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Picking up the tab : the life and movies of Martin Ritt

Author: Carlton Jackson
Publisher: Bowling Green, OH : Bowling Green State University Popular Press, ©1994.
Edition/Format:   Book : Biography : State or province government publication : EnglishView all editions and formats
Database:WorldCat
Summary:
At the memorial held after Martin Ritt's death in 1990, he was hailed as this country's greatest maker of social films. From No Down Payment early in his career to Stanley & Iris, his last production, he delineated the nuances of American society. In between were other social statements such as Hud, Sounder, The Spy Who Came in From the Cold, Norma Rae, and The Great White Hope.
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Genre/Form: Biography
Additional Physical Format: Online version:
Jackson, Carlton.
Picking up the tab.
Bowling Green, OH : Bowling Green State University Popular Press, ©1994
(OCoLC)622587855
Named Person: Martin Ritt; Martin Ritt; Martin Ritt
Material Type: Biography, Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Carlton Jackson
ISBN: 0879726717 9780879726713 0879726725 9780879726720
OCLC Number: 32289636
Description: viii, 300 pages : illustrations ; 24 cm
Contents: Genesis of a filmmaker --
Plays and problems --
Pre-Hud --
Memorable outsiders: from Hud to Leamas --
Heroes and villains: from "Hombre" to the "Mollies" --
Martin Ritt and the black experience: "The great white hope," "Sounder," and "Conrack" --
Full circle on the black list? --
"Martin Ritt IS Norma Rae" --
"Marty movies" --
Martin Ritt: an assessment.
Responsibility: Carlton Jackson.

Abstract:

At the memorial held after Martin Ritt's death in 1990, he was hailed as this country's greatest maker of social films. From No Down Payment early in his career to Stanley & Iris, his last production, he delineated the nuances of American society. In between were other social statements such as Hud, Sounder, The Spy Who Came in From the Cold, Norma Rae, and The Great White Hope.

He was a leftist who embraced various radical movements of the 1930s and, largely because of this involvement, was blacklisted from television in the early 1950s. His film The Front, about the blacklisting, was his most autobiographical.

He was a Jew from New York; yet he went to a small college in North Carolina, Elon, where he played football for "The Fighting Christians." His school days in the South gave him a lifelong love for the region. Thus, in his movies, he was just as much at home with southern as with northern topics. He did not deal totally in his southern experience with racism and poverty. He directed The Long Hot Summer and The Sound and the Fury, both of which described conflicts between and among white social groups.

He once remarked, "I have spent most of my film life in the South." Some referred to his films as "think movies," and perhaps this is why he never won an Oscar for best directing. But he gave moviegoers all over the world an opportunity to see what America was really like - from the viewpoint both of the wealthy and of the poor. It may be, unfortunately, that we will never see his likes again.

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