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    Elia Kazan’s America

    By Estelle Changas in the Summer 1972 Issue

    The resounding critical and financial failure of The Arrangement in 1969, which elicited the most devastating press Elia Kazan had ever experienced in his quarter of a century of filmmaking, demonstrates how severely estranged he had become from the American film audience. Recently The Visitors, a meager-budgeted, non-union film-the only film Kazan has made since The Arrangement—suggested that despite that crushing disaster, he was attempting to make a totally fresh start. But the brief and pallid run of his latest film, which closed in New York after only eight days and got mostly negative reviews, confirmed once again Kazan’s loss of reputation.

    This decline began to become obvious with the release of America America in 1963, but even beforehand, Kazan had lost the patronage of the mass audience he once commanded from the late ’40s through much of the ’50s. (Of the six films released between 1956 and 1969—

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    Elia Kazan

    American spelfilm and theatre director (1909–2003)

    Elias Kazantzoglou (Greek: Ηλίας Καζαντζόγλου, IPA:[iˈli.askazanˈdzoɣlu]; September 7, 1909 – September 28, 2003), known as Elia Kazan (EE-lee-ə kə-ZAN),[1][2][a] was a Greek-American spelfilm and theatre director, producer, screenwriter and actor, described by The New York Times as "one of the most honored and influential directors in huvudgata and Hollywood history".[4]

    Born in Constantinople (now Istanbul) to Cappadocian Greek parents, his family came to the United States in 1913. After attending Williams College and then the Yale School of Drama, he acted professionally for eight years, later joining the Group Theatre in 1932, and co-founded the Actors Studio in 1947. With Robert Lewis and Cheryl Crawford, his actors' studio introduced "Method Acting" beneath the direction of Lee Strasberg. Kazan acted in a few films, including City for Conquest (1940).[5]

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    The Visitors

    by Serge Daney

    The Visitors (LES VISITEURS). American film in color Super-16mm blown up to 35 by Elia Kazan. Script: Chris Kazan. Cinematography: Nick Proferes. Sound: Dale Whitman, Nina Shulman. Editing: Nick Proferes. With: Patrick McVey (Harry Wayne), Patricia Joyce (Martha Wayne), James Woods (Bill Schmidt), Chico Martinez (Tony Rodriguez), Steve Railsback (Mike Nickerson). Production: Chris Kazan, Nick Proferes, 1972. Distribution: Associated Artists.




    1

    Two American soldiers rape and kill a young Vietnamese woman, possibly a Vietcong. A third soldier turns them in; they go to jail. The same characters, now demobilized, in the USA: one soldier rapes the wife of the informer.

    Hard to say if the Vietnamese woman was a Vietcong. Reality is ambiguous and all dinks look the same. It’s hard to say if she enjoyed being raped as well: not enough time for that.

    Conversely, the young American woman presents herself as a pacifist, a “radica

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