핀터의 헐리웃 영화각본 쓰기: 『마지막 거물』 (Pinter’s Writing for Hollywood Cinema: The Last Tycoon)

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초록

This paper reads Pinter’s The Last Tycoon (1976), his first writing for Hollywood cinema, which tries to challenge the closed system of Hollywood cinema. Pinter wrote the screen adaptation of F. Scott Fitzgerald’s unfinished novel (1941) about the Hollywood cinema system. However, the 1976 Sam Spiegel production, directed by Elia Kazan using Pinter’s screenplay, is generally regarded as another failed attempt to put Fitzgerald on the screen. Many critics, including the director Elia Kazan, confer the author status on the scenarist, Pinter, and blame him for its failure. They insist that his attempt to force his own style as a great writer of “pauses” on the work causes the problems in the film. However, this paper argues that Pinter’s failure in writing for Hollywood cinema reveals the problems with the process of making movies in the Hollywood system, similar to Stahr’s fall in the Hollywood studio system. It also asserts that his attempt to impose pauses on the film is not an evasion of confrontation but rather a confrontation of the gap or break that reveals subversive power to prevent the system from being closed. Thus, through his writing for Hollywood Pinter comes to recognize that cinema becomes political when it shows the gap, i.e., the shift from the closed system of classic Hollywood cinema to the open cine-system of modern cinema. In order to successfully reveal the pauses, Pinter uses the cinematical strategies of a movie within a movie, voice-over, and flashback. This paper attempts to re-evaluates the accomplishment of The Last Tycoon by emphasizing Pinter’s successful politicizing the process of making movies within Hollywood system illustrated in Fitzgerald’s unfinished novel in his adaptation for the cinema.

영어초록

This paper reads Pinter’s The Last Tycoon (1976), his first writing for Hollywood cinema, which tries to challenge the closed system of Hollywood cinema. Pinter wrote the screen adaptation of F. Scott Fitzgerald’s unfinished novel (1941) about the Hollywood cinema system. However, the 1976 Sam Spiegel production, directed by Elia Kazan using Pinter’s screenplay, is generally regarded as another failed attempt to put Fitzgerald on the screen. Many critics, including the director Elia Kazan, confer the author status on the scenarist, Pinter, and blame him for its failure. They insist that his attempt to force his own style as a great writer of “pauses” on the work causes the problems in the film. However, this paper argues that Pinter’s failure in writing for Hollywood cinema reveals the problems with the process of making movies in the Hollywood system, similar to Stahr’s fall in the Hollywood studio system. It also asserts that his attempt to impose pauses on the film is not an evasion of confrontation but rather a confrontation of the gap or break that reveals subversive power to prevent the system from being closed. Thus, through his writing for Hollywood Pinter comes to recognize that cinema becomes political when it shows the gap, i.e., the shift from the closed system of classic Hollywood cinema to the open cine-system of modern cinema. In order to successfully reveal the pauses, Pinter uses the cinematical strategies of a movie within a movie, voice-over, and flashback. This paper attempts to re-evaluates the accomplishment of The Last Tycoon by emphasizing Pinter’s successful politicizing the process of making movies within Hollywood system illustrated in Fitzgerald’s unfinished novel in his adaptation for the cinema.

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