Elia Kazan
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Filmography
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All About My Mother (1999)
Directed by Pedro Almodóvar
influenced by A Streetcar Named Desire (1951)
On his 17th birthday, his mother surprises him with tickets to a stage production of "A Streetcar Named Desire" starring the great actress Huma Rojo (Marisa Parides) as Blanche Dubois.
Good fortune smiles upon her when Manuela finds employment as an assistant to actress Huma Rojo (Marisa Paredes), who's playing Blanche in A Streetcar Named Desire.
Paying homage to cinema legends with a script that overtly references "All About Eve" and "A Streetcar Named Desire," the director has created similarly memorable heroines of his own.
Later, they attend a local production of A Streetcar Named Desire starring Huma Rojo, the aforementioned actress.
I guess it represents a significant advance in his career, giving us a kinder, gentler, more soulful Almodovar who makes a lot more references than usual to other movies: All About Eve and A Streetcar Named Desire especially, but also (in terms of the story's point of departure) John Cassavetes's Opening Night.
His shuffling, awkward manner and heavy accent seem to have taken their inspiration from a mixture of Marlon Brando in On The Waterfront and Sylvester Stallone’s Rocky Balboa.
In many ways it’s a turn that reminds of Marlon Brando in On the Waterfront and Sylvester Stallone in Rocky , that blue collar performance where a humbling charm covers a raging beast within, Hardy’s quiet intensity deployed to startling effect alongside a warmth that makes his Bob a character to like, as well as to be fearful of.
He gives another mannered performance in The Drop: as the outwardly meek and simple bartender Bob Saginowski, he seems to be doing his version of Brando in On the Waterfront, though his slurred delivery and stunned-mullet expression might also remind you of a comic such as Chris O'Dowd.
It’s an endlessly rich performance, unpredictable and sharp-edged, with a vulnerability that is, I swear to you, reminiscent of Brando in On the Waterfront.
There are echoes of Brando’s Terry Malloy in “On the Waterfront” in Hardy’s Bob.
A seemingly humble man of few words and little education, Bob has a Rocky Balboa vibe about him (which is enhanced by his chaste courtship of the bookish Nadia), plus a little of Brando’s Terry Malloy from On the Waterfront.
Juno Temple is stunning as this modernized, oversexed take on Tennessee William’s “Baby Doll,” with Dottie suggesting sexual curiousity, naivete and guile beneath her “slow” exterior.
It throbs with echoes everything from Jim Thompson's The Killer Inside Me to Elia Kazan's Baby Doll to Little Miss Marker, and trust me, you're going to want to take a scalding hot shower with a steel-wool loofa after its ecstatically nihilistic final sequence.
Adapted from Tracy Letts’ play by the playwright himself, Killer Joe is a dark comedy neo-noir that crosses the Coen brothers’ Fargo (keeping the half-baked money scheme but ditching frigid northern country for the deep-fried south) with Elia Kazan’s Baby Doll (although abandoning Tennessee Williams’ underage lust-fantasy innuendo in favor of a more direct approach), and presents characters so stupid and morally repugnant that you start rooting for a stone-cold killer.
Dottie could have been Carroll Baker's sister in Baby Doll, the overheated Tennesse Williams/Elia Kazan collaboration.
Joe Morgenstern, the film critic for the Wall Street Journal, has compared Beatty’s performance to Andy Griffith’s in “A Face in the Crowd,” and the comparison is apt: a folksy facade masking instinctive ruthlessness.
Chief among them is Lotso (Ned Beatty), a plush, strawberry-scented huggie-bear who’s a little too reminiscent of Andy Griffith in “A Face in the Crowd.’’
Scott Glenn is the “Wise Man” who gives “Baby Doll,” as Browning’s character is known, the marching orders for her quest.
Brooklyn (2015)
Directed by John Crowley
influenced by On the Waterfront (1954), A Streetcar Named Desire (1951)
Characters
Her homesickness is relieved by the attentions of Tony (an attractive Cohen, channelling Brando in the opening reels of On The Waterfront), an Italian-American who seems far too good to be true.
Tony (Emory Cohen, who makes you think of Marlon Brando in his "On the Waterfront" era) is clearly not in Eilis' league: He's a plumber who isn't much for reading and writing, and still lives in a cramped apartment with his boisterous Italian family (a dinner scene with them is a highlight).
He's like a sunnier Terry Malloy, the actor even resembling the young Brando (and in fact, Cohen partially based his performance on "On the Waterfront").
He’s the kind of guy Marlon Brando managed to capture the year prior in “A Streetcar Named Desire,” and though the role lacks Tennessee Williams’ complexity, Cohen seems no less committed in his Method-like intensity than Brando did.
There are echoes of East of Eden (for which Newman tested, losing the role to James Dean), and the story of how Hank and Viv met actually recapitulates the plot of The Wild One.
It reminded me of when another Classic Era director, Elia Kazan, went all hip with The Arrangement (1969), after Euro-influenced New Hollywood films like Bonnie and Clyde began to change the American moviescape.
The film reminds me of the Dorothy McGuire character and her socialite circle in Gentleman's Agreement, whose subliminal anti-Semitism, that film made clear, was no less injurious or excusable merely for being subliminal, for failing even to recognize itself as a form of prejudice.
Nominated in four Globe categories, including best picture (drama division), director (Edward Zwick) and actor (Brad Pitt), "Legends of the Fall" plays like a Really Bad Cinema version of "Bonanza," with quite a bit of the plot from "East of Eden" thrown in for bad measure.
At first, the picture plays like “East of Eden” with a bonus brother; it gets sillier as it goes.
But, in a way, "Legends" is closer in mood to another Dean movie, "East of Eden"-or to what "East of Eden" might have been if director Elia Kazan had filmed John Steinbeck's whole epic novel, instead of merely its last section.
And when, in the movie's final section, Chiron is reunited with a dear childhood friend, Kevin, the encounter becomes reminiscent of (though, admittedly, not as bleak as) the final meeting of Wilma and Bud in Elia Kazan's Splendor in the Grass.
As a media-dominated (or decimated, take your pick) society, we've rocketed way past A Face in the Crowd, beyond Haskell Wexler's Medium Cool, and into some creepy, white-hot, prechopped, overshot, stage-managed hyperversion of world and national events.
In the close attention paid by their respective boarders, it recalls the opening moments of Splendor in the Grass; in Mrs. Chan's interactions with her boss and the just-off-screen conversations Mr. Chow has with his wife ("She went home early?
The Peanut Butter Falcon (2019)
Directed by Tyler Nilson
influenced by On the Waterfront (1954)
Characters
It’s reminiscent of the Lee J. Cobb and Marlon Brando encounter in Elia Kazan’s “On The Waterfront” from 1954.
Million Dollar Baby (2004)
Directed by Clint Eastwood
influenced by On the Waterfront (1954)
Dialogue
Eastwood's taut scenes with O'Byrne recall Brando's with Karl Malden in On the Waterfront, laced with even more ferocious questioning and dismay.
Ruby Sparks (2012)
Directed by Jonathan Dayton
influenced by On the Waterfront (1954), A Streetcar Named Desire (1951), East of Eden (1955)
Her grandfather, filmmaker Elia Kazan, was both legendary ( On the Waterfront , A Streetcar Named Desire and East of Eden are all on his directorial resumé´) and controversial (he ratted on lefties in McCarthy-era Hollywood).
And yes, for those old enough to remember, she is the granddaughter of film and stage director Elia Kazan (“On the Waterfront,” “A Streetcar Named Desire,” “East of Eden,” etc.) and playwright Molly Kazan, as well as the daughter of screenwriters Nicholas Kazan and Robin Swicord.
Her grandfather, Elia Kazan, directed On the Waterfront .
Her grandfather, the Broadway and Hollywood legend Elia Kazan, directed A Streetcar Named Desire and On the Waterfront; her parents are screenwriters Robin Swicord (Little Women, Memoirs of a Geisha, The Curious Case of Benjamin Button) and Nicholas Kazan (Frances, Patty Hearst, Reversal of Fortune, Matilda).
Her grandfather, filmmaker Elia Kazan, was both legendary ( On the Waterfront , A Streetcar Named Desire and East of Eden are all on his directorial resumé´) and controversial (he ratted on lefties in McCarthy-era Hollywood).
And yes, for those old enough to remember, she is the granddaughter of film and stage director Elia Kazan (“On the Waterfront,” “A Streetcar Named Desire,” “East of Eden,” etc.) and playwright Molly Kazan, as well as the daughter of screenwriters Nicholas Kazan and Robin Swicord.
The Last Song (2010)
Directed by Julie Anne Robinson
influenced by Splendor in the Grass (1961)
Themes
Clearly designed as a vehicle to take ‘tween idol Cyrus into the next phase of her career, Sparks latest saga (published just a year ago) is likely too PG homogenized to do for her what Elia Kazan’s seminal 1961 teen drama Splendor In The Grass did for Natalie Wood (a few years older than Miley then)—if that’s the idea—but it still remains a touching tale of family ties and young summer love.
Erin Brockovich (2000)
Directed by Steven Soderbergh
influenced by On the Waterfront (1954)
Characters
Even " Erin Brockovich " herself owes something to the spirit of Brando's inspirational performance at the end of the film.
The Florida Project (2017)
Directed by Sean Baker
influenced by A Tree Grows in Brooklyn (1945)
Themes
A mix of “A Tree Grows in Brooklyn” and “Fish Tank,” Baker (who wrote the film with Chris Bergoch) brilliantly presents both sides of Moonee’s world, the real and the imaginative, held together by a whisper-thin membrane of childhood wonder.
“The Florida Project” has many antecedents: Francois Truffaut’s “The 400 Blows,” for one, and literary exposes of poverty like Betty Smith’s “A Tree Grows in Brooklyn,” but also classics of comic kid anarchy like “The Little Rascals” series, Jean Vigo’s “Zero for Conduct,” and Louis Malle’s “Zazie dans la Metro.”
Its closest relatives are Charles Laughton's The Night of the Hunter and Elia Kazan's Wild River , but shot through with the “gritty” vision of cruddy home life and bayou listlessness of Lance Hammer's Ballast .
The family home, like those in Elia Kazan's "Wild River," is threatened by demolition; it's smack on the banks of an unpredictable waterway.