To Kill A Mockingbird: Two Birthdays

To celebrate the 50th anniversary of the film of To Kill A Mockingbird, President Obama had a screening at the White House.  Attending were Mary Badham, who as a child played Scout in the film, and Gregory Peck's widow. The film will be shown on the USA cable network on Saturday, with an introduction by President Obama.

Today would have been Gregory Peck's 96th birthday.  He was a thoroughly admirable man playing an thoroughly admirable man, which was part of the excitement of seeing this movie when it came out.  He was the adult actor I most admired in my adolescence.  It's not coincidence that he became the link for many of the people connected with this film.  He had a lifelong friendship with Mary Badham and the novel's author Harper Lee. 

I've written in detail on all versions of To Kill A Mockingbird, both on this site and on Stage Matters.  Judging from the hits on both these sites, this story remains alive.  That's a truly wonderful thing about books, plays and films.  No matter how old, they can always become present to new readers and audiences, to new generations, like the school children who also attended the White House screening this afternoon.  

Headline: Mockingbird

On Sunday I posted a lot about To Kill A Mockingbird on the 50th anniversary of its publication, mostly re-purposing old posts at Stage Matters and Boomer Hall of Fame. But for the Monday give-it-to-me-in-a-Twitter post, here's the "takeaway" (apart from the Harper Lee quote):

The second theme, which follows from the first and is explicitly stated as a lesson to the children in the novel, is that of cultivating empathy and understanding by trying to see the world from the other’s perspective (as Scout does finally when she stands on Boo Radley’s porch at the end), by metaphorically living in someone else’s skin, walking in their shoes. This is a lesson about life and specifically about race. It remains the most crucial lesson in our public as well as private lives, and so this too accounts for this novel’s standing.

There are a lot of reasons, or sources of arguments against racism, which animate different people to different degrees. But the principle of empathy was very powerful in the late 50s and early 60s among whites who saw the Civil Rights movement mostly from a distance. As it came closer to home, if empathy was well established, then barriers to racial equality were easier to overcome.

Empathy is likely to be a key necessity, a community and civilizational survival skill, in the difficult future, as it is today in various political wranglings with real consequences for real people, who often aren't party to the "debate."

The Dreaming Up Daily Quote

'....in an abundant society where people have laptops, cell phones, iPods and minds like empty rooms, I still plod along with books.”

Harper Lee

(photo: Mary Badham and Harper Lee. More about the 50th anniversary of To Kill A Mockingbird in posts below.)

Remembering "To Kill A Mockingbird"

Today—July 11—is the fiftieth anniversary of the publication of one of the most beloved and enduring American novels of the 20th century, To Kill A Mockingbird by Harper Lee.

Upon publication in 1960 it became immediately successful, and won the 1961 Pulitzer Prize for Fiction. It remains among th top 10 best selling novels from then until now. It is one of the five most assigned novels in American schools, and American librarians recently voted it the best novel of the twentieth century.

It was of course inspiration for the 1962 movie starring Gregory Peck, who won the Academy Award for Best Actor. Only Lawrence of Arabia could deny this movie the honor of Best Picture. It is still among the most popular and acclaimed movies of all time. A few years ago the American Film Institute named Atticus Finch—the character Peck played-- as the greatest film hero in the history of movies.

(That's Harper Lee with Gregory Peck in the photo, at the time of the filming. This appreciation continues after the next photo.)

To refresh your memory of the story: Atticus Finch is the widowed father of the tomboy Scout (Harper Lee’s self-portrait) and Jem (Scout’s older brother). Atticus is a lawyer appointed to defend Tom Robinson, a young black man falsely accused of raping a white woman. This event is based partly on a case of her father’s, and partly on the infamous Scottsboro Trials of young black men falsely convicted of raping a white woman, also in the 1930s, when Harper Lee was about the same age as her fictional stand-in, Jean-Louise, known as Scout.

Harper Lee transformed memories of her childhood: her father was the inspiration for Atticus Finch, Truman Capote became Dill, her brother Edwin and cousin Jennings became Jem, and Boo Radley was perhaps based on someone else in her hometown of Monroeville, Alabama (as discovered by the director of a University of Alabama production of the stage version, who visited Monroeville.)

In Monroeville in the 1930s, a rich man’s son was caught joyriding in a stolen car. His father persuaded the sheriff not to arrest the boy, but to leave the punishment up to him. He imposed three years of house arrest, but it turned into a life sentence when even after that time the young man found he could no longer face leaving the confines of his house, except at night. He became an object of mystery and fear in the neighborhood. At least according to the local story.

Nelle Harper Lee left Monroeville for college, then law school in her father’s footsteps, though she stopped just shy of completing her degree. Instead she went to New York, where she worked as an airline reservations clerk and assisted her childhood friend, Truman Capote, in researching the book he took full credit for, In Cold Blood, also a classic, about two murderers in Kansas. Catherine Keener plays her in the 2005 film Capote (photo above), and looks very much like Lee’s 1960s photos.

She began writing in earnest in the mid 50s, returning frequently to Alabama to nurse her ailing father. One Christmas in Manhattan, a songwriter friend and his wife gave her a unique gift—a year’s income, to support her writing. (The songwriter was Michael Brown, who made his reputation and probably his fortune producing industrial musicals for clients like DuPont and Woolworth.) She used it to write the first draft of To Kill A Mockingbird.

The novel was innovative in several ways. Through the narrative voice Harper Lee developed, she solved a perennial problem for writers: how do you accurately portray events from childhood to reflect both the feelings and perceptions of the time, and the fact that you’re looking back with the knowledge and insight of an adult?

The wedding of a kind of fictionalized memoir describing the texture of childhood and a particular place and time, with a courtroom drama involving an important social and political issue, was itself a synthesis that violated the rules. But in Lee’s telling, both elements gave power to the other. The somewhat languid mood of much of the early parts of the book (it takes place over three years) gradually quickens into page-turning drama.

Lee’s first submitted version of the work was reportedly more of a series of linked stories. But her publisher insisted on a more unified novel. Lee was able to achieve this partly by following in linear time the education of the young girl, Scout and her brother, Jem, and partly by weaving a few important themes throughout the book.

The first was about innocence, both of children and of “the mockingbird”—the innocent who only sings and does no one any harm—which applies to both Tom Robinson, the accused black man Atticus defends, and to Boo Radley, the neighbor who lives in darkness, the stranger in their midst who receives their projections of violence, and is therefore a source of fear.

He is different (and a kind of artist, who creates sculptures and leaves them for the children to find, along with talismans of his own “normal” childhood). He is literally unseen, and so represents the aspects of people we are blind to, because of our preconceptions. This obviously applies to race, and there is also a strong theme of class in the novel—which cuts both ways. (It can be argued that Atticus has his own class prejudices.)

The second theme, which follows from the first and is explicitly stated as a lesson to the children in the novel, is that of cultivating empathy and understanding by trying to see the world from the other’s perspective (as Scout does finally when she stands on Boo Radley’s porch at the end), by metaphorically living in someone else’s skin, walking in their shoes. This is a lesson about life and specifically about race. It remains the most crucial lesson in our public as well as private lives, and so this too accounts for this novel’s standing.

This theme is reinforced in other ways throughout the novel, notably by the brief story of Mrs. Dubose, a surly neighbor who insults everyone, including Scout and Jem, and says harsh things about Atticus. When Jem loses his temper and destroys her garden flowers, Atticus sends him to Mrs. Dubose to apologize and make restitution. Mr. D. requires him to read aloud to her everyday. When she dies, they learn that she was always in pain and addicted to morphine, which accounted for her harsh behavior. She decided she would die free of her addiction, and Jem reading to her was a way for her to bear the pain. It’s another example of assumptions and projections contradicted by understanding, as well as a story of redemption and the power of simple acts to do good.

As the Civil Rights Movement came to fruition in the early 1960s, the book struck a chord. So did the equally classic 1962 movie version, which in addition to Gregory Peck at the height of his fame, had quite a pedigree behind the camera. Alan Pakula produced it (though only his second feature as a producer, he later produced Klute, Sophie's Choice and other hits, as well as directing All the President's Men, etc.) Robert Mulligan directed, Elmer Bernstein wrote the musical score, and the screenplay was written by Horton Foote, the Texan playwright, who had written extensively for television drama and later wrote many acclaimed movie scripts, including Tender Mercies for Robert Duvall. Duvall’s first movie role was Boo Radley.

Harper Lee was a consultant on the movie and present for the filming (mostly on a backlot in California.) She and other participants formed lifelong friendships on that set. She and Gregory Peck in particular remained close. As she watched the first scene being shot she was seen to shed a few tears: he reminded her so much of her father. For his part, Peck’s grandson Harper Peck Voll is named after Harper Lee.

Young Mary Badham, who played the six year old “Scout,” also kept in touch with Peck for the rest of his life. She felt close to him immediately on the set, and between takes would be seen hanging onto him in his lap. She called him “Atticus” ever after.

A wide search for children to play Scout and her brother Jem was conducted in various southern cities, but the actors selected, Badham and Philip Alford as Jem, lived within a couple of blocks of each other in Birmingham, though they’d never met.

Mary Badham was herself a “tomboy,” as was her character, and the girl that Scout was based on—Harper Lee. She acted for several more years, and was in one more notable movie (This Property is Condemned, based on a Tennessee Williams play, written by Francis Ford Copolla and starring Robert Redford and Natalie Wood.) She gave up acting by the late 60s but returned to it in recent years. While Harper Lee has long been reclusive, refusing most appearances, it was often Mary Badham who represents this movie when it is honored and shown at festivals.

The movie streamlines the story of the novel by collapsing the events into a single year. It very carefully tells the story from the children’s point of view, even in shot selection. Though the subplot of Mrs. Dubose (played by the accomplished actor, Ruth White) was shot, director Mulligan felt it sidetracked the momentum of the film and most of the scenes were cut. It’s said her performance was brilliant.

There are so many indelible images, performances and moments in this movie. Mary Badham was remarkable, especially in a scene of Peck as Attticus putting Scout to bed and talking of her mother (added to the film and not a scene in the book), and then of course in one of the most moving scenes in any film—when she sees Robert Duvall behind the door, and recognizes him, and with a luminous smile says, “Hey, Boo.” Her face in this film is absolutely unique.

And of course, Gregory Peck, who could express so much with presence, gesture and nuance—with a tilt of his head and a raised eyebrow. The makers of this film understood and complemented this power. They allowed him to react without speaking; in a key scene, in which he learns that his client is dead and he must tell others of this, we see him mostly from the back.

This style worked very well for Harper Lee’ story, which needed a delicate touch on screen. That her novel got such a near-perfect movie has helped keep the novel alive.

Ultimately, it is the book itself, which is Harper Lee’s achievement, justly celebrated today. Though she attempted a couple of other books, this is the only one she published. She lived a quiet but full life in New York and in a house full of books back in Monroeville, Alabama. Now in her 80s, she lives nearby. In 2006, Harper Lee reaffirmed her dedication to writing and the written word, in a letter to Oprah Winfrey. "Now, 75 years later in an abundant society where people have laptops, cell phones, iPods and minds like empty rooms, I still plod along with books.”