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Arthur Miller
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This article is about the playwright. For the director with a similar name, see Arthur Hiller. For other people of the same name, see Arthur Miller (disambiguation).
Arthur Miller
Born
Arthur Asher Miller
(1915-10-17)October 17, 1915
Harlem, New York City, U.S.
Died
February 10, 2005(2005-02-10) (aged 89)
Roxbury, Connecticut, U.S.
Occupation
Playwright
essayist
Nationality
American
Alma mater
University of Michigan
Notable works
All My Sons
Death of a Salesman
The Crucible
A View from the Bridge
Notable awards
1949 Pulitzer Prize for Drama
1984 Kennedy Center Honors
2001 Praemium Imperiale
2003 Jerusalem Prize
Spouse
Mary Slattery (m. 1940; div. 1956)
Marilyn Monroe (m. 1956; div. 1961)
Inge Morath (m. 1962; d. 2002)
Children
4, including Rebecca Miller
Relatives
Joan Copeland (sister)
Signature
Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright, essayist, and figure in twentieth-century American theater. Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (1955, revised 1956). He also wrote several screenplays and was most noted for his work on The Misfits (1961). The drama Death of a Salesman has been numbered on the short list of finest American plays in the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Tennessee Williams's A Streetcar Named Desire.[1]
Miller was often in the public eye, particularly during the late 1940s, 1950s and early 1960s. During this time, he was awarded the Pulitzer Prize for Drama; testified before the House Un-American Activities Committee;[2] and was married to Marilyn Monroe. In 1980, Miller received the St. Louis Literary Award from the Saint Louis University Library Associates.[3][4] He received the Prince of Asturias Award and the Praemium Imperiale prize in 2002 and the Jerusalem Prize in 2003,[5] as well as the Dorothy and Lillian Gish Lifetime Achievement Award.[6][7]
Contents
[hide]
1 Biography
1.1 Early life
1.2 Early career
1.3 Critical years
1.3.1 Marriages and family
1.3.2 HUAC controversy and The Crucible
1.4 Later career
1.5 Death
2 Legacy
2.1 Foundation
2.2 Archive
3 Works
3.1 Stage plays
3.2 Radio plays
3.3 Screenplays
3.4 Assorted fiction
3.5 Non-fiction
3.6 Collections
4 Miller's styles, themes, and characters
4.1 Themes
4.1.1 All American family
4.1.2 Social responsibility
4.1.3 Life, death and human purpose
4.2 Famous characters of his works
4.2.1 Willy Loman
4.2.2 Eddie Carbone
4.2.3 John Proctor
4.2.4 Joe Keller
4.2.5 Maggie
4.3 Literary and public criticism
5 See also
6 References
6.1 Bibliography
7 Further reading
8 External links
Biography[edit]
Early life[edit]
Miller was born on October 17, 1915, in Harlem, in the New York City borough of Manhattan, the second of three children of Augusta (Barnett) and Isidore Miller. Miller was Jewish, and of Polish Jewish descent.[8][9][10] His father was born in Radomyśl Wielki, Galicia (then part of Austria-Hungary, now Poland), and his mother was a native of New York whose parents also arrived from that town.[11] Isidore owned a women's clothing manufacturing business employing 400 people. He became a wealthy and respected man in the community.[12] The family, including his younger sister Joan Copeland, lived on West[13] 110th Street in Manhattan, owned a summer house in Far Rockaway, Queens, and employed a chauffeur.[14] In the Wall Street Crash of 1929, the family lost almost everything and moved to Gravesend, Brooklyn.[15] As a teenager, Miller delivered bread every morning before school to help the family.[14] After graduating in 1932 from Abraham Lincoln High School, he worked at several menial jobs to pay for his college tuition.[15][16]
At the University of Michigan, Miller first majored in journalism and worked for the student paper, the Michigan Daily. It was during this time that he wrote his first play, No Villain.[17] Miller switched his major to English, and subsequently won the Avery Hopwood Award for No Villain. The award brought him his first recognition and led him to begin to consider that he could have a career as a playwright. Miller enrolled in a playwriting seminar taught by the influential Professor Kenneth Rowe, who instructed him in his early forays into playwriting;[18] Rowe emphasized how a play is built in order to achieve its intended effect, or what Miller called "the dynamics of play construction".[19] Rowe provided realistic feedback along with much-needed encouragement, and became a lifelong friend.[20] Miller retained strong ties to his alma mater throughout the rest of his life, establishing the university's Arthur Miller Award in 1985 and Arthur Miller Award for Dramatic Writing in 1999, and lending his name to the Arthur Miller Theatre in 2000.[21] In 1937, Miller wrote Honors at Dawn, which also received the Avery Hopwood Award.[17] After his graduation in 1938, he joined the Federal Theatre Project, a New Deal agency established to provide jobs in the theater. He chose the theater project despite the more lucrative offer to work as a scriptwriter for 20th Century Fox.[17] However, Congress, worried about possible Communist infiltration, closed the project in 1939.[15] Miller began working in the Brooklyn Navy Yard while continuing to write radio plays, some of which were broadcast on CBS.[15][17]
Early career[edit]
In 1940, Miller married Mary Grace Slattery.[22] The couple had two children, Jane and Robert (born May 31, 1947). Miller was exempted from military service during World War II because of a high school football injury to his left kneecap.[15] 1940 was also the year his first play was produced; The Man Who Had All the Luck won the Theatre Guild's National Award.[23] The play closed after four performances with disastrous reviews.[24]
In 1947, Miller's play All My Sons, the writing of which had commenced in 1941, was a success on Broadway (earning him his first Tony Award, for Best Author) and his reputation as a playwright was established.[25] Years later, in a 1994 interview with Ron Rifkin, Miller said that most contemporary critics regarded All My Sons as "a very depressing play in a time of great optimism" and that positive reviews from Brooks Atkinson of The New York Times had saved it from failure.[26]
In 1948, Miller built a small studio in Roxbury, Connecticut. There, in less than a day, he wrote Act I of Death of a Salesman. Within six weeks, he completed the rest of the play,[17] one of the classics of world theater.[15][27] Death of a Salesman premiered on Broadway on February 10, 1949, at the Morosco Theatre, directed by Elia Kazan, and starring Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, and Cameron Mitchell as Happy. The play was commercially successful and critically acclaimed, winning a Tony Award for Best Author, the New York Drama Circle Critics' Award, and the Pulitzer Prize for Drama. It was the first play to win all three of these major awards. The play was performed 742 times.[15]
In 1949, Miller exchanged letters with Eugene O'Neill regarding Miller's production of All My Sons. O'Neill had sent Miller a congratulatory telegram; in response, he wrote a letter that consisted of a few paragraphs detailing his gratitude for the telegram, apologizing for not responding earlier, and inviting Eugene to the opening of Death of a Salesman. O'Neill replied, accepting the apology, but declining the invitation, explaining that his Parkinson's disease made it difficult to travel. He ended the letter with an invitation to Boston, which never occurred.[28]
Critical years[edit]
In 1955, a one-act version of Miller's verse drama A View from the Bridge opened on Broadway in a joint bill with one of Miller's lesser-known plays, A Memory of Two Mondays. The following year, Miller revised A View from the Bridge as a two-act prose drama, which Peter Brook directed in London.[29] A French-Italian co-production Vu du pont, based on the play, was released in 1962.
Marriages and family[edit]
Marriage ceremony with Marilyn Monroe in 1956
In June 1956, Miller left his first wife, Mary Slattery, whom he married in 1940, and married film star Marilyn Monroe.[22] They had met in 1951, had a brief affair, and remained in contact since.[15][22] Monroe had just turned 30 when they married, and having never had a real family of her own, was eager to join the family of her new husband.[30]:156
Monroe began to reconsider her career and the fact that trying to manage it made her feel helpless. She admitted to Miller, "I hate Hollywood. I don't want it anymore. I want to live quietly in the country and just be there when you need me. I can't fight for myself anymore."[30]:154
She converted to Judaism to "express her loyalty and get close to both Miller and his parents", writes biographer Jeffrey Meyers.[30]:156 Monroe told her close friend, Susan Strasberg: "I can identify with the Jews. Everybody's always out to get them, no matter what they do, like me."[30]:156 Soon after she converted, Egypt banned all of her movies.[30]:157
Away from Hollywood and the culture of celebrity, Monroe's life became more normal; she began cooking, keeping house and giving Miller more attention and affection than he had been used to.[30]:157 His children, aged twelve and nine, adored her and were reluctant to return to their mother when the weekend was over.[30]:157 As she was also fond of older people, she got along well with his parents, and the feeling was mutual.[30]:157
Later that year, Miller was subpoenaed by the HUAC, and Monroe accompanied him. In her personal notes, she wrote about her worries during this period:
I am so concerned about protecting Arthur. I love him—and he is the only person—human being I have ever known that I could love not only as a man to which I am attracted to practically out of my senses—but he is the only person—as another human being that I trust as much as myself...[31]
Miller began work on writing the screenplay for The Misfits in 1960, directed by John Huston and starring Monroe. But it was during the filming that Miller and Monroe's relationship hit difficulties, and he later said that the filming was one of the lowest points in his life. Monroe was taking drugs to help her sleep and more drugs to help her wake up, which caused her to arrive on the set late and then have trouble remembering her lines. Huston was unaware that Miller and Monroe were having problems in their private life. He recalled later, "I was impertinent enough to say to Arthur that to allow her to take drugs of any kind was criminal and utterly irresponsible. Shortly after that I realized that she wouldn't listen to Arthur at all; he had no say over her actions."[32]
Shortly before the film's premiere in 1961, Miller and Monroe divorced after their five years of marriage.[17] Nineteen months later, Monroe died of a likely drug overdose.[22] Huston, who had also directed her in her first major role in The Asphalt Jungle in 1950, and who had seen her rise to stardom, put the blame for her death on her doctors as opposed to the stresses of being a star: "The girl was an addict of sleeping pills and she was made so by the God-damn doctors. It had nothing to do with the Hollywood set-up."[33]
Miller later married photographer Inge Morath in February 1962. She had worked as a photographer documenting the production of The Misfits. The first of their two children, Rebecca, was born September 15, 1962. Their son, Daniel, was born with Down syndrome in November 1966. Against his wife's wishes, Miller had him institutionalized, first at a home for infants in New York City, and then at the Southbury Training School in Connecticut. Miller never visited Daniel at the school and rarely spoke of him.[34] Miller and Inge remained together until her death in 2002. Arthur Miller's son-in-law, actor Daniel Day-Lewis, is said to have visited Daniel frequently, and to have persuaded Arthur Miller to meet with him.[35]
HUAC controversy and The Crucible[edit]
In 1952, Elia Kazan appeared before the House Un-American Activities Committee (HUAC). Kazan named eight members of the Group Theatre, including Clifford Odets, Paula Strasberg, Lillian Hellman, J. Edward Bromberg, and John Garfield,[36] who in recent years had been fellow members of the Communist Party.[37]
After speaking with Kazan about his testimony, Miller traveled to Salem, Massachusetts to research the witch trials of 1692.[22] The Crucible, in which Miller likened the situation with the House Un-American Activities Committee to the witch hunt in Salem in 1692,[38][39][2] opened at the Beck Theatre on Broadway on January 22, 1953. Though widely considered only somewhat successful at the time of its release, today The Crucible is Miller's most frequently produced work throughout the world.[22] It was adapted into an opera by Robert Ward in 1961.
Miller and Kazan were close friends throughout the late 1940s and early 1950s, but after Kazan's testimony to the HUAC, the pair's friendship ended, and they did not speak to each other for the next ten years.[37] The HUAC took an interest in Miller himself not long after The Crucible opened, denying him a passport to attend the play's London opening in 1954.[17] Kazan defended his own actions through his film On the Waterfront, in which a dockworker heroically testifies against a corrupt union boss.[citation needed]
When Miller applied in 1956 for a routine renewal of his passport, the House Un-American Activities Committee used this opportunity to subpoena him to appear before the committee. Before appearing, Miller asked the committee not to ask him to name names, to which the chairman, Francis E. Walter (D-PA) agreed.[40]
While newsmen take notes, Chairman Dies of House Un-American Activities Committee reads and proofs his letter replying to Pres. Roosevelt's attack on the Committee, October 26, 1938
When Miller attended the hearing, to which Monroe accompanied him, risking her own career,[22] he gave the committee a detailed account of his political activities.[41] Reneging on the chairman's promise, the committee demanded the names of friends and colleagues who had participated in similar activities.[40] Miller refused to comply, saying "I could not use the name of another person and bring trouble on him."[40] As a result, a judge found Miller guilty of contempt of Congress in May 1957. Miller was sentenced to a fine and a prison sentence, blacklisted, and disallowed a US passport.[42] In 1958, his conviction was overturned by the court of appeals, which ruled that Miller had been misled by the chairman of the HUAC.[43]
Miller's experience with the HUAC affected him throughout his life. In the late 1970s he became very interested in the highly publicized Barbara Gibbons murder case, in which Gibbons' son Peter Reilly was convicted of his mother's murder based on what many felt was a coerced confession and little other evidence. City Confidential, an A&E Network series, produced an episode about the murder, postulating that part of the reason Miller took such an active interest (including supporting Reilly's defense and using his own celebrity to bring attention to Reilly's plight) was because he had felt similarly persecuted in his run-ins with the HUAC. He sympathized with Reilly, whom he firmly believed to be innocent and to have been railroaded by the Connecticut State Police and the Attorney General who had initially prosecuted the case.[44][45]
Later career[edit]
Miller in 1966
In 1964 After the Fall was produced, and is said to be a deeply personal view of Miller's experiences during his marriage to Monroe. The play reunited Miller with his former friend Kazan: they collaborated on both the script and the direction. After the Fall opened on January 23, 1964, at the ANTA Theatre in Washington Square Park amid a flurry of publicity and outrage at putting a Monroe-like character, called Maggie, on stage.[22] Robert Brustein, in a review in the New Republic, called After the Fall "a three and one half hour breach of taste, a confessional autobiography of embarrassing explicitness . . . there is a misogynistic strain in the play which the author does not seem to recognize. . . . He has created a shameless piece of tabloid gossip, an act of exhibitionism which makes us all voyeurs, . . . a wretched piece of dramatic writing."[46] That same year, Miller produced Incident at Vichy. In 1965, Miller was elected the first American president of PEN International, a position which he held for four years.[47] A year later, Miller organized the 1966 PEN congress in New York City. Miller also wrote the penetrating family drama, The Price, produced in 1968.[22] It was Miller's most successful play since Death of a Salesman.[48]
In 1969, Miller's works were banned in the Soviet Union after he campaigned for the freedom of dissident writers.[17] Throughout the 1970s, Miller spent much of his time experimenting with the theatre, producing one-act plays such as Fame and The Reason Why, and traveling with his wife, producing In The Country and Chinese Encounters with her. Both his 1972 comedy The Creation of the World and Other Business and its musical adaptation, Up from Paradise, were critical and commercial failures.[49][50]
Miller was an unusually articulate commentator on his own work. In 1978 he published a collection of his Theater Essays, edited by Robert A. Martin and with a foreword by Miller. Highlights of the collection included Miller's introduction to his Collected Plays, his reflections on the theory of tragedy, comments on the McCarthy Era, and pieces arguing for a publicly supported theater. Reviewing this collection in the Chicago Tribune, Studs Terkel remarked, "in reading [the Theater Essays]...you are exhilaratingly aware of a social critic, as well as a playwright, who knows what he's talking about."[51]
In 1983, Miller traveled to China to produce and direct Death of a Salesman at the People's Art Theatre in Beijing. The play was a success in China[48] and in 1984, Salesman in Beijing, a book about Miller's experiences in Beijing, was published. Around the same time, Death of a Salesman was made into a TV movie starring Dustin Hoffman as Willy Loman. Shown on CBS, it attracted 25 million viewers.[17][52] In late 1987, Miller's autobiographical work, Timebends, was published. Before it was published, it was well known that Miller would not talk about Monroe in interviews; in Timebends Miller talks about his experiences with Monroe in detail.[22]
During the early-mid 1990s, Miller wrote three new plays: The Ride Down Mt. Morgan (1991), The Last Yankee (1992), and Broken Glass (1994). In 1996, a film of The Crucible starring Daniel Day-Lewis, Paul Scofield, Bruce Davison, and Winona Ryder opened. Miller spent much of 1996 working on the screenplay to the film.[17]
Mr. Peters' Connections was staged Off-Broadway in 1998, and Death of a Salesman was revived on Broadway in 1999 to celebrate its fiftieth anniversary. The play, once again, was a large critical success, winning a Tony Award for best revival of a play.[53]
In 1993, he was awarded the National Medal of Arts.[54] Miller was honored with the PEN/Laura Pels International Foundation for Theater Award for a Master American Dramatist in 1998. In 2001 the National Endowment for the Humanities (NEH) selected Miller for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities.[55] Miller's lecture was entitled "On Politics and the Art of Acting."[56] Miller's lecture analyzed political events (including the U.S. presidential election of 2000) in terms of the "arts of performance," and it drew attacks from some conservatives[57] such as Jay Nordlinger, who called it "a disgrace," [58] and George Will, who argued that Miller was not legitimately a "scholar."[59]
In 1999, Miller was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind's enjoyment and understanding of life."[60] In 2001, Miller received the National Book Foundation's Medal for Distinguished Contribution to American Letters. On May 1, 2002, Miller was awarded Spain's Principe de Asturias Prize for Literature as "the undisputed master of modern drama." Later that year, Ingeborg Morath died of lymphatic cancer[61] at the age of 78. The following year Miller won the Jerusalem Prize.[17]
In December 2004, 89-year-old Miller announced that he had been in love with 34-year-old minimalist painter Agnes Barley and had been living with her at his Connecticut farm since 2002, and that they intended to marry.[62] Within hours of her father's death, Rebecca Miller ordered Barley to vacate the premises, having consistently opposed the relationship.[63] Miller's final play, Finishing the Picture, opened at the Goodman Theatre, Chicago, in the fall of 2004, with one character said to be based on Barley.[64] It was reported to be based on his experience during the filming The Misfits,[65] though Miller insisted the play is a work of fiction with independent characters that were no more than composite shadows of history.[66]
Death[edit]
Miller died of bladder cancer and heart failure, at his home in Roxbury, Connecticut. He had been in hospice care at his sister's apartment in New York since his release from hospital the previous month.[67] He died on the evening of February 10, 2005 (the 56th anniversary of the Broadway debut of Death of a Salesman), aged 89, surrounded by Barley, family and friends.[68][69] His body was interred at Roxbury Center Cemetery in Roxbury.
Legacy[edit]
Arthur Miller's career as a writer spanned over seven decades, and at the time of his death, Miller was considered to be one of the greatest dramatists of the twentieth century.[27] After his death, many respected actors, directors, and producers paid tribute to Miller,[70] some calling him the last great practitioner of the American stage,[71] and Broadway theatres darkened their lights in a show of respect.[72] Miller's alma mater, the University of Michigan, opened the Arthur Miller Theatre in March 2007. As per his express wish, it is the only theatre in the world that bears Miller's name.[73]
Other notable arrangements for Miller's legacy are that his letters, notes, drafts and other papers are housed at the Harry Ransom Humanities Research Center at The University of Texas at Austin.
Arthur Miller is also a member of the American Theater Hall of Fame. He was inducted in 1979.[74][75]
In 1993 he received the Four Freedom Award for Freedom of Speech.[76]
Foundation[edit]
The Arthur Miller Foundation was founded to honor the legacy of Miller and his New York City Public School Education. The mission of the foundation is: "Promoting increased access and equity to theater arts education in our schools and increasing the number of students receiving theater arts education as an integral part of their academic curriculum."[77] Other initiatives include certification of new theater teachers and their placement in public schools; increasing the number of theater teachers in the system from the current estimate of 180 teachers in 1800 schools; supporting professional development of all certified theater teachers; providing teaching artists, cultural partners, physical spaces, and theater ticket allocations for students. The foundation's primary purpose is to provide arts education in the New York City school system. The current chancellor of the foundation is Carmen Farina, a large proponent of the Common Core State Standards Initiative. Alec Baldwin, Ellen Barkin, Katori Hall, Dustin Hoffman, Scarlett Johansson, Tony Kushner, Michael Mayer, Jim McElhinney, Julianne Moore, Liam Neeson, Lynn Nottage, David O. Russell, Liev Schreiber all serve on the Master Arts Council. Son-in-law Daniel Day-Lewis serves on the current board of directors.[78]
The foundation celebrated Miller's 100th birthday with a one-night-only performance of Miller's seminal works in November 2015.[79]
The Arthur Miller Foundation currently supports a pilot program in theater and film at the public school Quest to Learn in partnership with the Institute of Play. The model is being used as an in-school elective theater class and lab. The objective is to create a sustainable theater education model to disseminate to teachers at professional development workshops.[80]
Archive[edit]
Miller donated thirteen boxes of his earliest manuscripts to the Harry Ransom Center at the University of Texas at Austin in 1961 and 1962.[81] This collection included the original handwritten notebooks and early typed drafts for Death of a Salesman, The Crucible, All My Sons, and other works. In January, 2018, the Ransom Center announced the acquisition of the remainder of the Miller archive totaling over 200 boxes.[82][83] The full archive will be available for research after it is catalogued, no later than November, 2019.
Works[edit]
Stage plays[edit]
No Villain (1936)
They Too Arise (1937, based on No Villain)
Honors at Dawn (1938, based on They Too Arise)
The Grass Still Grows (1938, based on They Too Arise)
The Great Disobedience (1938)
Listen My Children (1939, with Norman Rosten)
The Golden Years (1940)
The Man Who Had All the Luck (1940)[84]
The Half-Bridge (1943)
All My Sons (1947)
Death of a Salesman (1949)
An Enemy of the People (1950, based on Henrik Ibsen's play An Enemy of the People)
The Crucible (1953)
A View from the Bridge (1955)
A Memory of Two Mondays (1955)
After the Fall (1964)
Incident at Vichy (1964)
The Price (1968)
The Reason Why (1970)
Fame (one-act, 1970; revised for television 1978)
The Creation of the World and Other Business (1972)
Up from Paradise (1974)
The Archbishop's Ceiling (1977)
The American Clock (1980)
Playing for Time (television play, 1980)
Elegy for a Lady (short play, 1982, first part of Two Way Mirror)
Some Kind of Love Story (short play, 1982, second part of Two Way Mirror)
I Think About You a Great Deal (1986)
Playing for Time (stage version, 1985)
I Can't Remember Anything (1987, collected in Danger: Memory!)
Clara (1987, collected in Danger: Memory!)
The Ride Down Mt. Morgan (1991)
The Last Yankee (1993)
Broken Glass (1994)
Mr Peters' Connections (1998)
Resurrection Blues (2002)
Finishing the Picture (2004)
Radio plays[edit]
The Pussycat and the Expert Plumber Who Was a Man (1941)
Joel Chandler Harris (1941)
The Battle of the Ovens (1942)
Thunder from the Mountains (1942)
I Was Married in Bataan (1942)
That They May Win (1943)
Listen for the Sound of Wings (1943)
Bernardine (1944)
I Love You (1944)
Grandpa and the Statue (1944)
The Philippines Never Surrendered (1944)
The Guardsman (1944, based on Ferenc Molnár's play)
The Story of Gus (1947)
Screenplays[edit]
The Hook (1947)
All My Sons (1948)
Let's Make Love (1960)
The Misfits (1961)
Everybody Wins (1984)
Death of a Salesman (1985)
The Crucible (1996)
Mr. Peters' Connections (1998)
Assorted fiction[edit]
Focus (novel, 1945)
"The Misfits" (novella, 1957)
I Don't Need You Anymore (short stories, 1967)
Homely Girl: A Life (short story, 1992, published in UK as "Plain Girl: A Life" 1995)
"The Performance" (short story)
Presence: Stories (2007) (short stories include The Bare Manuscript, Beavers, The Performance, and Bulldog)
Non-fiction[edit]
Situation Normal (1944) is based on his experiences researching the war correspondence of Ernie Pyle.
In Russia (1969), the first of three books created with his photographer wife Inge Morath, offers Miller's impressions of Russia and Russian society.
In the Country (1977), with photographs by Morath and text by Miller, provides insight into how Miller spent his time in Roxbury, Connecticut and profiles of his various neighbors.
Chinese Encounters (1979) is a travel journal with photographs by Morath. It depicts the Chinese society in the state of flux which followed the end of the Cultural Revolution. Miller discusses the hardships of many writers, professors, and artists as they try to regain the sense of freedom and place they lost during Mao Zedong's regime.
Salesman in Beijing (1984) details Miller's experiences with the 1983 Beijing People's Theatre production of Death of a Salesman. He describes the idiosyncrasies, understandings, and insights encountered in directing a Chinese cast in a decidedly American play.
Timebends: A Life, Methuen London (1987) ISBN 0-413-41480-9. Like Death of a Salesman, the book follows the structure of memory itself, each passage linked to and triggered by the one before.
Collections[edit]
Abbotson, Susan C. W. (ed.), Arthur Miller: Collected Essays, Penguin 2016 ISBN 978-0-14-310849-8
Centola, Steven R. ed. Echoes Down the Corridor: Arthur Miller, Collected Essays 1944–2000, Viking Penguin (US)/Methuen (UK), 2000 ISBN 0-413-75690-4
Kushner, Tony, ed. Arthur Miller, Collected Plays 1944–1961 (Library of America, 2006) ISBN 978-1-931082-91-4.
Martin, Robert A. (ed.), "The theater essays of Arthur Miller", foreword by Arthur Miller. NY: Viking Press, 1978 ISBN 0-14-004903-7
Miller's styles, themes, and characters[edit]
Miller successfully synthesized diverse dramatic styles and movements in the belief that a play should embody a delicate balance between the individual and society, between the singular personality and the polity, and between the separate and collective elements of life. He thought himself a writer of social plays with a strong emphasis on moral problems in American society and often questioned psychological causes of behavior. He also built on the realist tradition of Henrik Ibsen in his exploration of the individual's conflict with society but also borrowed Symbolist and expressionist techniques from Bertolt Brecht and others. Some critics attempt to interpret his work from either an exclusively political or an exclusively psychological standpoint but fail to pierce the social veil that Miller creates in his work.[85] Miller often stressed that society made his characters what they are and how it dictated all of their fears and choices.[86]
Themes[edit]
All American family[edit]
While Miller comes under criticism for his reputation, most critics note him as a dramatist of the family. One of his greatest strengths is his penetrating insight into familial relationships.[87] Often, Miller positions his characters are living in service of their family. The conventions of the family play, such as patterns, setting, and style of representation were set canonically by Eugene O'Neill, Tennessee Williams, and Miller. In these plays, white men are privileged with their family and social responsibility; typically, these men are lower class. Miller maintained that family relationships and families must be immersed in social context.[88]
Social responsibility[edit]
Miller is known for the consciousness of the characters in his play. In his plays, he confronts a level of banality with the roller coaster of guilt and responsibility. Some strong examples of characters who portray this struggle between their conscious and their social responsibility are Joe Keller in All My Sons and John Proctor in The Crucible.[89] Miller often creates consequences for characters who ignore or violate their social responsibilities.
Life, death and human purpose[edit]
Miller's determination to deal with the eternal themes of life, death and human purpose is one of his most prominent themes across his works. This theme spans from Willy Loman's dedication to providing for his family and his inherent belief that his death would leave a legacy, to John Proctor's willingness to die to preserve his name. Nearly all of Miller's protagonists struggle with the mark they leave on life and what it means to die.[90]
Famous characters of his works[edit]
Willy Loman[edit]
In Death of a Salesman – originally entitled “The Inside of His Head” – Miller brilliantly solves the problem of revealing his main character's inner discord, rendering Willy Loman as solid as the society in which he tries to sell himself. Indeed, many critics believe that Miller has never surpassed his achievement in this play, which stands as his breakthrough work, distinguished by an extremely long Broadway run, by many revivals, and by many theater awards, including the Pulitzer Prize in 1949.[85][91] Death of a Salesman seems destined to remain an American classic and a standard text in American classrooms.
Willy Loman desperately wants to believe that he has succeeded, that he is “well liked” as a great salesman, a fine father, and a devoted husband. That he has not really attracted the admiration and popularity at which he has aimed is evident, however, in the weariness that belabors him from the beginning of the play. Nearing retirement he suffers a drastic decrease in sales work, a dissatisfying marriage, and a turbulent relationship with his sons which inexorably leads to his suicide with the justification that the insurance will finally provide for his family.[85]
Eddie Carbone[edit]
Eddie Carbone is the central character in A View from the Bridge and is not positioned as the protagonist or the antagonist. He is a longshoreman who lives with his wife, Beatrice, and his 17-year-old niece, Catherine. When his family from Italy, Rodolpho and Marco, migrate illegally and begin to live with him, the small world that he operates in is disrupted. Eddie becomes conflicted and ultimately self-destructive over his sexual attraction to his niece and her involvement with one of his Italian tenants. His character arc culminates as he becomes an informer to the immigration authorities which leads to a confrontation with one of his tenants. Marco labels him as an informer and Eddie perceives this as a permanent blemish on his good name. This confrontation ultimately leads to his death, leaving Eddie as one of Miller's examples of tragic figures.[92][93]
John Proctor[edit]
John Proctor is the protagonist of one of Miller's most controversial works, The Crucible. He is a faithful farmer who lives by a strict moral code that he violates by succumbing to an affair with a young girl, Abigail, who serves in his home. After Proctor rejects her, Abigail spitefully accuses John's wife of witchcraft, involving him in a string of affairs that challenge his beliefs and convictions. In his attempts to save his wife, he is convicted of witchcraft as well, and will only be acquitted if he confesses to his crime and signs his name to a piece of paper.[94] Proctor is a strong, vital man in the prime of his life both in his confession of witchcraft and the subsequent passion with which he defends his name at the cost of his life.[95]
Joe Keller[edit]
Critics have long admired the playwright's suspenseful handling of the Keller family's burden in the play All My Sons. The critical character in this work is Joe Keller, who permitted defective parts to remain in warplanes that subsequently crash. Not only does Joe Keller fail to recognize his social responsibility, but also he allows his business partner to take the blame and serve the prison term for the crime. Gradually, events combine to strip Keller of his rationalizations. He argues that he never believed that the cracked engine heads would be installed and that he never admitted his mistake because it would have driven him out of business at the age of sixty-one, when he would not have another chance to “make something” for his family, his highest priority. Joe's irresponsibility is exposed through his son's questioning of his very humanity.[85] Joe's suicide results from the tremendous guilt and self-awareness that arises during the play.
Maggie[edit]
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Maggie is a character that appears in Arthur Miller's partially autobiographical play, After the Fall. She is both one of his most criticised and controversial characters, and one of his most famous ones. She is a thinly veiled version of Marilyn Monroe, Miller's former wife, and thus her suicide attempts after her and Quentin's divorce, and her depression is from reality. This is one of the reasons that reviews upon its first release were generally negative, owing to the similarities between fact and fiction. However, academic scholars find her to be one of the best, if not the best, of Miller's creations, as the play presents readers with a superb portrait of a woman facing a mental crisis. It also shows Monroe in comparison to the reasons for her marriage to Miller- for example, the fact that Miller took her seriously, and was ready to treat her as more than just an object, like everybody else. Miller also highlights his own feelings after Monroe's death by showing Quentin's, and his regret that he had been unable to save her from herself.
Literary and public criticism[edit]
Christopher Bigsby wrote Arthur Miller: The Definitive Biography based on boxes of papers Miller made available to him before his death in 2005.[84] The book was published in November 2008, and is reported to reveal unpublished works in which Miller "bitterly attack[ed] the injustices of American racism long before it was taken up by the civil rights movement".[84]
In his book Trinity of Passion, author Alan M. Wald conjectures that Miller was "a member of a writer's unit of the Communist Party around 1946," using the pseudonym Matt Wayne, and editing a drama column in the magazine The New Masses.[96][97]
Two months after Miller died Peter O'Toole called him a "bore"[98] and Roger Kimball went on record saying that Miller's artistic accomplishments were meager.[99]
See also[edit]
Theatre portal
Biography portal
Hollywood blacklist
References[edit]
Jump up ^ Harold Bloom, Tennessee Williams, Chelsea House Publishing.
^ Jump up to: a b Çakırtaş, Önder. "Double Portrayed: Tituba, Racism and Politics." International Journal of Language Academy. Volume 1/1 Winter 2013, pp. 13–22.
Jump up ^ Website of St. Louis Literary Award
Jump up ^ Saint Louis University Library Associates. "Recipients of the Saint Louis Literary Award". Retrieved July 25, 2016.
Jump up ^ Associates Press, "Citing Arts' Power, Arthur Miller Accepts International Prize." Los Angeles Times 4 Sept. 2002. Web.
Jump up ^ "Arthur Miller; Bio; Awards." Athurmiller.org. N.p., n.d. Web. 05 Feb. 2015.
Jump up ^ Arthur Miller, The Pulitzer Prizes, pulitzerprize.org
Jump up ^ Arthur Miller's Intermarriages Archived December 22, 2015, at the Wayback Machine. Golin, Paul. Published February 16, 2005. Accessed December 12, 2015.
Jump up ^ "Marilyn Monroe's Jewish Wedding 'Cover Up'" Ghert-Zand, Renee. Published December 28, 2012. Accessed December 12, 2015.
Jump up ^ "A World in Which Everything Hurts; Arthur Miller's Struggle With Jewish Identity May Be Responsible for His Best Work" Eden, Ami. Published July 30, 2004. Accessed December 12, 2015.
Jump up ^ Arthur Miller, Timebends: A Life, A&C Black, 2012. p. 539.
Jump up ^ BBC TV Interview; Miller and Yentob; 'Finishing the Picture,' 2004
Jump up ^ Miller, Arthur (June 22, 1998) American Summer: Before Air-Conditioning. The New Yorker. Retrieved on October 30, 2013.
^ Jump up to: a b Garner, Dwight (June 2, 2009). "Miller: Life before and after Marilyn". The New York Times. Retrieved December 18, 2011.
^ Jump up to: a b c d e f g h The Times Arthur Miller Obituary, (London: The Times, 2005)
Jump up ^ Hechinger, Fred M. "Personal Touch Helps", The New York Times, January 1, 1980. Accessed September 20, 2009. "Lincoln, an ordinary, unselective New York City high school, is proud of a galaxy of prominent alumni, who include the playwright Arthur Miller, Representative Elizabeth Holtzman, the authors Joseph Heller and Ken Auletta, the producer Mel Brooks, the singer Neil Diamond and the songwriter Neil Sedaka."
^ Jump up to: a b c d e f g h i j k "A Brief Chronology of Arthur Miller's Life and Works". The Arthur Miller Society. Archived from the original on October 2, 2006. Retrieved September 24, 2006.
Jump up ^ For Rowe's recollections of Miller's work as a student playwright, see Kenneth Thorpe Rowe, "Shadows Cast Before," in Robert A. Martin, ed. (1982) Arthur Miller: New Perspectives, Prentice-Hall, ISBN 0130488011. Rowe's influential book Write That Play (Funk and Wagnalls, 1939), which appeared just a year after Miller's graduation, describes Rowe's approach to play construction.
Jump up ^ Arthur Miller, Timebends: A Life. New York: Grove Press, 1987, pp. 226–227
Jump up ^ "Arthur Miller Files (UM days)". University of Michigan. Retrieved September 24, 2006.
Jump up ^ "Arthur Miller and University of Michigan". University of Michigan. Archived from the original on September 13, 2006. Retrieved September 24, 2006.
^ Jump up to: a b c d e f g h i j Ratcliffe, Michael (February 11, 2005). "Obituary: Arthur Miller". The Guardian. UK. p. 25. Archived from the original on July 23, 2012. Retrieved July 23, 2012.
Jump up ^ Royal National Theater: Platform Papers, 7. Arthur Miller (Battley Brothers Printers, 1995).
Jump up ^ Shenton, Mark (March 14, 2008). "The man who HAS all the luck..." The Stage. The Stage Newspaper Limited. Archived from the original on May 19, 2009. Retrieved May 6, 2009.
Jump up ^ Bigsby, C. W. E. (2005). Arthur Miller: A Critical Study. Cambridge University Press. p. 301. ISBN 978-0-521-60553-3.
Jump up ^ Rifkin, Ron, "Arthur Miller", BOMB Magazine Fall, 1994. Retrieved on July 18, 2012.
^ Jump up to: a b "Obituary: Arthur Miller". BBC News. BBC. February 11, 2005. Retrieved September 21, 2010.
Jump up ^ Dan Isaac, Founding Father: O'Neill's Correspondence with Arthur Miller and Tennessee Williams, The Eugene O'Neill Review, Vol. 17, No. 1/2 (Spring/Fall 1993), pp. 124–33
Jump up ^ Miller, Arthur (1988) Introduction to Plays: One, London: Methuen, p. 51, ISBN 0413175502.
^ Jump up to: a b c d e f g h Meyers, Jeffrey. The Genius and the Goddess: Arthur Miller and Marilyn Monroe. University of Illinois Press (2010) ISBN 978-0-252-03544-9
Jump up ^ Monroe, Marilyn. Fragments: Poems, Intimate Notes, Letters New York: Farrar, Straus and Giroux, (2010) pp. 89–101
Jump up ^ Grobel, Lawrence. The Hustons, Charles Scribner's Sons, New York (1989) p. 489
Jump up ^ Badman, Keith. The Final Years of Marilyn Monroe: The Shocking True Story, Aurum Press (2010) ebook, ISBN 9781781310519
Jump up ^ Andrews, Suzanna (September 2007). "Arthur Miller's Missing Act". Vanity Fair. Retrieved August 17, 2007.
Jump up ^ Scott, Paul (January 19, 2008). "The very strange life of reclusive superstar Daniel Day-Lewis". Daily Mail. London. p. 46. Retrieved August 7, 2012.
Jump up ^ Mills, Michael. "Postage Paid: In defense of Elia Kazan". moderntimes.com. Retrieved February 25, 2009.
^ Jump up to: a b "American Masters: Elia Kazan". PBS. Archived from the original on September 23, 2006. Retrieved September 22, 2006.
Jump up ^ For a frequently cited study of Miller's use of the Salem witchcraft episode, see Robert A. Martin, "Arthur Miller's The Crucible: Background and Sources", reprinted in James J. Martine, ed. (1979) Critical Essays on Arthur Miller, G. K. Hall, ISBN 0816182582.
Jump up ^ "Are you now, or were you ever?". University of Pennsylvania. Archived from the original on September 10, 2006. Retrieved September 25, 2006.
^ Jump up to: a b c "BBC On This Day". BBC. August 7, 1958. Retrieved October 14, 2006.
Jump up ^ Drury, Allen (1956-06-22). "Arthur Miller Admits Helping Communist-Front Groups in '40's". The New York Times. Retrieved 2016-06-07.
Jump up ^ "Arthur Miller Files". University of Michigan. Retrieved April 2, 2016.
Jump up ^ Glass, Andrew (21 June 2013). "Arthur Miller testifies before HUAC, June 21, 1956". Politico. Retrieved 3 October 2016.
Jump up ^ "A Son's Confession DVD, Shows The First 48, A&E Shop". shop.aetv.com. Retrieved January 11, 2009. [permanent dead link]
Jump up ^ Stowe, Stacey (September 3, 2004). "Records on Exonerated Man Are Kept Off Limits to Press". The New York Times. Retrieved January 11, 2009.
Jump up ^ The Moral of Arthur Miller. The Weekly Standard (February 28, 2005). Retrieved on October 30, 2013.
Jump up ^ Miller, Arthur (December 24, 2003). "A Visit With Castro". The Nation. Archived from the original on August 20, 2015. Retrieved August 1, 2006.
^ Jump up to: a b "Arthur Miller Files 60s70s80s". University of Michigan. Retrieved October 14, 2006.
Jump up ^ Mel Gussow (April 17, 1974). "Arthur Miller Returns to Genesis for First Musical". The New York Times. Retrieved January 11, 2009.
Jump up ^ "Up from Paradise – Review". The New York Times. Retrieved January 11, 2009. (subscription required)
Jump up ^ Martin, Robert A. (1978) ed., The Theater Essays of Arthur Miller. Viking, ISBN 0670698016.
Jump up ^ The Cambridge History of American Theatre: Post-World War II to the 1990s, page 296 (Cambridge University Press, 2006).
Jump up ^ "Tony Awards 1999". tonyawards.com. Retrieved October 28, 2006.
Jump up ^ "Lifetime Honors – National Medal of Arts". Nea.gov. Archived from the original on July 21, 2011. Retrieved December 18, 2011.
Jump up ^ Jefferson Lecturers at NEH Website . Retrieved January 22, 2009.
Jump up ^ Arthur Miller, "On Politics and the Art of Acting", text of Jefferson Lecture at NEH website.
Jump up ^ Bruce Craig, "Arthur Miller's Jefferson Lecture Stirs Controversy," in "Capital Commentary" Archived November 22, 2008, at the Wayback Machine., OAH Newsletter [published by Organization of American Historians], May 2001.
Jump up ^ Nordlinger, Jay (April 22, 2002) "Back to Plessy, Easter with Fidel, Miller's new tale, &c." National Review.
Jump up ^ George Will, "Enduring Arthur Miller: Oh, the Humanities!", Jewish World Review, April 10, 2001.
Jump up ^ The Dorothy and Lillian Gish Prize Archived October 6, 2013, at the Wayback Machine., official website.
Jump up ^ William Wrigg (January 12, 2003). "On Inge Morath's death". The New York Times Magazine. Retrieved January 21, 2007.
Jump up ^ "At 89, Arthur Miller grows old romantically". The Daily Telegraph. December 11, 2004. Retrieved September 3, 2014.
Jump up ^ Leonard, Tom (February 18, 2005). "Miller's fiancée quits his home after ultimatum from family". The Daily Telegraph. Retrieved February 21, 2013.
Jump up ^ "Arthur Miller creates a new work". Chicago: USA Today. October 10, 2004. Retrieved September 23, 2014. And in the play's sweetest moments, he's found a new romance – Kitty's tenderhearted secretary, played by Fisher, a union perhaps mirroring Miller's reported new relationship with Agnes Barley, a 34-year-old artist.
Jump up ^ Solomon, Deborah (September 19, 2004). "Goodbye (Again), Norma Jean". The New York Times. Retrieved September 3, 2014.
Jump up ^ Jones, Chris (February 12, 2005). "Arthur Miller (1915–2005) – The Shadow Of Marilyn Monroe. Decades later, a man still haunted". Chicago Tribune. Retrieved September 3, 2014.
Jump up ^ Richard Christiansen (February 23, 2005). "Miller's last days reflected his life". Chicago Tribune.
Jump up ^ AP. "Playwright Arthur Miller dies at age 89 – THEATER – msnbc.com". msnbc.msn.com. Retrieved January 11, 2009.
Jump up ^ Leonardin, Tom (February 12, 2005). "Dramatist's last hours spent in home he shared with star". The Irish Independent. Retrieved December 18, 2011.
Jump up ^ "Tributes to Arthur Miller". BBC. February 12, 2005. Retrieved November 9, 2006.
Jump up ^ "Legacy of Arthur Miller". BBC. February 11, 2005. Retrieved January 21, 2007.
Jump up ^ "Broadway lights go out for Arthur Miller". BBC. February 12, 2005. Retrieved November 9, 2006.
Jump up ^ "U-M celebrates naming of Arthur Miller Theatre". University of Michigan. Archived from the original on December 11, 2007. Retrieved November 12, 2007.
Jump up ^ "Theater Hall of Fame members".
Jump up ^ "Theater Hall of Fame Enshrines 51 Artists". The New York Times. Retrieved March 13, 2014.
Jump up ^ "Archived copy". Archived from the original on March 25, 2015. Retrieved 2015-04-04.
Jump up ^ Arthur Miller Foundation, summary report and legitimacy information, guidestar.org
Jump up ^ The Arthur Miller Foundation, arthurmillerfoundation.org
Jump up ^ "Celebrating Arthur Miller's Centenary: An Events Guide". Archived from the original on October 11, 2015.
Jump up ^ Media Room, Hasty Pudding Institute of 1770, hastypudding.org
Jump up ^ "Arthur Miller: An Inventory of His Collection at the Harry Ransom Center". norman.hrc.utexas.edu. Retrieved 2018-01-10.
Jump up ^ "Playwright Arthur Miller's archive comes to the Harry Ransom Center". sites.utexas.edu. Retrieved 2018-01-10.
Jump up ^ Schuessler, Jennifer (2018). "Inside the Battle for Arthur Miller's Archive". The New York Times. ISSN 0362-4331. Retrieved 2018-01-10.
^ Jump up to: a b c Alberge, Dalya (March 7, 2008). "Unseen writings show anti-racist passions of young Arthur Miller". The Times. London. Retrieved March 7, 2008.
^ Jump up to: a b c d Rollyson, Carl; Price, Victoria, Author Biography, Critical Survey of Drama, Second Revised Edition, April 2003, pp. 1–1
Jump up ^ McCormack, Thomas, "Arthur Millers Manifesto", The American Scholar, Vol. 74, No. 3(Summer 2005), p. 143
Jump up ^ Carson, Neil, Contemporary Literary Criticism. Ed. Jean C. Stine and Bridget Broderick. Vol. 26. Detroit: Gale, 1983. From Literature Resource Center
Jump up ^ Lenke Németh, Hungarian Journal of English and American Studies (HJEAS), "Arthur Miller's "The Ride Down Mount Morgan" and the Family-Play Tradition", Vol. 11, No. 2, Representations of the Family in Modern English-Language Drama In Memory of Arthur Miller (Fall, 2005), pp. 77–88
Jump up ^ Popkin, Henry, Arthur Miller: The Strange Encounter, The Sewanee Review, Vol. 68, No. 1 (Winter, 1960), pp. 34-60
Jump up ^ Broderick, Bridget and Stein, Jean, ″Contemporary Literary Criticism″, eds. Vol. 26. Detroit: Gale, 1983. 617 pp.
Jump up ^ Arthur Miller, The Pulitzer Prices, pulitzerprize.org
Jump up ^ Epstein, Arthur, "A Look at A View from The Bridge", Texas Studies in Literature and Language, Vol. 7, No. 1 (Spring 1965), pp. 109–22
Jump up ^ Krase, Jerome, "The American Italian Historical Society: A View from The Bridge", Polish American Studies, Vol. 65, No. 1 (Spring, 2008), pp. 23–40
Jump up ^ Popkin, Harry, "Arthur Miller's The Crucible", College English, Vol. 26, No. 2 (Nov., 1964), pp. 139–14
Jump up ^ McGill, William Jr. "The Crucible of History: Miller's John Proctor"The New England Quarterly, Vol. 54, No. 2 (Jun., 1981), pp. 258–64
Jump up ^ Wald, Alan M (2007). "7". Trinity of passion: the literary left and the antifascist crusade. NC: University of North Carolina Press. pp. 212–221. ISBN 978-0-8078-3075-8. Retrieved May 6, 2009.
Jump up ^ PAUL KENGOR (16 October 2015). "Arthur Miller — Communist". The American Spectator. Retrieved 18 March 2018. Wald discovered that Miller published in New Masses under the pseudonym of “Matt Wayne” from March 1945 to March 1946.
Jump up ^ O'Toole Slams 'Bore' Miller. Contactmusic.com. Retrieved on October 30, 2013.
Jump up ^ Kimball, Roger (February 28, 2005) Death of a Liberal God Archived September 14, 2013, at the Wayback Machine.. National Review Online.
Bibliography[edit]
Bigsby, Christopher (ed.), The Cambridge Companion to Arthur Miller, Cambridge 1997 ISBN 0-521-55992-8
Gottfried, Martin, Arthur Miller, A Life, Da Capo Press (US)/Faber and Faber (UK), 2003 ISBN 0-571-21946-2
Koorey, Stefani, Arthur Miller's Life and Literature, Scarecrow, 2000 ISBN 978-0810838697
Moss, Leonard. Arthur Miller, Boston: Twayne Publishers, 1980.
Further reading[edit]
Critical Companion to Arthur Miller, Susan C. W. Abbotson, Greenwood (2007)
Student Companion to Arthur Miller, Susan C. W. Abbotson, Facts on File (2000)
File on Miller, Christopher Bigsby (1988)
Arthur Miller & Company, Christopher Bigsby, editor (1990)
Arthur Miller: A Critical Study, Christopher Bigsby (2005)
Remembering Arthur Miller, Christopher Bigsby, editor (2005)
Arthur Miller 1915–1962, Christopher Bigsby (2008, U.K.; 2009, U.S.)
The Cambridge Companion to Arthur Miller (Cambridge Companions to Literature), Christopher Bigsby, editor (1998, updated and republished 2010)
Arthur Miller 1962–2005, Christopher Bigsby (2011)
Robert Willoughby Corrigan, ed. (1969). Arthur Miller: A Collection of Critical Essays. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0135829739. OL 5683736M.
Arthur Miller: Critical Insights, Brenda Murphy, editor, Salem (2011)
Understanding Death of a Salesman, Brenda Murphy and Susan C. W. Abbotson, Greenwood (1999)
Critical Articles
Arthur Miller Journal, published biannually by Penn State UP. Vol. 1.1 (2006)
Radavich, David. "Arthur Miller's Sojourn in the Heartland." American Drama 16:2 (Summer 2007): 28–45.
External links[edit]
Wikimedia Commons has media related to Arthur Miller.
Wikiquote has quotations related to: Arthur Miller
Organizations
Arthur Miller official website
Arthur Miller Society
The Arthur Miller Foundation
Archive
The Arthur Miller Collection at the Harry Ransom Center
"Playwright Arthur Miller’s archive comes to the Harry Ransom Center"
Databases
Arthur Miller at the Internet Broadway Database
Arthur Miller at the Internet Off-Broadway Database
Arthur Miller on IMDb
Websites
Arthur Miller at Curlie (based on DMOZ)
Arthur Miller at Find a Grave
Appearances on C-SPAN
A Visit With Castro – Miller's article in The Nation, January 12, 2004
Works by Arthur Miller at Open Library
Joyce Carol Oates on Arthur Miller
Arthur Miller Biography
Arthur Miller and Mccarthyism
Interviews
Carlisle, Olga & Styron, Rose (Summer 1966). "Arthur Miller, The Art of Theater No. 2". The Paris Review Interview.
Bigby, Christopher (Fall 1999). "Arthur Miller, The Art of Theater No. 2, Part 2". The Paris Review.
Miller interview, Humanities, March–April 2001
Obituaries
The New York Times Obituary
NPR obituary
CNN obituary
Non-profit organization positions
Preceded by
Victor E. van Vriesland International President of PEN International
1965–1969 Succeeded by
Pierre Emmanuel
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Works by Arthur Miller
Plays
No Villain
They Too Arise
Honors at Dawn
The Golden Years (radio play)
That They May Win (one-act)
The Man Who Had All the Luck
All My Sons
Death of a Salesman
An Enemy of the People (adapted)
The Crucible
A View from the Bridge
A Memory of Two Mondays
The Misfits
After the Fall
Incident At Vichy
The Price
The Creation of the World and Other Business
The Archbishop's Ceiling
The American Clock
Up from Paradise
Elegy for a Lady
Some Kind of Love Story
Everybody Wins
The Last Yankee
The Ride Down Mt. Morgan
Broken Glass
Mr. Peters' Connections
Resurrection Blues
Finishing the Picture
Novels
Focus
Homely Girl: A Life
Screenplays
The Hook (1947)
Let's Make Love (1960)
The Misfits (1961)
Everybody Wins (1984)
Death of a Salesman (1985)
The Crucible (1995)
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Awards for Arthur Miller
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Primetime Emmy Award for Outstanding Writing for a Limited Series, Movie, or Dramatic Special
Michael Mann and Patrick Nolan (1979)
David Chase (1980)
Arthur Miller (1981)
Barry Morrow (1982)
Marshall Herskovitz and Edward Zwick (1983)
William Hanley (1984)
Vickie Patik (1985)
Ron Cowen, Daniel Lipman, Sherman Yellen and David Butler (1986)
Kenneth Blackwell, Tennyson Flowers and Richard Friedenberg (1987)
William Hanley (1988)
Ron Hutchison, Abby Mann and Robin Vote (1989)
Terrence McNally (1990)
Andrew Davies (1991)
Joshua Brand and John Falsey (1992)
Jane Anderson (1993)
Bob Randall (1994)
Alison Cross (1995)
Simon Moore (1996)
Horton Foote (1997)
Kario Salem (1998)
Ann Peacock (1999)
David Mills and David Simon (2000)
Loring Mandel (2001)
Larry Ramin and Hugh Whitemore (2002)
William H. Macy and Steven Schachter (2003)
Tony Kushner (2004)
Christopher Markus and Stephen McFeely (2005)
Richard Curtis (2006)
Frank Deasy (2007)
Kirk Ellis (2008)
Andrew Davies (2009)
Adam Mazer (2010)
Julian Fellowes (2011)
Danny Strong (2012)
Abi Morgan (2013)
Steven Moffat (2014)
Jane Anderson (2015)
D.V. DeVincentis (2016)
Charlie Brooker (2017)
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Pulitzer Prize for Drama
1918–1950
Why Marry? (1918)
Beyond the Horizon (1920)
Miss Lulu Bett (1921)
Anna Christie (1922)
Icebound (1923)
Hell-Bent Fer Heaven (1924)
They Knew What They Wanted (1925)
Craig's Wife (1926)
In Abraham's Bosom (1927)
Strange Interlude (1928)
Street Scene (1929)
The Green Pastures (1930)
Alison's House (1931)
Of Thee I Sing (1932)
Both Your Houses (1933)
Men in White (1934)
The Old Maid (1935)
Idiot's Delight (1936)
You Can't Take It with You (1937)
Our Town (1938)
Abe Lincoln in Illinois (1939)
The Time of Your Life (1940)
There Shall Be No Night (1941)
The Skin of Our Teeth (1943)
Harvey (1945)
State of the Union (1946)
A Streetcar Named Desire (1948)
Death of a Salesman (1949)
South Pacific (1950)
1951–1975
The Shrike (1952)
Picnic (1953)
The Teahouse of the August Moon (1954)
Cat on a Hot Tin Roof (1955)
The Diary of Anne Frank (1956)
Long Day's Journey into Night (1957)
Look Homeward, Angel (1958)
J.B. (1959)
Fiorello! (1960)
All the Way Home (1961)
How to Succeed in Business Without Really Trying (1962)
The Subject Was Roses (1965)
A Delicate Balance (1967)
The Great White Hope (1969)
No Place to be Somebody (1970)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1971)
That Championship Season (1973)
Seascape (1975)
1976–2000
A Chorus Line (1976)
The Shadow Box (1977)
The Gin Game (1978)
Buried Child (1979)
Talley's Folly (1980)
Crimes of the Heart (1981)
A Soldier's Play (1982)
'night, Mother (1983)
Glengarry Glen Ross (1984)
Sunday in the Park with George (1985)
Fences (1987)
Driving Miss Daisy (1988)
The Heidi Chronicles (1989)
The Piano Lesson (1990)
Lost in Yonkers (1991)
The Kentucky Cycle (1992)
Angels in America: Millennium Approaches (1993)
Three Tall Women (1994)
The Young Man from Atlanta (1995)
Rent (1996)
How I Learned to Drive (1998)
Wit (1999)
Dinner with Friends (2000)
2001–present
Proof (2001)
Topdog/Underdog (2002)
Anna in the Tropics (2003)
I Am My Own Wife (2004)
Doubt: A Parable (2005)
Rabbit Hole (2007)
August: Osage County (2008)
Ruined (2009)
Next to Normal (2010)
Clybourne Park (2011)
Water by the Spoonful (2012)
Disgraced (2013)
The Flick (2014)
Between Riverside and Crazy (2015)
Hamilton (2016)
Sweat (2017)
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Tony Award for Best Author
Arthur Miller (1947)
Thomas Heggen and Joshua Logan (1948)
Arthur Miller / Bella and Samuel Spewack (1949)
Abe Burrows, Jack Weinstock, and Willie Gilbert (1962)
Burt Shevelove and Larry Gelbart (1963)
Michael Stewart (1964)
Neil Simon / Joseph Stein (1965)
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Kennedy Center Honorees (1980s)
1980
Leonard Bernstein
James Cagney
Agnes de Mille
Lynn Fontanne
Leontyne Price
1981
Count Basie
Cary Grant
Helen Hayes
Jerome Robbins
Rudolf Serkin
1982
George Abbott
Lillian Gish
Benny Goodman
Gene Kelly
Eugene Ormandy
1983
Katherine Dunham
Elia Kazan
Frank Sinatra
James Stewart
Virgil Thomson
1984
Lena Horne
Danny Kaye
Gian Carlo Menotti
Arthur Miller
Isaac Stern
1985
Merce Cunningham
Irene Dunne
Bob Hope
Alan Jay Lerner & Frederick Loewe
Beverly Sills
1986
Lucille Ball
Hume Cronyn & Jessica Tandy
Yehudi Menuhin
Antony Tudor
Ray Charles
1987
Perry Como
Bette Davis
Sammy Davis Jr.
Nathan Milstein
Alwin Nikolais
1988
Alvin Ailey
George Burns
Myrna Loy
Alexander Schneider
Roger L. Stevens
1989
Harry Belafonte
Claudette Colbert
Alexandra Danilova
Mary Martin
William Schuman
Complete list
1970s
1980s
1990s
2000s
2010s
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Associated subjects
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Arthur Miller's The Crucible (1953)
Characters
John Proctor
Abigail Williams
Judge Thomas Danforth
Elizabeth Proctor
Reverend Samuel Parris
Reverend John Hale
Thomas Putnam
Giles Corey
Adaptations
The Crucible (1957 film)
The Crucible (1996 film)
The Crucible (opera)
Related
Salem witch trials
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Arthur Miller's Death of a Salesman
Characters
Willy Loman
Film and TV
Death of a Salesman (1951)
Death of a Salesman (1966, CBS)
Death of a Salesman (1966, BBC)
Death of a Salesman (1985)
Death of a Salesman (1996)
Death of a Salesman (2000)
Related
The Salesman (2016)
Authority control
WorldCat Identities
VIAF: 44302716
LCCN: n79045521
ISNI: 0000 0001 2130 2540
GND: 118582496
SELIBR: 77080
SUDOC: 027029832
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The Night of the Grizzly
From Wikipedia, the free encyclopedia
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This article is about the movie, for the unrelated 1969 book, see Night of the Grizzlies
The Night of the Grizzly
Directed by
Joseph Pevney
Produced by
Burt Dunne
Screenplay by
Warren Douglas
Starring
Clint Walker
Martha Hyer
Music by
Leith Stevens
Cinematography
Loyal Griggs
Production
company
Paramount Pictures
Distributed by
Paramount Pictures
Release date
April 20, 1966 (1966-04-20)
Running time
102 minutes
Country
United States
Language
English
Box office
$1 million (est. US/ Canada rentals)[1]
The Night of the Grizzly is a 1966 western–adventure film starring Clint Walker, Martha Hyer, Keenan Wynn, Jack Elam and Nancy Kulp.[2] Directed by Joseph Pevney and written by Warren Douglas,[2] the film was released by Paramount Pictures on April 20, 1966. It was Pevney's final film.
The film's plot centers around Marshall "Big Jim" Cole (Clint Walker), who inherits land in Wyoming and trades his dangerous lawman's life for the comparatively cushy existence of a rancher. But he barely gets his family settled when new dangers plague them – a treacherous grizzly bear is on a murderous rampage; angry neighbors covet Cole's property, and an outlaw he once sent to prison seeks revenge.
The film contains beautiful scenery from Holcomb Valley, Big Bear Lake, California, United States and Big Bear Valley, San Bernardino National Forest, California, United States.
At the time of release there was no rating code established for motion pictures in North America.
Contents
1 Plot
2 Cast
3 Comic book adaption
4 References
5 External links
Plot[edit]
Jim Cole, his wife Angela, along with their children Charlie and Gypsy, niece Meg, and friend Sam Potts arrive in a small Wyoming town. Jim has inherited a ranch from his late uncle and decided to give up his former job as a lawman and become a rancher instead. In town, they meet Mr. Benson the banker, who tells them about a $675 mortgage on the property. Jim initially hesitates to take the land title, since it would take nearly all their savings, but when told that another rancher Jed Curry wants the land for himself, he relents. Benson then explains that Jed initially owned the property but lost it to Jim's late uncle in a card game and wants it back. Jim finally agrees to keep the land when Mr. Benson hands him the money/landowner's bill and settles the mortgage.
As they leave the bank, the Coles encounter Jed, who acts like he is happy for the family but is actually planning to get the ranch by any means possible. In the countryside, they arrive at the ranch's cottage, which appears to be nothing more than a tumbled-down shack. But they are not discouraged and think of all the wonderful things that will happen next.
The next morning, as Jim is building a fence by chopping wood, Benson comes by and warns him of a giant grizzly bear called Satan, who is notorious for invading ranches and killing livestock just for fun, and that many have tried to shoot him but have failed. In addition, the Currys come by. Jed tries to persuade Jim to sell the land to him, but he refuses.
Jim goes back to town the next day and asks Wilhelmina Peterson, who owns the general store, if she knows where he can buy some cattle to breed with his prize bull Duncan. She asks her sidekick Hank to bring Jim to Hazel Squires' place. There, Hazel tells Jim that she can sell some cattle for a buck each. When she goes to the hog pen to check on the pigs, she finds them all missing or dead, which was the work of Satan.
During the night, Satan makes his initial appearance at the Cole place, killing Duncan, causing Sam's mule to run away, and badly injuring the family's dog . The next morning, while waiting for the doctor to finish stitching up the dog, Jim and Meg go to the general store for coffee. Unfortunately, the Curry boys are also there with cohorts and start harassing Jim. They eventually get into a fight, with the Curry sons driven out. Jed arrives and chastises his sons, telling them not to antagonize Jim any more if they are to get his ranch.
Needing a replacement bull but with no cash to buy one, Jim is compelled to get a loan from the bank, giving Benson various possessions like his saddle and gold sheriff star as collateral. He goes to the Squires ranch to purchase the bull as well as cattle for breeding. When Jed learns of the loan, he warns Benson not to do it again and reminds Benson that he, as the major stockholder of the bank, had the authority to do this.
While doing work on the farm, the Coles and Sam see Sam's mule appear and it is badly injured and dies just a few minutes later. Sam grieves for his loss, and both he and Jim vow to hunt Satan and kill him.
As Jim and Sam track Satan through the woods, they are attacked and nearly killed, escaping narrowly by jumping off a cliff into a lake. As the Coles return home from a dance social, they find that Satan has killed most of their cattle. Again, Jim goes to Benson for a loan to buy replacement animals, but this time, Benson apologetically refuses his request, fearing Jed's wrath. Satan's depredations on livestock have reached a crisis point, and Jed posts a $750 reward for anyone who can kill the bear. In response to the offer of a reward, a bounty hunter named Cass Dowdy shows up in town with hunting dogs. Jim remembers he had sent Cass to jail for two years for murder. Cass has decided to hunt Satan for the reward money just to make sure Jim won't get it and thus ruin him financially.
Jim and Sam set a trap for Satan. The men carelessly doze off while waiting, and while they are doing so, Satan attacks again, driving off one of the horses and killing Sam, who with his dying breath urges Jim to continue the hunt. Dowdy's dogs, which had run off the previous night, are also killed by Satan. More traps are set up for Satan, but with no success. One night, Dowdy visits one of Jim's traps with the intention of sabotaging it but is accidentally injured instead. The next morning, the two meet again, with Jim realizing what Cass did, and the two have a fight, with Jim coming off the winner and leaving Cass there.
At home, Angela tells Jim that she no longer wants to live here and will leave Jim if he continues to hunt Satan. She eventually calms down when he says he is killing the grizzly just to protect his family. The next morning, he is stunned to find that Charlie has gone after Satan himself. Jim decides to follow Charlie into the woods while Angela apologizes for her anger.
In the woods, Jim once again runs into Dowdy, who almost kills him, but Jim fights back and drives him away. Night comes, and Satan attacks Charlie and chases him up a tree. As Jim arrives, Charlie jumps out of the tree and distracts Satan, while Dowdy fires at the bear to save the boy, but is fatally mauled. Jim gets out of cover and shoots Satan, killing him at last. After comforting a dying Dowdy, who gave his life to save Charlie's, Jim and Charlie return home and rejoice with the others.
Cast[edit]
Clint Walker as Jim Cole
Martha Hyer as Angela Cole
Keenan Wynn as Jed Curry
Nancy Kulp as Wilhelmina Peterson
Candy Moore as Meg
Kevin Brodie as Charlie Cole
Ellen Corby as Hazel Squires
Jack Elam as Hank
Leo Gordon as Cass Dowdy
Ron Ely as Tad Curry
Med Flory as Duke Squires
Don Haggerty as Sam Potts
Regis Toomey as Cotton Benson
Victoria Paige Meyerink as Gypsy Cole
Sammy Jackson as Cal Curry
Comic book adaption[edit]
Dell Movie Classic: The Night of the Grizzly (December 1966)[3]
References[edit]
Jump up ^ "Big Rental Pictures of 1966", Variety, January 4, 1967 p 8
^ Jump up to: a b "The Night of the Grizzly". Turner Classic Movies. Atlanta: Turner Broadcasting System (Time Warner). Retrieved September 1, 2016.
Jump up ^ Dell Movie Classic: The Night of the Grizzly at the Grand Comics Database
External links[edit]
The Night of the Grizzly on IMDb
hide
v
t
e
Films directed by Joseph Pevney
Air Cadet (1951)
The Strange Door (1951)
Meet Danny Wilson (1951)
Because of You (1952)
Just Across the Street (1952)
Back to God's Country (1953)
It Happens Every Thursday (1953)
Desert Legion (1953)
Yankee Pasha (1954)
3 Ring Circus (1954)
Six Bridges to Cross (1955)
Foxfire (1955)
Female on the Beach (1955)
Congo Crossing (1956)
Away All Boats (1956)
Istanbul (1957)
Tammy and the Bachelor (1957)
The Midnight Story (1957)
Man of a Thousand Faces (1957)
Twilight for the Gods (1958)
Torpedo Run (1958)
The Crowded Sky (1960)
Cash McCall (1960)
The Plunderers (1960)
Portrait of a Mobster (1961)
The Night of the Grizzly (1966)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Night_of_the_Grizzly&oldid=845642689"
Categories:
1966 films
English-language films
1960s Western (genre) films
1960s adventure films
Paramount Pictures films
Films adapted into comics
Films about bears
American Western (genre) films
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Time Warner

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https://www.comics.org/series/74223

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