 | Those Who Can Act, Teach! |
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"We're bigger than US Steel!" declares Miami mobster Hyman Roth. And big was he ever. At age 74, when most thespians approach retirement, legendary acting coach Lee Strasberg made a spectacular film debut in Francis Ford Coppola's masterpiece, "The Godfather Part II." With one brilliant, understated performance, Strasberg would go on to forge a formidable screen acting career equal to the world class actors he taught. Hyman Roth not only became a seminal character in motion picture history, but a triumphant milestone in Strasberg's own acting and teaching career.
Strasberg's singular performance was proof positive that the master of the Method could not only practice what he preached, but he single-handedly dispelled any truth to the adage that those who can't act, teach. This cynical quip refers to the lot of unfortunate acting teachers who pontificate on acting, but who cannot act themselves. Strasberg was an exception. He could act and teach, and do both superbly. Today, nearly 20 years after his death, Strasberg's screen accomplishments remain unmatched by any acting teacher who has come before, or after him.
For over 30 years Lee Strasberg taught in the modest confines of a former Methodist Church on 44th Street in New York City internationally known as the Actors Studio. Under Strasberg's leadership as President and Artistic Director, the Actors Studio was a haven for actors committed to the acting principals set forth by Konstantian Stanisvalski of Russia. Paul Newman, Geraldine Page, Dustin Hoffman, Marilyn Monroe, James Dean, Sally Field, Jane Fonda, Jack Nicholson are among the legion of actors, writers and directors who credit Strasberg for their artistic achievements. During this time, Strasberg remained behind-the-scenes, wholly dedicated to the evolution of his work and his actors. Lee Strasberg, the teacher became a household name partly from the frequent acknowledgments when his students won a Tony, Emmy or an Academy Award. But audiences had yet to know Lee Strasberg, the actor.
In 1966, the collapse of the Actors Studio Theatre and the death of his wife Paula, brought a period of disillusionment, dejection and despair for Lee Strasberg. He seriously contemplated going abroad, dropping the Actors Studio and finding "something else." Fortunately, Strasberg found that something else in actress Anna Mizrahi who soon became Mrs. Lee Strasberg. Anna breathed a much-needed vitality into Strasberg as she inspired him to conduct international lectures, establish the Lee Strasberg Theatre Institutes in New York and Los Angeles and resurrect his long dormant acting "career." With his new marriage, Strasberg exuded a newfound security, spirituality, and sense of purpose. It was a time of rebirth for Strasberg, and a personal and professional renaissance was about to begin.
Film historians and theorists consider the exhilarating and controversial 1970's as The Second Golden Age of Hollywood. Rebounding from the iconoclastic 1960's and still suffering from post-Vietnam syndrome, the 1970's was a fusion of turmoil and optimism- - the Watergate debacle, inflation, liberation, and the "me" generation. Unlike the first Golden Age of Hollywood when moviegoers flanked theatres in droves to escape into a world of glamour and fantasy, the 1970's offered films devoid of frivolity. It was reality time. Movies mirrored the turbulent times and forced audiences to confront a world perplexed."Chinatown," "The Conversation," "Midnight Cowboy," "Easy Rider," "The Exorcist" supported an intense, intelligent caliber of acting which marked a startling, yet refreshing change in screen performance. Such acclaimed screenwriters as Waldo Salt, Robert Towne and William Goldman penned dynamic roles replete with psychological complexities and emotional density. Where the movie idols of yesteryear were relied on the limitations of screen persona, a new breed of actors demonstrated a never-before-seen versatility fulfilling these new demands on characterization. And Strasberg's technique met those demands with astonishing results.
In September 1972, Francis Ford Coppola cast Lee Strasberg in "The Godfather Part II." Strasberg had not acted since 1931 when he appeared on stage in "Green Grass" at the Garrick Theatre in Greenwich Village, New York. Moreover, he had no previous movie acting experience. His only notable screen affiliation was a screenwriting credit shared with director Joseph Mankeiwicz ("All About Eve") in the film noir "Somewhere in the Night" (1946). Coppola's decision to cast a 74-year-old "newcomer" caused slight trepidation on behalf of producers Gary Fredrickson and Fred Roos. But in spite of their apprehension, the director remained steadfast; convinced he made the right move."As a wily, introverted wizard, Strasberg could be an antagonist for Michael Corleone (Al Pacino)," said Coppola. On casting Strasberg, Coppola continued, "I didn't know what to expect and I was a little leery of him thinking ‘Am I going to be directing the country's expert on acting and I'm going to tell him what I want and is he going to come back at me with theories?' So I was a little frightened of him and I'm sure he was equally frightened of exposing himself, putting himself in my hands, trusting me."
Accompanied by an ensemble cast featuring Al Pacino, Diane Keaton, Robert Duvall, Robert DeNiro, Marianna Hill and John Cazalle, Strasberg proved to be a standout despite his lack of screen acting experience. Though the cast consisted of many Strasberg practitioners, it played no influence on Coppola's decision to cast the great acting teacher."My first reaction was that it seemed right - - he was from New York, a Jew, and a man of tremendous mastery as he was known for his classes. I'd also heard it said that he was a very demanding and exacting acting teacher, a man with a tremendous background," said Coppola.
Strasberg was the consummate professional. Punctual, generous, he took direction effortlessly. The cast and crewmembers who observed him on set claim that Strasberg was "unassuming, eloquent and dignified." These observations are in complete contradiction to the outlandish reports of many self-absorbed, self-labeled Method actors who have been branded "difficult" because of their disregard for film production and belligerent behavior. Strasberg himself was acutely aware of film production and had vast knowledge of filmmaking, which he held in high regard. He never imposed his acting theories on others, and shared a feeling of complete comradorary with his co-stars. Coppola was impressed with his practical approach to the role of Hyman Roth and Strasberg affirmed there is no madness to his Method.
When the 13 million dollar "Godfather"production wrapped in March 1973, the industry held its breath to see if Lee Strasberg could act. Performing in a major motion picture was a new frontier for Strasberg to brave, one of potential public and professional embarrassment. Detractors anxiously waited to scorn Strasberg and skeptics laughed the possibility of him actually succeeding. Paramount Pictures released "The Godfather Part II" on December 12, 1974 to rapturous reviews, and Strasberg took in a lion's share of the praise. Even the most acrimonious critics trumpeted his performance declaring it a "revelation." At last Strasberg hammered the final nail in the coffin of the cynics who doubted his talent, and the value of his work.
"The Godfather Part II" was an unstoppable box office phenomenon in the United States and abroad. A deluge of awards and nominations followed: four British Film and Television Academy nominations, with a win for Best Picture; a Directors Guild Award, two National Society of Critics Awards; two New York Film Critics Awards, with a win for Strasberg as Best Supporting Actor; and six Golden Globe Awards. At age 76 Lee Strasberg won the Golden Globe Award as Most Promising Newcomer of the Year much to the delight of moviegoers, the industry and the members of the Hollywood Foreign Press Association.
And in the early morning hours of February 1974, it was announced that Lee Strasberg had been nominated for an Academy Award as Best Supporting Actor for "The Godfather Part II." The film garnered 11 Academy Award nominations, and won six awards. Although Robert DeNiro (Strasberg's former student), took home the Oscar as Best Supporting Actor, "The Godfather Part II" claimed another victory - - it is the only sequel in film history ever to be crowned Best Picture. Today "The Godfather Part II" is listed on the National Registry of Film Preservation as well as the American Film Institute's 100 greatest films of all time.
"The Godfather Part II" catapulted Strasberg's acting career into an arena of Hollywood's leading directors, writers and actors and with it, the offers poured in. Not one to rest on his laurels, Strasberg continued as the Artistic Director of the Actors Studio, conducted private classes at The Lee Strasberg Theatre Institutes, toured the world giving lectures, and in between became a major movie actor of sizable talent and range.
In 1976, Lee Strasberg followed "The Godfather Part II" with an epic of a different kind. Amid a deluge of 1970's disaster films such as "The Towering Inferno" and "The Poseidon Adventure," Strasberg appeared in a surprisingly gripping action/disaster film "The Cassandra Crossing " which
centers on a European train where a deadly plague threatens the passengers onboard.
Audiences where stunned by Lee Strasberg's choice to play ex-holocaust victim Herbert Kaplan in a film classified as a popcorn movie. But Strasberg effectively banished another misconception that Method actors are best suited for kitchen sink dramas. Strasberg illustrated once again that his Method is not a style but a technique that can be used in any genre. His memorable work in "The Cassandra Crossing" proved there are no limits to his work.
Shot on location in Cinecetti and Rome, the film was lavishly produced by Carlo Ponti and boasted outstanding production values."The Cassandra Crossing" emerged as a thinking man's disaster film without sacrificing the necessary trademarks for a nail-biting adventure - - an alluring concept, a solid plot, a spectacular climax and an all-star cast featuring Sophia Loren, Richard Harris, Ava Gardner, Martin Sheen and Burt Lancaster.
Strasberg then segued from the mega budgeted studio films to the modestly budgeted independent film "Boardwalk." Here he was united with long-time friend Ruth Gordon ("Harold and Maude") and Janet Leigh ("Psycho"). In this drama, Lee Strasberg plays David Rosen where he his wife Becky (Ruth Gordon) have lived in the same Coney Island neighborhood for nearly all their married life. But now a gang has decided to make Coney Island their new turf. The gang terrorizes local merchants demanding payment for "protection" and using violence to deal anyone who gets in their way.
David refuses to give the gang a protection payment for the restaurant he owns, as a result his diner is firebombed, his neighbors are attacked, and his synagogue is desecrated. Together Becky and David plot their revenge against the gang."Broadwalk" is a power-keg drama with Verona successfully setting a mood that generates a very real nostalgia for what Coney Island once was and still is for the lead characters in the story. The towering performances from Strasberg and outshone the implausible plot and made audiences and critics care deeply for their characters - - the ultimate goal of any actor.
Strasberg's his next screen venture was 28 year-old Martin Brest's light-hearted "Going in Style." As an elderly retiree, Strasberg beautifully demonstrated his innate and unquestionable gift for comedy. Accompanied by beloved comic veterans Art Carney and George Burns, Strasberg blended seamlessly with his co-stars. In this hilarious, yet poignant story shot entirely on location in Astoria, New York, three senior citizens, in effort to relieve the boredom of their lives, scheme to rob a uptown Manhattan - - just for kicks. Yet, beneath this high-spirited film, lies an astute commentary on a callous society which neglects the elderly and devalues their sense of worth.
"Going in Style" opened to enthusiastic reviews and for his portrayal of Willie, the thrill-seeking rebel, Strasberg was honored with a Pasinelti Award as Best Actor at the Venice Film Festival along with Mr. Carney and Mr. Burns. The first triple win in the film festival's history.
On July 25th, 1978, in a handsome production by England's Titus Productions, Lee Strasberg made an auspicious television debut in "The Last Tenant." Strasberg delivered both an irascible and often devastatingly heartbreaking performance as a fiercely independent widower and an imperfect father of questionable parenting.
Headlining this poignant television film is Tony LoBianco, Danny Aiello and Christine Lahti."The Last Tenant" centers on a family deciding on the care of their elderly father who no longer can safely live alone. His children harbor resentment towards their father and therefore deny him a place in their home. While those around him view him as helpless, he refuses the aid of a housekeeper and adamantly rejects the notion of residing in a nursing home, further complicating this life-altering decision. The film avoids obvious sentimental gloss and instead steers into pungent, complex characterization and not-easily-resolved turmoil.
An Emmy Award for Outstanding Writing for an Original TeleFilm went to George Rubino for his exceptional script. Another Emmy Award was handed to Sol Negrin for his vivid and atmospheric cinematography."The Last Tenant" also boosts a wonderful score by Dick Hyman ("Moonstruck'). With each performance, Strasberg proved to be a master of virtuosity, changing from one role to the next.
"You're out of order! This whole court is out of order!" bellows irate lawyer Arthur Kirkland expertly played by Al Pacino. This line of dialogue became a popular catchphrase in 1979 when Columbia Pictures released, "And Justice For All…" Back on the big screen as Grampa Sam, Lee Strasberg co-stars with Pacino, Jack Warden and John Forsythe and Christine Lahti in her feature film debut. In this supporting role, Strasberg tries to instill a sense of pride for his grandson (Pacino) who has become embittered by the irrational sides of law and begins to loose faith in the judicial system.
While the film is best known for its emotionally charged courtroom sequences, the film's highlights also include the quiet, warm scenes between Strasberg and Pacino, (a stark contrast from the scenes they shared in "The Godfather Part II"). Directed by Norman Jewison ("In the Heat of the Night"). the film boasts a vigorous script from Valerie Curtain and Academy Award winning director Barry Levinson ("Rainman"). For this performance as an irrepressible Baltimore lawyer, Al Pacino was awarded a Golden Globe Award nomination as Best Actor in a Motion Picture Drama.
Lee Strasberg's second television appearance in "Skokie" was based upon a true event. Co-starring with Strasberg is Danny Kaye, best known for his classic comedy TV series, "The Danny Kaye Show." Strasberg and Kaye were supported by a stellar ensemble cast which included Oscar-winner Kim Hunter ("A Streetcar Named Desire'), Tony Award winner Brian Dennehy ("Death of a Salesman"), Eli Wallach and Carl Reiner.
"Skokie" marks Strasberg's second successful association with Titus Productions since "The Last Tenant." This exceptional, engrossing made-for-television film premiered November 17, 1981 on NBC, eight years after the disturbing true-life ignited nationwide controversy. Set in the predominately Jewish community of Skokie, Illinois, many World War II camp survivors suddenly find their lives embroiled in a fight to prevent antagonistic neo-Nazis from marching in an anti-Semitic demonstration in their neighborhood.
Writer Ernest Kinoy ("Roots") was honored with a well-deserved Writer's Guild Award for his deftly written script. Directed by Herbert Wise, revered for the BBC's classic "Upstairs, Downstairs," wisely avoids sensationalism and focuses on the emotional repercussions of one of the most pressing issues in world history. Wise won the Director's Guild Award for Outstanding Directorial Achievement in Specials for his work in "Skokie." While Strasberg received glowing accolades for his performance, Danny Kaye impressed both critics and viewers in his first dramatic performance and earned himself a well-deserved Golden Globe Award nomination as Best Actor in Mini-Series for Motion Picture for Television. The film also received an Emmy Award nomination for Outstanding Drama Special."Skokie" is still regarded as one of the most intelligent television films to air on an American network, and for Lee Strasberg it was another victorious achievement in his growing repertoire of screen roles.
The documentary "Acting: Lee Strasberg and the Actors Studio" was the first production to go behind the doors of the prestigious Studio to document creative sessions with its illustrious members. The film features rare filmed performances of Italian actress Eleonora Duse, considered to be the greatest actress of all time, rare interviews with Oscar winners Jane Fonda and Ellen Burstyn, and clips of icons James Dean and Marlon Brando, two of the most famous of Strasberg's students. Directed and produced by Herbert Kline, this documentary illuminates the enduring Strasberg legacy and brings viewers one step closer in understanding why Lee Strasberg was so enormously influential with the hundreds of actors he taught during the span of his professional career.
Lee Strasberg Filmography
"Marilyn Monroe: The Final Days" (2001)(archive footage)
"The Godfather Trilogy: 1901-1980" (1992)
"The Godfather: Part III" (1990)(archive footage)
Acting: Lee Strasberg and the Actors Studio" (1981)
"Skokie" (1981)
"Going in Style" (1979)
"Boardwalk" (1979)
"And Justice For All" (1979)
"The Last Tenant" (1978)
"The Cassandra Crossing" (1976)
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