By Marilyn Ann Moss
Marilyn Moss’s immense examines the lifetime of the most influential administrators to paintings in Hollywood from the Nineteen Thirties to the Nineteen Sixties. George Stevens directed such well known and critical movies as Shane, mammoth, a spot within the solar, and The Diary of Anne Frank. He was once the 1st to pair Katharine Hepburn and Spencer Tracy on movie in lady of the yr. during the research of Stevens’s lifestyles and his creation background, Moss additionally provides a glimpse of the workings of the vintage Hollywood studio method in its glory days. Moss records Stevens’s position as a robust director who frequently needed to conflict the heads of significant studios to get his motion pictures made his approach. She strains the 4 a long time Stevens was once an immense Hollywood participant and icon, from his earliest days on the Hal Roach Studios—where he realized to be a cameraman, author, and director for Laurel and Hardy features—up to his later profession whilst his movies made thousands on the field workplace and have been graced via actors corresponding to Elizabeth Taylor, James Dean, Alan Ladd, and Montgomery Clift.
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Extra resources for Giant: George Stevens, a Life on Film
But the beauty of the Laurel and Hardy shorts to me was their absolute deliberation, their great poise, their Alphonse and Gaston relationship with one another. The Laurel and Hardy concept moved over into other ﬁlms considerably, with Cary Grant, Roz Russell, Irene Dunne doing the late take and even the double take. 22 Stevens revered the slow take, the pause, the deliberation—in short, all the conceits that characterized the duo’s graceful brand of comedy, a 20 • George and Rex, Stan and Ollie comedy fully inhabited by ﬂawed, sympathetic but still digniﬁed human beings.
George Stevens, 1946 Getting Serious For Stevens in the ﬁrst years of the Depression, work was as hard to ﬁnd as were scripts not pinned almost entirely on visual gags and one-liners. But he kept working, and trying to get serious. When he landed at Universal in 1932 making two-reeler such as Yoo Hoo (1932) and Should Crooners Marry? (1933) under the Warren Doane comedy series banner, Stevens and his cousin, director Jimmy Horne, cooked up an ingenious plan to produce the pictures. Working as a team, often with Roach pal Fred Guiol, the three men switched back and forth—one writing and another directing, then turning it back around—continuously hiring each other in order to pick up whatever extra money they could.
8 Stevens understood Tarkington’s gift for revealing his characters’ often embattled interior lives to portray the American character in a decade still reeling from the massive economic and technological advances at the close of the nineteenth century. Alice comes from a family where change is slow to occur. She is struck by circumstances beyond her control that force her to labor under wishfulﬁllment bordering on delusion. ” When Arthur Russell takes an interest in Alice, she believes she must lie to him about her family’s social and ﬁnancial aﬀairs but ultimately is forced to confront her lies and face life squarely.
Giant: George Stevens, a Life on Film by Marilyn Ann Moss