The man who went against the grain
Elia Kazan was a polarizing figure during his heyday, and he would likely remain the same if he were around nowadays. Hollywood artists were united in their attack on Donald Trump, even Meryl Streep responding to the president's tweets after she accepted the Cecil B. DeMille Award last month. Kazan, a two-time Oscar winner (for Best Director), might have second thoughts about joining the bandwagon. He testified against his more liberal colleagues before the House Un-American Activities Committee. Many have to work under a pseudonym to remain in Tinseltown while the others compromised a great deal to salvage their career. Thus it was understandable that Kazan didn't get an ovation upon accepting an Honorary Oscar. Kazan, who was born to Greek parents, didn't regret his decision to appear before the committee.
"I took only the more tolerable of two alternatives that were, either way, painful and wrong," he said.
Kazan's films tackled serious issues, which showed the filmmaker's empathy. "Gentlemen's Agreement", which won the Academy Award for Best Picture in 1947, depicted antisemitism in America. He also had a preference for unknown actors, like James Dean making a breakthrough in "East of Eden". And he knew how to bring out the best from his actors. "A Streetcar Named Desire", for instance, earned Oscar nominations for its cast. "On the Waterfront" could be Kazan's most memorable work.
This crime drama, which was based on Malcolm Johnson's news features, revealed the union corruption in New York's harbor. It was the kind of story that could resonate with blue-collar citizens, most of whom voted for Trump. It doesn't mean that Kazan would support "The Apprentice" host, as discrimination was another major theme in his films. Kazan hired Marlon Brando again after his acclaimed performance in "A Streetcar Named Desire". There was no doubt that his Terry Malloy was his finest moment on the big screen, as he tried to confront the unjust treatment of dockworkers. Many would smirk at the final scenes, as Malloy lost his buddies after fighting for the truth. Kazan wasn't following Frank Capra's footsteps, as those pivotal moments suggested that a risk might be worth it. Malloy was vindicated in the end, which won't happen to the regular Joe. All is not lost, though.
Boris Kaufman's black-and-white photography stripped off the glitz and glamor of the Big Apple. Moviegoers who were accustomed to the merry depiction of New York in the MGM musicals would be surprised to see a down-to-earth location. The harbor was likely an underbelly, and those who lived there struggled to make ends meet on a daily basis. Kazan wasn't romanticizing the dockworkers and their families, even not sending a message to authorities (to take notice of their plight). The director's humble background taught him to look at the fringes of American society, which seemed to be left behind. This was the new face of capitalism, the American Dream. And it was a facade. Kazan made his legacy, yet his peers seemed betrayed by his testimony. The filmmaker chose to go against the grain.
