![]() ![]() Staggs lands solid punches on Jessica Tandy, the original Broadway Blanche whose performance has been elevated, thanks to fading memories and very little film of it, to legendary status. Kazan is as famous for selling people out as he is for his actual work. He shrugs off director Elia Kazan’s willingness to cave to the censors, passing that off as Kazan playing them to try to get what he wants. ![]() Mayer’s daughter produced the play and film, and Staggs seems most reliant on her spin of events. Mayer, Staggs seems to have fallen in love with Irene Mayer Selznick as a source. Like the most recent biographer of Louis B. Staggs covers the play’s creation, but needlessly and wrongheadedly mocks the scholarship of Lyle Leverich, author of the definitive Tennessee Williams biography. Social mores were tested, screen taboos broken even as they were watered down by the Catholic Legion of Decency. To his credit, he recounts the groundbreaking effects of Streetcar, on stage and screen. ![]()
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