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On a very special Eavesdropping at the Movies requested by our listeners, José takes us through the career of Burt Lancaster, every one of whose films he has been watching during the lockdown. Lancaster is a star through whose career a whole history of movements and evolutions in Hollywood can be tracked, from the studio noirs of the 1940s right through to the anti-war allegories of the 1970s, taking in all of the social, political, stylistic, industrial and aesthetic shifts that would take place in a constantly changing America.
On screen, Lancaster was capable of moving fluidly between genres and styles, including noir, action-adventure and Westerns, won the 1960 Oscar for Best Actor for Elmer Gantry, was regularly amongst the top box-office stars from 1950-1965, and worked with some of the great screenwriters and playwrights, including Tennessee Williams and Arthur Miller. Off screen, he was one of the foremost independent producers of his day. He fought against McCarthyism during the height of the Red Scare, employing blacklisted screenwriters when nobody else would, later made a number of anti-racist revisionist Westerns, and championed progressive causes throughout his life. José argues that Lancaster conceived of the cinema as a national theatre of ideas, a place in which conversations could be had and arguments advanced, a conception that ties his entire, varied career together.
Mike, on the other hand, has barely seen anything of Burt Lancaster’s, and José has put him on a crash course of five or six films in order to get a sense of his work, style and persona. He’s left with questions to throw at José: Why Lancaster hasn’t lingered culturally as strongly as some of his contemporaries? Is it his politics? His acting ability? His style? Is his reputation for muscles, teeth, and little else, justified?
Burt Lancaster, José concludes, represents the best of America. His work is ripe for rediscovery, and offers rich insight on a constantly changing culture and industry.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.