America America Page #6

Synopsis: Elia Kazan, ethnic Greek but Turkish by birth, tells the story of the struggles of his uncle - in this account named Stavros Topouzoglou - in emigrating to America. In the 1890's, the young, kind-hearted but naive Stavros lived in Anatolia, where the Greek and Armenian minorities were repressed by the majority Turks, this repression which often led to violence. Even Stavros being friends with an Armenian was frowned upon. As such, Stavros dreamed of a better life - specifically in America - where, as a result, he could make his parents proud by his grand accomplishments. Instead, his parents, with most of their money, sent Stavros to Constantinople to help fund the carpet shop owned by his first cousin once removed. What Stavros encountered on his journey, made on foot with a small donkey, made him question life in Anatolia even further. Once in Constantinople, his resolve to earn the 110 Turkish pound third class fare to the United States became stronger than ever. But try after try,
Genre: Drama
Director(s): Elia Kazan
Production: Warner Home Video
  Won 1 Oscar. Another 6 wins & 11 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
71%
NOT RATED
Year:
1963
174 min
64 Views


-Oh, Baba...

I'm frightened.

That's natural.

But, you like him?

Yes.

Yes.

But, he's so mysterious.

Maybe he's frightened too.

-What does he say when you're alone?

-Nothing.

-He never talks to you?

-Never.

Yes, once he showed me

some pictures in a book.

-Pictures?

-Of a city in America.

Very tall buildings.

He told me all about them...

how tall they were,

as if he'd been there.

He told me he once

had a dream to go there.

I didn't know what to say.

Baba.

Baba...

Don't worry, don't worry.

All boys have dreams.

I had the same dreams, once...

when I was a boy, to go to new lands,

start a new life.

But...

people think one way

when they're penniless...

and another way

when the money comes.

I wish he were more like...

like you!

There's no man like your Baba,

no man, anywhere.

Don't worry, we'll make him

forget about the other.

I'll give him money,

and you'll give him babies...

your mother will put flesh on

his bones and he'll be a man.

Yes. Oh, yes.

Oh, Baba, I feel better.

Look at him.

Go ahead, let it out,

let it out.

Let it out! You've got a stomach,

let it out!

Come on, come on,

don't be ashamed.

Let your stomach out,

it's natural.

You didn't take your coffee.

No, no supper.

I shall not eat again until tomorrow.

You'll feel different

in a few hours.

I do not wish to see food again

today. That is final.

-He always says that.

-What are you showing him?

-Pictures of the island.

-The island?

The island is beautiful,

we have a beautiful place there.

My boy, we'll go there

this summer.

We'll pack the two donkeys,

and go for a picnic.

He's talking about food already.

By next summer,

I'll have digested this meal.

There are beautiful places

for a picnic.

-Flying insects.

-What?

Anula doesn't like

flying insects.

Buzz, buzz! We'll have the picnic

on our porch.

A wonderful porch, it's screened.

A king would be lucky to have it.

You and I will sit there,

Stavros...

with plenty of women

to look after us.

-We'll wait, the years will pass...

-Only nine months.

I know it takes only nine months.

Whatever it takes, we'll wait.

Nine months, ten,

so long as it's a boy.

A son, and then another.

Two sons first,

after that, I don't care.

-You can't order.

-I know! Who should know better?

Give me two sons...

give me two sons, and I'll give you

the business, everything.

My share. My brothers are there,

but there's plenty for everyone.

Just give me two sons,

and then watch the years go by.

The winters here,

summers in the island.

Pretty soon your eldest

will say...

"Father, I've met a girl,

I'd like to get married."

You'll say, "How much money has

she got? What dowry will she bring?"

You'll get heavier

and Thomna will get bigger...

in certain places, especially.

Like Anula.

I didn't say where.

And watch the years pass.

You'll get old,

I'll be old...

and we'll sit here together,

you and I...

and we'll drink

and we'll eat...

and unbutton the tops

of our trousers...

and we'll take a nap...

right here, side by side,

a little nap.

The women will muzz-muzz

from the kitchen...

and then we'll wake and

play a little backgammon.

Soon, it will be time for

a little ouzo, some olives...

a little cheese...

And all my children and

all your children will be here...

together.

And only you and I will talk,

Stavros...

because I've taught my women

respect.

When you talk,

everyone will be quiet.

And when I talk,

even you will be quiet.

And when I die...

we will die properly...

surrounded by women

looking after us.

How does that sound to you?

That's all a man should want.

I've a little surprise for you both.

Come, follow me.

Come.

Women! Women, quickly,

follow me! Hurry, now.

Hurry, now!

Come on!

Come on, come on.

Come, now.

Make way!

Who lives up there?

I don't know.

Hurry, hurry!

For God's sake, come on!

Stavros...

Take it.

It's yours. Go ahead.

God bless you.

Come on.

For you.

Get a hold of yourself.

This is your bedroom, Stavros.

Stavros, see this here...

everything here belongs

to someone.

Baba, thank you, but please,

take everybody away now.

I want to find out how he likes it.

I will, my heart.

Out, out, out!

Everybody out.

Come on, get out.

Stop bothering Stavros.

She's not bothering me...

I like your family.

Do you like me?

Yes.

Would you tell me if you didn't?

No, I wouldn't,

but I do like you.

A husband should like a wife.

I'm sorry,

you don't have to say anything.

Shall we go?

No, let's stay here.

I've never talked to you

without my family.

We have.

If you say so.

When?

Several times.

Of course.

Stavros, please don't take offence

at what I'm going to say...

but it seems to me...

that you have some worry...

some secret that you're not...

No.

Not that I'll expect you

to tell me everything...

or anything,

if you don't want to.

I want everything to be

the way you want it to be.

Do you hear me?

Yes, Thomna.

I wish I were prettier for you.

Don't worry about that.

But, I'm a good girl.

You'll see,

I am a good girl.

Just tell me what

you want me to do.

I'll do anything you tell me to do.

Thomna.

Thomna, please stop crying.

Stop crying, please.

Please, stop.

I'm frightened.

Of what?

Of your silence.

Say something.

Say something to me.

Say something, please!

Say something!

Something, something,

something, something!

I'm sorry.

I've been nervous all morning.

I had a dream last night.

Can I tell you about it?

If you like.

Do you want to hear it,

or don't you?

Do you want to hear it?

Would you like a glass of water?

No!

I'm sorry, I'm ashamed of myself.

I'm acting like a...

like a young girl.

I dreamt...

that we had a child.

The baby looked like you...

with fuzzy brown hair

all over his head...

and soft all over.

And the back of his neck was

straight and proud like yours.

The little thing was hungry...

so I opened myself to it.

And he came to me

with his mouth...

and there was no milk.

I had no milk.

And he pulled at me

and pulled at me...

I don't think I can

tell you the rest.

Turn your head away

just a little bit.

The baby had teeth.

The teeth hurt.

The baby turned into you.

I mean...

it was you.

And...

you pulled back...

and you looked at me

with such disappointment...

and then you walked away...

and I never saw you again.

Do you believe in dreams?

Yes.

You'd do that?

Yes.

Stavros,

what are you saying to me?

Stavros...

America?

Yes.

And you...?

I still don't understand...

You mean you want it so much?

You have to be...

what I am...

to understand.

What will you do now?

I don't know, something.

Stavros...

If you want to take our money...

and go to the United States

of America...

No.

I'm yours, Stavros.

What I have is yours.

How can you be like that?

I have no reason to live,

except you.

I just wish I were prettier for you.

How can anybody be like you?

How can anybody be like you?

Thomna.

Don't trust me.

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Elia Kazan

Elia Kazan (; born Elias Kazantzoglou; September 7, 1909 – September 28, 2003) was a Greek-American director, producer, writer and actor, described by The New York Times as "one of the most honored and influential directors in Broadway and Hollywood history".He was born in Constantinople (now Istanbul, Turkey), to Cappadocian Greek parents. After attending Williams College and then the Yale School of Drama, he acted professionally for eight years, later joining the Group Theatre in 1932, and co-founded the Actors Studio in 1947. With Robert Lewis and Cheryl Crawford, his actors' studio introduced "Method Acting" under the direction of Lee Strasberg. Kazan acted in a few films, including City for Conquest (1940).Noted for drawing out the best dramatic performances from his actors, he directed 21 actors to Oscar nominations, resulting in nine wins. He directed a string of successful films, including A Streetcar Named Desire (1951), On the Waterfront (1954), and East of Eden (1955). During his career, he won two Oscars as Best Director, three Tony Awards, and four Golden Globes. He also received an Honorary Oscar. His films were concerned with personal or social issues of special concern to him. Kazan writes, "I don't move unless I have some empathy with the basic theme." His first such "issue" film was Gentleman's Agreement (1947), with Gregory Peck, which dealt with anti-Semitism in America. It received 8 Oscar nominations and 3 wins, including Kazan's first for Best Director. It was followed by Pinky, one of the first films in mainstream Hollywood to address racial prejudice against black people. In 1954, he directed On the Waterfront, a film about union corruption on the New York harbor waterfront. A Streetcar Named Desire (1951), an adaptation of the stage play which he had also directed, received 12 Oscar nominations, winning 4, and was Marlon Brando's breakthrough role. In 1955, he directed John Steinbeck's East of Eden, which introduced James Dean to movie audiences. A turning point in Kazan's career came with his testimony as a witness before the House Committee on Un-American Activities in 1952 at the time of the Hollywood blacklist, which brought him strong negative reactions from many liberal friends and colleagues. His testimony helped end the careers of former acting colleagues Morris Carnovsky and Art Smith, along with ending the work of playwright Clifford Odets. Kazan later justified his act by saying he took "only the more tolerable of two alternatives that were either way painful and wrong." Nearly a half-century later, his anti-Communist testimony continued to cause controversy. When Kazan was awarded an honorary Oscar in 1999, dozens of actors chose not to applaud as 250 demonstrators picketed the event.Kazan influenced the films of the 1950s and '60s with his provocative, issue-driven subjects. Director Stanley Kubrick called him, "without question, the best director we have in America, [and] capable of performing miracles with the actors he uses." Film author Ian Freer concludes that even "if his achievements are tainted by political controversy, the debt Hollywood—and actors everywhere—owes him is enormous." In 2010, Martin Scorsese co-directed the documentary film A Letter to Elia as a personal tribute to Kazan. more…

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Submitted on August 05, 2018

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