Jordan R. Young - Roman Polanski: Behind the Scenes of His Classic Early Films
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- Book:Roman Polanski: Behind the Scenes of His Classic Early Films
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Roman Polanski: Behind the Scenes of His Classic Early Films: summary, description and annotation
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Between his 1962 debut A Knife in the Water and the 1968 blockbuster Rosemarys Baby, Roman Polanski directed three moviesRepulsion, Cul-de-Sac, and Dance of the Vampires (a.k.a. The Fearless Vampire Killers)that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the directors early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the cameraincluding direct access to the directorYoung shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both Repulsion and Cul-de-Sac were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the directors words, did their best to make me feel like a monster. Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subjecta rare look at a controversial artist in the act of creation.
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Jordan R. Young is the author of Spike Jones Off the Record: The Man Who Murdered Music; The Beckett Actor: Jack MacGowran, Beginning to End; Acting Solo: The Art & Craft of Solo Performance; The Laugh Crafters: Comedy Writing in Radio and TVs Golden Age; andKing Vidors The Crowd: The Making of a Silent Classic. His work has been published in the New York Times, Los Angeles Times, Washington Post, Christian Science Monitor, Film International, and Millimeter. His plays have been produced Off-Off-Broadway and in Hollywood. He has contributed to Hal Ashby: Interviews; The Best Mens Monologues of 2021; and All Music Guide. He has served as a writer or consultant for the Grammy Awards, BBC Radio, and Le Giornate del Muto Silent Film Festival in Pordenone, Italy.
First and foremost, I am indebted to Roman Polanski, and to his secretary at R. P. Productions, Franoise Piraud, for sharing the shooting script of Cul-de-Sac and production call sheets, not to mention his taking time from a busy schedule for the interview that began our acquaintance long ago.
I am grateful to Romans US agent, Jeff Berg, for setting the wheels in motion; and for making it happen, my editors at Applause Theatre & Cinema Books, Chris Chappell, Laurel Myers, Barbara Claire, and John Cerullo; and my agent, Charlotte Gusay of Charlotte Gusay Literary Agency.
For interviews and conversations, Im obliged to Trevor Delaney, Gene Gutowski, Fionnuala Kenny, Tony Klinger, Gloria Mac-Gowran, Jack MacGowran, Robin ODonoghue, Donald Pleasence, Roger Simons, Bella Stander, and Lionel Stander.
Special thanks to Ron Karlson for his erudite translations; Ewa Mazierska for her splendid introduction; Christopher Weedman for additional research; and Marc Wanamaker of Bison Archives for images. Thanks are due also to Anthony Balducci, Cindy Burkhardt, Ivan Butler, Ian Caunce, Charlie Christ, Gary Claussen, Hilton Edwards, Glenn Erickson, Concepta Fennell, Heidi Fitzgerald, Sam Gill, Christopher Gullo, Michael J. Hayde, Marek Hendrykowski, Dieter Hofmann, Victoria Jimnez, Keith M. Johnston, Marie Kean, Tara MacGowran, Joseph McBride, James McNeff, Glenn Mitchell, Eric Myers, James L. Neibaur, Mel Neuhaus, Jack Nicholson, Marek Nizich-Nizinski, Peter OToole, Angela Pleasence, Joe Roman, Keith Scott, Mike Siegel, Tony Sloman, David Sterritt, Muriel Wagner, and Bob Weiskopf.
Additionally, I thank the Academy of Motion Picture Arts and Sciences, Margaret Herrick Library, Rachel Bernstein and staff; Alamy Ltd.; American Cinematographer, David E. Williams; BFI National Film Archive, British Film Institute, Nigel Good and staff; Blue Underground Ltd.; Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU); Cannon Films; Cineaste; Cinmathque franaise, Bibliothque du film and staff; Columbia Pictures; Compton Films; Constantin Film; The Criterion Collection, Karen Stetler; Donald Pleasence Appreciation Society; Film Art Gallery; Franoise Dorlac-Goddess of the New Wave; Granger Historical Picture Archive; Guardian; Independent; Janus Films; Larry Edmunds Bookshop; LAvant-Scne Cinema; Le Monde; lindisfarne.org.uk; Los Angeles Times; Metro-Goldwyn-Mayer Studios, Inc.; William Morrow & Co.; The Movie Poster Page; mptvimages.com; National Trust, Lindisfarne Castle, Holy Island, Nick Lewis; New York Public Library for the Performing Arts, Lincoln Center, Billy Rose Theatre Collection, Steve Massa; New York Times; New York World Journal Tribune; Newport Beach Public Library; newspapers. com; Nordic Posters; Orange Public Library; Paramount Pictures; PBS/KCET Public Television; Photofest; Republic Pictures; Selznick International Pictures; Screen International; Shutterstock; Sigma III; Sony Columbia; Twentieth Century-Fox; United Artists; University of California, Berkeley Art Museum & Pacific Film Archive; University of Mississippi Press; University of Southern California, Cinema-Television Library, Doheny Library, Ned Comstock; University of Texas at Austin, Harry Ransom Center; Variety; Victoria and Albert Museum, London; Warner Bros.; Washington Post; Wikipedia Commons.
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Lewis, Fiona. Mad Dogs and an Englishman. Los Angeles Times, February 9, 1975.
Malcolm, Derek. The Day the Malt Fused. Guardian, December 30, 1964.
Masterman, Len. Cul-de-Sac: Through the Mirror of Surrealism. Screen, 11, no. 6 (November 1970), 4460.
Mazierska, Ewa. Roman Polanski: The Cinema of a Cultural Traveller. London: I. B. Tauris, 2007.
McGilligan, Patrick, and Paul Buhle. Lionel Stander. In
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