A FACE IN THE CROWDWhen I went to the Film Forum to see
A Face in the Crowd followed by a talk with Patricia Neal and Budd Schulberg, I thought I might make it a double feature by also going to see
Chop Shop afterward.
Fat chance. The movie alone was so intense that it was more than enough to make for an evening. The post-screening talk put it over the top.
As I had expected, the event was sold out well in advance. Film Forum programmer Bruce Goldstein told us we were the luckiest group in town that night, but it wasn't exactly luck that got us in—it was also speed and alertness that got me and gallery expert Eric seats in a crowd full of film buffs. Some around us knew each other and gossiped about film people they knew while others turned out to be fans of
One-Eyed Jacks and/or Marlon Brando, as indicated by a conversation that ultimately spanned three rows of kibbitzers. (I think it would be very smart for the Film Forum to facilitate gatherings and communications among this audience base.)
Released in 1957 but years in the making, the movie itself is incredible—and
on video, folks. Following the rise of a jailbird singer (Andy Griffith) discovered by an Arkansas radio host (Patricia Neal), the screenplay satirizes mass media, politics, advertising, and human relations with such incisiveness that it was almost unbearably harrowing at times. Griffith carries the film with a crafty energy, while the rest of the excellent cast moves in and out of his orbit with forces of their own. Neal in particular offers some great scenes, including one in which she barely utters a syllable to express her despair. Some sections of the film (especially one having to do with political image-making) seem like they could've been inspired by today's news; overall, the film still comes across as fresh and edgy in terms of its language as well as its imagery. (
Gayne Rescher and
Harry Stradling Sr. were the cinematographers.)
During the post-screening talk, led by Foster Hirsch, both Neal and Schulberg gave high praise to
Face in the Crowd director Elia Kazan. Judging from Schulberg's comments, Kazan was a writers' director who gave Schulberg a say in casting; judging from Neal's comments, Kazan was an actors' director who knew just how to manipulate his performers to bring out the best in their performances. Schulberg, who said that
Face in the Crowd was Kazan's favorite among his own films, cited Tennessee Ernie Ford, Arthur Godfrey, and Will Rogers as models for the Andy Griffith character. He shared one anecdote in which he told about how
Will Rogers, Jr. told him that his famously folksy father had been something of an elitist, and how he advised young Rogers, who was campaigning for political office, not to disillusion potential voters. Everyone agreed with the idea that Jack Daniels should have gotten a credit in the film, as Kazan and Griffith relied on Jack to get through certain scenes.
Neal (called "saucy" by one of my neighbors in the audience) told the audience that Griffith sent his best wishes to the crowd. Actually present in the theater was a contingent from
Piggott, Arkansas, which played
Picket, Arkansas, in the movie. The mayor talked up the town and its connection to Ernest Hemingway (who lived and wrote there for a time). Another Piggott visitor, who had been in the movie, talked about hosting Lee Remick, mixing with the other actors, and playing a baton twirler. (The movie features jaw-dropping baton twirling sequences.) A teen at the time (her name escapes me), she remembered how Remick mingled with her and her crowd while learning her role but then cut her off to mingle with the actors. She recalled how, on a very hot day, Remick poured ice water over herself to cool off even though she was wearing nothing under her blouse. She spoke fondly of Neal, who seemed to have a knack for dressing up for casual events and dressing down for formal ones. When she and her friends came to New York for filming, they asked questions of their Big Apple co-stars just to hear their accents. She also spoke appreciatively of Schulberg and Kazan, who donated money to restore a Piggott public pool that continues to operate today.
There was some discussion of how the film flopped upon its initial release and only achieved its "classic" status years later. It reminded me of the 1955 musical
It's Always Fair Weather, a milder satire with similar targets and a similarly disappointing box office history.
There was a little talk of
A Face in the Crowd being turned into a Broadway musical at some point.
There was no Q&A, but there was a meet-and-greet in the lobby after the talk.
Here's the crowd...
...and here are the faces in the crowd.
Photos: David Marc Fischer
When it comes to film subgenres, one of the more peculiar (to me, at least) has to do with children in poverty. International in scope and dubbed the transglobal children's street film by at least one person, it includes such harrowing works as Los Olvidados (Mexico) and Pixote and City of God (Brazil), as well as the comparatively prettified Salaam Bombay (India). Now director Ramin Bahrani and his co-screenwriter Bahareh Azimi have added another outstanding work to the subgenre—and their look at children in poverty is set close to home in Willets Point, Queens, the threatened "Iron Triangle" industrial zone right by Shea Stadium and LaGuardia Airport. 
Posts
