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Louise Brooks (#110 of 4)

The Mystery of Screen Acting: An Interview with Author Dan Callahan

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The Mystery of Screen Acting: An Interview with Author Dan Callahan
The Mystery of Screen Acting: An Interview with Author Dan Callahan

Most film critics have a pretty good handle on what it is a director does, what a cinematographer does, what an editor does. Acting, however, remains a little bit mysterious. That’s why writers who know enough about the craft of acting to not just describe what they see in a performance but break down how the actor is doing it can be counted on only a couple of hands. The trick is to translate acting technique in a non-academic vocabulary, making it comprehensible to an audience of non-actors. You have to train your eye. You have to know what to look for, the “tells” of falsity or indicating, how to perceive a sketched-in performance as opposed to a full one.

It’s difficult to write about acting well. If it were easy, more people would do it. The rare writer who writes about acting really well, longtime theater and film critic Dan Callahan can home in on why and how a performance lands, or doesn’t. He pays attention to the actor’s technique, the actor’s tension, the prosody of the actor’s voice, all of these being “tells” as to whether or not the actor is truly engaged, or pumping up something artificial to fill in the blanks. This is tough stuff, but reading Callahan is an object lesson on how to do it.

Callahan’s first two books were biographies, the first on Barbara Stanwyck (Barbara Stanwyck: The Miracle Woman), the second on Vanessa Redgrave (Vanessa: The Life of Vanessa Redgrave). In both, Callahan moves behind the confines of traditional biographies. Traditional biographies often lead us through the events in an artist’s life, giving us backstage stories, maybe a couple of anecdotes, maybe some description of how the artist’s work was received. Callahan gives us all that, but also gives us his analysis of the performances, leading us to an understanding of Stanwyck and Redgrave not just as subjects, but as artists. Why is Vanessa Redgrave so good? That’s not as simple a question as it might seem. One of the great gifts of Callahan’s writing is that he makes you want to re-watch movies you’ve already seen, hoping to pick up on all the things he’s illuminated.

Callahan’s latest book, The Art of American Screen Acting: 1912-1960, is made up of profile pieces and artistic analysis of the major figures from the silent era up until the moment before the collapse of the studio system. With chapters on Lillian Gish, Gloria Swanson, Bette Davis, Louise Brooks, Joan Crawford, Cary Grant, James Cagney, Ingrid Bergman, Marlene Dietrich, to name a few, it’s a lush and complex look at the art of acting, and how it developed alongside the development of cinema itself. Callahan looks at the rupture represented by Marlon Brando, adding some necessary shadings to the almost universally accepted simplistic reading of Brando as an “improvement.” The earlier, more heightened style is still seen as “lesser” in many circles, or “over the top,” “heightened,” “phony.” In the book, and in our talk about it, it’s clear that Callahan is determined to set the record straight.

Andrzej Zulawski @ BAM: Pavoncello, The Song of the Triumphant Love, The Devil, The Public Woman, Mad Love, and The Shaman

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Andrzej Zulawski @ BAM: Pavoncello, The Song of the Triumphant Love, The Devil, The Public Woman, Mad Love, and The Shaman
Andrzej Zulawski @ BAM: Pavoncello, The Song of the Triumphant Love, The Devil, The Public Woman, Mad Love, and The Shaman

A pair of TV-produced half-hour shorts from 1967, Pavoncello and The Song of the Triumphant Love, often shown in black and white but originally shot in color (and present in this form at the BAMcinématek), represent the first independent directing work of Andrzej Zulawski’s career after serving as Andrzej Wajda’s assistant on Samson, The Ashes, and the omnibus Love at Twenty’s segment. Eerie, unabashedly romantic, ripe with masterful camera movements that still make film students take notes to this day, these two miniatures remain surprisingly fresh. Both are adapted from great writers’ minor short stories (by Stefan Żeromski and Ivan Turgenev, respectively), and both focus on disruptive love, while prominently featuring trance-like states of being. Last but not least, each film seems obsessed with fragility of sexless marriages crumbling under siege from illicit passion. In that respect, The Song of Triumphant Love particularly plays like an uncannily precocious version of Zulawski’s Possession, even while sporting the added flavor of being something akin to a Roger Corman AIP Edgar Allen Poe quickie, only shot on the other side of the iron curtain.

15 Famous Women in Black

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15 Famous Women in Black
15 Famous Women in Black

This weekend, Daniel Radcliffe celebrates his first post-Potter effort with the release of The Woman in Black, a horror thriller about an axe-grinding female ghost who need only be seen to claim a child’s life. The veiled phantom surely has the edge when it comes to offing the little ones, but she hails from a long line of ladies who’ve gone all Hot Topic for the camera. Witches, wives, and even Whoopi made this list of women who sport only the darkest uniforms, making them scary, sexy, cool, sophisticated, and in some cases, all of the above.