Norman Jewison:
Commercial Success, Critical Failure
An
Honors
Thesi s
(1 D c199)
by
Ant.hnny
Thes is
Hall
L.
Beeson
Di reel.or
SUit.e Univprsit:,,-
('lune i e , I nd i ana
February,
f'>...;pec\.pd
dat(~
1987
of graduation:
>Ja;.-
19M!
Sc '2.0 \!
·1
'
...
1he.:;i: J
L.D .
d\J·f2;'(
;;';;"1
I
I QS7
Table of Contents
, BJ.f4
In t
roduc~ T
Commen t a
i. on ..
1':'>-
F. i . ;:-; .
on:
r ..... .
6
.And Jusr.icp for Ai
]0
1:2
Thp
f
0 \J
Jewison
r
f, Lm s
as a
j n
rom par j s r' n .
riirertor.
l ;)
1I
Cone 1 us jon .•.•
1H
R i. hI i og raph:v •.
I~
Introduction
The
r-tlmost
hCi n=~
for
t.
~
() f
I ms
J
tCO~';
in
Ci
'\ 0 r man
of t.he
Cill
fi Ims
been
c.;llh.)(·et
C I' j
f
I
i son
neg;-lt \\-P,
n
C Cl n
thpy
ha\e
t)(~gan
In
1::lt:i2
bf~en
alsn
from
revIews
!'-.()met JOlt'S
h 11 i ] e
t nl s t s .
(1irr>ctin!:!, car'eer hhi('h
successful,
ni
1
(-h('>
film
rs .
I-',pst
h'o(~f,
ra[lh~-
reet.or,
J)
oid
fn
se(' t
the
al'
the eno
\ornan
1 ian t,
but
-j ons
on
Flddler' un
( Fin I p r,
f i ! m S 0 \. t:'" r' s
j
at.ion.
His
~1 i-~;
ed i
T.
Joel
F
j J I.L e
j'
ilm revipws
theme
m n i l r,'t
the i r'
nt,
SUb,jP(,T
'~
j )
0 j
ThE->
'1
t
tim f: s
maLt.f~j',
Jl
aWl
br i I-
reducing
,he
lie
four
tp{~hn
of his Jl:OSt.
i ea I
expel't.i se
hegR11 his
variet.y
ShOhS
pro\.;pss
as
p t~c
recent fiLms.
in
1 he
[1
rea of
freC]llPfl t. mel\-l e- goer.
a
a
tllr
the
riir'f"c-toJ'
sc-ri pT
shows
\.;i t
h
h-ri t.Fr and He'tor
anad 1811 Hroad('ast.l ng (:()rporjandf~rl
him F1
'tour Hit
val'i
9
i () n
aga i
surfaces
p
j
In the hibil0g-
in mind
hhpre he
st'veral
I
the
in the
one
1 Hb -
tl:e
significance.
s i mr i,'t- Fl
p r n ri u (, e
in
(,\1 0 cit z,
\io r i t. z •
papPI' •
make no (' i aims of possess i ng
1n Toronto,
2 () 8 i
hCit·]PS
signifirnnce of Norm8n ,Jeh'lson and
Rm
( -
:.. 0 r mCi 'I ,J e his () n
of tllis
Rearing- this
fi 1m,
2 (i
tee h n i cal 1 ~l pro fie i
his
theIr sO('lHl
In the Heat
go unsC'athpd.
not
again:
t. 0
stu d :.~
are a
H];d
as
Harry
2
Garland, Danny Kaye, and Jackie Gleason.
In
1962
Jel-lison
Pounds of Trouble.
more
films
directed
his
From there he has
including:
The
first
gone on
Cincinnati
Coming, tte Russians are Coming, The
theatrical film,
40
to direct fifteen
Kid, The Russians arc
Thomas Crol-ln
Affair, Jesus
Agnes of God, and the four films which are the
subject of this paper.
(Finlor, 207-208)
(Moritz,
188-191)
3
Rollerballc
Rollerball is a postulation
but
A
substance.
no
world
corporations, for there are
coalition of
no nations,
not
by
multi-national
but by
an all-powerful
individual
War, pc,verty,
The future world is a Vtopia.
ills of
sickness, all
anyone ... is
run
with style,
corporations known as the "Majors:" transportation,
food, energy, etc.
cost of
future world
of a
society have
"All
freedom.
been eliminated, but at the
(the
it
majors)
asl~s
not to interfere with management decisions."
E., refuses
of
Thus,
when the game's greatest
star, Johnathon
and
management's decision making process, a
begins
questioning
to retire
showdown is set up between the corporation and the individual.
As tte film progresses the dark underside of the corporation
lS
revealed.
example,
For
it is discovered that Johnathon's
first wife was taken from him by a jealous executive.
example
an
executive
at
a
party
given
in Johnathon's honor
h'"hispers to another executive that "Evans is out."
remark
further
illustrates
crush individuals.
or what
he did
the
It is never
wrong (if
ability
In another
This offhand
of the corporation to
revealed what
Evans' crime was,
anything at all), the point is clear,
individuals do not matter in this
totalitarian regime.
Utopian
pleasure is purchased for the cost of individual freedom.
At the party mentioned earlier an odd assortment of revelers
leave the party in search of excitement.
film's best
scene, the
decadent mob
In what
descends on
trees (a symbol of liberty) and jubilantly attack
I consider the
a row of pine
the trees Hith
4
a
flame-thro~ing
is clearly representative of
The mob
pistol.
the corporation, destroying everything
in
their
path, anything
natural, singular, or individually beautiful.
The film's
focal point
and central metaphor is the game of
rollerball itself. The corporate
not
merely
for
cogs in
designed the game
continually
of individual
to represent
easily rer:laced.
to
amusement,
message of the futility
meant only
leaders have
The players are
effort.
a machine,
reinforce the
cogs that are very
t\evertheless, Johna thon E. emerges as a ,. star, ..
an unanticipated symbol of the possibility of individual success.
To further accentuate
theme,
director
Norman
ultramodern backdrop.
spacious
same;
sloping curves.
the
Jewison
of
All
and
unimportance
c lear l~-
of
the individual
shot the film against a sleek,
the
offices
corporate
look the
lit with straight lines and gently
The buildings are
stately and
magnificent, yet
they are permeated with an odd dehumanizing aura.
t\orman
Jewison
also
uses
various, more subtle, directing
skills to create the proper mood for the film.
of
architecture
has
lighting coincides
effect.
already
with the
Jewison's choice
been mentioned, but his choice of
architecture to
create the overall
For instance, the office buildings and interiors are all
extremely well lit.
Combined with
lighting
a
creates
cold,
foreboding
Bartholomew's office, as an example,
least bit cheerful.
the smooth
architecture, the
atmosphere.
is very bright,
;--lr.
but not the
As a contrast the rollerball track and arena
are very dark with lots of
shado~s.
The track
takes on
a very
r t.
primitIve appearance.
Th 1s
"los t
of
t. f' n d ~,
1 ()
film's
l s i 1 t e rail;.' a
fi 1m
r a i sed
end
the
k ill
hm,'
insane the sit.uat.ion has bp('ome,
not
part
behind
anc
goa I.
The
uses
bali
his name.
nd i \'j
t
rn
an
film's
theme Bnrl wR1'ning.
One
dUB
t.he major
OJ
\\'hnt
B
(' r' i t
He
had
violence,
and
in mind.
but
t.he
his
c
U
s
p
ri .
t IH~
i ng
t r a (' k
frames,
j ('
ism S
0
f
contt>:~t
t. ()
this
is not.
in \-'tlich
thRt·
the
violpnce
do
c h0 r
j j
:\
(0
t'
0
f
t.h e
U, :1 t
1."',
"i 0 ]'mlUl
t i 1m ('on1.Rins
\'iCllenc~i'
tha t
is
"ih n t
not.
U S
out
,,,h i ('h
t.lle
h'FlS
score
sh()~"n
he i s
is
tn
t.o
f i I m h' 0 I t e r h B
the
reaii7F'S
t h c·
t ()
h;l I I
countf'J'pRrt
purpose,
r'ecogn i t i on ,
desensitiy.atlon
the
]paves
fi na I
Thp problf.,m
the spor1s
7:
0
t hp
i i h
about
has
the
Obviousl;;:,
.J PW j son
he
r n 11 n d
h t ul'red
focus,
:t
p S
1,-.'
t'i n a lop P 0 n f' n t
n
i t. s i n tt~ n rl p d
for'
c h a 111 p i () n t h ens I.. a t
fans chant:tng
pmpha s i
•J 0 h lW tho n.
resemhling sport.
the
1t y
ear 1;.- f
the future.
inrli\'idualism triumphs.
of anvthing
(~i
() r
CJllR j
p () i s pdt. () s t r i k Fan rl
h i g h,
s ha r p
qui t e
f i 1m
g i vet h ('
nigi1Lmarp ,'lsion of
In
n () t
1 S
pIt..
f j lmf"(j
h'8S
cnntarni na.tl'·s
contempOf'Hry filmgoers.
A !",
a
inc ide n t s
>; p () rl s
() f
r'isp
() f
] i 1e1'B l 1 ,Ii
haVE'
"i () 1 en C P i n S i) () l' tin g
quite spvprp.
t.he
fan
In addit.ion,
the
most
e vp n t s .
grelv up
Somp of
in R
ge
n I" r
violent te1p\1S1011 IH'()grRms
t.h()\lsanos
them ha\'t'
R t j \J n
the
~ere
d(~at.h
r () 11 t.i
or
a
rH"
a n rl
",ielpn" character'.
effect,
is a
h"PIl
"h i c- h
S R \J
in the hist,ory
J)(~at.hs
shoh's
of
numbi ng
in
thpse
t;)h'?rds
\-.IOU
llP
1d
(' h
s
v i
o f
amount
fiJmgoer
IS
tame.
To
r t
~
0
1 (' I, e
nnd
0 j p
11
k e ep
a
t rae k
film
n C' p
1n
futuristjr'
0
f
!f
fails.
sport.s
meant
that
so(-ipt;.'
th(~
() n
h'ouL.-l
number (if
the f11m is
anything
not
Hnd
f{ollf~rhall
in
thp
f"frpet i vP,
t ru 1;.'
\.Jas
s t. a tis t i (' S
exposed to,
he
r: hat. the au die n (' p
audif-'nep
() f
t fl p
v i () J e n t
i ng ] y
-".Iso,
(' Y'assness
,.: her' p
IS
s
off.
th~~
at
lH . h a s po
This
the
a s p () r t
turned
infuriat.ed
h' fit.
nf
irna~(p
\'isual
to be morp
film
horrifying,
lif\pd
1
s
(·e~lt.ral
the'
spnse
of
('onfliet
r'ommon
this
bf,t,"f·en the
.J Ph' i son
good."
The rna1n reHson
ver;.
film
individu31
effer-tive
is
l.hp c\)rporHtp
Hnd
In
,)oilna1hon
a
~"ho
!linn
SImple
11
himself,
18
that
I lyeS
his
><:iv('s
in
search,
the
society that
h
hoth
fi 1m
it.s
he
int.uiti\el':
F.
l~.
i\n()l,J~.is
in the C'orporat,e ,,'o,'ld Rnd
insirjp
powpr.
F.I.S.T.
Jn
and
F. I • S . T.
a('('()un t.
s :vmpa the t, i ('
many
ways
is
S () n
of the /\mprir'an
strllggJes
g 1 luno r i 7.eri
.\ 0 r man .J e \,' 1
to
()f
PUl'P
management's
Jess
shi f 1
S
his
earnera
lahor mO\PIllf'nt
hpl'oism,
vIew.
it
the
Thj s
by
but
is a
to
f
flO
personal
overa I
j
issue
1
Im i s
n () 1,
:1
means
is
it.
film,
and
In
of unIonism
7
than
it
is
l,i th
the
relationship
important role in the history of
a
of two friends who play an
union
very
similar
to the
International Brotherhood of Teamsters.
The
film's
theme
centers
around a question of ethics and
This question is the
morality, or do the ends justify the means?
foundation upon which this film builds its story.
The main
character, Johnny
Kovak is portrayed as a man who
cares deeply about his fellow workers.
some crates,
Kovak is
the men are pushed
management.
there to
too
far,
man,
help pick up the produce.
Koval..
takes
their
When
grievances to
Interstate Truckers,
F.I.S.T.
After
strike ends in the death of a friend and fellow union
Kovak
management
decides
of
the
that
in
local
conditions for his men,
push, or
worker drops
Eventually Kovak finds work as a union organizer for
the mythical Federation of
an aborted
When a dock
order
to
defeat
the tyrannical
trucking firm and gain decent working
the union
needs "push."
He
gets this
power, from an unsavory character named Vince Doyle and
his gang cf mafia thugs.
In exchange, Kovak and
F.I.S.T. become
indebted to Doyle's superior, Babe Milano.
This "pact
with the devil" creates a rift between Kovak and
his best friend, Abe Belkin.
to Kovak.
Belkin is
an interesting contrast
They both yearn for better treatment for the truckers,
but whereas Kovak will
use any
means necessary,
Belldn remains
staunchly idealistic.
Unlike
Rollerball,
F.I.S.T.
is
shot
in
sharp
focus to
emphasize, particulary early in the film, a stark realism.
Color
8
is used
to enhance
BroT"'n seems
to be the
the dreariness
of the of
also.
this effect,
primary color used and this symbolizes
Even the actors seem to
the working conditions faced by the men.
exclusively
wear almost
clothing.
brown
and
of
shades
brown
In the scene
There is, however, one vivid exception.
in which Kovak angrily leaves the
activities, he
is bathed
A
senate hearings
on union/ mob
in bright sunlight and is greeted by a
huge contingent of cheering
lighter clothing.
in their
truckers
who
tribute through
are
wearing slightly
symbolic use of light and
color to the triumph of the union.
Jewison makes frequent
their
relative
use
of
For
importance.
positioning
instance,
executive sit in a section that is above
track.
and pit-like
up at the ruling class.
F.I.S.T.
~anagement
of
actors and
in Rollerball the
both the
regular crOl.;d
This lends itself to several shots looking
Jewison uses the same technique in
occupies
a
second
story
office
where
managers can literally look down on the common workers.
As the
film ends
Je>-"ison shows
a series of still shots of
the truckers jubilantly cheering as they
hearings.
at the Senate
Whatever the cost, Kovak had championed these people.
On a more personal level,
Rollerball.
had been
From what I have
several heated
read about
this movie
arguments among Jewison, actor Sylvester Stallone
and co-writer Joe Ezterhas.
those arguments
r did not like F.r.S.T. as well as
were about.
It is not difficult to
imagine what
Stallone, perhaps 1n the interests
of his career, seems to be pushing in this film
for a completely
9
s~vmpat.hpt;
probahl~
('
shooting
.J i. mm:-- Horf;'i.
fello~
his
m \l C'
I'P('11
1east
j;'J
heart.
~
n i e r pst. i n g
c
0 1 J t~;
produrt.
id
Film CiS
The
Jewison or;ginalJy made.
,,'CiS
The studio
;1()s
are left
is
fj()s
t.(lO
\1'
l<i
hat
10
AbP
jncij\-jdual
there
is a.
instanrp,
action and
is a
ts
length.
jump from the
the
'!'oo many questions
H elk i n
inC a 1 j t' 0 r' n i a',>
the
mafia
his
ability
el j r i t an emotional
st.rang sense of
tllerl'
I
shm<Js his
Clgain
rjghts a.nd the riignjr.,v of the COmllIOl'l m;ln.
One of Jeh'ison's strengths is
peop 1 p i n
fin n I
h'as
the
a
t.herllm
in
Rnd
s
the origin"l
of
because
sllorlen.
h Cl. P pen P d
I.J a
C'e
length.
t. h p
011
that
nevertheless,
too
t.he
imp act
oTlrp
fo}'
H 0 f fa
short.er than
~-eal~s?
(~(H1f'ern
t.O sacri f j
i s
is
mCirl\etahl e
po",pr
thp stCirri ng
fOt,
l\ 0 val\: .
~v
is much
no
by S t. a I Lon e •
iLl i ng
sigrli f-icant
right
I\oval\:
he1h'ppn
he
han .J 0 h n n
now
Jess
gCiin
relat.ioIlship
t.he screen
character depth.
that.
H
('omp I ete,
lln:HlSh'Pf'ed:
intprests of
hpha \' i or
The studio heads felt
h'as prohah 1;.-
the
to
t.
fi 1m
is
t.O
\<iouLd
h 1-1 r act f' r
it
thF'
het. t er act.or
a
greCiter
forces played
F'
ha\'f~
personal
"'ho
for
real-life of
the
to
but
need I,d h-a s
.~nothpr aspeC't. of t.he
Ag a in,
closer
I'
.fimm:-' Hoffa dlCl
snmeonp
popu I a r i t ;.-
h m0 r e
t e
t.o thp charaetpr t'H'oug;ht
or rtl
person,,:
,3. c·
Eziprhas hTere
and
less-t.han-arlmi rahl e
F. I . S , T .
role,
hovak,
workers at
resemhlancp
what.
(' h a r
for a
Like
nnri
ties
hova i, .
"in
common va.lues
",onderi'lll
to
fi
I TTl
response.
and seIlS i
courtship sc'elle
In
1
i \-}
in h'llieh
r.T.S.T.
r.~-.
For
the hoval';
10
character tries to make a good
impression
on
the
mother
of a
There is also a very poignant funeral for one of the
young lady.
early unien organizers who is killed by a mob of strikebreakers .
... And Justice for All
is
... A~d Justice for All
1S
addition
exploration
of
inadequacies.
The central
a young
idealistic lawyer
named Arthur
to
regular
legal system
story
an
and its
his
law
our current
figure in the
Kirkland.
In
practice he is a court appointed
He defends both his paying clients and his less
public defender.
fortunate court appointees with equal vigor.
The theme
of ... And
Are
form of a question.
Is there
ideals?
we
living
Justice for
All?
All may
up
to
clear
that,
according
to
be stated in the
our
stated, lofty
The answer is a resounding
The screenplay by Valerie Curtin and
"no~"
it
Justice for
common folk,
Barry Lcyinson makes
Justice is not "for
all," but for the fortunate few.
The story
centers on
two of
Kirkland's cases.
The first
involves a young man who is originally stopped on the highway for
having a broken taillight.
Because he fits the description
murderer,
is
the
advice (not by
young
man
Kirkland)
he
arrested
plea
of a
and due to faulty legal
bargains
his
way
right to
prison.
When Kirkland is finally brought into the case, the evidence
which proves the young man's innocence is ruled inadmissable by a
certain judge
named Fleming
because it is brought in three days
11
late.
Flpming
.J udg p
Accused
ill
sc1. his
d
fen s
1hpse anc1 nther
injust,icps
Kirkland
\< I
get
e:>;plorles
i n
a
h' a
y
h'
i t, h
t"lTl
i ng
to thf'
i s
i t.
bo iIi n g
po i n t.
,.; iii ,
h'
hen
gu i I t.:v
and
pnd of
the fi 1m i\lrl,ianri
,:ha t
of
anrl
fllry
h i r 1\ 1 an ri t. ()
t,pns inn callspri h;\'
The
rpasons.
cljent.
significant.
Fleming forces
hrought
is
tha1'
probably,
othpr
hirkland's
.'">
polit.i(:al
for
p
.'
rape i n(' i ripnt.,
vicious
8
F~
]'
quite
hf' has sppn and
entlrf' jlldicial
s y s t pm)
i s
For
color.
hllgp,
() 11 t,
this
()
for d p r ' "
fi 1m
.J
p"
i son
uses
most I y
I ighting and
Thf'rp arp t.wo significant s;\'mhols 1n this fj 1m.
almost
h p n c h wh p r p
cartoon-likf'.
t.IH~
Fleming gives
lah'.
,If'wi son
lISPS
his views on prison.
enclosed
SHimming
pooL
,J 11 d g f'
anot.hf'r
F J em i n g
lit. ('. r a I I y
symholic scenf' when
"Prison shouid be scary.
the prisoners create thf';r own Hel
plastic
natural
The scene
on
1S
Fleming's
shot.
1pt
insiriE~
estate.
a
1 tis
Fleming's own views from his own microcosm.
As the credits roll
through the final
bewi Idpreri int()
is ama7.ed at.
... And Justice for Al I
man approach t,o
which Rj Ily,
scenp,
life
one of
is rrn7.Y
overcrowded prison.
qUI
tf-'
IS
hI'''
Kirkland
s~arps
has happened
h'hat.
a good example of Jewison's common
II.
~or
instance,
hi rk I and J s un fortuna t.e
for put.t i ng
the
1S
clients,
ani n nor p n t,
man
a scene in
s~atps
in an
that
aLrpad~
12
matter to
the average person.
the system
works, and we go on
this situation, but that does not
As children
we are
believing that
taught that
way until
we are
and the ability of the rich to
the injustices,
plea bargaining,
hire expensive lawyers
~ho
Therefore, the
proven wrong.
can practically guarantee an acquittal
for any crime just does not make sense to the average person.
The problem
I have
with this
film is
the comedy clement.
Some critics have described this film as a black comedy.
The film is not that cynical.
to disagree.
is almost playful.
experiences
a
As an
nervous
example, one
breakdol,'n,
suicidal
character
Along
~udge.
as
these
A
same
true black
violently
merely a curiosity.
Jewison adequately
lines
shaves his head, and ends up
comedy would
just a
just sort of
friend of Kirkland's is a
a
have portrayed this
self-destructive.
This is
the comedy
of Kirkland's associates
He is not really crazy,
throwing dishes at people.
silly.
In fact,
I have
In this film he is
mild criticism.
I believe
made his point with strong social satire, but
this film may have had a greater impact on audiences
if it would
have been a more cynical, black comedy.
A Soldier's Story
The most critically acclaimed of the four Jewison films I am
examining is A Soldier's Story.
Thematically, A
Soldier's Story
is an examination of the destructive power of prejudice.
Fuller's excellent screenplay expounds
not
the
overt
violence
of
on this
theme by showing
white racism, but the less obvious
13
psychological effects of prejudice.
The story centers on
the
investigation
of
the
murder of
the manager of a black baseball team/platoon in
Sergeant Katers,
the rural south
of
World
II
War
America.
to the
a Howard University trained
Captain Davenport,
investigation is
Assigned
military lawyer who is sent from Washington to find the truth.
Along the way Captain Davenport faces his share of obstacles
from white
soldiers and
officers, his
presence is particularly
contested by Colonel Nivens who remarks,
do in
this part
of the
country is to pay too much attention to
the death of a
negro under
the
1S
prejudice
more
"the worst thing you can
Most of
mysterious circumstances."
consisting mostly of reluctant
subtle;
salutes and condescending stares.
The investigation
ultimately
Davenport
leads
to discover
that the murder of Sergeant Waters was not committed by the Klan,
nor was the crime carried out
present the
by
two
night of Water's slaying.
white
officers
who were
The murderer was a member
of Water's own platoon and was in retaliation for Water's heinous
the suicide
involvement in
out
that
Water's
southern, rural
black race.
himself
of another
was
black soldier.
extremely
It turns
prejudiced
towards
blacks and meant to exercise their kind from the
This is eerily ironic when considered in the context
of World War II Naziism that was taking place in Germany.
Sergeant
Water's
prejudice
painful incident in World War I
the
black
race
in
white
was
and a
not
merely for spite.
strong desire
A
to elevate
society provided strong motivational
14
reClson~,
hi
for
sheris tClI",ar'ds
h
R
s~:ed
for
v i (' t, i m i zed
bv
,
t.hp
t.he end of
\\Rter's eruelt,\-,
are
Yet
r t. inn s .
nor Rrp
they shed
ppopiec;;
all
,
fi 1m
for
the
hRve
""hn
for SergeRnr
not
are
bJael\
\ormRn ,je""i son uses most 1 y
i gh 1, in g.
sout,hprn
The rurRl
I () cat. ion"
~-'
i 1 min g
in thp
shRdows and
Rut
RS
in other
pmphasi7.p a
t.o
i nvo 1 \'ed
1
n
d II r' i n g
\\ 0 rid
DR \'pn po r t.
f
t r 11 t. h i s
1
~hen
l.hRt
II
stRres
1Iy
combined
J e~' i son
On p
0
to b P
for
3
v e R J eo.
\.J
i t. h
t,hf' film ends
sh CH.JS
Se
f
p
War 1.
a
r~( p R n
1 10
H
edt ()
i mprov j ng
admirablp.
t
gently
s
i n
i nth P
(,.' 3
the h] :1.(,1\ mRn' s
The hi 1 l i s
fall ing
creoits
WR t. p r ' sam bit ion s
0
The hp,n:y
in rreating an
s r e n f'
a
i n
\~
h i (' h
window when
the
s r e n pin
is
of
J(,h'i son
so ft
rain,
blue
light
reflects
the
sero I I
t h
up
,~
s r rep II
,
()f blacl{ soldiers marching over a hlll.
compan:v
j
ms,
fRre.
thp
Rno
out
j
An 0 the r
a
a
Davpnport~'
sRdness on CRpt.a i n
As
r
r'emorspfu I I y
fj
point.
i.ghting
11
b:-.- "nn
bolo colors Rrp part.icularl:,>T effecLi\'e
wa s
murder he
bpen
nRt.ura I
was
atmosphere
sout,h.
USPS dFl rkness and bo I d ro 1 () n:;
a wf
Rnci
to,
succumbed
prejudire.
For
CaptR in
race.
1'1
r
h Rd
i n
b pen
f', u r
0
pe •
for
t he b i a
('j{
so I rii
p
r s
his mt" t. hod s
A I tho II g h
pos j t. ion 1.Jf'rp I,Tong,
symbo I of prpjud i r('.
hhen
the soldiprs
mRrch over thp crest they arp not oniy integrating the
army,
but
Rlso American soriety.
Onp of
thp reasons
t.h j s
f i 1m
."as so critically sllccessful
1 ;)
H CI S
its
S 11 b
st.O r:--- 1 i n p
It
the other
~hrep
truth
h Cl s i (" t r
il \ u min CI t ion of a
nd
p(~
hut ,Jeh'ison
P,rhaps
emotional
is hTong.
pre j u d i (" f>
film arE" more ("omplpx than
t.O hri ng
is able
Clgain,
hack,
harken
"j1-h pn\.,JPl'flJl
char'gpd
t h:
of this
rna t. t. E" r
t.
films,
I
Ollt
j
11
in which
Da':enport.
The scene is
appeal.
most.
Quite simp]:--',
highpr quality
J e \, j son
the
to the scene
and,
it
is
of
a
thus,
f jim .
The four films in comparison
The
that
t.oget.her
Th
d iff p r
F
1~ 0 \l g
h e
Cl C
n
0
f
strong;,
t. h p
8
e
four fi 1ms
hiQ;hly
f
c en t r al
j
indl\""ichwlis,ic
g u res
,J e h' i
80 n
is
n (~e ,
through
o h s t. i'l ("I e s
dogged
Though .Johnny hoval\ dies in
learl
of a
inclusion
1S
bonds
most
tn
tlv, end
t.O
of E_ •. J.S.T___.,
helt.er pay 8nri ",orking ('ondit.ions for
A.rthur hi rli 1 a.nd may
(~()ntemrt·
det.erm ina t ion
for
become,
p
r' b B I I
the
spirit of
d isba t'red
" s:--' s t pm"
Fi na I 1:--,
R0 1 I
be
t.hprp
T his (' h a r a ole t~,
tS
his fellow ,,-orkers.
aft.f·~r
() f
U1e
aetion
.iustice ill
charaeter
mn r e t h B nan y
indi\-idw'll ism ann :lan'8
hjs effort.s havp
0
III
•••
Anrl
th;s c:ountr:--'
ha.s
of .)ohnat.rlon f'"
in
t. her,
be s t
p
p] t. 0 m i z p s
indomitable spirlt.
16
On the subject of
traits.
For
style all
instance,
all
four films
of
the
share other common
films use bold colors to
emphasize an atmosphere of danger and foreboding.
in particular
of the Rollerball arena and Big
I am thinking
~ary's
saloon in A
Soldier's Story.
Jewison frequently has two opposing viewpoints argued by two
people in
a
one
on ono" confrontation In the four films.
h'orks well ""hen used
si tuations..
Bartholomew's
orders,
Bartholomeh" s
persena]
corpora t ic,n.
context of
individual versus group
frequent clashes
Jehnathon E. defies Mr.
in the
In their
This
these
but
Kishes.
orders
He
represent
represents
more
the
than
entire
Similarly, Abc Belkin represents idealism in
F.I.S.T., Judge Fleming stands for a pragmatic vieK of justice in
. . . An d
J 1.:,;.;:is::-t=--=i...::c'-'o"----=f'-'o"-'r~___"A~l::...::::..l ,
and
Colonel Nivens represents racial
prejudice in A Soldier's Story.
Anoth er
de\"ice
authority above
Jewison
uses
the common people.
is
As I
s;rmbol ic
placement
of
have mentioned earlier,
examples cf this can clearly be found in the first three films.
I
have included a sentence or
each film
because the
way JeKison
twe concerning
has chosen to end these four
films re-amplifies the points made in the respective
obscuring of the indi vidual,
the ending of
films:
the
the importance of the common ,,'o1'ker,
the insanity of our judicial system, and the triumph of the black
race over prejudice.
1 '/
Jewison as a director
.J e ,.". 1 S
Though 1'-ormrin
riirectors;
rihout, .
i s
r:
he
nevertheless
Holl,v',,"oorl's mnsl
I
,':3
fl
one's at ten
t.
d0
p
not
11 S
t.("'h i ng
i on .
f
1
,J e h i
H
Lnlike
Im
1'1 s
H
I'll lows the rictors anrl
S
at
least.
son f i 1 m,
mOI'e
h0
one
remalns
This rsn he ntt.rihuted,
st;;,'l e.
f' S
0
h' r~,
". p
prol ifil'
of
in prirt,
t, h e
d i no c tin g rl 0 e s
not. g r a b
notahle
for his
sereenl"ri tPl'S
0
wn
t. alp n t. s .
rlet,erml np
the
fnsiPHo,
HOI~th
IIp
ot' his
fi I ms.
be(~ClUSe
.TeL i son
sudden 1,v-
supeJ'lor <-l(:ting and
'>.ls(),
C'rpdi t.8 .
IpHd!-:.
H
\or
to
anrl h:is fllms.
dops
he
a
hettel' d i rf'('tor,
but
bpe8.use
of
fine s('[·eenplriY.
dops
,J Ph' j son
hpcarne
nnt
li\-(' a
1i s 1
his nrime prominently 1n the
flamboyant.
1 ifestyle.
All
of t.hi s
18
Conclusioq
Perhaps,
it
lS
not
~orman
Jewison's competence as a director
that makes him an important filmmaker.
lighting, sets,
casts, screenplays,
nical in nature that sets him
filmmaker, he
may never
apart.
of his
his choice of
locations, or anything techAlthough
he
the quality
that
is
a fine
But the atsho~s
through
films and cements his importance in not only con-
temporary cinema, but alse
for people.
is not
be recognized as a master.
tribute that docs set him apart,
in all
It
~orman
contemporary society,
Je~ison
cares
people ... and that is important.
deeply about
is his concern
the dignity of
i9
Bibl'lograph:v
Rollerba Ii
----------~
A 1 Pf~rt,
lis.
Ho
" F 11 t
U
r e
.J 0 r h . "
Hollis nelt.hf'r
recommends t.he
fi 1m, nor
dise-T'edits i t , he
mereiy points to the
game
as
the
fi 1m's
major'
flshT.
The
11.urilPncp
he
saw
t.he
1'i im
h'it.h
riisapp()intf~d
him
grent.ly b~'
cheering the violent aot ion in the fj 1m as if they
l,el~e 1-i81ching
Cln act\lal sporting eVF~nt.
,. Sr' i - F i: F t'om Sports
Canby, V i n(~en t.
29 .J un e I 9 7 ;), sec. 2: (j 2
1'0 Shs rks. '
In addition t.o his regular review,
Canby hTote
a srathing,
satirir11..1
edit.orial
on
this
film
in
\-.'h1ch hf~ arcuses !\orman
Jewjson of having an imagination "the slzp of a six-pacl\:
of heel'
and 8 I arge bag of pret ze Is."
Je\.;i son responded in t.hl" form of a
let t e r (,,", e>J Yo t::'!i_I i me s,
i 3 .J 11 I .v ,
1 9 7 ;), s e (. •
2 : 1 1) i n
h' h i c h
hP
refuterl
Canby's
argument.
t.hat R()l.JS'rb~l.l was not. rea Ii st iC8 I 1~­
VIolent and ac~c~\lsed C:anb~' of possessing t.he saTTle ment.alit.y ClS th·'
"Corporation" rieple-t.ed in the fi im.
rocks,
.Tay.
">.io Score."
T i TTl e
7 .J u I ;.T 1 ~~ '/ ;) : '-I n
Th is revi ewer gi ves t.he fi I m a
script as "confusing."
Forhps, Cheryl.
"Rol]prbail
To.0.9.L H Aug. 1:-1,"5: 18
~vho
poor gradp.
\I;
i 1
He
rpfprs
to thf'
Fo 1 j m,?"
This artie-Ie mprely outLines the plot.
Gammon,
l~,/f)
i i \'e .
>l4-4H
C
"Rollerhall
~
1
Apr.
This interest.ing articlp
details
the
technical
aspect of
creat.ing t.ILe flC't.lt.iollS sport. of RoJ lerbai I for' t h f~ f i 1m.
(}i
J
l1at.t.,
Penelope.
"Skat es,
Hi
l\f~s,
Sharks."
1~75:b'i-bH
Gilliatt
bemo8ns
the
fi 1m's
lach
of
explaIned
rules,
"pol it.leally infnnt. ego," Hnd JR.f'\~ of intelligent. female roies.
20
"Dog
Stanlpy.
hi1uffmi1nn,
JY75:20
pans
the
film
as
be i ng
a
s tel nda rd se I pnCf'
h auf f man n cd so ref e r s to ,j e h~ i son's d ire (' t, i II gas
This rpV1PlN"
fictIon cl ~rhe.
bping fTPdiocrp.
;'>]oses,
I,
Ovel'[l
"Fe"
" :'1 () vie T a I i\ • "
Sam.,
[HOOP I,~
h~
gIves a po\)r rpvich tJ) the fi 1m.
He STates,
care h~hR 1. happens beT.\~pen the h~homps nnyhoh'. ,.
f'los,'s
i I I
l--'oin1',g
Siskel,
G(~ne.
"Rol1f'rbalL's
Tlihune :::7 .Junp 1975, sec. 3 : :.S
]J1111
thp 1'1i nd ...
Siskp
dpjivprs i1noth.'r sC'i1t~hing rpvie,,' in
,,,hl('h hp atl',achS
heing
too
soiemn
and
revejOpntii11.
He
aiso descl'ihes
the fi 1m
as
the point of lhp film HS being too ohvious and moralizing.
.'-ltPITi tt,
Fll t
.. Ro lip r ba 1 I - - \ i
David.
II rf~
.. ,
Christian
~.-
the
Sc~ienc(~
! en t. ,
i"Ioraiisti<'
ralf'"
i'Ionitor 7 ,J II l:v 1 9 I fi : :.-: L
0
Onp of
tilp few positi\p rpvieh's of the fi 1m,
t'] n e a (' t. i n g .
Stprritt,
!)a\'id.
[ n cl 11 S 1, Y';\' •
Sterritt>
ot
---~------~-----.--------~---~-~.-
":'-)o'vies
as
'an
Art
l.oci;;p(j
~_b r j.-:c;,!,.t~~~~i e n~_~,'i0 n_it~().r: L 5 A 11 g •
interviPHs Jpl·Jjson and dis('ussps thp
Sterritt
lip
lRllds
Inside an
1~J7:i:~2
fi 1m.
F. I . S. T.
Ansen,
j)avicl.
This
its
fatal
old movie,
"S,vlvpstpr Hoffa's
int>elligent
t'la~".
not
Ri~hard
r('vie",' points to t,he film's
direC'ts . . . as i f he
Hel~p
".)PHison
"staginess":ls
rF'-('r(~ating
;In
life."
A.
"Carhon
ac("usps
t. h e
d fat her \-,' i t h
rha ract.er f'xpl ora t ion.
(~ 0
St.Ol',v."
opies.
ti i
plot
In
\~ a
20 :vlay
1 ~J7 8: 4- ()8
0 f
me reI y
he i n g
n (' 1 on P 0 f T IH'
ri a t ion s a n d dis 1 i 1\ F' S
t. h p i a r 1\ () f
21
Brill, steven.
1978:85
"The Facts
Behind
'F. I.S. T'"
Esquire
23
~lay
Brill is an expert on the Teamsters and is disappointed in
the film.
~ot because it is historically inaccurate, but because
the film trivializes a much more complex story.
Canby, Vincent.
" 'F. I . S. T. '
1978:210-211
Delivers."
New York Times 14 May
The same Vincent Canby who so viciously attacked Rollerball,
writes a quite good review for this film.
Canby praises the
emotional power projected in the film.
Gilliatt, Penelope.
"Warlords."
New Yorker 8 May 1978:121-123
Gilliatt accuses the film of being overtly '·right-~.;ing·' Hi th
a
somewhat xenophobic streak in which unions are considered
nothing but Bolshevik agitators.
Haskell, Nolly.
"Camera Obscura."
Neh' Yorh: 8 Ma:r 1978:74-78
Haskell states that she enjoyed this films simple charm, but
nevertheless derides its lack of authenticity.
Hatch, Robert.
"Films."
The Nation 3 June 1978:675-676
The reviewer praises
Stallone's performance.
Kauffmann, Stanely.
May 1978:24-25
Rod
Steiger's
"Onward to the Past!"
small role, but pans
The
~eh-
Republic 20
Kauffmann praises Stallone's performance and the film's 30s
style.
Kauffmann also finds other critics'
penchant for lambasting this film's
old-fashioned romanticism amusing.
He
states, "what h-as ... holy in 1938 is sin in 1978, even among those
who mourn the changes of time."
Lownsbough, John.
"~.I.S.S.E.D."
MacLean's 15 May 1978:86-87
This review complains that the film never makes "connection"
with the audience and describes the main problem as being lack of
character depth in the starring role.
2, :2
Schickp.I,
lCichard.
\)a
y
19'( H : '( 4
The Lt.le
of this artictf': p:'(p1ains thp. rpvipwpr's attit.llde.
S chi c J~ p I f () 1] n d t h p f j 1III b 0 ring and R co III P Lp t p fail 11 r e .
He s UH Eo S
t hat.
S 1. al . 0 n p , s a c t. i n g
i S
11 t t p r I y
I" ron g
for
t h plio f fa - i ~ k e
chRract.pr
and
tabs
.lewison's
dirpct,ing
as
being
"V8guP and
distant."
(} p rlf~ .
" R p P p t i t jon h 0 's 'F. I • S . T . '
Trjbl:!JI£:' L({qpr. 197H, sec. 3::l
Sis k pi,
~1 p 5 S
Rg P
• "
Siskpj is lmprpsspd h1'ith thp. serollri ha]f of thp film anrl it,s
depiet.inn of
a :'iUs SenAte heAring. Ypt 0\'p1"a11 hp found t.hf' fi 1m
"lifeless" Rnd bpI jpvps A r(~-erlit.ing might. hf·lp the fi 1m.
St.ein, :'-1.1"
","orman .jPl.Jlson: ' I WAnt F.l.S.T.
N p '''_)~() r 1,--,[ i!l1£ s 7 Ma~' 1 9 I R , SPC. :2: 1 '/ , :2 H
t.o
Peoplp. , ..
I n t h i s i n t e r \' i p I';
J Ph' i son
e:'( po 11 n d s o n
f i J III mR k j n g
a n rl
t~~ s ~J_-,- s p e c i f i cal I y .
Thp
f i 1m
d ire C tor
R 1s n
di s c 11 sSP S t h p
d i 1 em mao f
mR ld n ,S{ q 11 a I i r y
r'i 1 III S t. hat, at. t. h p sam e tim P, S II C e p (' d
R t t_ h e box _. 0 f fi c e .
H p a Iso tal k s abo 11 ,t his up com i n g f i I III (._,-,--'-:...~,IJQ
.J u s tic e _fs2.,l=-6JJ..l "h i (' h h pea I j s "a b 1 a. c k co III e d y a b () u t I a,,, y p r s .
l'
Sterritt, David.
"Stal1on~~'s LRtpSt. Proves He's a
Ch..r..i.§j, i ~, Sc,i pW:f 1"15]n U.:.Q.t::. 2.f Apr. I 97 H : 1 H
liP11l1ine Star."
Hords
for
and the
Sterri tt has nothing hut" kind
Sta 1 lone
fi 1m.
In U'le
rpvipw SUlJ lone
15 prnispd
YOl' his
"pl'ofes~ionalism" and ,/pwison for his "so('iai
\iallp~',
.Ipan.
!'Sta1lonp's Latest" Fight."
82
This arti('lp chroniclps thp trials and tribulRtions lJl',·oi\-(·d
Hit h t ~ h p ma lei n g 0 f t h p
f.i ) III •
Inc I II d f'd
i s
the
s tor y
() f h () H
St 011 onp rph'l'ot PUlP s('ri pt and rpmadp the hO\'ol{ chara\;t,,~r .
.. . And ,Just,lcp for All
------------'---------
\dlpr,
Rpnata.
"ExasperRtion."
Th is rev i p,,'pr
f i I man d p" i n t. S 01] t
Nph' Yorker 22 Oct.
1979:17J-;Hi
fInds lack
of RlJ1,hpnticit~- pVf>r;.-lJhprp
spvpra j J PgR I f 1 8.HS in thp plot.
1
n
t hf':
<\nsen,
DavHi.
"Disordpr
1~79: 102.1U4
the
In
~2
\eh'Sh'peh.
Court
()('t,.
t.he f j 1m ,. t. hem 0 s t i n t ere st. i n g f i J m .J e \" i son h 8 S
Ansen c:a 11 s
film s1.raining
made in .vears" ;:)Tld I'll t.hough he fillds part.s of the
impressed
with
the
sincere
feelings
c: red i b il i t. y, 0 ye r a I 1
he 1 s
e';pr('s~~"d by t.he aetors.
( an by,
\,i
i
nc<~n
l\eh' York
t •
--~---
rimes
--------------~------
19 (Jet.
1979:119
(anby strite's that the film is h;vstf'rical.
:\or. hyst.er](;all:,
funn:-,
j\l>d
ilystpriral.
flf~
ronteTlcis
that.
this
"satirizps
not.hing, having no oirect.ion and no pOInt of vleF."
"J)i sorder
.Jlld- tho
Crist,
in the CO\lrt."
1 ~}7
;)0
Pius dec'.
"---------- ---
~:
5b-:::!
( . r i st. hT i t. e s a n
ext rem e I :-positive
reVlew
in
whieh she
praises Pacino's sincprity as an aet.or and Jewison's attention to
,. e\.-eryday clet.R i 1 • ,.
Denhy,
\ 0
Ua\--d.
"Ahbott and Costello
r 1\ :~ 9 Of't. 1 9 7 (~ : H5
ThlS re\.-ipHel~
finds fauLt,
ere d i h i lit.~! an (1 a Iso its use () f
t. ragedy .
Hatch,
Rlchard.
"Noyies."
~leet
(as others
ha\.'e)
h h' ide ext rem e s
S \l C
The Gation
~7
Hat.eh
calls
the
film
"poh'erful'
red i h i 1 i t ~T Ln R n .v 0 n e () f 1. h e
sub P lot s ,
knowledge cOllcerning jegal qllPst~i()ns.
(~
Fr-ank.
Rich,
f. ranld urte;."
Felix
j
n g p r,
h·it.h the films
of
comf'dy Rnd
Uct.
19i~:,i12
and
but
admits
finds
no
a
loss ()f
laC'k or
"hangal"OO Court
I?if'h contenos
that. hy pxaggf'rating the lpgi'll
an i TIC red i b I p dpgree, t.he sa tire lS
i nf:ffec t i ve.
fault wii.h the film's h'ilri emotionFd s\.Jings .
S c h 1e s
\~eh'
Art h u r
.J I'
•
.. ..l.. n d
.J us tic e
for
~0
S:istem to sllC'h
II e a Iso fin d s
n e ...
De'~'
197~~:4K
This
r-eview statf'S that the fi 1m is out ot C'ontrol and lacks
of rI good sRt.i.rf" sUf'h as Paddy (hR;.'efsky's 'i~_:t\,;,0J'tL
H(n';F~ver,
Schlesinger rlirl enjo;.- i-'acino's performant'e
anrl believes
the fi 1m makes an important point anout the Jurlif'ial system.
:-lisl<;pl,
Cpne.
"'.Justiee'
Perpetrat.es
a
Travest,v."
(:J:llca~!L<2
Tribune I~ Oet. 1979, SPf'. 3:3
Siskel finds pverything in
the
fi 1m
overdone
and aCf'uses
.Jel..:ison of taking a superior st,anf'e anrl morali?;ing to a fall!t. Hp
also found Pa(~ino t.o be bori.ng in the lead role.
Railey,
Ppter.
"Int.rodll('ing:
Caesar. "
Ado!ph
Fbi2~
l)e(' .
1~84:G(),62
Tn this article the
impact of
the Sergeant Waters rolp
explorerl hy the man who played him on stage anrl ln the fi 1m.
Reale, Lewis.
Stor.\', ,..
lS
"The St.ruggle, Sacrifice and Hope Behind 'Soldier's
~ hiCago II:LbJ:!.n~ 7 Oct..
J 9~H,
se(~.
l:l: :"i-h
This
articJe
concerns
the
making
of
t.he
fi 1m
,"Ind, in
the
difficult.;,'
Jt~wison
nad
in
getting financial
backing for
the film.
Inh~,'estingl,\"
.Jel,ison
C,n (.:'i.fXf'l'
make the f': 1m, he> h'as hi 11"Flg to dirt'ct tht' fi 1m r'OI' l)() pi\~'.
Tic"
Direetr.r's Gui Id
fOj'('ed him t(, charge sr:;u,(J()(J,
(1Ii.s norTllni f p' (>
i s s 1 • L;) m', J I i I) n .
part.i(~lJiar.
Remrose,
.John.
Sept,. 198,+:7~
13 e m r
0
se
Billingsle~·,
~
()(' t .
The
"people"
pffeC'ts.
R
l' pia u d s
Lloyd.
H 4- : 1 1 2
t h F'
t'i n f'
S
"A,
Sol d
j p
Cooper
('omment.s
act,ors.
PRllljne.
J' ,
on
s
P
n p I a:v and
f> '( C'
'1;)c'I,('B n
e I I
p
nt
R C'
t i
I
11
s
g .
r 's S tor :-- . "
revi Ph'er
finds
sppC:'lal
a ,VPHr
so (iolTJinaiJ'd
Ca ro I.
" , So I die
19H4-:1i-19,'i'b
hap],
cor p
11'1
'oope I',
h'nnks ...
in
Story'
pleasure
1 n
th is
fi I IT) ab'-Jut
by S(' i en('p fiction ;lnd spP('ial
Saiutf:."
of
qu:~
I i t:-'
f i 1 ms
for
h I Rei,
h a e I e x p () 11 n d s o n t t l e d iff i c' 11 1 t, ips 0 f
ser'pen and apYl I HUrls .]e\vi son' s pff()l~ts,
() f
t h ('
f l I man d
I 1 S
0 (, (";1 s ion R I
h 1 1m () t'
pI'ai spn for thpi l~ work,
bringing a play to the
~he
liked his pacing
hi g
Kauffmnnn,
1 :1 H 4 :
:~
"FH i 1
StRneJ:--:,
4
The
,
ae t () r s
n r' f~
I:\'oundup. "
The 1"(,\-IP\;P1'
likps the
film, but fp]t the flashback
here somf'hha t pnOl i -:.- hmH1 J 0d ,
Tllf~ revi Ph'er a I so fe Jr. t 11a t
R,ollins \,a~;;
nd', lwa!'ly
as good
ae; Sidney Poit~ier "as 111
fie R r,---.J:>J~,-I'l.p N i g h t .
tiroll,
Vs.
Jac!~.
1 ~ H4 :
n I s ()
Vs.
Hlack
scpnes
t/Oh'a I'd
l!,L-.!t,_~:~
]()
hhite."
~f'pt.
'~:=i
Kroll
gives
the
fi 1m
a
good re\'iew, but h'i th i.he 1"(,:s(,1"vatlon thaT he did
not I ike
the rhanged
ending (the
pIa:,' entis
tragiraJ Iyl and felt 1he 5t-yle h'as too rc'minisePllt Df In inp t/E'at
o f ....t.t~_-':.j'-E,ht_.
O'Brien,
Tom.
":'Ioza r
This
revlewcr
()' Bf'i en found
t hem
t'i 1m ) s c () n ti n ui t. y ,
~
t
i\illrde r
finds
ovel~ I y
t' a
( ommom..:ea 1
I i,
long
Sis k e 1, (; p n e ,
.. B 1 Cl (' l,
R0 1 P S
UL!__S~ilQ_-'-:[L__ib Ul}~ L H S P pt ..
this
\l
"
h'
and
i t. h
I
~
t. h e l l S
P
ch~st.r\lcti\·e
Help
Enrich
j~H~,
Sf~('.
1~ 8
(Jc 1.
0
in
4: ;-;:i k
f] B S h hac I~ s .
f
terms
of
the
',4.
7:5
Sisl;;el praises
the qual ity
and variety
1i 1m, espeeia11;,-- 1.he'\(joi ph CaeS:lI'
perforrnarH'p as Serge:ln:
Waters.
Siater,
j ~~
from
Van
JELck.
Sled,pr's arti(~jp
Paul Poherson In
Gejdpl~,
Lssen('p
...
IS
a
('hronology of bJark mBlf'" roles
to the act.orsin this
LJ'!lj)el:g_!~_.J:gJ..1£':..~
l.ahTenre.
"I-'i 1m:
14 sept. 1~1i::i4, sec. :~:~i
A
1'1 f' 11
"HollYhlood's
,\ OY •
4 : ~: 2 - h 4 , 1 3 H , i 4 1
P()~,itIve
,}pl-Jison's
'Soldier"s Story,'"
\Ph
rev i P\.!,
\ Rn
{ielder
p r a i s e s t . :l!~
part,in ('xp8nding t.he play to tilE' srrppn.
in f i 1 rn
f'i 1m.
l 0 r'l~
---~----
-
'J'
1 m(:':"
-~-----
arring
and
Finipr,
Rn
~:.
,Joe1
CJ
J\ s,
I
~
K ;)
:-;~j(l()ts
Horhota, C;c·orgp.
",jPl,json
0(' t.. I ~ 7 ~J : b - K
I,yon,
(hri~::;tophpr,
Filmmakprs
~1 ()
r i t. 7:, (h H rip s .
Ynrh: il. h.
~
('-d.
vols.
pd ., p t
hilson,
Thp
nt
p
i. h i cag'):
8
I.
l~jH(J
for
rhe
tlq
Trtlth."
L,
~,
0 1I a I
D1(~ tJ.~)r~Cl,l':V~_ J.~Lr~LL'!l:;-;. C\ lid
:-,t • •lamps Prf~ss, i ~K..J:. YO l . L
r'n1'1 t i
Llll~.L~D.L Ii L()"g
r 1'1 pI2.Y.
Ju~<:trJ}C~oi\.
l:~
7 ~J •