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Get Abraham Polonsky: Interviews PDF

By Andrew Dickos

ISBN-10: 1617036609

ISBN-13: 9781617036606

Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, famous his writerly undertaking to bare the aspirations of his characters in a fabric society dependent to undermine their hopes. within the procedure, he ennobled their fight. His auspicious starting in Hollywood reached a zenith together with his Oscar-nominated screenplay for Robert Rossen's boxing noir, Body and Soul (1947), and his inaugural movie as author and director, Force of Evil (1948), prior to he used to be blacklisted throughout the McCarthy witch hunt.

Polonsky anticipated cinema as a contemporary artist. His aesthetic appreciation for every technical component to the monitor aroused him to create voiceovers of city cadences--poetic monologues spoken through the city's everyman, embodied by way of the actor who performed his heroes top, John Garfield. His use of David Raksin's rating in Force of Evil, opposed to the backdrop of the grandeur of latest York City's panorama and the clash among the brothers Joe and Leo Morse, increased movie noir into classical family members tragedy.

Like Garfield, Polonsky confronted persecution and an aborted occupation throughout the blacklist. yet not like Garfield, Polonsky survived to renew his occupation in Hollywood through the ferment of the overdue sixties. Then his imaginative and prescient of a altering society came across allegorical expression in Tell Them Willie Boy Is Here, his extraordinary anti-Western exhibiting the destruction of the Paiute insurgent outsider, Willie Boy, and cementing Polonsky as an ethical voice in cinema.

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And that’s fatal for a comic. It affected my work. I lost contact with my audience. And then very bitterly: Calvero: I’d like to forget the public. a b r a h a m p o l o n s k y / 1 9 5 3 23 Terry: Never . . you love them too much. Calvero: I’m not so sure . . maybe I love them, but I don’t admire them. Terry: I think you do. Calvero: As individuals yes, there’s greatness in every one. But as a crowd I distrust them. They’re like a monster without a head that never knows which way it’s going to turn.

What Hemingway explains about himself and his work in The Old Man and the Sea, he once tried to say through a more socially distinguished character in Across the River and into the Trees. Into this novel of Venice, Hemingway flung all the elements of his earlier successes, a battle-weary colonel wounded almost to the death by heart disease, a city ancient with romance in the center and good hunting on the outskirts, a comradeship of types, and to cap it all a young girl, aristocratic, who could make the earth move from the second balcony.

Suddenly we want him not to be captured, because he is clearly caught in the dreadful hazard of the day, the insecurity of the individual in a world where social forces move like landslides without pity or charity or justice. This little bank clerk, faithful to one bank for fifteen years, has been thrown on his own resources by a depression. He provides for his family in a way not commonly accepted as socially useful. He applies himself with an employee’s devotion, a businessman’s acumen, a workman’s skill, and a philosopher’s gaiety to the task chosen.

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Abraham Polonsky: Interviews by Andrew Dickos

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