By Andrew Dickos
Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, well-known his writerly venture to bare the aspirations of his characters in a cloth society established to undermine their hopes. within the technique, he ennobled their fight. His auspicious starting in Hollywood reached a zenith along 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 predicted cinema as a latest artist. His aesthetic appreciation for every technical section of the monitor aroused him to create voiceovers of city cadences--poetic monologues spoken by means of the city's everyman, embodied through 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 recent York City's panorama and the clash among the brothers Joe and Leo Morse, increased movie noir into classical kin tragedy.
Like Garfield, Polonsky confronted persecution and an aborted profession through the blacklist. yet not like Garfield, Polonsky survived to renew his occupation in Hollywood throughout the ferment of the overdue sixties. Then his imaginative and prescient of a altering society stumbled on allegorical expression in Tell Them Willie Boy Is Here, his notable 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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Extra resources for Abraham Polonsky: Interviews
In treating social events it is necessary to know their precise historical conditions in order to evaluate the operation of moral choices. In a metaphysical inquiry we are mainly interested in defining the abstract terms for logical manipulation. Nowadays, a whole literary school has arisen, antirealistic in nature, which is devoted to deciding whether organization-as-such is evil (not whether this organization is evil or not), and whether man’s inner agony is a condition of physical existence (not whether this social existence or that creates terror and anxiety in his spirit).
Every now and then we will get The Old Man and the Sea and Limelight. We have to realize that we too live in historical times and a lot of it is going to be filled with surprises. A Utopian Experience Abraham Polonsky / 1962 From Présence du Cinéma 14 (juin 1962): 5–7. Translated by Andrew Dickos. I am often asked if it is possible to conceive a scenario as a particular literary form. Having tried this experiment, I hope my story might interest all those who, like me, have had the most disappointing results in this pursuit.
We all remember the refrigerators that became planes and flew off to the lonely beaches and mud; we all remember the girls who waited at home and the jobs that would be there. The new world was articulate in the newspaper editorials. The soldiers would take care of the fighting, and the powers-that-be would take care of the peace and prosperity. In the Best Years, fakery is laid bare, but the plot forces easy solutions on its creators. Fascism is solved with a punch; a bad marriage by the easy disappearance of a wife; the profound emotional adjustment of a handless veteran by a fine girl; the itchy conscience of a banker by too many drinks.