The New War Plays: From Kane to Harris
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New titans are arriving, dropping their generously financed catalogs into an already saturated market. Read more listings for art , classical music , dance , film , pop music and theater. The first is an adaptation of a series about twin sisters — one good, one evil — and the presidency of Mexico. Avenue in Memphis.
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Jordan, who plays a supporting role and is an executive producer. She plays a woman readjusting to life in her British hometown after 18 years in prison. Apparently so does CW, even though this latest series from the Greg Berlanti factory gives the network six shows based on DC Comics crime fighters, about half of its total lineup. The newcomer Kennedy McMann plays the year-old detective. Chuck so angry that he pulled the plug on earth.
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Perrotta developed the series himself; Nicole Holofcener directed the pilot. Meanwhile, Aron's girlfriend Abra gradually finds herself attracted to Cal, who seems to reciprocate her feelings. Cal's business goes quite well, and he decides to give the money to Adam at a surprise birthday party for his father, which he and Abra plan together. As the party gets underway, Aron suddenly announces that he and Abra are engaged. While Adam is openly pleased with the news, both Abra and Cal are uneasy, having recently discovered a mutual attraction for one another is emerging, despite their suppressed feelings.
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Cal makes a surprise birthday present of the money to his father; however, Adam refuses to accept any money earned by what he regards as war profiteering. Cal does not understand, and sees his father's refusal to accept the gift as just another emotional rejection.
When the distraught Cal leaves the room, Abra goes after him, to console him as best she can. Aron follows and orders Cal to stay away from her. In anger, Cal takes his brother to see their mother, then returns home alone.
From Kane to Harris
When his father demands to know where his brother is, Cal tells him. The shock drives the pacifistic Aron to get drunk and lose his mind and then board a troop train to enlist in the army. When Sam, the sheriff, brings the news, Adam rushes to the train station in a futile attempt to dissuade him, he fails and can only watch helplessly as his son steams away from him with his head out the rail car window maniacally laughing at him.
The old man then suffers a stroke , which leaves him paralyzed and unable to communicate.
Cal tries to talk to him, but gets no response and leaves the bedroom. Abra pleads with Adam to show Cal some affection before it is too late. She persuades Cal to go back into the room. When Cal makes his last bid for acceptance before leaving town, his father manages to speak. He tells his son to get rid of the annoying nurse and not to get anyone else, but to stay and take care of him himself.
The film ends with Cal, alone, sitting by his father's bedside, the emotional chasm between the father and son apparently closing. Director Elia Kazan first toyed with the idea of casting Marlon Brando as Cal and Montgomery Clift as Aron, but at 30 and 34 years old, respectively, they were simply too old to play teenage brothers. Paul Newman , who was one year younger than Brando, was a finalist for the part of Cal, which eventually was played by James Dean, who was six years younger than Newman.
Newman and Dean, who were up for the part of Cal, screen tested together for the parts of the rival brothers. In the end, Richard Davalos got the part of Aron. This was his screen debut. Julie Harris was cast as Abra James. Executive producer Jack L. Warner was opposed to her casting, because she was ten years older than her character. Principal photography of East of Eden lasted ten weeks. Before filming began, Kazan sent Dean off to Palm Springs to gain some weight and get some sun so that he looked like a "real" farm boy.
Dean hated getting a tan, having his hair cut, and drinking a pint of cream a day to put on pounds. When they first arrived in Los Angeles to begin production, Kazan accompanied Dean to visit his estranged father, who was living there at the time. He witnessed first hand how badly the father treated Dean and how much the boy wanted to please him.
As he got to know Dean better, Kazan saw how this relationship had instilled in him a great deal of anger because of frustrated love, the key to the character of Cal. Kazan denied rumours that he didn't like Dean: "You can't not like a guy with that much pain in him You know how a dog will be mean and snarl at you, then you pat him, and he's all over you with affection? That's the way Dean was. When Kazan introduced Dean to Steinbeck, the author exclaimed that he was the perfect choice for Cal Trask.
Steinbeck himself enjoyed the final film very much.
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Shooting in the fairly new CinemaScope process proved to be a challenge for Kazan, but he was lucky to have a good working relationship with longtime Warner Brothers cinematographer Ted D. The studio camera department gave him instructions up front to keep the camera at least six feet from the actors, which rankled Kazan.
So he and McCord made some tests to see how close they could push in. It caused the side edges of the screen to appear a bit curved, but Kazan decided to use that distortion for dramatic expression. McCord suggested that, as long as they were distorting anyway, they should tip the camera angle in certain shots. This technique was used a few times, most prominently in the tense dinner table scene in which Cal and his father fight over the boy's antagonistic reading of Bible passages. Kazan was proud of his use of CinemaScope to get what he thought was the best shot in the film, the train pulling away with all the lettuce on it.
In the carefully calibrated shot, the train disappears behind the railroad station and then reappears much smaller, going off toward the distant mountains. Kazan noted that Dean's tension and shyness always manifested itself physically, so he allowed the actor to use contorted, awkward postures to convey the character. He was exactly like the people you see in insane asylums. It was Dean's idea to do the little running dance in the bean field, and Kazan said he kissed him for that valuable contribution.
He also noted that the far more contained Brando would never have been able to do a scene like that, "but Dean was actually like a kid. Davalos said the most difficult scene for him was when Dean as Cal hits him after an argument. Dean didn't really hit him, of course, but the emotions felt so real Davalos believed Dean really did hate him. He left the set after the take and cried "for about four hours" until Harris had to calm him down.
Several cast members reported that Dean's emotions overtook him so strongly he would frequently cry.
Kazan usually just let those moments pass before resuming shooting, but he did leave one of Dean's breakdowns in—the scene in which Cal is crushed by his father's rejection of the money he earned for him. Dean would provoke Raymond Massey off-camera so that the elder actor would hate him and he could get into character easier.
Kazan did nothing to dispel the tension between the two, as it was so right for their characters in the film. In the scene where Adam refuses to accept Cal's money, the script called for Cal to turn away in anger from his father. It was Dean's instinct to embrace him instead. This came as a surprise to Massey, who could think of nothing to do but say, "Cal! The conflict between James Dean and Raymond Massey came to a boiling point in the scene where Cal angers his father because of the way he reads from the Bible.
Elia Kazan, who found Massey to be a rather rigid and unemotional "stiff" off screen and on, wasn't happy with the way it was going, so he took Dean aside and whispered some suggestions. Dean came back and read the Old Testament passages interlaced with the most offensive curses and crude sexual expressions.