A Letter to Elia

A Letter to Elia

Release date : September 4, 2010
Runtime : 1h
Countries of origin : United States of America /
Original Language : English /
Director : Kent Jones / Martin Scorsese /
Writers :
Production companies :
September 4, 2010 1h United States of America Documentary English More
6.4
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Overview

Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan's signature films including "On the Waterfront," "A Streetcar Named Desire," "Gentleman's Agreement," "Baby Doll," "A Tree Grows in Brooklyn," "A Face in the Crowd," "America, America," and "The Last Tycoon," and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director's tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.
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Elia Kazan
Self (archive footage)
Martin Scorsese
Self - Narrator
Elias Koteas
Elia Kazan (Voice)

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  • title:A Letter to Elia
  • status:Released
  • Release date: 2010
  • Runtime:1h
  • Genres: Documentary ·
  • Countries of origin: United States of America ·
  • Original Language: English ·
  • Director: Kent Jones / Martin Scorsese /
  • Writers:
  • Production companies:
  • Overview:Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan's signature films including "On the Waterfront," "A Streetcar Named Desire," "Gentleman's Agreement," "Baby Doll," "A Tree Grows in Brooklyn," "A Face in the Crowd," "America, America," and "The Last Tycoon," and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director's tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.
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