Antihero. The character you are suppose to be rooting for but find his actions unheroic. Today it’s commonplace in films and fiction. In 1963, the only antiheroes were usual gritty private eyes in dime store novels or gangsters. Then came Paul Newman as Hud. He represents the end of the old cattle ranchers era. It’s a battle of wills with his aging proud father for the soul of his innocent nephew and for the ethics that the family will use in its business dealings. You want to root for Hud. He’s so cool, its megastar, Paul Newman. He has moments of vulnerability when you can see why his heart is so hard. But by the end his selfishness and amoral nature make him so unlikeable. It also makes for an amazing story.
In Paul Newman’s monster-sized career, perhaps only Bogart, Nicholson and maybe James Stewart have ended up with so many iconic roles. As far as performances go, Newman was always good; the consensus would say that his performance as the broken down, drunken lawyer in The Verdict is his masterpiece. I would nominate Hud for second place on his Hall Of Fame chart. And that is saying a lot, with so many other important roles to chose from: The Hustler, Cool Hand Luke, The Color Of Money, Nobody’s Fool and the underrated Hombre to name a few, were all fantastic. Not to mention the crowd pleasers like The Sting and Butch Cassidy and The Sundance Kid which are beloved by many.Continue Reading
During one of the ugliest periods in American political history, as the Cold War hit hysteria, a drunk congressman named Joseph McCarthy managed to destroys thousands of American lives and careers with his House Un-American Activities Committee. HUAC would accuse people of being Communists (many of the accused at one time may have belonged to the then totally legal Communist Party or donated to causes that were Russian-related—this was years earlier when Russia was our ally against Germany). To clear your name you needed to name names and praise HUAC. Most famously many in Hollywood (almost always Jewish folks) were called to testify; some played ball with McCarthy and were considered “friendly witnesses” (Sterling Hayden, Elia Kazan) while many others refused to testify and either went to jail or were blacklisted from working.
Screenwriter Walter Bernstein was one of those blacklisted, but by the end of the ‘50s many gutsy producers began to break the blacklist by hiring the recently unemployable. Bernstein made a comeback writing the script for Fail-Safe and eventually wrote The Front, a semiautobiographical memoir of the period. Besides Bernstein the film is full of blacklisted talent on both sides of the camera, including actor Zero Mostel and Director Martin Ritt (Hud, Norma Rae).Continue Reading
The Long, Hot Summer
At first glance The Long, Hot Summer looks like some tossed-out Tennessee Williams pages run through a Hollywood blender, but it’s actually a lot more fun then most of Williams’ stiff adaptations. Though, for literary street cred, it’s title card reads William Faulkner’s The Long, Hot Summer, because apparently it’s kinda-sorta, but just barely, based on his novel The Hamlet. It doesn’t come close to the emotional depth of Williams’ or Faulker’s best work, and that’s not necessarily a bad thing. Directed by Martin Ritt, who would go on to a long and distinguished career, the film sports an exciting cast of scenery chewers having a chance to do their corniest Southern accents. The Long, Hot Summer is a classic mash-up of contemporary Southern pulp and suppressed sexuality (think Cat on a Hot Tin Roof meets Picnic, or a much more entertaining version of The Fugitive Kind).
Emerging superstar Paul Newman (who also the starred in the similar, Cat on a Hot Tin Roof in the same year) stars as Southern bad boy Ben Quick, a rogue con man and known arsonist who, after being run out of a town, wanders into another and quickly moves up the food chain of the local fat-cat, Will Varner (Orson Welles, only 42 years young at the time, forced to play much older, which explains his bizarre makeup job which looks almost like he is doing blackface, and may explain why his ham-level is turned up to eleven). Verner, a widower, owns the town and sees in the hotshot Quick a younger version of himself, something he’s doesn’t see in his own son, Jody (the even more miscast Anthony Franciosa). Jody may be married to the town beauty, Eula (Lee Remick), but he’s too spoiled and emotionally weak to carry out the legacy Verner dreams for his family. His daughter Clara (Joanne Woodward) is smart and modern, not the shallow belle her father can relate too. She has been limply wooed for years by momma’s boy Alan (Richard Anderson, a secret 50s supporting actor superstar who specialized in boring businessmen, but is probably best known for playing Oscar on TV’s The Six Million Dollar Man). By '50s movie standards Alan is probably gay and does not have the sexual desire to ever make Verner a grandfather (more echo’s of Tennessee Williams). So Quick quickly works his way up through the family business. Verner cuts a deal with him: wed Clara, give him grandchildren, and he will be comfortable for life. Clara doesn’t fall for Quick’s good ol’ boy charm, but hey, it’s Paul Newman, so eventually she has to give in, that is if his reputation for starting fires doesn’t get him first.Continue Reading