Book Review: Michael Curtiz: A Life in Film

There are more than a few of us who have long wondered why director Michael Curtiz has not been elevated to the status of great directors in American cinema, and settled comfortably alongside the likes of Alfred Hitchcock and John Ford. Perhaps the fact that he was essentially a studio director has diminished his credibility among the more pretentious auteurist theorists, but that status is precisely the reason why Curtiz is one of the finest directors his cinema’s rich history.

Alan Rode’s exhaustive new study from the University Press of Kentucky, reaching nearly 700 pages, is not a standard biography, but instead carefully examines Michael Curtiz’s vision, his approach, his methods, his remarkable versatility and his lasting impact on motion picture aesthetics and history. From tight B-level productions to lavish epics, from fast-talking comedies to heavy dramas, from swashbuckling adventure to dark horror, and from western sagas to rock and roll musicals, Curtiz’s career effectively covered virtually every genre and sub-genre. The stars whose performances he enhanced run the gamut from James Cagney and Bette Davis to John Wayne and Elvis Presley.

Among the most fascinating passages in Rode’s book are those that deal with Curtiz’s interest in creative collaboration with his actors, while fending off the more limited ideas of his producers. Hal Wallis, for instance, wanted James Cagney to merely rehash his Tom Powers character from “Public Enemy” (1931) when Curtiz directed the actor in what would be the filmmaker's first gangster drama, “Angels With Dirty Faces” (1938). Cagney, however, had a more creative approach to the role, expanding the character’s scope beyond Hal Wallis’ vision. Curtiz responded to the actor respectfully, allowing him the proper freedom to make Rocky Sullivan among the finest portrayals in Cagney’s career. The director’s conflicts for the less disciplined Errol Flynn did not matter to the creative success of “The Adventures of Robin Hood” (1938), which remains an enduring classic. Curtiz expected the same undisciplined approach from Elvis Presley, many years later, especially after screening "Jailhouse Rock" as a reference. On the contrary, the rock and roller arrived on the set of “King Creole” (1958) being letter perfect in his lines and willing to accept the director’s authority. Curtiz, seeing the innate talent in Presley’s acting ability, offered Elvis a level of creative input that the singer would never again have in a movie role. Presley tried to work with Curtiz again, but the director didn’t live long enough for that to happen.

“Casablanca” (1942), has frequently been discussed for its off-the-cuff performances stemming from a screenplay that was being written as it was being filmed. It is always cited as an amazing feat that the film held together so effectively. Michael Curtiz is most of why “Casablanca” remains a classic which is considered by some to be the finest motion picture drama. Being able to work with the writers, and the actors, in this makeshift production, Curtiz put together an Oscar winning masterpiece.

Along with these very noted productions, Rode’s book offers equally detailed discussion about lesser known but still remarkable films like “Black Fury” (1935), “The Walking Dead” (1936) and “Dodge City” (1939), among many others. Toning down Paul Muni’s broad stage-trained mannerisms to respond more effectively to the more intimate movie camera, realizing the importance of Boris Karloff’s ability to convey so much with a mere facial expression, and getting a good film out of situations where almost none of the actors particularly liked each other, are cinematic accomplishments that further characterize Michael Curtiz as a true master of successful moviemaking.

A review like this can barely scratch the surface of a book that is so thorough, and so richly detailed. It would seem that “Michael Curtiz: A Life in Film” is impossible to top, just like the director’s best work. This book is an absolute must for libraries, research centers, and anyone interested in films and filmmakers.

The book is available here.