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Call#: Van Pelt Library PN1998.3.G68 K46 2004
This chapter in Matthew Kennedy’s biography on Edmund Goulding goes into great detail about the production of Grand Hotel and Goulding’s personal life. Few other films demonstrated the inner workings and glamour associated with the Hollywood studio system of the 1930s and 1940s as Grand Hotel did, and Kennedy’s chapter goes into great detail describing the interactions between Goulding and the members of one of the first ensemble casts, featuring Greta Garbo, Joan Crawford, Lionel Barrymore, and John Barrymore. Kennedy also tracks the adaptation of the original novel into a play and MGM’s eventual screen adaptation of the story, as well as Goulding’s role as the “lion tamer” throughout the highly publicized production. In this chapter, Kennedy describes events demonstrating Goulding’s subtle diplomacy both on the set and during postproduction (like his avoidance of excessive close-ups so as not to put more emphasis on one actor over another): “Each star was an instrument subjugated to the score of the story: Garbo’s plaintiff [sic] legato – the staccato of Wallace Beery – the submerged, suddenly rising oboe of Lionel Barrymore – the muted, clear, insistent, polished brass of John Barrymore. These were my instruments and their themes.” Kennedy also demonstrates the impact that the film had on Hollywood: the publicity surrounding its production, casting, and release were unlike anything seen before, and the rumor mills were constantly turning due to the high wattage of the cast.
This chapter is incredibly effective at painting a picture of a studio-system era Hollywood – from tales of Goulding’s hasty marriage and bisexuality to anecdotes of Garbo and Crawford’s interactions on the set and other casting politics, Kennedy’s biography provides vivid detail of the world that surrounded Goulding during the production of Grand Hotel and of the impact he made through the creation of his masterpiece.
tagged bad boy dark edmund genius goulding's hollywood's victory: by defrance ...on 05-MAY-08
Gehring, Wes D. American Dark Comedy: Beyond Satire. Westport, CT: Greenwood P, 1996. 1-14.
Call#: PN1995.9.C55 G42 1996
In this wonderful book, Wes Gehring analyzes dark comedy as a genre in both literature and comedy as well as film. He defines black humor as a "genre of comic irreverance that flippantly attacks what are normally society's most sacredly serious subjects - especially death." He notes that comedy's ability to personalize in the viewer a mixture of conflicting emotions is meant to reflect the on-the-edge absurdity of modern life. Comedian Dave Barry is quoted as saying that humor is based in "the fear that the world is not very sane or reliable or organized and that it's not controlled by responsible people. Anything can happen to you, and it could be bad, and you have no say in it." The author states that dark comedy as a genre is still considered more of a post-1960s phenomenon. Black humor became an aspect of the libertarian, idol-shattering side of the sixties. He also notes that dark humor is a mostly American genre - American writers on the whole appear to be more articulate about it, and American audiences more susceptible to the form.
The Graduate is certainly a dark comedy due to its plot about a young man having an affair with a married woman yet still providing comic relief despite the grave topics involved. Dustin Hoffman's awkward yet lovable character is hilarious in that he is much too young and inexperienced to know what is going on in the affair. Various times in the movie writers Buck Henry and Charles Webb provide comic answers on behalf of Benjamin Braddock to serious questions. For example, when Benjamin describes his plan to marry a girl whom he has neither asked yet or even likes him, he states "No, dad, I think [the idea] is completely baked." Also, in an intense scene when Mrs. Robinson asks Ben if he finds her attractive, he replies "I think you're the most attractive of all my parents' friends." Finally, director Mike Nichols uses various funny scenes to address serious issues. When Benjamin's parents make him scuba dive in their backyard pool, everyone is smiling and cheering while Benjamin is drifting in the water totally dissatisfied with his present and his future. The Graduate is a fine example of 1960s dark comedy.