#pawnbroker

~ Rumpelstiltskin ~

December 6th is...

Gazpacho Day - Recognizes a flavorful soup that cooks serve cold. This typically tomato-based vegetable soup originated in the southern Spanish region of Andalucia. Gazpacho is widely consumed in Spanish cuisine, usually during the summer months.

Microwave Oven Day - Honors one appliance that changed how we use the kitchen. Quite by accident, self-taught American engineer Percy Spencer discovered a way to heat food safely with microwaves. While working with an active radar in 1945, he noticed a melting chocolate bar in his pocket. The high-powered microwave beams created a heating effect ideal for cooking.

Miner’s Day -  As we honor their accomplishments and remember the tragedies that these hard-working individuals experience, the country must keep in mind that mining is one of America’s most dangerous jobs. Miners put their lives at risk every day. They contend with health and safety issues as well as an uncertain future.

Mitten Tree Day - Celebrates the gift of warmth. It’s a day to collect mittens, hang them on a Christmas tree, and then hand them out to those in need.

Pawnbrokers Day - Pays tribute to a profession that provides a valuable service to their clientele. Those who are in need of cash funds and also those looking for a reasonably good deal seek the services of pawnbrokers. The history of pawnbroking begins thousands of years ago in the west in Ancient Greek and Roman Empires and in the East over 3000 years ago in China. The pawnbroker offers a loan of cash in exchange for property or goods as security. When the loan plus interest is repaid, the pawnbroker returns the property. However, if the clients don’t repay the loan, they forfeit the property and the pawnbroker may sell it to recover the loan.

In an interview with Robert Osborne, actor Rod Steiger said, “a challenge is a place of incredible excitement and fear.” Steiger lived for the challenge that a new role offered him. Much like the other method actors of his day, like Marlon Brando, James Dean, Karl Malden and Anne Bancroft, Steiger was completely and utterly devoted to his craft. After serving in the Navy, he used the GI Bill to fund his education at the New School for Social Research and eventually graduated to the Actor’s Studio where he honed his method acting skills. 

He got his start in television and quickly transitioned to a career in film, where he was celebrated for his raw intensity and his ability to transform himself into his characters. He tapped into his own experiences and torments to connect with the fictional character he was playing. A constant observer, he drew from real life, from art and from literature. Steiger put great thought into each part and his preparation involved long, drawn out discussions, carefully thought out actions or spur of the moment decisions.

Method actors are known for the extreme lengths they’ll go for inspiration and sometimes that means overblown performances, something that Steiger was criticized for over the years. However, Steiger steered his own ship refusing to be tied down to any contract, any studio or any role – always wanting the freedom to choose his next project. Steiger said, “I have made my own triumphs and I have made my own mistakes. And that’s how I want it.”

Let’s take a look at a few notable roles from Steiger’s career and the process behind them.

ON THE WATERFRONT (’54) - Charley Malloy

Director Elia Kazan was impressed with Steiger’s TV work and asked him to read with screenwriter Budd Schulberg for the part of Charley Malloy. Schulberg had a stutter which threw off Steiger at first. In conversation with Mark Cousins, Steiger said “when you work with somebody… if they have a quirk, something you are not used to, you must convince yourself that it’s part of their character. If you don’t… your concentration is going to go.” This helped prepare him for the taxi scene with Marlon Brando. Brando tested Steiger by throwing verbal curveballs at him which forced Steiger to let the conversation take him where it will. The scene took over 11 hours to shoot and once it came to Steiger’s close-ups, Brando left for the day. Steiger was hurt by Brando’s departure but it also lit a fire under him. He delivered such a powerful performance that he got equal screen time in that now iconic scene and earned his first Academy Award nomination.

THE BIG KNIFE (’55) Stanley Shriner Hoff

In Robert Alrdich’s film noir, Steiger plays the ruthless Hollywood executive Stanley Shriner Hoff who tries to coerce Charles Castle (Jack Palance) into a long-term contract. Steiger himself had been in a similar situation. He was considered for the lead role in the film adaptation of MARTY (‘55) after playing the part on TV. He turned it down because it would have required signing a long-term contract with Hecht-Lancaster Productions. Steiger preferred the freedom of being an independent player. To prepare for the role, he visited a New York city department store as his character, touring the different departments and thinking of what his character would or would not purchase. One item in particular inspired him. He came across tie tacks and recalled, “there was one in the shape of a silver question mark. I said, “that’s right, he’s a question mark man. He didn’t even know himself…” Steiger bought that tie-tack and wore it in the film.

AL CAPONE (’59) - Al Capone

For many years, the particulars of the Production Code prevented filmmakers from telling Al Capone’s story on the big screen. There were many Capone types but Rod Steiger was the first actor to portray the real man in a significant way. Steiger turned down the role three times. He didn’t want to glamorize Capone and he wasn’t sure how to portray him. It wasn’t until the producers conceded to a screenplay rewrite that Steiger finally accepted the part. He read Capone’s autobiography and newspaper clippings of the era asking himself along the way “what did this man want?” Steiger came to the conclusion that Capone was a businessman, a showman and an actor who wanted recognition and respect. For Steiger, imagination was key to unlocking a role and sometimes that had to happen before he even started a project.

THE PAWNBROKER (’64) - Sol Nazerman

Sidney Lumet was hesitant at first to cast Steiger because of the actor’s tendency to overact. Steiger was dead set on getting the part and even agreed to a reduced fee. Lumet recalled, “during rehearsals, we talked about how important the repression of the character’s feelings was, and Rod was more than willing to go that route… and he worked out just fine.” In the film, Steiger plays a concentration camp survivor with deep emotional wounds. In the final scene, when a character is dying, Steiger reacts with a powerful scream that is completely silent. Steiger was inspired by silent screams depicted in Picasso’s painting of the bombing of Guernica during the Spanish Civil War. Steiger’s performance earned his second Academy Award nomination. He went on to say, "I think my best work is in THE PAWNBROKER. The last scene... that's the highest moment, whatever it may be, with my talent."

IN THE HEAT OF THE NIGHT (′67) - Bill Gillespie