Black Lives Matter

“You’re walking down life’s road, society’s foot is on your throat, every which way you turn you can’t get from under that foot. And you reach a fork in the road and you can either lie down and die, or insist upon your life.” — Odetta

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Stuff I’ve Been Reading

— Finally getting to Olivia Laing’s debut, To the River: A Journey Beneath the Surface (Canons). I fell in love with her because of the one-two punch of The Lonely City: Adventures in the Art of Being Alone (which I quoted extensively in my column about the film What Happened Was…, and The Trip to Echo Spring: On Writers and Drinking. I cannot recommend her books highly enough. They’re not quite like anything else. They’re personal, but not personal essays. SHE is in them, but the subjects – loneliness – writers and alcoholism – and the history along the banks of the river Ouse in England – from the Piltdown man to Virginia Woolf’s suicide – override and inform the personal. It’s inter-disciplinary. They’re history books in many ways, and works of art analysis – writing, painting, poetry – but they’re also travelogues in a way, her own personal obsessions take her far and wide. This is the kind of writing I want to do. At any rate, I had never read her first book, about the Ouse. I am learning so much. She’s such a wonderful writer.

Emma, by Jane Austen. I picked this up after falling in love with the most recent film adaptation (my review here). It’s been years since I read it. It’s so hilarious, so uncomfortable … and Emma is not a particularly sympathetic heroine, which in my opinion is the best part of it. Austen herself said that she wanted to create a heroine that only she would like. So funny! You can see throughout that Emma is getting everything wrong, she is mis-reading ALL the signals coming her way … it’s so satisfying. I’ve needed this escape.

American Poetry : The Twentieth Century, Volume 1 : Henry Adams to Dorothy Parker. So you know I always read poetry in the morning. It’s why I have so many anthologies lying around. I find it meditative. And I discover new poets, and also read poems that are not normally anthologized. My dad gave me this volume (it was his Christmas tradition: he gave each one of us Library of America volumes every year, and this was one of them). And I have never read it cover to cover. So that’s what I’m doing now. And I’m discovering so much! A poem by Edith Wharton knocked my socks off. I read a couple poems a day so I’ve been reading this for months. I need all the meditation I can get.

In Search of Lost Time, Vol. II: Within a Budding Grove (v. 2), by Marcel Proust. I read Volume 1 last year. I am finally tackling this 6-volume monster. And … yes, the sentences are two pages long in some cases. But … it’s surprisingly … an easy read? It’s weird, I put it down for a couple of days, pick it up, and remember exactly what was going on. And it’s not plot-heavy. 150-page descriptions of an afternoon tea, like, not even exaggerating. But it’s so brilliant and so unlike anything else that you just realize on every page that you are in the presence of a major sui generis work of gigantic (and rightfully so) stature. Also, no one told me it was so FUNNY. It’s so funny! I am loving it. One of the ways this book works is … it forces you to slow down. There’s no way you can read it and look forward to finishing it, or have the end in sight. It’s just too damn long. So you have to just succumb, let go of your normal pace, and submit to its rhythms. You can’t be like “My GOD, who cares about the curtains in her parlor – and her decolletage – why 50 pages on this one lane you walked down when you were 6 years old …” You literally cannot be impatient like that. You won’t last. So … like reading poetry … it’s forcing me to slow down.

— I know Imogen Smith, and cherish her writing. I love how her mind works, and the things she notices and then decides to write about. Her latest, for Criterion, is about watching women walk in the movies. She’s so good: Stepping Out: On Watching Women Walk.

— This piece is old (relatively) – written by a FB pal of mine, the wonderful Tom Carson who has written for Esquire, the Village Voice (dating back to its glory days), GQ, Playboy, etc. He had been working for months on a piece about Norman Rockwell, which he would post about on FB. He found a home for it on Vox. It’s a hell of a read. It’s about the transformation of Norman Rockwell – the man known for depicting an idealized version of small-town (white) America – into the man who would paint The Problem We All Live With (one of his most famous paintings). It’s a long one but so worth it.

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On Amazon Prime now: The Vast of Night

After a two-week run in a drive-in, The Vast of Night – a truly impressive first feature – is now streaming on Amazon Prime. I cannot recommend it highly enough. Here’s my review on Ebert.

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It’s All Just “Too Much”

Two weeks ago, I received a gift from my cousin Kerry, a commissioned piece of artwork from the gifted Sari Lennick, showing Elvis, superimposed over a couple of pages from Stephen King’s On Writing. It’s already on my wall, where I can see it from my (new) writing desk.

Can it be a coincidence that in the same month I received yet ANOTHER Elvis-related thing to ALSO hang up on my wall? It feels like something is happening and in the midst of the pandemic, in the midst of two funerals in the last week, which I had to attend via Zoom (my heart hurts), and at the tail-end of an absolutely horrendous week in America – to have Elvis arrive, a long-delayed Elvis – feels meaningful.

So here’s the story.

Last year my good friend Charlie gave me old sheet music for Elvis’ “Too Much” – released during Elvis’ apocalyptic-take-no-prisoners-to-the-stratosphere year of 1956. The whole thing is green, green cover, green musical notes, green text. On the back of the sheet music is a stacked series of first lines of songs, the four songs Elvis sang in Love Me Tender, also released in 1956. Like I said: Elvis had been around for two years at that point, causing riots in the South and Southeast and Texas … but 1956 was the year it went to another level, a level no one – beyond the Pharaohs … and maybe Charlie Chaplin – reached). “Too Much” went to #1, as so many other of her tracks did in 1956. It was a juggernaut. I love how … his vocals here are almost, alllllmost, a parody of his own style. He was so free with it, so unself-conscious.

The sheet music is so old Charlie gave it to me wrapped in plastic.

And there the matter stood for months. I knew I wanted to get it framed, with front/back cover opened up – I figure since I don’t have a piano, I can “give up” the piano notes on the inside. But since that would be an odd and non-standard size, I’d have to pay to get it framed. I couldn’t just go to Target. So I kept it on a shelf, waiting for the day.

I had a little extra cash in early March and decided to go for it. I dropped it off to be framed at a Michael’s near me. I had a great consultation with the framer. She wanted to protect the sheet music from the glass: if the glass lay on top of the sheet music, that gentle pressing might damage the sheet music, so there’s a way to raise the glass just slightly off the music, through little tiny thingies placed under the mat board, something I would never have known to do, let alone know how to do. You get what you pay for. I really appreciated her thoughtfulness, care, and ideas. She was attuned to color: the vivid green of the sheet music needed to be showed off, not overwhelmed. How should the mat be? Could she create an illusion of a marquee? She really cared.

And let’s not forget: when I carefully took the sheet music out of the plastic to show her what I wanted, she sighed, “Oh, Elvis.” She was happy to see him.

If anything is going to survive this pandemic intact, it will be love of Elvis.

I was meant to pick it up on March 27.

We know how that goes. A week later, I self-quarantined, a couple days later, all the stores considered non-essential in New Jersey shut down, and poor Elvis was stuck in the back room of Michael’s for 2 months. I’d forget him for days at a time, and then suddenly would remember and get a bolt of stress. Would he be okay? What is Michael’s goes bankrupt like so many other businesses? How will I retrieve my precious irreplaceable sheet music?

Last week, I get a call from the framer, the actual woman who did the work. Michaels is reopened and the framer was picking up where she left off, and she was happy to tell me Elvis was ready! (I so wish I remember her name.) She remembered me. I suppose in the life of a framer it’s not every day someone comes in wanting to frame old Elvis sheet music.

The store proper isn’t open yet, but they were doing curbside pickups, and I went yesterday. I was told to pull up to the store, call the store number, tell them what you want, and someone will come out. I called and was transferred to the framing department. I spoke to her, and recognized her voice, the one who did the work. She told me she’d be right out with my Elvis.

I waited near the door. There were others standing around in socially-distant formation, wearing masks, also waiting for whatever it is they were there to pick up.

She emerged, mask on, holding my Elvis wrapped in brown paper.

I swear I am not making this up: as she came out of the building, I waved at her, and she called out to me: “ELVIS HAS LEFT THE BUILDING.”

I burst out laughing, and she said, “God, I’ve always wanted to say that!”

Clearly I left my precious Elvis sheet music in the right hands. It’s been a horrific week and this small warm moment – plus her beautiful work framing an object that means a lot to me – really helped. I almost couldn’t believe her “Elvis left the building” comment was happening as it was happening, but Elvis has a way of creating such moments. Also, and I’m just stating the facts … I tend to have weird moments of connection with total strangers. Once upon a time, I did a whole series on here about my extraordinary interactions with cab drivers (if you search for it you will find it, I created a whole tab, since these moments happened so often). A Sikh cab driver once said to me as he dropped me off, after a long drive stuck in traffic, where we talked about many things and he told me about what it means to him to be a Sikh and it was very beautiful and peaceful-sounding – anyway he said, impulsively – “I feel like if we got married it might work out.” I said, “You know, I’ve been having the same thought.” And I really had been! We just had this peaceful very giving conversation out of the pure blue sky. Shit like that happens to me all the time. I just accept it and feel like it has nothing to do with me per se.

In this case, I give Elvis the credit.

Here he is. Here is her beautiful work. Such a nice gift from such a good friend.

Posted in Art/Photography, Music, Personal | Tagged , | 4 Comments

Review: On the Record on HBO (2020)

The story of one woman’s decision to go “on the record” about being assaulted by hip-hop giant Russell Simmons. It’s also a doc about the surrounding context of her era, of the early years of hip-hop – a culture she loved and helped create – as well as a commentary on the very specific issues black women have in making allegations about black men. The woman in question is Drew Dixon, head of A&R at Simmons’ Def Jam Records. Def Jam was THE place to be and she was head of A&R at the young age of 24 and loved her work. Her experiences with Simmons (and with L.A. Reid) were so damaging she left the music industry. Anyway, I reviewed this painful but important doc for Rogerebert.com.

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Excerpt from Slouching Towards Bethlehem: ‘John Wayne: A Love Story’, by Joan Didion

For John Wayne’s Birthday

A second excerpt from the essay collection:

Slouching Towards Bethlehem: Essays (FSG Classics), by Joan Didion

This is one of the best things written about John Wayne. It’s not just an essay about who he was as an actor, or his biography – although it is that, too, but it’s a Didion mix of personal recollections (“What John Wayne Means To Me”), as well as her visit to the crazy set in Mexico of The Sons of Katie Elder in 1965. Wayne had been diagnosed with cancer (or “the big C” as he called it) in 1964. The news rattled a lot of people, Didion included. It was hard to remember that Wayne was mortal. He was a symbol of something. He still is.

Henry Hathaway directed Katie Elder and Wayne and Dean Martin starred. When Didion visited the set in Mexico, she entered the mainly male world of camaraderie, joshing, and total unreality that characterizes a movie set. Didion is great at describing the no-man’s-land of an in-between time, a mood she captures in a lot of her essays: the strange alienation and yet also coming-together that can happen during out-of-the-ordinary circumstances. That’s why she’s so good at reporting political campaigns. She picks up on behavioral nuances nobody else thinks are worth mentioning. Didion is interested in reality, yes, but I think that interest is secondary for her. She is interested in the narrative beneath the narrative.

One of her most famous lines is “We tell ourselves stories in order to live.”

Even in something as prosaic or bureaucratic as a water board meeting in California, or the background information of the Getty Museum, she stands there with her ear to the ground, listening for the rumble of the other story, the one beneath it all.

Movie stars are the embodiment of that Didion line. “We tell ourselves stories in order to live.” What is it that makes one star “hit” over another? There are business decisions that are made, contracts signed, events that push this or that actor to the forefront. But John Wayne didn’t become who he was because of a business decision or a good deal. He didn’t even become “John Wayne” because of the opportunities he got early on. Plenty of people get good opportunities and don’t “show up” like Wayne did. Plenty of people get one chance and then are never heard from again. Wayne was in the trenches for a long time. Success was not a done deal for him. His star potential was not immediately apparent to everyone the second he walked into a room. People were not like, “Oh my God, yes, he is going to be one of the biggest stars of the 20th century.”

There are many reasons why John Wayne became who he was. I have my theories. There was a time-and-place factor going on with him. 20 years later, and it might not have happened. But even that cannot explain his overwhelming effectiveness onscreen. There’s that one quote from him in an interview with Peter Bogdanovich. Bogdanovich asks him about his gestures, and how bold they are – and Wayne replied, “Well, I think that’s the first thing you learn when you do a high school play. If you’re going to make a gesture, make it.”

There, we are getting close to the heart of Wayne’s genius onscreen, his unfailing sense of truth, his courage with being big, his bold-ness with putting himself – ALL of himself – out there. This is something that cannot be taught. You just have to know that that’s the gig. If you don’t know that from the get-go, you won’t get far and Wayne knew it from the start. He never hesitated. Gesture to be made? He made it. He launched himself out into the imaginary. He held nothing back. He also never lied. That’s one of the things that also cannot be taught. It can’t even be cultivated. You have it, or you don’t. His onscreen persona had such authority because of his honesty. You relax when you see him. Even when he’s acting like a son of a bitch, he’s coming from a place of truth. And truth, above all else, has authority. In the end, it is the ONLY thing that matters onscreen.

Sure, it helps to be beautiful. It helps to be subtle. The camera doesn’t like obvious phoniness. The camera picks up thought more than it picks up anything else.

But Truth is the hardest thing to capture or convey. If it weren’t difficult, we’d see it more often. Don’t underestimate how difficult the gig is. But it wasn’t difficult for someone like John Wayne. He just had to be given the opportunity to show what he could do, and when the time came, he SHOWED UP.

“He just played himself.” Damn straight he did. You think that’s easy? Try it. I dare you.

Although his star power is not denied, his chops as an actor are often dismissed, or taken for granted. Recently, I saw someone on Facebook – someone I don’t know, but a person who writes about film (for pay and otherwise) – say that John Wayne wasn’t “a great actor”. He then went on to babble the tiresome lazy bullshit about how Wayne “just played himself” and “just playing himself” can’t really be counted as real acting. I am sick of writing about my problems with this mindset, which I have been doing for years, but whatever, here I am (obnoxiously) going off on it again.

The “he wasn’t good, he just played himself” attitude represents a critical failure and the fact that so many people think that “he just played himself” is a valid criticism is an indicator of how deep the failure goes. Listen, I don’t pontificate on trade unions and financial institutions because I have the good sense to know that I would not know what I was talking about and it’s better to defer to those who actually know the topic at hand. But with acting, everyone considers themselves an expert because acting is seen as subjective, and we all go to the movies, right, we all have a part in it! True to some extent, but when I hear someone say, “Sure, he’s okay, but he just played himself over and over”, I know that that someone has actually not thought deeply enough about acting, perhaps they don’t respect it enough as a craft to study it on a deeper level, and therefore I think to myself, “Okay, well, you don’t know what you’re talking about, or, you haven’t taken the time to think it through in an indepth way, so you certainly won’t mind if I don’t take you seriously, right?” If you’re just a general audience member, it’s not so much an issue, but when I see it show up in professional writing, people who spend their lives observing the industry and watching movies, that’s when I get irritated. If I babbled on about Wall Street dealings in a tone of certainty, giving recommendations and opinions, then I would expect to be taken down a peg by those who actually know that world and understand its subtleties. I don’t run around “dismissing” other people’s opinions, but “he just played himself” is one I wholeheartedly dismiss. It’s actually helpful, it saves a lot of time.

To not understand that there are trends in acting styles, and that now the trend is to congratulate actors who go after total transformation (“I’m beautiful, therefore I will play ugly” “I’m tall, therefore I will play short” “My nose is perfect, therefore I will wear a putty prosthetic nose”, etc.) is to not understand the history of the industry and the artform. “Playing yourself” is devalued NOW, but it wasn’t in the beginning when the greatest stars were born. So at least admit that your comment “he was just playing himself” comes out of your own limited understanding of the history of the trends of acting. Don’t just pass that off as Truth. (It’s interesting: if you removed the word “just” from the sentence “He just played himself”, I wouldn’t have as much of a problem with it, although I still don’t like it. It’s the “just” that is so lazy, so wrong. The “just” is always there, though, which is the clue to me, the “tell”, that the person speaking has not thought about the issue enough and is coming from a deeply mistaken understanding of what acting actually is. Literally: They don’t know what acting IS. And they’re writing about movies! You see the problem. There is nothing, nothing, nothing “JUST” about playing one’s self.)

Let me put it to you plainly:

Once Upon a Time, Great Stars Walked the Earth. And they had specific Personae, personae that were cultivated by smart studio heads and smart directors, and projects were developed to keep that Persona in the public eye. That was How It Used To Be.

In our Current Day, we are in the Baroque phase of the Method Acting trend, where actors are congratulated for either starving themselves or gaining 120 pounds, where dramatic physical transformation is part of what is perceived as good acting. (I think much of this represents a misunderstanding of what Method Acting is, as well as a failure of the actor’s imagination, but that’s another topic.)

But back in the 30s and 40s, you put on a fat suit and some old-age makeup, did your job, and went home at the end of the day, happy with a good day’s work. Today that would be seen as “cheating”. But it wasn’t back then. And that’s not even an accurate depiction, actually, of the situation because “back then” you were cast in terms of what you already brought to something, who you already were. If you were old and jowly, you played old jowly guys. If you were ugly, you played ugly people. If you were gorgeous, you were a lead. (This is still mostly true. It is only when people become giant stars now that they want to start messing with their personae, to get more “respect”, ie: “I made my name being a gorgeous babe who looks hot in a bikini but I want more ‘respect’ so now I will put on prosthetic buck teeth and walk with a limp and go for the Oscar gold!”) But back in the day, careers were cultivated around what was already there, and if you hit “paydirt” with your persona, you messed with it only in a very calculated and cautious manner (see the entire career of Cary Grant).

There were those who were able to find huge versatility within their own established personae. These are the people who became long-lasting stars, and then there were those who were so versatile that they were able to do anything, inhabit anything. They were beyond “personae”, in general. Bette Davis comes to mind. But you hire Errol Flynn, you get Errol Flynn. You hire Carole Lombard, you get Carole Lombard. Carole Lombard didn’t have to make herself “ugly” to get respect as an actress. That would have been an odd thought back then. James Cagney didn’t try to re-make himself in order to show his “range”. That would have been seen as totally bizarre.

So. Do you see the history of acting now? You see how trends happen? Robert DeNiro gained a ton of weight for Raging Bull and, in some eyes (but not in mine), “raised the bar” for other actors. After that, unless you drastically changed your appearance – even to the extent of gaining weight or losing weight – you were “phoning it in” and “faking it”. This attitude is so prevalent now that it goes almost unexamined and unacknowledged. But that is only because people are trapped in their own time, in the way everyone is trapped in their own time.

The goal, then, is to understand the history of acting, and how acting has been understood over the generations, but to do that, you would actually need to do some, you know, research, and actually try to look at moments other than your own time in the context of that particular time, and that would take work, wouldn’t it? This stupidity is also deeply engrained in actors as well, those who think movies began in the 70s. Those who think Robert DeNiro invented good acting, with maybe a shoutout to Marlon Brando. I remember hearing someone say something dismissive about Spencer Tracy in an acting class in grad school, and it was along the lines of, “God, he just did the same thing over and over again … he just played himself”. And this was an ACTOR speaking. Dear Stupid Actor, you WISH that you could be HALF as interesting as Spencer Tracy was “just” being himself.

You talk to any illiterate 19-year-old ballerina-in-training, and she may not know the history of the Spanish-American War, but she can tell you the history of her own artform, for God’s sake. Same with athletes. They are experts of their particular sport and those who came before them. Ask a high school-age baseball pitcher about Sandy Koufax. He’ll be able to tell you everything. He may have flunked his mid-terms, but he knows about THAT. But you can still find actors now who have no curiosity about the history of their own art form, and therefore misjudge acting from the past as silly, or lesser, or “surface-y” or just not, overall, as good as what is happening now. At long last, Robert De Niro came along and showed us all how it’s supposed to be done! You can actually learn a hell of a lot from the actors in the past who “just played themselves”. Watch Spencer Tracy think. There’s an acting class right there. You can learn a hell of a lot more watching Spencer Tracy think than from clinging to the belief that “Let me go on a crash diet so everyone can see how dedicated I am to my craft” = Good Acting.

I do not mean to sound totally dismissive of the current trend in acting. There is some great work being done. And those who achieve radical transformations – without being self-congratulatory or preening about it – have my greatest admiration. I love all of it. I do. But NOT at the expense of the “reputations” of those like John Wayne, or Spencer Tracey, or, hell, Elvis Presley, who showed up onscreen with an indelible personality specific to them, and continued to BE that personality in film after film after film. Because that is what the public wanted. And so that is what they gave. Understand that what is congratulated now has not always been congratulated. Understand that a trend is a trend. The fact that Jason Robards spoke dismissively of “the Method” does not say anything about his talent. The fact that Cary Grant always had the same haircut in every single movie does not mean that he wasn’t “dedicated” to his craft, or some such bullshit. You can certainly have a personal preference, but don’t be stupid about it.

How people talk about John Wayne

I have been writing about actors for a long time. I write about all kinds of actors. People show up here and comment on their favorite moments, their favorite movies, the roles they loved of this or that actor. But when I have written about John Wayne, people show up and tell me about themselves. In this, John Wayne stands (almost) alone. Yes, people talk about the movies they loved, but more people show up and say, “He makes me think of my grandfather …” “He makes me think of my father …” “My father loved John Wayne …” The reactions to John Wayne, then, are ultimately personal in a way that is unique. And the only other person I have written about that brings that same kind of personal response is Elvis Presley. People certainly show up and talk about Elvis’ movies, music, etc. But more often than not, I hear about the Aunt who had a shrine to the King, the grandmother who said “Elvis really loved his mother”, the father who fell in love with Elvis when he heard Elvis’ gospel music… People talk about Elvis the artist, yes. But what they are really talking about is themselves. It’s one of the reasons that I think Elvis is hard to get a handle on, culturally and critically.

The same thing is true of John Wayne.

One of my favorite actresses is Jean Arthur, and I have written a lot about her, and people LOVE this woman. Any time I write about her, people come pouring out of the woodwork. But they talk about her roles, favorite movies … they don’t talk about themselves. The same is true for Cary Grant, another favorite of mine, and clearly a favorite of a lot of people. Cary Grant gets under your skin, his fans are some of the most loyal fans in the universe, but what we talk about when we talk about Grant is his acting, his persona, his roles, his movie star mystique.

The point remains: The comments thread of a John Wayne post is very different than the comments thread of a Cary Grant post. With John Wayne, I hear about family members, childhood memories, the First Time I Saw One of His Movies, my mother loved him, my father loved him, my uncle who was a Vietnam vet loved him ….

This is unique, make no mistake. It’s one of the reasons that I equate John Wayne and Elvis Presley (I’ve written about this elsewhere). They are both important public figures, with important careers. They are both under-estimated and sometimes dismissed, as actors, because people don’t understand that having a “persona” like this is like hitting the Mother Lode of Movie Magic. “If only John Wayne put on a tuxedo … or gained weight … or knocked his teeth out … THEN we’d see if he could REALLY act.” (Ugh. As though what he did, what he brought, was not enough.) But there are many people who have had important careers. Both Wayne and Presley tapped into something unique, dreams and fantasies and wishes – they themselves embodied wish-fulfillment fantasies. By “just” being themselves. You see the problem? There is nothing “just” about John Wayne or Elvis Presley. The two of them were comfortable with wearing the mantle of their own myths. “Okay, okay, it’s a bit of a burden, sure, but you see this in me, so sure, I’ll carry that mantle for ya … ”

And both did so for a long period of time: Wayne for his entire career which spanned decades, and Elvis for the entire half of his life that he was famous. And it would have continued, had Elvis lived.

You can literally count on one hand the performers who have done that. An actor might tap into something important, trendy, and have a good 5 or 10 years at the top of the industry – but 40 years? 20?

Good luck with that.

And so Joan Didion’s relatively short essay about John Wayne is massive in scope. She writes it in the knowledge that Wayne has cancer, and there is an uncertainty about it all. Nobody speaks about it, but it’s there, underneath her prose, keening through it. “If the big C can get him … and it can … what will that mean for us? What will happen to our stories then?”

She begins with the story of the first time she saw John Wayne in a movie. It was 1943 and she was eight years old.

Excerpt from Slouching Towards Bethlehem: Essays (FSG Classics), by Joan Didion

We went three and four afternoons a week, sat on folding chairs in the darkened Quonset hut which served as a theater, and it was there, that summer of 1943 while the hot wind blew outside, that I first saw John Wayne. Saw the walk, heard the voice. Heard him tell the girl in a picture called War of the Wildcats that he would build her a house, “at the bend in the river where the cottonwoods grow.” As it happened I did not grow up to be the kind of woman who is the heroine in a Western, and although the men I have known have had many virtues and have taken me to live in many places I have come to love, they have never been John Wayne, and they have never taken me to that bend in the river where the cottonwoods grow. Deep in that part of my heart where the artificial rain forever falls, that is still the line I wait to hear.

I tell you this neither in a spirit of self-revelation nor as an exercise in total recall, but simply to demonstrate that when John Wayne rode through my childhood, and perhaps through yours, he determined forever the shape of certain of our dreams. It did not seem possible that such a man could fall ill, could carry within him that most inexplicable and ungovernable of diseases. The rumor struck some obscure anxiety, threw our very childhoods into question. In John Wayne’s world, John Wayne was supposed to give the orders. “Let’s ride,” he said, and “Saddle up.” “Forward ho,” and “A man’s gotta do what he’s got to do.” “Hello, there,” he said when he first saw the girl, in a construction camp or on a train or just standing on the front porch waiting for somebody to ride up through the tall grass. When John Wayne spoke, there was no mistaking his intentions; he had a sexual authority so strong that even a child could perceive it. And in a world we understood early to be characterized by venality and doubt and paralyzing ambiguities, he suggested another world, one which may or may not have existed ever but in any case existed no more: a place where a man could move free, could make his own code and live by it, a world in which, if a man did what he had to do, he could one day take the girl and go riding through the draw and find himself home free, not in a hospital with something going wrong inside, not in a high bed with the flowers and the drugs and the forced smiles, but there at the bend in the bright river, the cottonwoods shimmering in the early morning sun.

“Hello, there.” Where did he come from, before the tall grass? Even his history seemed right, for it was no history at all, nothing to intrude upon the dream. Born Marion Morrison in Winterset, Iowa, the son of a druggist. Moved as a child to Lancaster, California, part of the migration to that promised land sometimes called “the west coast of Iowa.” Not that Lancaster was the promise fulfilled; Lancaster was a town on the Mojave where the dust blew through. But Lancaster was still California, and it was only a year from there to Glendale, where desolation had a different flavor: antimacassars among the orange groves, a middle-class prelude to Forest Lawn. Imagine Marion Morrison in Glendale. A Boy Scout, then a student at Glendale High. A tackle for U.S.C., a Sigma Chi. Summer vacations, a job moving props on the old Fox lot. There, a meeting with John Ford, one of the several directors who were to sense that into this perfect mold might be poured the inarticulate longings of a nation wondering at just what pass the trail had been lost. “Dammit,” said Raoul Walsh later, “the son of a bitch looked like a man.” And so after a while the boy from Glendale became a star. He did not become an actor, as he has always been careful to point out in interviews (“How many times do I gotta tell you, I don’t act at all, I re-act”), but a star, and the star called John Wayne would spend most of the rest of his life with one or another of those directors, out on some forsaken location, in search of the dream.

Out where the skies are a trifle bluer
Out where friendship’s a little truer
That’s where the West begins.

Nothing very bad could happen in the dream, nothing a man could not face down. But something did. There it was, the rumor, and after a while the headlines. “I licked the Big C,” John Wayne announced, as John Wayne would, reducing those outlaw cells to the level of any other outlaws, but ten so we all sensed that this would be the one unpredictable confrontation, the one shoot-out Wayne could lose. I have as much trouble as the next person with illusion and reality, and I did not much want to see John Wayne when he must be (or so I thought) having some trouble with it himself, but I did, and it was down to Mexico when he was making the picture his illness had so long delayed, down in the very country of the dream.

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Music Monday: Wassup, Wasserman!, by Brendan O’Malley

My talented brother Brendan O’Malley is an amazing writer and actor. He’s wonderful in the recent You & Me, directed by Alexander Baack. (I interviewed Baack about the film here.) His most recent gig was story editor/writer on the hit series Survivor’s Remorse. Brendan hasn’t blogged in years, but the “content” (dreaded word) is so good I asked if I could import some of it to my blog. I just wrapped up posting his 50 Best Albums. But I figured I’d keep “Music Monday” going with more of the stuff Bren wrote about music.

Bren’s writing is part music-critique, part memoir, part cultural snapshot. Many of these pieces were written a decade ago, so I am happy to share it with you!

Wassup, Wasserman!

Rob Wasserman is one of those musicians you’ve probably heard on someone else’s record. He is a bass wizard. He has transcended the anonymity of the side man to the point where he has established himself as a true collaborator and creator in his own right.

He put out an album called Duets back in the 1990’s that featured him paired with a variety of different artists. They performed old standards, original pieces, anything they had a mind to. This is one of those perfect albums that seems like a soundtrack to a forgotten classic film. It seems to have a visual quality to it, so perfectly etched are the sounds.

One song in particular became important to me. Jennifer Warnes, yes, the “Up Where We Belong” with Joe Cocker Jennifer Warnes, sings an old Leonard Cohen song called “The Ballad of the Runaway Horse”.

Before I even talk about the performances, I have to address the song itself. When Cohen recorded it, he titled it “Ballad of the Absent Mare”. I’ve never heard his version of the song.

Jennifer Warnes and Rob Wasserman’s version is stark and sparse. Only the bass and the voice. The bombast of “Up Where We Belong” is nowhere to be found. Subtle and epic, she virtually coos the entire song.

A cowgirl waits for a wild horse. They’ve ridden before. Every time they do she feels whole. Then his wildness reasserts itself and their union is torn apart.

Somehow this song wound up being the song that my ex and I danced to as our first dance. Think of this if you are attempting to get married without a wedding planner. They just might step in and say, “Yes, beautiful song, make another choice.”

But in listening to the song, I’m once again struck by how unbelievably romantic and beautiful it is. In spite of the central metaphor of loss. And whether we’d stayed together or not, it was an apt choice.

Really long, though. The crowd got a bit antsy while we danced and we joked as we danced that we could have faded it out at a certain point. I am still transported to that day whenever I hear the song. When it comes up on random play I often skip it because I simply can’t go there.

Long story short, the marriage ended. The metaphor carried over and our love couldn’t survive our most basic nature. I swam upstream in Brooklyn trying to get to a still pond. I wore my nerves to the thinnest edge.

Then one night I found myself out with Quasi Uncle Andy and Buzz. Andy is one of my oldest friends, dating back to college. We shared an apartment on the Upper West Side when I first moved to the city. He met Buzz working at a Mexican restaurant in the Village. Buzz is Iranian and moved here when he was 10. His father was a general and fled the country when the Shah was overthrown. Imagine coming to America in 1979 from Iran.

Buzz said he fought every kid in his school. Buzz wound up rapping with my cousin and I in a group called New Mischief, but that’s a story for another day.

I don’t remember how but I convinced Andy and Buzz to go with me to The Wetlands to see Rob Wasserman in concert. They knew nothing about him. There were maybe 30 people there, a shameful display of public taste.

By the end of the concert, Andy, Buzz and I stood at the lip of the stage and screamed at the top of our lungs that we wanted more, play more, play something else, play anything. During the show we kept marveling at the fact that we were witnessing obviously historic music and NO ONE was there. We vowed that our response would not be muted in spite of the space around us.

I let the cares of my increasingly stressful life fall away and Rob Wasserman made me forget that he’d been at my wedding.

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Recommended Books: Memoirs

More recommendations:

Recommended Fiction
Recommended Non-Fiction

MEMOIRS

The Fervent Years: The Group Theatre And The Thirties, by Harold Clurman
Probably the most famous of all the Group Theatre-related books. Harold Clurman writes his memories of that time and what those people. Essential reading.

Recollections of My Life as a Woman: The New York Years, by Diane di Prima
A fascinating memoir by poet Diane di Prima, which gives an amazing collage of New York in the 1950s and 60s, the artists and poets and bohemians clustered in and around Greenwich Village. She created a magazine – The Floating Bear – with LeRoi Jones (Amir Baraka), which she ran out of a Village bookstore. Many poets now anthologized the world over were first published in her magazine. She was good friends with Frank O’Hara. She created the New York Poets Theatre. She had many babies (got pregnant in high school and decided to have the baby and her family basically – for all intents and purposes – disowned her). When she was just a teenager, she started writing letters to Ezra Pound, incarcerated in the mental institution. I think she took a bus ride up to see him. The memoir is fascinating but I have to say – it’s the opening chapters detailing her childhood that is the real takeaway, the macho Brooklyn-Italian world into which she was born, its male violence, the strict border between men and women … she captures it in exquisite detail, unforgettable. When I think of this book, it’s the opening I remember.

The Men in My Life: A Memoir of Love and Art in 1950s Manhattan, by Patricia Bosworth
R.I.P. Patricia Bosworth. I came to her, like most people did, through her biography of Montgomery Clift, one of the greatest biographies of an actor ever – and forget “of an actor” – one of the greatest biographies period. I came to know her, albeit very casually, through the Actors Studio. I admired her so much. She has written two memoirs, one about the effect of the Hollywood Blacklist on her family (which was extreme), and then this one, about her life as a young woman in 1940s Manhattan: the men, the acting jobs, the romances, reflections on what romance/sex even meant in the 1950s. She was a wonderful writer. I’m so sad she’s gone, that Covid would take one of our great writers at the age of 86. She has a book coming out this fall.

Life Is a Banquet, by Rosalind Russell
A fantastic memoir. Sometimes it’s the “peripheral” things that makes a memoir like this great – like Shirley MacLaine’s descriptions of her mother, or her father, or her childhood – if the person is a good writer, it’s a pleasure to read such books all on their own. This isn’t always the case with memoirs by famous people. They’re surface only, or poorly written, or ghost-written. Here, it’s Russell’s portrait of her childhood – that crazy house of siblings – running a craps game out of the attic? LOl!! – as well as her marriage – that really sticks in my mind. Beautifully vivid and heartfelt. You just love her.

Baby Doll: An Autobiography, by Carroll Baker
I have written before about the impact this book had on me. In a way, it was a door opening, THE door. She led me to the people who would change my life forever – Elia Kazan, James Dean, Tennessee Williams – and I was only 12 years old. It’s not even that well-written a book. It didn’t matter.

Under a Cruel Star: A Life in Prague, 1941-1968, by Heda Margolius Kovály
A harrowing read. If you can get past the first paragraph – which runs chills of horror down your spine – then the rest of the book just goes downhill from there. Kovály hails from Prague, and tells the story of the growing clouds of war, of Hitler overrunning her country, of being captured by the Nazis. She actually escaped from a concentration camp and made her way back to Prague – a treacherous journey – and THEN about what happened after the war – the brutal oppression of the Communists – she lost everything, her whole family to Hitler, she lost her husband to Stalin. She’s an amazing writer, and was born at just the wrong time, to be caught between the gigantic murderous pincers of two raving fascist lunatics.

Just Kids, by Patti Smith
There are sections too painful to even really read. I had to gear myself up to endure it. But it made me think of all the friends I made in college, my dearest friends to this day, and how much we love each other, and how we fell in love with each other before we were fully formed, and we continue to transform with each other, loving each other, growing up together. She captures it so beautifully.

A Story Lately Told: Coming of Age in Ireland, London, and New York, by Anjelica Huston
What an interesting life she’s had. And continues to have.

Brando: Songs My Mother Taught Me, by Marlon Brando
I remember people pooh-poohing this book at the time, or dismissing it – maybe they still do. Yes, he wrote it in a frenzied weekend (exaggeration) to try to beat Peter Manso to the punch, who had written a disgusting poison-pen TOME, which was basically a 900-page character assassination. So … celebrities aren’t allowed to DEFEND themselves against a personal attack? I love this book. If you DISMISS it, you’re missing some of his revelations about acting and his process. Brando was notoriously (and understandably) cagey about talking about how he did what he did as an actor – and truthfully he probably couldn’t have put it into words. But here, he does. And there are some invaluable insights.

Long Shadows, by Shane Leslie
My father was one of the top Shane Leslie experts in the world. He gave talks on Shane Leslie. I wish I had paid more attention when Dad was alive to all this. I would ask him about Shane Leslie and he’d say, “Oh, he was a little pompous, he knew everyone, he was a name-dropper.” After Dad died, I read Shane Leslie’s memoir, and was so sad I hadn’t done so when I could talk to Dad about it. It’s fascinating! He and Winston Churchill were first cousins, so there are very amusing anecdotes about their shared childhoods. It’s weird to picture Churchill as a little kid.

The Periodic Table, by Primo Levi
While probably his Survival in Auschwitz is better known, this memoir – to which Auschwitz only gets one chapter – is equally as good. Primo Levi was a chemist, and so this book uses the periodic table as its organizing principle. Each chapter represents an element, and then he tells a story, which loops us into that element, in all its metaphorical and actual qualities. It’s beautiful. I love him.

The Making of the African Queen: Or How I Went to Africa With Bogart, Bacall and Huston and Almost Lost My Mind, by Katharine Hepburn
There are anecdotes included here which I have used in my writing time and time again, particularly John Huston’s delicacy in giving her a crucial piece of direction which unlocked the whole character for her, allowing her to know how to play it. And yet it’s the WAY he gave the direction – without ever seeming like he was telling her what to do – that shows his genius. You don’t just say to Hepburn, a gigantic star, “Listen, you’re doing it wrong.” You have to be very careful in your approach, like he was here. And Hepburn recognized it, and was grateful for it.

Last Waltz in Vienna, by George Clare
A devastating read about a totally lost world, the Vienna and Austria of George Clare’s youth. He was born into a Jewish family (last name Klaar), who were assimilated Jews in the Hapsburg monarchy. Just like Stefan Zweig. There was a sense of safety in Austria, even though there were still anti-Semitic elements, as well as laws that barred Jews from climbing the ladder in companies. But still. It was a haven. Clare’s father worked for the Bank, one of the few Jews present. They didn’t “feel like” Jews. They felt like Jews who were Austrians. So when Austria went fucking insane in the 1930s … and the Klaar family realized the danger – too late – it was devastating. As well as dangerous. George Clare lost practically his whole family to the concentration camps – his grandmother, his parents, aunts, uncles … the only reason he survived was his parents moved heaven and earth to get him to safety in Ireland. It’s a terrible story but beautifully told, and his descriptions of Vienna right before and right after the Anschluss (such a terrible word) are absolutely vivid and terrifying. A very important book. He doesn’t just give his own perspective as a child (he was born in 1920, so he was a teenager when shit started getting hairy), but provides a wider political context, peppering the text with prophetic chilling statements like “if we knew then it would be our last chance to get out …” The book makes you see red. And there are many many connections and correlations to what is going on now.

Burning the Days: Recollection, by James Salter
A real writer’s writer. He didn’t write much. A handful of novels. But once you’ve read him, he climbs to the top of your list of “man, that can guy can WRITE” people. It’s fascinating to read this, to hear where he came from, what he was about, and all in his absolutely perfect prose – which is difficult for me to describe. I’ve written about him here and tried to put it into words, how he does what he does. I’d compare it to Lee Strasberg’s sense-memory exercises in a way, although he doesn’t go on and on about sights/smells/touches. But his work is so based in the senses it makes other writing seem shallow by comparison.

My Lucky Stars: A Hollywood Memoir, by Shirley MacLaine
I’ve read all her books, even the woo-woo ones. She’s a very very good writer. I recommend all of them, just to enjoy her prose, but this one I’m putting on here because it’s so chock-full of great show-biz stories. From Bob Fosse to Dean Martin to Debra Winger to Meryl Streep. Peter Sellers. Wonderful stuff.

Elvis: In the Twilight of Memory, by June Juanico
This, for me, is the best “I knew Elvis” memoirs. She was Elvis’ girl in the summer of 1956, the summer he moved from regional star to national star to international notorious phenom – all in the matter of, like, 2 months – and she was dating him as it happened. It’s a wonderful book and I’m so glad she wrote it.

The Autobiography of Benjamin Franklin
Christopher Hitchens: “There are two kinds of people: those who read Franklin’s celebrated Autobiography with a solemn expression, and those who keep laughing out loud as they go along.” I am of the second variety. This shit is hilarious. My favorite part is when the young Ben creates a system to keep himself on track morally, to watch out for vices and flaws. He created a little chart, and he would check things off, like “I did this right” “I avoided this today” and then he realized how PROUD he was of avoiding vices, and realized that pride is, of course, a Mortal Sin, so he figured, “Oh well, that’s that” and gave up worrying so much about having correct morals. How many people do you know who are PROUD of being “good”, are PROUD of holding the “correct” attitudes, are PROUD of being more clear-headed, more compassionate, more social-justice-committed, more Christian, more “woke”, more WHATEVER, you name it, than other people? The PRIDE is the thing. Pride is a sin, yo. Check yourself. Ben Franklin figured that out and figured it out young.

Angela’s Ashes: A Memoir, by Frank McCourt
This book swept through my family like a forest fire. I read it while I was in grad school. I was sitting in the library at the New School, and I was reading the section when Malachy McCourt, a small child, got a pair of false teeth stuck in his mouth, and the father raced him across town to a doctor, Malachy sobbing, with these huge teeth jutting out of his mouth, and I started laughing so hard and so loud I had to get up and leave. Weirdly, in the years to come, I would meet both Frank and Malachy, through the Irish Arts Center, as well as through the Bloomsday celebration I go to every year (I was at its inaugural in 2004 – the 100th anniversary of Bloomsday – and Frank McCourt was there as a special guest, who opened the ceremony).

A Dream of Passion: The Development of the Method, by Lee Strasberg
Required reading, really, for any actor. I wish he had written more. What’s interesting about this is the portrait he gives of life on the Lower East Side as a child, and the productions he saw at the famous Yiddish Theatre, and the incredible actors he witnessed – actors who showed him what was possible. His memories of the great stage performances he saw – and what made them so mind-blowing – from Eleanora Duse to Paul Muni – are the real take-aways of this beautiful little book.

Shelley Also Known As Shirley, by Shelley Winters
One of my favorite actress memoirs. Gossipy, funny, honest. There’s a Volume 2 too. One of the good things about these kinds of books for someone like me is not the gossip part of it – but the insights into their process as actors, the way they problem solve, their approaches, their growth spurts, etc. Winters was a very conscious actress and much of what she did required an act of WILL.

Memoirs of a Revolutionary, by Victor Serge
One of the very few people who understood Stalin’s nature, and the dangers of Stalin, in the 20s. Everyone saw it in the 30s (well, not everyone: there were “useful idiots” like the Webbs and others, with Pete Seeger to follow) … but people who understood what was going on saw Stalin for who he was in the 30s. But almost no one saw the future in the 20s. Victor Serge did. He realized that what Stalin was doing was gathering all of the power into his hands, and that terror would be the result. He was almost eerily prescient. He had a front row seat. He was an insider. He had moved back to the USSR post-Revolution to lend his hand to the new government. He was a True Believer. This is why his insights are so valuable.

Lucking Out: My Life Getting Down and Semi-Dirty in the Seventies, by James Wolcott
I have been happy to become acquainted with Wolcott in the last 10 years, and gathering for twice-a-year cocktails at the Algonquin Hotel, with friends Farran and Tom. Wolcott was the first big-wig to link to my Elvis writing. He said that I was writing posts with a “sacral” tone and he really captured what I was trying to do. I so appreciated it. He’s written a couple of books, and this one is great, because he was at the center of so much in the 70s: CBGBs, the Village Voice, the people he knew and interviewed, his colleagues – I mean, Lester Bangs, come on!

Send Yourself Roses: Thoughts on My Life, Love, and Leading Roles, by Kathleen Turner
Another actress memoir I recommend. I read it shortly after I had seen her on Broadway as Martha in Who’s Afraid of Virginia Woolf? – to this day one of the greatest performances I have ever seen in the theatre – so I ate up her insights into the character, and loved to read that as a young actress, she always had Martha in her sights. “Someday I will be old enough to play Martha …”

Elvis: My Best Man: Radio Days, Rock ‘n’ Roll Nights, and My Lifelong Friendship with Elvis Presley, by George Klein
Another great “I knew Elvis” book (there are so many bad ones). Klein, who just died, knew Elvis from high school, but they re-connected in 1955, maybe even 1954, when Elvis was starting to put out records, and Klein was a budding DJ. Once again, Klein was never on Elvis’ payroll, and so the relationship remained pure. Elvis was Klein’s Best Man at his wedding. The story I remember most though is Klein sleeping over Elvis’ house – the one on Audobon Drive – so this had to be 1955, 1956 – and waking up and seeing Elvis sleepwalking and Klein having to deal with it. It’s such a touching story.

The Story of My Life – Recollections and Reflections, by Ellen Terry
An endlessly fascinating woman, one of the biggest stars of the theatre in the Victorian era. I have written a lot about her here. None of her performances can be seen now, of course. They were theatre. It was the 1880s, 90s. But we can at least imagine it. Oscar Wilde was obsessed with her. So was George Bernard Shaw.

The Autobiography of Maud Gonne: A Servant of the Queen, by Maud Gonne
How can one person have so much happen in one life? Well, because Maud Gonne was at the center, she meant business, she walked the walk. She married one of the martyrs of the Easter Rising, and wore widow’s weeds for the rest of her life. She was married, in reality, to the idea of a free Ireland. A fascinating figure. People get irritated when you mention Yeats’s obsession with her, and all the poems he wrote about her and for her. As though her being one of the most important muses of the 20th century is … not worthy of her, and not a huge PART of her story and the effect she had on people. Give it a rest. Maybe YOU don’t care about how she inspired others, how she was seen by Yeats, his love for her … maybe YOU haven’t loved and lost like Yeats did – all I can say is: You’re lucky. Of course, the most important part of the impact she had on the world was in her ferocious activism. But why she is remembered? Come on. Let’s get real. Having read her letters (she wrote letters all. day. long – you can’t believe she could keep up with it – didn’t her hand get cramped?) … you recognize the tone here in the autobiography. Fierce, certain, and filled with purpose. I am endlessly fascinated by this woman. Have been since I was a kid, since my dad has this book – as well as the biography of her – and could tell you anything you wanted to know about her.

Ginger: My Story, by Ginger Rogers
Tell it like it is, Ginger!

Accidentally On Purpose: Reflections on Life, Acting and the Nine Natural Laws of Creativity, by John Strasberg
I took a workshop with him which remains one of the greatest moments I ever had as an actress. Life-changing. Ready for a read? Get a cup of coffee. This is a beautiful book and I highly recommend it to anyone who wants to learn about acting process. It’s a memoir, with some amazing cameos, of course – he and Marilyn Monroe had a very special relationship – but how he thinks about acting – which I experienced working with him in that workshop – is also intoxicating. I TOOK to it.

Why Be Happy When You Could Be Normal?, by Jeanette Winterson
She has been one of my favorite contemporary writers ever since I read Sexing the Cherry, at random. I was so into her, I went on to read The Passion (for me, it’s her best), and everything else. She went off the rails, and I’m not as huge a fan of Writing on the Body as many many MANY others are – for me, it’s all about Sexing the Cherry and The Passion – those were the hooks – at any rate, it’s been practically a whole lifetime now of reading her work, waiting breathlessly to see what she would come out with next. Her very first book, Oranges Are Not the Only Fruit is basically a memoir – about her crazy childhood, growing up adopted – she was basically adopted by lunatics – and how she survived, as a little girl who wasn’t going to be like other little girls. This memoir, about her search for her birth mother, about coming to terms with having been adopted, about her whole journey, was enormously moving. By the end, there were passages where I felt like my heart was going to explode. I adore this book. I love her.

By Myself, by Lauren Bacall
A classic. Her journey is just so insane. Plucked from obscurity, plopped into To Have and Have Not (if you read any piece about “Greatest Film Debuts” and her performance in To Have and Have Not is not on the list, throw out the list. It’s no good). And falling in love with the much older and married Bogart. The kind of fame she got – overnight – rarely happens to any actor. Not to the degree it happened for her, when there weren’t other distractions, when everyone wasn’t compartmentalized into little cultural groups. She was top news across the land. This is a good book.

Life, by Keith Richards
I’ve said this before and I’ll say it again: If you are feeling introverted, if you are feeling lonely for conversation and human contact, no matter with who, read this book in public. People will come up to you when they see what you’re reading and have to talk about it. I read it when I was having a prolonged and almost hallucinatory manic episode in Memphis, where I alternately felt like I was in a transcendent state of truth OR like I was a ghost … I went for days without speaking to anyone and shit got spooky. I read Richards’ book at the bar at the Peabody Hotel – and a guy down the bar struck up a conversation and we ended up talking for 45 minutes. I realized I still knew how to talk to people. It happened again at a diner in Memphis where I was having breakfast. The 20something waitress had to talk to me about it. She had just read it. So. Take this tip, go forth, and have interesting conversations with strangers!

Elia Kazan: A Life, by Elia Kazan
One of my favorite memoirs ever written. It was hugely important for me. I read it in high school, after my revelatory viewing of East of Eden, which changed my whole world. I drank in Kazan’s words, his stories. I have read it again and again and again. He is not trustworthy. Of course. But he tells you that right up front. I am a liar. I will do whatever it takes to survive. This book has been a neverending source of insights, examples, thoughts, scaffolding on which to hang this or that point I want to make. You may remain seated, refusing to clap, when he gets his Lifetime Achievement Oscar. I’ll be standing up with Meryl Streep. The fact that I finally got to meet the man who had had such a huge impact on my life – at the Actors Studio – at a production of Awake and Sing – by his old friend Clifford Odets – initially put on by the Group Theatre, which he was a member of – and I was a “his Girl Friday” with that production – just like Kazan was a “his boy Friday” with the Group – was too much for me. I shorted out.

The World of Yesterday, by Stefan Zweig
Such a melancholy memoir. Zweig would commit suicide just a couple years later after fleeing the Nazis and ending up in Argentina. In this, Zweig evokes “the world of yesterday”: the Austria he knew and loved as a child and a young man, the “haven” for Jews, the place where they felt safe, where they could identify as Austrians, and not just visitors, or “tolerated.” Of course, this was all an illusion, and the shattering of that illusion would shatter Stefan Zweig. He would never recover. There may be rose-hued glasses here, but with a writer like Stefan Zweig, any colored glasses would be fine: you just want to read his writing, hear his insights, live his memories with him. This is such a mournful book.

Then Again, by Diane Keaton
I haven’t read her follow-up but this is terrific. It’s really all about her mother, and as I said upthread, often it’s these personal insights – not so much about the “business” – that makes these books what they are. These well-known figures often can write – and Keaton can write. I have always ‘related’ to her, and she, for me, is a role model into how to grow old. There are very few role models – in women anyway – who show us it can be as wild as youth and maybe even more interesting.

Me and a Guy Named Elvis: My Lifelong Friendship with Elvis Presley, by Jerry Schilling
What a wonderful and loving book by one of Elvis’ best friends. Jerry Schilling was a friend from way back, and – unlike other members of the “Memphis Mafia” – was never on Elvis’ payroll. He was just a trusted friend. Elvis, of course, helped him out financially – bought Jerry the house he still lives in! – but Jerry was not a dependent. This left the relationship pure. Jerry Schilling is a very loving man (his commentary track for Love Me Tender is affectionate and informative), and some of the pictures of Elvis provided in this book are so touching!

Born Standing Up: A Comic’s Life, by Steve Martin
I found this memoir surprisingly touching. He’s intelligent but also emotional, tender almost. It shows how carefully he thought about what he was doing as a comic in the 70s, which … I mean, I guess you had to be there. And I was too young to be there, but his fame trickled down even to me. There was this guy roller-skating across the stage on Carson, with an arrow through his head. I remember we had a talent show in 6th grade and one kid did a re-creation of Martin’s “King Tut.” So he had filtered down into all levels of the culture, even the grade-school set. I loved listening to how all of his different obsessions – magic, banjo – were all “of use” to him in crafting his weird persona in the 70s. And why the white suit? Everything he did was calculated, carefully chosen. Everything had a reason. I love this memoir.

Me: Stories of My Life, by Katharine Hepburn
The title is so perfect. ME. Now of course she doesn’t tell the whole truth about herself. I consider that to be her right. But what she DOES share is fascinating, and her way of writing sounds like how she talks – short phrases, incomplete sentences, but fragments building in power. The way she wrote about John Wayne! I treasure it, I quote all the time. And the Howard Hughes section. They really did escape fame together, two weirdos.

Goldie: A Lotus Grows in the Mud, by Goldie Hawn
If you haven’t read this, all I can say is: do yourself a favor and pick it up. NOW. It’s so special!!

It Would Be So Nice If You Weren’t Here: My Journey Through Show Business, by Charles Grodin
While his stories are great, I would also recommend this to young actors just starting out in the business. I read it when I was just out of college, and his attitude – his practicality – his humor – also the struggles – like, how hard it was to get anything going for real – was inspiring, helped adjust my head to the right attitude to continue.

The Salad Days, by Douglas Fairbanks, Jr.
What a charming and amusing memoir. Another lovely writer. Very touching memories of Joan Crawford, but also he’s able to write where you get a real sense of his gentlemanly personality.

The Kid Stays in the Picture: A Notorious Life, by Robert Evans
A stone-cold classic.

Born to Run, by Bruce Springsteen
I read this last year. It was as good as everyone says. You know what I love? His ego. It’s not small. And it makes you understand why he is who he is. Early on, he knew: I’m the head of this band. It’s about me. You could judge him for that, but that would just be asking him to not be Bruce. You don’t get to be Bruce through having a small ego. Sorry. You just don’t. You don’t glide into fame like he has without pushing. His is an improbable journey. A bar band from the Jersey Shore … I mean, what are the odds? Superstars? Stadium superstars with a career reaching almost 50 years at this point? WRF? It was through Bruce’s sheer force of WILL that what happened ended up happening.

Lana: The Lady, the Legend, the Truth, by Lana Turner
I have compared this book to George Eliot, and I stand by my statement. In the lexicon of actress memoirs, this is NUMERO UNO NO CONTEST.

Dear God, Have You Ever Gone Hungry?, by Joseph Bau
This is one of the most harrowing memoirs I have ever read. Joseph Bau was one of “Oskar Schindler’s Jews”. Member the short scene of the couple getting married at Plaszow concentration camp in Poland? That was Joseph and his wife Rebecca. It was Rebecca who got him onto Schindler’s list. Rebecca was a manicurist for Amon Goeth, which is how she got wind of “the list.” The Baus were eventually separated – think of this woman, who got her husband on the list, while she wasn’t on the list herself – think of that – She was sent to Auschwitz. She was marked for the gas chambers three times, by Joseph Mengele himself – and ended up escaping (once, literally: she snuck out of line and joined the other line, just for “examinations”). At any rate, she made it through the war – and husband and wife were reunited- by sheer chance – in a refugee camp. ANYWAY. What makes this book so haunting, besides the terrible story, is Bau’s illustrations. They are burned into my brain. They are living nightmares. Here is the cover:

And there’s more where that came from. Bau is a brilliant artist. The book at times is almost literally unbearable. But you never ever forget it.

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Review: AKA Jane Roe (2020)

I reviewed the new Hulu doc AKA Jane Roe, where “Jane Roe” (aka Norma McCorvey) makes her “death bed confession”, which I’m sure you’ve all heard about by now: it’s made international headlines, obviously since advance press screeners went out this week – the news exploded around the world. I walked away from this mostly blown away by the interview with Rev. Schenck. I treasure honesty like he shows. It’s rare in today’s black-and-white no-forgiveness-no-mercy world. This will be a minority opinion. But he is rocked to the CORE by what he was a part of, and he is willing to say he was wrong, and to do what he can do to repent and make it right. He came off devastated, as far as I’m concerned. I am also haunted by Connie, Norma’s life-partner, whom she was forced to relinquish once she got all tangled up with those Christian right bozos. Haunted by the whole thing.

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Dance, Girl, Dance (1940): Criterion release today 5/19

My second Criterion booklet essay to come out in one month. Taking a moment to be proud of this. First came The Great Escape (my essay here), and now my essay for the long-awaited release of Dorothy Arzner’s Dance, Girl, Dance. It was her penultimate film. She was the only female director under contract during the Studio era: her career ranged from the silents until her final film in 1943. She lived many more years, eventually teaching at UCLA, where one of her young students, Francis Ford Coppola, remembered her fondly. Dance, Girl, Dance stars Maureen O’Hara and Lucille Ball – plus Ralph Bellamy and Maria Ouspenskaya!. Here’s Arzner directing the film, chatting with Maureen O’Hara:

This film is well-known among serious cinephiles, particularly those who love pre-Codes, as well as feminist film scholars, and Lucille Ball/Maureen O’Hara fans. But it’s not as well-known to the general public, and so it’s really exciting that more people will be able to see it now, AND it’s an honor to be part of this release.

So! You can purchase the film here, and if you want to learn more about it, I researched my damn tutu off for the essay which is here: Dance, Girl, Dance: Gotta Dance.

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