Hollywood has been generally blamed for Clifford Odets's failure to live up to the promise of "Awake and Sing" and "Waiting for Lefty." But the faults of "Clash by Night" aren't the faults of Hollywood; indeed, Mr. Odets might to advantage have borrowed more liberally from the movies' adroitness for plot mechanics and episodic elaboration, particularly in his static second act. No: "Clash by Night" suffers principally from a lack of direction arising from the want of any adequate frame of reference.
Odets's frame of reference in 1935 was the class struggle. What has lasted over into 1942 is principally a humanitarian intuition of the individual's private separation, which is valid background for pathos but not for tragedy. Here is a triangle of the bored wife, the insentient husband and the handsome lodger: surely no novelty in the theater and demanding the justification of a fresh approach. Or at least a special quality of perception and analysis. It is disappointing to report that Odets has given it neither. Nor has he given the familiar situation stature by relating it to any moral or social standard. Infidelity is meaningless outside the moral arena; tragedy requires a villain, whether it be a person or a society. Odets no longer indiscriminately blames Society, and doesn't recognize the Devil. He succeeds in interesting us in his characters' temperaments, but never in their tragedy.
This is a free excerpt of 228 words. There are 325 words (approx.
1 page at 300 words per page) in the full critical essay.
Read the rest of this Criticism with our Odets, Clifford 1906–1963: Critical Essay by David Burnham Access Pass.
