Lawrence Hall, HSG
Mhall46184@aol.com
Art as Obedience
Antonio Rodolfo Quinn Oaxaca, known to all as Anthony Quinn, was born in 1915 in Chihuahua, Mexico. During his long career this accomplished artist, writer, and actor played many characters of many national and ethnic backgrounds in the cinema and on stage, including: a Cheyenne (
The Plainsman, 1936), an English king (
Becket, 1961), a Hawaiian (
Waikiki Wedding, 1937), a Portuguese (
The World in His Arms, 1952), a Filipino (
Back to Bataan, 1945, an Italian (
La Strada, 1954 and
The Secret of Santa Vittoria, 1969), a Greek (
The Guns of Navarone, 1961, and
The Greek Tycoon, 1978), a Frenchman (
Lust for Life, 1956 and
The Lost Command, 1966), an Inuit (The Savage Innocents, 1956), an Arab (Lawrence of Arabia, 1962), a Mongol (
Marco the Magnificent, 1965), a Ukrainian (
The Shoes of the Fisherman, 1968), a Jew (
Jesus of Nazareth, 1977), an Afghan (
Caravans, 1978), a Spaniard (
Camino de Santiago, 1999, and
The Last Train from Madrid, 1937), a Berber (
Lion of the Desert, 1980), a Cuban (
The Old Man and the Sea, 1990), and many others.
Mr. Quinn is said to have joked that he was never asked to play a Mexican on the screen or stage, though in fact there were a few of those roles, too.
To catch a late-night movie with Anthony Quinn is to be reminded of the greatness of this mostly self-educated man, tough, strong, smart, and professional, so unlike the knee-pantsied upspeakers of our time.
No one ever demanded that Mr. Quinn be forbidden to play Mayor Bombolini in
The Secret of Santa Vittoria or a generic Anglo in
Last Train from Gun Hill because he was born in Mexico and so could not be authentic in playing roles outside his DNA.
One wonders what sort of acting roles Mr. Quinn might now be forbidden to play in our increasingly DNA-obsessed era.
Two weeks ago the drama department of Kent State University was given the Article 58 (cf. The Gulag Archipelago) treatment because the casting of their proposed production of West Side Story was not DNA-correct.
Actors of Puerto Rican descent claimed that their story was being told by persons of unauthorized DNA
The reader may remember the gritty, mean-streets reality of the original play in which a Polish gang and a Puerto Rican gang combat each other at first through savage dance-offs. If that’s not authentic, then what is?
The play ends with the death of Tony / Romeo, though Maria / Juliet remains alive to give the “All are punished” speech at the end.
West Side Story is the plot from
Romeo and Juliet, and thus a cultural appropriation from an English play. And that’s the point – Shakespeare’s plot is a gift to the world to be adapted and appreciated by all, not an ossified cultural artifact clutched jealously by a clique of Englishmen named Emma and Neville and Olivia and Trevor, still annoyed about the upstart Normans.
A tragedy of our time is that artistic endeavors in this nation, including theatre and cinema, are now subject to bullying, fear, and obedience to political and racial dictates. The theatre faculty at Kent State groveled their surrender to racist bullying instead of defying it.
The producers of drama in this nation once believed in artistic freedom and so scorned the racial and political policies of Goebbels’ UFA Studios, Stalin’s Mosfilm, and Mussolini’s Cinecitta; now they have themselves adopted those oppressive and DNA-ist approaches, sacrificing art to the obscenity of propaganda.
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