The Exercise of Power and Acting in F. Scott Fitzgerald’s The Last Tycoon*

Abstract

Power and theater share a common ground: both make exploitative demands upon others and compel obedience. Monroe Stahr, the protagonist of the novel, whose role of divine authority, a Machiavellian prince, committed to the survival and welfare of his employees (people) is reminiscent of the world of theater, is an actual director at Hollywood. Through the power of his character and cinema, Stahr claims mastery over people  inside and outside Hollywood. However, this young and highly talented motion picture director pays for his highly exalted authority through suffering and being victim of acts of intimidation, deceit and violence. Ironically, it is his feeling of suffering and victimization which ennobles him and helps cleanse him of his lies and betrayal which his position dictates.