George Stevens 1958-1970 (The Old Man is Still Alive, Part 8)
Mar 4, 2025
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George Stevens' cinematic journey takes center stage, revealing how World War II deeply influenced his storytelling. He transitioned from frothy comedies to tackling serious themes, creating masterpieces like A Place in the Sun and Shane. Despite being in high demand, his only 1960s release, The Greatest Story Ever Told, turned out to be a flop. The podcast delves into his struggle to stay relevant in a changing Hollywood, his relationship with Warren Beatty, and the impact of personal trauma on his artistic vision.
George Stevens' wartime experiences fundamentally altered his filmmaking, pushing him towards creating socially relevant narratives that explored moral dilemmas.
His ambitious adaptation of 'The Greatest Story Ever Told' experienced production challenges and failed to connect with audiences, revealing a creative disconnect.
Despite facing critical backlash in his later career, Stevens' emphasis on empathetic storytelling and complex themes left a lasting impact on Hollywood.
Deep dives
George Stevens' Evolution as a Filmmaker
George Stevens' career underwent several distinct phases, beginning with his early work as an assistant cameraman and evolving into a successful director known for women’s pictures and comedies. At RKO in the mid-1930s, he produced notable films such as 'Alice Adams', which became a comeback vehicle for Katharine Hepburn. Despite varied film success, Stevens built a reputation as a quality filmmaker capable of quickly delivering films under the studio system's demanding conditions. His enlistment in the Signal Corps during World War II marked a pivotal change in his career, as the harrowing experiences he documented fundamentally transformed his filmmaking approach upon returning to Hollywood.
The Impact of War on Stevens' Work
Stevens' wartime service had a profound influence on his creative direction, notably prompting his shift towards producing serious, socially relevant films. Following the war, he produced the American Trilogy, consisting of critically acclaimed works such as 'A Place in the Sun', 'Shane', and 'Giant', which reflect a deep empathy for marginalised characters and the moral dilemmas they face. His experiences, including the liberation of the Dachau concentration camp, intensified his desire to portray themes of humanity and tolerance in his films. The evolution of his storytelling can be seen as a direct response to the horrors he witnessed, revealing a transformative understanding of the power of cinema in addressing societal issues.
The Ambitious Undertaking of 'The Greatest Story Ever Told'
Stevens embarked on an ambitious project with 'The Greatest Story Ever Told', taking on the challenge of adapting the life of Jesus Christ into a film that strived for an emotional rather than a purely intellectual portrayal. Initially conceived as an inclusive narrative, Stevens aimed to avoid demonising historical figures associated with Jesus, hoping to provide a poignant critique of capital punishment and mob justice. However, the lengthy and complicated production process led to a cascading series of delays, ultimately becoming an arduous, over-budget endeavor that spanned several years. When released, the film failed to resonate profoundly with audiences, highlighting a disconnect between Stevens' grand artistic vision and the era's cinematic preferences.
Controversy and Critique Surrounding Stevens' Work
Throughout his career, Stevens often faced harsh critiques from contemporary film critics who dismissed his films as overly simplistic or self-indulgent. Pioneering critics like Andrew Sarris and Manny Farber placed Stevens in a lesser tier among Hollywood directors, focusing on perceived weaknesses instead of acknowledging the significant virtues in his storytelling. Despite accolades for his earlier works, the backlash against his American Trilogy and 'The Greatest Story Ever Told' indicated a growing rift between Stevens' established style and the evolving tastes of new filmmakers and audiences. This criticism not only reflected his struggles with modern cinematic narratives but also symbolised the shifting dynamics within the industry as it transitioned towards a more independent and experimental framework.
Final Years and Legacy
In his later years, Stevens found it increasingly challenging to navigate a rapidly changing film landscape, leading to projects that failed to achieve the acclaim of his earlier works. He faced setbacks with films like 'The Only Game in Town', illustrating a disconnect between his creative vision and the expectations of contemporary cinema. Despite this, his influence on younger filmmakers remained impactful; figures like Warren Beatty did look to him for guidance during the transitional period of Hollywood. Stevens' legacy persists beyond his final films, as he left an indelible mark on the industry through his emphasis on empathetic storytelling and the exploration of complex societal themes.
As a cameraman during World War II, George Stevens shot footage of the liberation of Dachau that showed the world the horrors of the Holocaust – and scarred Stevens himself for life. Pre-war, he had been a director of frothy comedies; post-war, he committed himself to making epic films about “moral disasters.” This yielded a number of masterpieces – A Place in the Sun, Giant, Shane – but by the mid-60s, though more in demand than ever as a director, Stevens felt he lost touch with the audience. He only released one film in the 1960s, The Greatest Story Ever Told – an epic about Jesus, and an epic flop – and then, in an attempt to come full circle to his comedy roots, concluded his career with The Only Game in Town (1970), an awkward mashup of old and new featuring the two biggest transitional stars of the day, Warren Beatty and Elizabeth Taylor.
