Top of the Stairs (1957), J. B. (1958), Sweet Bird of Youth (1959), and After the Fall (1964). He staged this last play when he assumed the co‐directorship (with Robert Whitehead) of the Repertory Theatre of Lincoln Center, but his tenure was not a success, so he withdrew from the theatre in general. Kazan was also a founding member of the Actors Studio. As his list of credits suggests, he was the most important American director of the late 1940s and the 1950s, bringing a vitality and poetic intensity to virtually all his efforts. John Mason Brown observed of his work on Streetcar, “He succeeds in combining stylization with realism. He is able to capture to the full the inner no less than the outer action of the text. He knows when to jab a climax, when to rely on mood, when to focus the attention pitilessly on the principals, or when to establish . . . the tenement atmosphere.”

Biography:

Elia Kazan

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Elia Kazan (born 1909) is known as the preeminent director of works by Arthur Miller and Tennessee Williams. Kazan emerged as the leading exponent of psychological realism via his film and stage productions of the 1940s and 1950s. His works reflect both social struggle and personal pain.

Elia Kazan was born into a large family of Anatolian Greeks near Istanbul in 1909. Kazan's family came to the United States when he was four, and he grew up in the slums and suburbs of New York City. He was a reclusive child who read compulsively, often as an escape from working in the family business, the rug trade. Determined not to follow in his father's footsteps, the young Elia attended Williams College from 1926 to 1930, majoring in English literature. It was here that he developed his initial interest in theater, writing a prize-winning paper on the audience's emotional response to drama.

Kazan considered a career in the film industry and decided that more theatrical training would help him achieve that goal. He applied to the Yale School of Drama and was accepted, despite his lack of practical experience. From 1930 to 1932 Kazan immersed himself in all aspects of dramatic production at Yale. He found that he shared with several others an interest in social drama and the establishment of a left-wing alternative to Broadway theater. Before completing his degree, Kazan left graduate school to apprentice with the Group Theatre, an offshoot of the Theatre Guild.

The Group Theatre, fashioned after Stanislavski's famous Moscow Art Theatre, was founded by Cheryl Crawford, Lee Strasberg, and Harold Clurman. The company's productions were attempts to combine social consciousness and artistic excellence. Kazan worked for the group in a variety of capacities - as press agent, stage manager, and actor. In 1934, with Art Smith, he recruited new playwrights, an effort that resulted in Clifford Odets' Waiting for Lefty. In its initial performance Kazan played Agate, who delivers the play's final appeal for a strike of cab drivers.

His next association was with the Workers' Laboratory Theatre (re-named the Theatre of Action in 1935), where he realized his ambition to direct, beginning with Peter Martin's The Young Go First The production, implementing Group Theatre techniques of improvisation and rehearsal exercises, featured Alfred Saxe. The Theatre of Action's film division also employed Kazan as a director of left-wing movies. This unit evolved into Frontier Films, known for its documentary realism and called by Variety the "Group Theatre of motion pictures." In 1936 Kazan returned to the group, which was now headed by Clurman only. He stayed until 1941, acting in Odets' Golden Boy and other works. The departure of Strasberg and Crawford also allowed him to direct.

In the early 1940s Kazan began to concentrate solely on directing, and in the first few years of the decade he directed a number of plays, most notably Thorton Wilder's The Skin of Our Teeth, starring Tallulah Bankhead. This production earned Kazan the 1942 New York Drama Critics' Award for Best Director. By 1945 Kazan was receiving offers to direct from both Broadway and Hollywood. He continued to produce successes in both arenas, with the film A Tree Grows in Brooklyn and the play All My Sons, the latter by a then-unknown young playwright named Arthur Miller.

In 1947, with Cheryl Crawford and Robert Lewis, Kazan founded the Actors' Studio as a kind of revival of the Group Theatre, with a focus on actor training rather than producing plays. When Lee Strasberg was eventually recruited as the head of the studio, Kazan's position became that of an occasional instructor and patron.

Kazan returned to directing with the play with which he had the greatest personal relationship - Miller's Death of a Salesman, starring Lee J. Cobb. Believing that the protagonist, Willy Loman, was a man who was "socially mistaught," Kazan considered the play to be "a story of love - the end of tragic love" between father and son. He also noted that "this play has to be directed with COMPASSION." Jo Mielziner's famous setting for this production reflected the fragile physical and psychological realities of Willy Loman. The play was a tremendous success, ran more than 700 performances, and garnered the Pulitzer Prize among other major awards.

During the next few years, Kazan spent more of his time as a film director. Notable among this work are A Streetcar Named Desire (1951), On the Waterfront (1954), and East of Eden (1955). After the shooting of Streetcar Kazan was subpoenaed by the House UnAmerican Activities Committee to testify regarding any connection he had with members of the Communist Party working in the entertainment industry. Kazan, in a very painful position that would determine the future of his work, cooperated with the committee. He admitted that he had adopted communism for a time (which he had since renounced) and named several other party members with whom he had worked. He followed this up with newspaper ads, public addresses, and articles defending his testimony and anti-Communist position. Branded an "informer," Kazan found that a number of former associates would no longer work with him, including Harold Clurman and Arthur Miller.

Kazan threw himself back into his work, but his production of Flight Into Egypt closed on Broadway after only 46 performances. He then went to Germany to take over direction of Man on a Tightrope, but it also was a box-office failure. Kazan's next project was a Broadway production of Tennessee Williams' Camino Real, another financial disaster.

Kazan broke this string of disappointments with two Broadway successes, Robert Anderson's Tea and Sympathy and Williams' Cat on a Hot Tin Roof, and the Oscar-winning film On the Waterfront, as well as East of Eden, which gave James Dean his first starring role.

After this successful comeback, Kazan established his own film company and produced Baby Doll (1956), A Face in the Crowd (1957), and several others, but they fared poorly. Kazan returned to the theater in 1957 to direct William Inge's Dark at the Top of the Stairs, Archibald MacLeish's J. B., and Williams' Sweet Bird of Youth.

In 1963 Kazan became co-director with Robert White-head of the Lincoln Center Repertory Theatre. The company's opening production was Arthur Miller's After the Fall, directed by Kazan. Miller and Kazan were re-united after a split of nearly a decade. The play was a success, but Kazan's subsequent production of The Changeling, just before the first anniversary of the Repertory Theatre, was a disastrous effort, and he resigned.

Kazan finally decided to produce his own screenplay, on which he had been working for several years. This was America, America, a fictionalized version of his own family's emigration to the United States. The Arrangement, his next film, was quasi-autobiographical and a financial disappointment.

Kazan then turned to writing novels (including The Assassins) and directed one film, The Last Tycoon, in 1976. His 1988 autobiography, Elia Kazan: a Life, touches on the entire fabric of people and productions in a fascinating life. In Kazan's mid-eighties, irony resonated as in a dark script when Arthur Miller's allegory of the Communist blacklisting era, The Crucible, was revived on the New York stage. At the same time, Kazan was denied a Life Achievement Award by the American film Institute because of his cooperation with the UnAmerican Activities Committee.

Further Reading

Thomas H. Pauly, An American Odyssey: Elia Kazan and American Culture (1983, paperback 1985); and in Michel Ciment, Kazan on Kazan (1974). Also see Kazan's 1988 autobiography, Elia Kazan: A Life.

Quotes By:

Elia Kazan

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Quotes:

"You've got to keep fighting; you've got to risk your life every six months to stay alive"

Director:

Elia Kazan

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  • Born: Sep 07, 1909 in Kadi-Kev, Constantinople, Turkey
  • Died: Sep 28, 2003
  • Occupation: Director, Actor, Writer
  • Active: '40s-'60s, '80s
  • Major Genres: Drama
  • Career Highlights: East of Eden, On the Waterfront, A Streetcar Named Desire
  • First Major Screen Credit: Blues in the Night (1941)

Biography

One of the most revered directors of his era, Elia Kazan was also one of the most -- arguably the most -- controversial. In addition to making his mark on film history with masterpieces such as A Streetcar Named Desire, On the Waterfront, and East of Eden, Kazan made a more dubious mark with his involvement in the House Committee on UnAmerican Activities (HUAC)'s anti-Communist witchhunt of the 1950s; his decision to name alleged industry Communists earned him the ire of many of his peers, resulting in what was essentially his own Hollywood blacklisting. Thus, any biography of Kazan cannot be written without mention of his political involvement, in tandem with the many cinematic contributions he made throughout a long and illustrious career.

An Anatolian Greek, Kazan was born Elia Kazanjoglou in Istanbul (then Constantinople), Turkey, on September 7, 1909. In 1913, he emigrated with his parents to New York City, where his father sold rugs for a living. After an undergraduate education at Williams College and drama study at Yale, Kazan joined New York's left-leaning Group Theatre as an actor and assistant manager. During the 1930s, when Kazan was an active member, the theater was under the leadership of Harold Clurman, Cheryl Crawford, and Lee Strasberg. A focal point of New York artistic life during the decade, the Group Theatre also was a center for radical thought and activity; Kazan himself was a member of the Communist party from 1934 until 1936, when he quit the party in what he claimed was "disgust." He did continue to maintain close relations with many in and around the Stalinist movement, only terminating these relations in 1952 when he testified before HUAC.

In addition to acting in such plays as Clifford Odets' Waiting for Lefty and Golden Boy, Kazan began directing in 1935. He went on to become one of the leading figures on Broadway during the next decade, directing debut productions of Thornton Wilder's Skin of Our Teeth, Tennessee Williams' A Streetcar Named Desire, Arthur Miller's Death of a Salesman, and Williams' Cat on a Hot Tin Roof. Hollywood took notice of the director's talent and in 1945 Kazan had a memorable directing debut with A Tree Grows in Brooklyn. Two years later, he found further success with Gentleman's Agreement, Sea of Grass, and Boomerang!. Although the latter two were considerable accomplishments, it was Gentleman's Agreement -- a bold exploration of anti-Semitism starring Gregory Peck and John Garfield -- that won Kazan his greatest accolades: the film was nominated for eight Academy Awards, winning Best Picture, Best Supporting Actress for Celeste Holm, and Best Director for Kazan. The same year, he co-founded the famed Actor's Studio with Strasberg; the school would serve as a training ground for legions of famous actors, including Marlon Brando.

In 1949, the director found acclaim with the interracial love story Pinky, which received three Oscar nominations. Following 1950's Panic in the Streets, a tale of efforts to contain a New Orleans plague epidemic that mirrored the Communist scare taking hold in the U.S., Kazan scored his next major success with a film adaptation of A Streetcar Named Desire. Featuring a sensuous, explosive Marlon Brando in the role of Stanley Kowalski, the film garnered 12 Oscar nominations (eventually winning four, including Best Actress for Vivien Leigh), and made a star of Brando. The following year, Kazan and Brando collaborated again on Viva Zapata!, a biopic of Mexican revolutionary leader and President Emiliano Zapata.

It was at this time that Kazan's offscreen life became irretrievably enmeshed with his cinematic work. In January 1952, the director was called before HUAC regarding his involvement with the Communist Party and the Group Theatre. During his hearing, he denied that the group was a "front" for Communist activity and that its three directors were Communists. He also refused to supply HUAC with the names of other Communists in the Group Theatre. However, it was not long before Kazan changed his testimony: in the spring of the same year, after being told by 20th Century Fox President Spyros P. Skouras that he would never work in Hollywood again if he refused to disclose names, Kazan once again testified before the committee. In his hearing, he supplied HUAC with several names, including those of writer Clifford Odets (who himself would later "name names"), Lillian Hellman, John Garfield, and Paula and Lee Strasberg.

After his testimony, Kazan was scorned by many of his peers. Arthur Miller, who had once been a close friend, spoke out against him in a letter to the New York Post. However, the attitude greeting the clash between Kazan's dubious offscreen activities and his inarguable onscreen talents was summed up by Brando, who was quoted as saying: "that was a terrible thing [Kazan] did in Washington. I'm not going to work with him anymore. But he's good for me. Maybe I'll work with him a couple more times, at least once." He did so, collaborating with the director on the 1954 classic On the Waterfront. The film -- which was considered by many viewers to be Kazan and screenwriter Budd Schulberg's elaborate defense of an informer's rationale -- won almost universal acclaim, netting 12 Academy Award nominations and winning Best Picture, Best Actor for Brando, Best Supporting Actress for Eva Marie Saint, and another Best Director award for Kazan.

Kazan's next effort, East of Eden, was also greeted with enthusiasm, netting him another Oscar nomination for Best Director. Aside from the critical acclaim it garnered, the film was notable for being James Dean's first starring vehicle; in directing the actor, Kazan helped him produce the type of nuanced tough-sensitive performance that he famously elicited from other actors such as Brando, John Garfield, and Montgomery Clift. Such performances became known as hallmarks of Kazan's films.

In 1956, the director made Baby Doll, another Williams adaptation, which was memorable not so much for its quality (or lack thereof) as for the controversy its content inspired. Chock-full of steamy sexual suggestion and lots of thumb-sucking, the film was the first major motion picture ever to be publicly condemned by the Legion of Decency, the Catholic organization responsible for instituting the repressive Production Code. Somewhat less controversy surrounded Kazan's Wild River, a 1960 film starring Montgomery Clift, and the director found further success with his 1961 Splendor in the Grass. Starring Natalie Wood and Warren Beatty as ill-fated lovers, the film provided an interesting exploration of lust and insanity, and Wood was rewarded with a Best Actress Oscar nomination for her role as the girl who literally goes crazy over Beatty (screenwriter William Inge won a Best Original Screenplay Oscar for his work on the film). Kazan next made America, America, a 1963 film based on the early life of his Greek uncle, and thereafter became largely absent from the film industry, occasionally making acting appearances.

In 1998, the 89-year-old director once again found himself at the center of controversy, this time due to the decision of the Academy of Motion Picture Arts and Sciences to present him with a Lifetime Achievement Award. A deep divide appeared in Hollywood, between those who supported the decision, maintaining that the director's body of work made him worthy, and those who didn't, maintaining that Kazan's offscreen activities amounted to a betrayal of his peers, thus making him an unfit award recipient. The Academy went ahead and presented the award regardless, honoring a director who, political actions aside, had made an indelible contribution to his chosen field. ~ Rebecca Flint Marx, All Movie Guide
Wikipedia:

Elia Kazan

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Elia Kazan

Kazan before bookshelves at Brentano's book store, 1967
Born Elia Kazancioglu
September 7, 1909(1909-09-07)
Istanbul
Died September 28, 2003 (aged 94)
New York City, New York, US
Years active 1934-1976
Spouse(s) Molly Day Thatcher (1932-1963; her death)
Barbara Loden (1967-1980; her death)
Frances Rudges (1982-2003; his death)

Elia Kazan (pronounced ē-LĒ-ä ka-ZAHN; September 7, 1909 – September 28, 2003) was an American film and theatre director, film and theatrical producer, screenwriter, novelist and co-founder of the influential Actors Studio in New York in 1947. Kazan was a three-time Academy Award winner, a five-time Tony Award winner, a four-time Golden Globes winner, as well as a recipient of numerous awards and nominations in other prestigious festivals such as the Cannes Film Festival and the Venice Film Festival.

Contents

Early life

Kazan was born Elias Kazancoglu (Ηλίας Καζαντζόγλου Greek) in Istanbul to a Greek father from Kayseri, Turkey and a Greek mother from Istanbul, where her family were cotton merchants who imported cottom from Manchester, England, and sold wholesale in Istanbul to various merchants, both Greek and Turkish, who took the goods out to the provinces. His family emigrated to the United States in 1913 and settled in New York City, where his father, George Kazanjoglu, became a rug merchant. Kazan's father expected that his son would go into the family business, but his mother, Athena (née Sismanoglou),[1] encouraged Kazan to make his own decisions.

Kazan attended public schools in New York City and New Rochelle, New York. After graduating from Williams College in Massachusetts, Kazan studied at Yale University's School of Drama. In the 1930s, Kazan acted with New York's Group Theatre, alongside (among others) Lee Strasberg, Clifford Odets, and Stella and Luther Adler. During this period, Kazan earned his nickname 'Gadg', short for Gadget - he never learned to love the name. For about 19 months in 1934-36, Kazan was a member of a secret Communist cell.[2]

Career

Theatrical

He became one of the most visible members of the New York elite. Kazan's stage acting credits include Men in White, Waiting for Lefty, Johnny Johnson, Golden Boy, and the 1940 revival of Liliom. Kazan directed A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1955), two of the plays that made Tennessee Williams a theatrical and literary force. He also directed All My Sons (1947) and Death of a Salesman, (1949) the plays which did much the same for Arthur Miller. He received three Tony Awards, winning for All My Sons, Death of a Salesman, and J.B.

Film director

Kazan's history as a film director is equally noteworthy, if not more impressive. He won two Academy Awards for Best Director, for Gentleman's Agreement (1947) and On the Waterfront (1954). He elicited critically acclaimed performances from actors such as Marlon Brando and Oscar winners Vivien Leigh, Karl Malden and Kim Hunter in A Streetcar Named Desire (1951) (the film version of Tennessee Williams' play), James Dean and Oscar winner Jo Van Fleet in East of Eden (adapted from the John Steinbeck novel), Montgomery Clift, Lee Remick, and Jo Van Fleet in Wild River (1960), reportedly one of Kazan's favorite films, Natalie Wood in Splendor in the Grass and Andy Griffith in A Face in the Crowd.[3] Before he began directing films, however, he occasionally played supporting roles in them, one of those films being the 1941 Blues in the Night.

HUAC testimony

Kazan remained controversial in some circles until his death for testimony he gave before the House Un-American Activities Committee (HUAC) in 1952, in which (after previously refusing to do so) he named associates from his days as a member of the Communist Party of the United States of America in the 1930s.[4] He began his career as an actor and stage manager for New York's Group Theatre Company, which was just recently established. His involvement in the group led him to join the "American Communist Party" in 1934. He was only involved with the Communist Party for a short time; however, he was quickly recognized as a potential communist by the HUAC, a group that was investigating the motion picture industry because of growing concern over communists working in the industry. A blacklist of names was being circulated, and those on the list could be in serious trouble and be denied work in the film industry again. The Committee called on people to identify others, and many refused; however, Kazan in his testimony named eight other members of the Communist Party, including some who had worked with him in The Group Theater; all the persons so named were already known to HUAC.[5]

Among the people Kazan named in his testimony were two individuals, Phoebe Brand and Tony Kraber, whom Kazan had himself recruited into the Communist Party in the 1930s. Others included actor Zero Mostel, who was blacklisted and unable to work for the rest of the 1950s.[6]

When Kazan received an Honorary Academy Award in 1999, surviving blacklistees, including Phoebe Brand, as well as some other actors, protested. Actress Kim Hunter, another subject of the blacklist, albeit one whose career recovered, stated that Kazan deserved the honor.[7] Kazan defended his actions long after the fact, writing, "I'd had every good reason to believe the party should be driven out of its many hiding places and into the light of scrutiny, but I'd never said anything because it would be called 'red-baiting.' [. . .] The `horrible, immoral thing' that I did I did out of my own true self."[4] Blacklisted director and former friend Jules Dassin refused to forgive Kazan, stating that he lied about why he turned on his friends. In an interview with the French television program "Ciné-Parade" available in the supplemental materials on the Night and the City DVD he states that he knew Kazan could not live without his work and the threat of being separated from it was his motivation for turning on his friends. Kazan's alleged lies about his motives are what Dassin found unforgivable.

Personal life

Elia Kazan was married three times.[4] His first wife was playwright Molly Day Thacher. They were married from 1932 until her death in 1963; this marriage produced two daughters and two sons. His second marriage, to the actress Barbara Loden, lasted from 1969 until her death in 1980, and produced one son. Lastly, he was married to Frances Rudge from 1982 until his death in 2003, aged 94.

Honorary Academy Award

In 1999, Kazan received an honorary Oscar for lifetime achievement. He did not use the red-carpet entry to the ceremony, slipping instead through a discreet side entrance and avoiding photographers and reporters that awaited the arrival of movie stars, as well as small groups of demonstrators (both against and in favor of Kazan's award). During the ceremony, he was accompanied by Martin Scorsese and Robert De Niro. Both De Niro and Scorsese had appeared in a film about the Hollywood Red Scare (Guilty by Suspicion). Many in Hollywood felt that enough time had passed that it was appropriate to bury the hatchet and recognize Kazan's great artistic accomplishments but others did not. Some refused to applaud (Nick Nolte and Ed Harris) or applauded but remained seated (Steven Spielberg, Jim Carrey). Warren Beatty, a liberal Democrat, stood up and applauded, as did, others such as Karl Malden, Debbie Allen, Meryl Streep, Kurt Russell, Helen Hunt and Lynn Redgrave.[8][9]

Academy Awards

Nominations

Tony Awards

  • 1959: Best Direction – J.B.
  • 1949: Best Director – Death of a Salesman
  • 1947: Best Direction – All My Sons
Nominations
  • 1956: Best Director – Cat on a Hot Tin Roof
  • 1958: Best Play – The Dark at the Top of the Stairs
  • 1958: Best Director – The Dark at the Top of the Stairs
  • 1960: Best Direction of a Play – Sweet Bird of Youth
  • 1965: Best Producer of a Play – Tartuffe

Berlin Film Festival Awards

Nominations

Cannes Film Festival Awards

  • 1955: Best Dramatic Film – East of Eden (1955)
Nominations
  • 1952: Grand Prize of the Festival – Viva Zapata!
  • 1955: Palme d'Or (Golden Palm) – East of Eden
  • 1972: Palme d'Or – The Visitors

Venice Film Festival Awards

  • 1950: International Award – Panic in the Streets
  • 1951: Special Jury Prize – A Streetcar Named Desire
  • 1954: Italian Film Critics Award – On the Waterfront
  • 1954: Leone d’Argento (Silver Lion) – On the Waterfront
  • 1955: OCIC Award – On the Waterfront
Nominations
  • 1948: Leone d'Oro (Golden Lion) – Gentleman's Agreement
  • 1950: Leone d'Oro – Panic in the Streets (1950)
  • 1951: Leone d'Oro – A Streetcar Named Desire
  • 1954: Leone d'Oro – On the Waterfront

Filmography

Year Film Oscar nominations Oscar wins
1937 The People of the Cumberland
1940 City For Conquest
1945 A Tree Grows in Brooklyn 2 1
Watchtower Over Tomorrow
1947 The Sea of Grass
Boomerang! 1
Gentleman's Agreement 8 3
1949 Pinky 3
1950 Panic in the Streets 1 1
1951 A Streetcar Named Desire 12 4
1952 Viva Zapata! 5 1
1953 Man on a Tightrope
1954 On the Waterfront 12 8
1955 East of Eden 4 1
1956 Baby Doll 4
1957 A Face in the Crowd
1960 Wild River
1961 Splendor in the Grass 2 1
1963 America, America 4 1
1969 The Arrangement
1972 The Visitors
1976 The Last Tycoon 1

Bibliography

  • Kazan, Elia (1951). The Arrangement: A Novel. New York: Stein and Day. OCLC 36500300. 
  • Kazan, Elia (1962). America America. New York: Popular Library. OCLC 21378773. 
  • Kazan, Elia (1972). The Assassins. London: Collins. ISBN 0002210355. 
  • Kazan, Elia (1973). Kazan on Kazan. London: Secker & Warburg. OCLC 221452156. 
  • Kazan, Elia (1988). Elia Kazan: A Life. New York: Knopf. ISBN 0394559533. 
  • Kazan, Elia (1975). The Understudy. New York: Stein and Day. OCLC 9666336. 
  • Kazan, Elia (1977). A Kazan Reader. New York: Stein and Day. ISBN 0812821939. 
  • Kazan, Elia (1978). Acts of Love. New York: Warner. ISBN 0446855537. 
  • Kazan, Elia (1982). The Anatolian. New York: Knopf. ISBN 0394525604. 
  • Kazan, Elia (1994). Beyond the Aegean. New York: Knopf. ISBN 0679425659. 
  • Kazan, Elia; Young, Jeff (1999). The Master Director Discusses His Films. New York: Newmarket Press. ISBN 1557043388. 

References

  1. ^ http://www.filmreference.com/film/31/Elia-Kazan.html
  2. ^ "Elia Kazan (1909-2003) - Elia Kazanjoglous". Pegasos. 2003. http://www.kirjasto.sci.fi/kazan.htm. Retrieved 2008-05-28. 
  3. ^ Scott, A. O. (September 30, 2003). "Method Man: Kazan's Landscape of Desire". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9E02E2DA113DF933A0575AC0A9659C8B63. Retrieved 2009-01-28. 
  4. ^ a b c Rothstein, Mervyn (September 28, 2003). "Elia Kazan, Influential Director, Dies at 94". The New York Times. http://www.nytimes.com/2003/09/28/obituaries/28CND-KAZAN.html. Retrieved 2009-01-28. 
  5. ^ Navasky, Victor (1980). Naming Names. New York: Viking Press. pp. 199–222. ISBN 9780670503933. 
  6. ^ Vosburgh, Dick (September 30, 2003). "Elia Kazan". The Independent. http://www.independent.co.uk/news/obituaries/elia-kazan-548834.html. Retrieved 2009-03-29. 
  7. ^ Weinraub, Bernard (February 23, 1999). "Kazan Honor Stirs Protest By Blacklist Survivors". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9E05E5DA133DF930A15751C0A96F958260. Retrieved 2009-01-28. 
  8. ^ http://www.youtube.com/watch?v=3YziNNCZeNs
  9. ^ http://www.nytimes.com/1999/03/22/arts/amid-protests-elia-kazan-receives-his-oscar.html
  10. ^ "1st Berlin International Film Festival: In Competition". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1953/02_programm_1953/02_Programm_1952.html. Retrieved 2009-12-22. 
  11. ^ "IMDB.com: Awards for Wild River". imdb.com. http://www.imdb.com/title/tt0054476/awards. Retrieved 2010-01-18. 

Further reading

  • Schickel, Richard (2005). Elia Kazan: A Biography. New York: HarperCollins Publishers. ISBN 0060195797. 
  • Jones, David, Richard (1986). Great directors at work : Stanislavsky, Brecht, Kazan, Brook. Berkeley ; London: University of California Press. ISBN 0520046013. 
  • Murphy, Brenda (2006). Tennessee Williams and Elia Kazan : a collaboration in the theatre. Cambridge: Cambridge University Press. ISBN 0521035244 (pbk). 

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Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 1994-2009 Encyclopædia Britannica, Inc. All rights reserved.  Read more
American Theater Guide. The Oxford Companion to American Theatre. Copyright © 2004 by Oxford University Press, Inc. All rights reserved.  Read more
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Director. Copyright © 2009 All Media Guide, LLC. All rights reserved.  Read more
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