Thank you for oh so many laughs, sweet man.
The final episode The Night Of, HBO’s engrossing eight-part series co-created by Richard Price, airs this Sunday and if you have not been watching, have a little binge and catch up—you’ll dig it. Price is a distinguished novelist and screenwriter—I love the talk in movies like The Color of Money and Sea of Love—and one of my favorite Scorsese flicks, Life Lessons. Like many of us—thank you, P. Kael—he lost it at the movies. Back in December 1982, American Film magazine published Price’s charming essay about some of his favorite movie theater memories, and, with the author’s permission, we’re happy to now share it with you. Dive in, this will make you happy.—Alex Belth
“Gorgo, Warhol, Rocky, and Me”
By Richard Price
Over the marquee of a beat-up two-dollar movie house in Times Square, there’s an ancient faded sign: “Get More Out of Life—See a Movie.” The visual contrast between that sentiment and the desperate seediness surrounding it would yield, in its bitter irony, a photograph worthy of Walker Evans.
Nonetheless, the sign gives solid advice. Movies have always been a source of self-realization in my life; from Jerry Lewis to James Dean to Woody Allen, the shock of recognition has always signaled the Big Change for me.
But there’s another source of epiphany in a movie house, one much more profound and subtle than the screen—and that’s the audience. And I’ve always felt that the action in the seats was the greater teacher.
Rebel Without a Cause was pure bush-league in the life-lessons department compared with the ever popular torture of trying to worm a finger inside a steel-trap bra while keeping a two-hour, eyes-ahead poker face, or compared with the frantic in-crowd scrambling for who-sits-next-to-whom seating among a group of thirteen-year-old boys. Deep Throat was a rambling, flatulent dirty joke compared with the awesome sexuality of first tongue kiss while watching Topkapi. Psycho was so much “Mister Rogers” compared with the torture of sitting in front of six greaser cretins, who, after ordering you not to turn around, amused themselves through Viva La Vegas by treating your skull to sporadic slaps and buttered popcorn.
Everything—sex, power, kindness, cruelty, love lost and found—was acted out in the dark, no “The End,” and nothing could be exorcised by chanting, “It’s only a movie.”
The following memories are selected from my personal Book of Revelations.
From the age of five to eleven, the highlight of my week was spending Saturdays with my grandmother, who lived in what is now known as the South Bronx. Our itinerary never varied: a double monster-movie matinee at one of the local theaters, dinner at a deli, and then back to her place for an evening of pro wrestling, roller derby, and “Zackerly’s Shock Theater” on the ole Emerson. But the crème de Ia crème was the monster-movie outing. She’d load up a shopping bag with sandwiches, fruit, and a few thermoses, and we’d head on out—nothing could be finer.
But it all began to fall apart two weeks before my twelfth birthday, when we went to see Gorgo.
Seated in the theater, surrounded by kids howling and yowling for the picture to start, my grandmother muttered her usual, “Animals,” a few times, jerking her head in annoyance to all points of the compass. One kid ten rows down from us got dragged out even before the lights dimmed. An eleven-year-old with a cigarette, dragged up the aisle by the tall, bony, gray-haired, tomahawk-faced matron in a white uniform like that of a school nurse, her eyes razors of determination, the kid trying desperately to be cool, trying to drag on his cigarette as he was hustled by his neck and armpit out of the theater, his friends laughing and whooing in a wolf chorus: “Efram, man, she too bad for you.” “Bite her, man.”
My grandmother squinted in admiration at the matron. “She’s a tough one.”
The kids were my age, but in every way it seemed like no contest; they were bigger, badder, louder, definitely not College Bound. As the matron came back down the aisle slightly huffing, my grandmother nodded to her. The matron smiled back a “How are you, dear,” then continued down to Efram’s friends brandishing her flashlight like a nightstick: “An’ if I see anybody else light up a cigarette, ya’s gonna get the same treatment.” That got a chorus of “whoos” as she tromped up the aisle, her face in an “I ain’t kiddin’” expression.
“Watch ’em,” my grandmother murmured. “I see two packs… these little bastards… just let ’em light up… they don’t think anybody’s watchin’.”
Halfway through Gorgo, while a mother dinosaur destroyed London in a search for her baby, one kid bent over the crotch of his friend for a light and both of us caught the brief orange flare reflected off the seat back in front of him.
She grabbed my arm. “We got him!”
The kid sat back in a low slouch, casually checking out his sides, the cigarette cupped inside his palm, lit end between his legs.
“Go get the matron!” my grandmother said, her eyes widening. I hesitated, not wanting to rat on another kid and not wanting to get beaten up. “Go, go! He’s almost finished!”
The matron was lounging against an archway, arms folded across her waist, eyes scanning the crowd. “Excuse me, miss? My grandmother wants to talk to you.”
She tromped down to our seats and bent over my grandmother, who didn’t say a word, just raised her eyebrows, made a slight motion with her head in the direction of that row of kids, and pressed two fingers against her lips as if she were dragging on a butt.
I saw all this from where the matron had been standing. I knew there was a chance that she would hustle this kid past me, that the kid would get a good look at me, and that maybe my ass was grass, but I didn’t really feel that worried. What I felt, more than fear was deep sorrow. For the first time in six years of movie outings with my grandmother, I found myself wishing I was one of her “animals,” wishing that I was sitting right in the middle of those kids, cupping a passed butt, taking a drag, and passing it on.
Much to my relief, the matron decided to lay off. When I sat back down, my grandmother was sitting hand to mouth, eyes wide, staring down at those kids. “Oh, honey, what a world,” she whisper-moaned, shaking her head behind her fist. “What a world…”
For the next several hours, I ate, she drank black coffee, too aggravated to eat, and we watched the kids. Every time one would come up the aisle to go to the john or get candy we would stare at him until our heads were almost completely turned around. We would do the same when he came back down. And we watched the movie. It struck me that my grandmother was a very lonely person and that in the very near future she would get a lot more lonely.
When we got out, it was twilight. The kids streamed around us, my grandmother’s tottering, arthritic bulk like a rock splitting rapids. One kid locked eyes with her, caught her death-ray sneer, and nudged his friend. My heart stopped. I envisioned my grandmother and me back to back fighting them off, but nothing happened, and I wound up watching them bop down the street, counting how many of them wore Keds and how many Converse.
THE DAY MARS INVADED EARTH
When we were all thirteen years old, my friends and I would go see any film anywhere at any time. We didn’t go to watch, we went to hunt. We knew that in every movie crowd there was at least one eighth-grade girl just sitting there waiting to put out. We’d go in, take a row, hiss, elbow each other, and snigger for two hours, then head on home calling each other faggots.
Everybody was pretty happy with the arrangement, but during Christmas break, early 1963, things were thrown into chaos at a neighborhood kiddie matinee of The Day Mars Invaded Earth.
Surrounded by seven-year-olds, we scoured the darkness, muttered variations on “I was up for it, too, man” and settled in for a few hours of wisecracks. At some point during the first hour of the movie, I was lurching down the aisle on my way back from a popcorn run when I heard someone hissing out my name. It was my main man, Howie, who, obviously out of his mind, was sitting in between two teenage girls. Giving me a look like he was sinking in quicksand, he said, “Hey, yo’, this is Jackie; she thinks you’re cute.”
Too freaked to think up an out for myself, I took the offered seat and concentrated on the movie. I had never wanted to be sitting next to a guy so badly as I did at that moment. The other girl was Jackie’s sister, Carol. Like the sluts they obviously were, they both had plucked eyebrows and more eye makeup than Cleopatra.
After a debonair half-hour pause to show her I was no beggar, I draped my hand along the back of Jackie’s seat and caressed Howie’s similarly outstretched arm. Howie responded by diddling the hollow of my elbow. I was in stud heaven for fifteen minutes before I glanced down and saw that both of Jackie’s hands were in her lap. Whipping my arm away from Howie’s like it was touching something with teeth, I sat reeling in retroactive revulsion, then made my move. I scored waist right off the bat. After what seemed like days later I made it up to the edge of her bra. Suddenly she hunched over and drawled out, “Hey Carol! I got another rib counter here.”
Carol had a look on her face as though she was at the end of a line at the Motor Vehicles Bureau; Howie was sitting there with his hands tucked in his armpits.
Turning back to me, Jackie grabbed my hand and planted it on her small left breast. My forehead tingled like a tuning fork. Now what? My hand lay on top of her sweater inert and splayed like a starfish until Jackie got up, gave her sister the high sign, announced a trip to the bathroom, took her umbrella and shoulder bag, and vanished forever.
When we all got outside, Howie bolted for a cab and rode alone the three blocks back to his house.
I walked home like Moses returning from a conversation with the Burning Bush. Oblivious to the frantic six-man press conference that circled me from the theater to my building, I was obsessed with trying to keep my wrist curled and my fingers spread in “the exact shape of Jackie’s breast. It had taken thirteen years for me to score, and, fearing that it would be another thirteen before I saw some action again, I felt that I had to preserve the mold of my conquest to tide me over the years.
But by the time I got inside my apartment, my hand was killing me. I began to panic. My first thought was to trace it on paper. Photograph it. Plaster of Paris. Luckily it was too late by the time I noticed the baby shoes on top of the family television. Before I realized that I could have bronzed it, my cramped hand had become unbearable and I had shaken it out.
THE T.A.M.I. SHOW
The T.A.M.I. Show was a rock concert filmed in 1964, at the dawn of the British invasion and the California sound. It was also the epitome of the racially integrated rock show, an amazing mix of three worlds—White America, Black America, and Liverpool—your hosts, Jan and Dean.
I saw The T.A.M.I. Show with three friends and our girls, all of us fifteen years old. My girl friend didn’t really love me, but in our crowd, if you weren’t part of a match, you might as well have a bell around your neck, and I was the only guy available. Unfortunately for me, I loved her madly.
All through Lesley Gore, the Supremes, Gerry and the Pacemakers, I sat there in the Saturday-matinee darkness totally focused on Mary’s hand, which lay in mine like it was carved from wax. Everybody around me was screaming and bouncing, and it pissed me off. I hated surfing music. I hated the British sound. And although I loved Motown, not even the synchronized svelteness of the Miracles could pull me away from agonizing over the implications of Mannequin Hand.
But suddenly, without warning, James Brown came flying across the screen, shrieking like he was on fire, and, without thinking, I found myself standing in a half crouch, pulling Mary’s hand over her head. Backed up by the Famous Flames, he seemed like the Devil in a doo, screeching and doing splits in celebration of his own bad-ass status. I’d never seen such a ferocious refusal to compromise, to “make nice,” and for twenty minutes he turned the world into something best seen from the portal of a Sherman tank.
The crowd was enjoying his set, but with a slight pall of wariness and detachment. There were no teen screams for “Please, Please, Please” or “Night Train” as there had been for “It’s My Party” or “Ferry Cross the Mersey.” James Brown was definitely not cute; no fantasy escort for a sweet sixteen. I felt as if all through the movie I had been at odds with the crowd and now we had just passed each other again. My girl friend stared at the screen like she was being forced to watch a massacre. She pulled her hand out of mine and crossed her arms in front of her chest. To hell with her.
At fifteen I had already established myself around school as a poet, but I was more into the wrapping than the gift. I wrote poems because it made my run-of-the-mill adolescent mooniness seem romantic and intriguing, elevated me from loner to lone wolf. Persona was everything because, allegedly, girls are suckers for uniforms.
But James Brown was a true outlaw artist, and sitting there watching him crooning and yowling, tearing up the boards with the smoking intensity of a flamenco dancer, face twisting and writhing into a catalog of passions, I found myself exhilarated by the making of art rather than the posing of the artist.
Walking out of the theater at two-thirty in the afternoon, I was astonished that it was still daylight.
I still wanted “poet” to shelter me from Mary’s coolness, still wanted “artiste” to rationalize my lovesickness as part of the forging process, but as I walked home, filled with the sights and sounds of James Brown, for the first time in my life I found myself wondering if I had any talent.
1970—Being in Love Means Never Having to Sit Through Andy Warhol
During the late sixties and early seventies, my college years, movies were divided into two categories: “Amerikan propaganda” and “surreal.” Any movie where the cowboys, the cavalry, or the GIs won the battle was Fascist and sinister. Same for anything heartwarming or corny—all “part of the problem.” Surreal became synonymous with Good: Fantasia,Betty Boop cartoons, Medium Cool, Easy Rider, Zabriskie Point, the Marx Brothers, W.C. Fields, Bergman, Putney Swope, Mickey One,anything low-budget or starring mainly unknowns or shot in black and white—all surreal, all good.
I saw all the required movies, in part because I was enjoying my new role as a hippie aesthete, but also because I was a devout believer in “no pain, no gain”—Sugar Pops tasted better, but oatmeal made you strong. Outside of the hip comedies, most of what I found myself buying tickets for seemed to me boring, pompous, or just plain incoherent. In my heart of hearts I was still a Sands of Iwo Jima junkie, but I restrained myself for the good of the Movement.
When I was a junior, I had a first date with a coed whom I didn’t know if I really liked or not. Date meant movie. Our choices were The Good, the Bad, and the Ugly, Nazi Sex Crimes in Third Reich Love Camp Number Seven, Slaves,and Andy Warhol’s Trash.
Five minutes into Trash I felt myself going into a coma. In the first forty-five minutes I left to go to the bathroom three times. I would have died before admitting I was stupefied with boredom. I wouldn’t even turn to my date for fear that she would see my eyes rolling up into my head. An hour into the flick she touched my arm and asked me what time The Good, the Bad, and the Ugly started. I was embarrassed to know, but when I told her she looked at her watch and said, “That’s in five minutes; if we run we can make it.”
I said, “This is starting to mesh,” nodding toward the screen, amazed at my own cowardice.
She sighed and whispered in my ear. “Last year I was handing out flyers for a student-worker alliance rally at some construction site in New York. Some Puerto Rican guy in a hard hat—we’re talking prime-target minority labor here—he took the flyer, read it, and gave it back to me. He said, ‘If you don’t like it here, go back to Great Neck.’ Now we have only three minutes to make it.”
Two blocks into our dead run for the Strand I was in love.
1976—Just One of the Boys
In 1976 I had my own apartment. Being a self-supporting writer and having just finished a novel, I found myself with too much free time on my hands. It was a restless, boring time for me, and I filled in a number of empty afternoons by going alone to the movies. These solo excursions didn’t bother me, because I didn’t really consider myself a lonely person. I rarely had dinner alone.
But I always hated seeing other people sitting in the dark by themselves. Anybody, young or old, three-piece suits or babushkas. I could account for my own circumstances, but I always saw the others as tragic loners, destitute hearts doomed to a life of Chock Full O’Nuts counters.
On one Tuesday morning a few months into my “fallow” period, I woke up with a bad case of the Gregor Samsas. I felt lethargic and aimless; the refrigerator was stocked, the rugs vacuumed, the roaches in temporary retreat. I had nothing to do and the day yawned open ahead of me like a stretch of Kansas highway. A movie day if there ever was one.
I went downtown to see what all the hoopla was about with Rocky. I was supposed to go to the movies that evening with a girl friend, but I knew she’d rather see Scenes From a Marriage minus the subtitles than submit to two hours of Meatball Ascending.
From the moment I sat down in the half-empty theater I knew I was in trouble. I found myself surrounded by lone men, and from the screen credits on, my attention kept shifting from Rocky to the 3-D sad sacks in the seats, all of whom seemed to be perfectly self-contained and enjoying the show. Nonetheless my heart went out to them.
Whenever I concentrated on the movie, I found myself getting hot eyes and golf-ball throat at the most embarrassingly inane moments: Rocky not having the heart to break a longshoreman’s thumbs, Rocky doing push-ups, Adrian slaving over kitty litter in the pet store. It wasn’t Rocky,it was all those guys around me, kicking my ass with their painful solitude.
And then the whole thing blew up in my face.
During the final round of the climactic fight, when Rocky and Apollo Creed were pounding each other to pizza, the Bill Conti score pulsing with Rocky’s superhuman efforts, the audience lost control and people started yelling and cheering for the Italian Stallion, egging him on; a few were on their feet ducking and weaving and throwing punches at the screen. Suddenly, the guy to my left, an enormously fat black man nursing a tub of popcorn, belted out, “For God’s sake, Rocky, you can do it,” his cheeks slick with tears. My first reaction was shock that he wasn’t rooting for the black fighter.
Embarrassed by his outburst, the fat man looked around to see if anybody was laughing at him. When he turned in my direction, I was waiting for him with a commiserating basset-hound face, but when our eyes met, the contact was more than I had bargained for. Neither of us could turn away. We sat there, entranced with each other’s grief, pop-eyed, our mouths working wordlessly like beached fish; then we simultaneously burst out crying. Afraid that he would offer me some popcorn, I bolted from the theater.
Two weeks later, I moved into a huge apartment, splitting the rent with three roommates.
1979—What Ralph Ellison Meant by “Invisible Man”
THE ONION FIELD
AII my life I’ve gone to movies in the Times Square area. The crowds are ethnic mix ’n’ match, the fare usually critical crap, but the action is nonstop. If the movie is going over, the house is pure empathic Sensurround; if it’s a dud, everybody just turns to each other for their five dollars’ worth. People bring in grass, radios, babies, and portable televisions. There are always a half-dozen flakes arguing with the screen and another bunch who have no idea where they are. For years I saw that scene as a major goof; I was proud of my ability to feel at ease in any movie crowd in New York, from the Gold Coast theaters near Bloomingdale’s to the two-dollar roach sanctuaries on Forty-second Street. Mister Manhattan..
One evening I went down to Times Square to see The Onion Field. It was a Friday night and the house was packed. I could have caught the movie in the Village or on the Upper West Side, but I wasn’t in the mood to sit there with people who might applaud cinematography credits. I wanted audience juice.
At first the crowd started out with the usual woofing and cackling, goofing on everything from John Savage’s glasses to Ted Danson’s bagpipes, but as the focus shifted to the relationship between the two cop killers, white James Woods and black Franklyn Seales, the party mood began to fade. Woods played a cool and domineering psychopathic con man, Seales a quivering, spineless petty thief, and every scene between them hammered home their master-slave relationship.
At first, the mainly black and Puerto Rican crowd responded with sullen silence, but after a particularly degrading exchange, someone lost control and yelled out, “Stand up for yourself, chump!” and the audience erupted, cursing out Seales. A spray of popcorn landed on the screen, but nobody laughed. No one cursed out Woods, like I expected. No one cared about the dead cop or John Savage’s slow breakdown. I was amazed at the fury around me, but I didn’t feel it in myself. I felt like a social scientist, an outsider. I realized I was surrounded by people who had no addresses, no childhoods, and no names for me. I was slumming. Always had been.
When the two killers came to trial, Seales finally rebelled. He started cursing out Woods—even tried to physically assault him, and the crowd cheered with humorless encouragement.
But the rebellion was short-lived. Once Seales got to jail, his lawyer informed him that unless he and Woods cooperated in court, they’d both end up in the gas chamber. Blubbering and shaking, Seales confronted Woods in the prison shower room to beg forgiveness, but Woods had his price, and as the black man slowly slid to his knees, the white man’s hand on the back of his neck, the crowd was on its feet shouting, “No!”—pleading and threatening.
A young black guy standing in front of me wearing a knit skullcap bellowed, “Be a man, you punk!” At the end of the scene he remained standing, heaving with outrage, staring’ wildly around the theater. He saw me sitting behind him, slouched down, my face partially obscured by my hand, and before sinking back into his seat, he glared at me and drawled, “You enjoying the show?”
* * * * *
And there are any number of Honorable Mentions:
◻︎ I was taken to see The Ten Commandments for my eighth birthday and experienced my first religious crisis when my father told me that not only was Charlton Heston just an actor playing Moses, but that the guy wasn’t even Jewish.
︎ Experienced another religious crisis years later when I found myself sitting through The Bible a second time just to see the Sodom and Gomorrah part again.
︎ Sat through three consecutive showings of Mean Streets one afternoon, then went home, rifled through a box of family photos, and started the first chapter of Bloodbrothers that same night.
︎ Realized that I was no longer part of the youth vanguard the day I found myself in a revival theater surrounded by a roomful of punky-looking kids cackling at the horrifically dated slang of Easy Rider and Woodstock.
︎ Saw a sneak preview of Bloodbrothers booed by a full house because everybody was expecting the sneak to be Superman.
But the strangest of all my movie house experiences had to be the night I sat in a huge theater and watched myself up on the screen in The Wanderers. I was on for two minutes, playing a lounge lizard in a bowling alley. I talked, I sneered, and I got strangled with my own tie.
Sitting there, I felt absolutely no connection between myself on the screen and myself in the audience; no excitement, embarrassment, anger, or giddiness. I became so unnerved by the numbness of it all that I had to turn my head away from the screen, and in an effort to come back into myself, I put all my energy into watching the crowd watching me.
If you don’t know from Eve Babitz, prepared to be charmed. I wrote about her last week over at Esquire Classic, and can’t recommend her two volumes of memoirs—Eve’s Hollywood and Slow Days, Fast Company—enough. For a little taste of Babitz’s talent, check out this 1987 profile of James Woods, which was originally published in American Film magazine and appears here with the author’s permission.—Alex Belth
“Out of the Woods”
By Eve Babitz
Whenever I think about James Woods, it is either as the affront he was in Split Image, where he plays the cure almost worse than the disease for a family who wants to have their kid deprogrammed from some Moonie-type cult, or else—and this is worse, especially since I was about to go to the Beverly Hills Hotel for one of those “interview breakfasts” in broad daylight—or else I see him hovering over Deborah Harry in Videodrome, helping her indulge her decadent, perverted taste for pain, sticking long needles through her earlobes, licking drops of blood as she slinks orgasmically beneath his hot breath, his hot eyes, his hotness—his coldness. Even Pauline Kael calls him James “the Snake” Woods.
“He’s such a sleaze, Eve,” says the only woman I know who’s immune to him. “He’s like the only guy in the eighth grade who knew about sex.”
“But someone had to,” I reply, thinking of the moment in Videodrome when James Woods spots this TV show of torture that at first he flinches from, but from which he cannot turn away.
Which is exactly how I feel about him.
* * * * *
The Polo Lounge (or the room right next to it where they serve their gardeny breakfast) is graced by ladies in pink outfits to match the pink tablecloths and pinkness of the Beverly Hills Hotel since time began. However, most of the patrons are in the movie business with a vengeance not to be denied. If you like this kind of thing, then the Polo Lounge is it.
He arrives looking like something fresh, aslant in the sunlight and breakfast shadows of an L.A. morning. His clothes are light, his feet are light, and his expression is blank. He seems as capable of being blown out the door as a tumbleweed.
An agent clasps him on the shoulder and says in his ear: “How would you like to do Dracula for Ken Russell?” Woods tells me about it as we move into the Polo Lounge, and I feel suddenly that he is as at home here as a hustler is in a pool hall. All that energy he usually uses to punch weasels into High Art is whirling through his bloodstream.
“Dracula,” I mutter, thinking it’s redundant: James Woods as Dracula—he already is Dracula.
“Hi Olivia, do you have some cream, sweetheart?” he greets our waitress as we settle into one of the ivy green booths. “Did you cut your hair? You look adorable,” he adds as he takes a menu from Olivia, whose hair is short, permed, and gray.
“Thank you,” she says, laughing. “It looks nice for about a month, then it gets too long.”
“Then you look like, uh.” He pauses. “Angela Davis.”
Olivia brings us breakfast, which for the forty-year-old Woods consists of a large orange juice, bacon (“real artery jammers, babe”), and a toasted bran muffin. No cigarettes—he gave them up several months before. Not long ago, he confesses, “I actually had one in my mouth and a match lit. And I thought: If God wants me to smoke this cigarette, he’s going to put this match right to the end of it and I’m going to inhale. And that very moment, God, believe it or not, masquerading as a second AD, came to the trailer and said, ‘You’re needed on the set.’ And I thought: Well, it may not be Jesus in a crèche, but it’s good enough for me.”
I am anxious to know how he feels to be nominated for Best Actor in Salvador. “It was the single happiest day of my life,” he says, looking very sincere and very unsnakelike. “It’s hard to explain, because people sort of expect me to be outrageous and cynical—and I am, about things that deserve cynicism. But I’m not cynical about things like having all your colleagues toast you with something like an Oscar nomination.”
“How did you find out about it?”
“I unplugged my phone in the bedroom and didn’t set the alarm clock, hoping to sleep through the nominations because they were at five-thirty in the morning, and I couldn’t imagine getting up to be disappointed one more time in my life. And I kept hearing the phone ringing in the other room. And I looked at the alarm clock and it was, like, five thirty-one. So I picked up the phone and it happened to be a friend of mine who had told me that I wasn’t nominated for the Golden Globes, when I was, because he got the information wrong. So I thought he was teasing. He said, ‘You got nominated.’ And I said, ‘This is not funny.’ And I hung up on him. And then the phone started ringing some more. He said, ‘I swear to God. Turn on CNN.’ And I turned it on and I was stunned.
“Actors pretend to be so blasé about this stuff: ‘Ah, the Oscars. They don’t mean anything.’ And yet I’ve never met an actor who hasn’t been rehearsing a speech every day of his life on his way to an audition.”
The agent bobs back, smiling loudly at Woods. “We just want to know, are you prepared to shoot Dracula in four days in between two pictures?”
“If I don’t have to do any overtime,” Woods replies.
The agent proceeds: “Listen, when we first tried to put this picture together four years ago, we got a call from this rock star and we flew to Washington, D.C., where he was doing a concert, and the guy actually told Ken that he would be prepared to drain his blood before shooting so he could really look the part—and he said he would actually sleep in a coffin to get into the role.”
Olivia serves us coffee, and the agent, at long last, leaves.
“This guy wants to drain his blood and sleep in a coffin’? It’s like Laurence Olivier’s great line to Dustin Hoffman, who stayed up four days to look tired. He said, ‘Can’t you try acting?’ ”
I am wondering whether he felt Platoon had anything to do with the renewed attention being lavished on Salvador.
“Luckily, Salvador was on videocassette at the time, and people started saying, ‘Gee, Platoon was good. I wonder what Salvador is like.’ The problem is that you try to put a film like Salvador in a theater when there’s fifteen hundred theaters with Pretty in Pink playing for the fifteenth week. Even though the theaters might be empty by the fifteenth week. But a lot of times, when you go to these sixplexes in some shopping mall somewhere in Costa Mesa, it’s the same six studio pictures.”
“So now that Platoon and Salvador have made it, are we going to see a slew of movies about Vietnam and Nicaragua and Beirut?”
“You know, for eighteen years of my career, I’d always hear that I wasn’t a leading man. I would say, ‘Well, how about Humphrey Bogart? How about Dustin Hoffman? AI Pacino? How about…?’ Even Bill Hurt is a good-looking guy, but he’s not some classic walking surfboard. Each time, they sort of get it, but they only get it that one time. It seems like they go out of their way to avoid quality, to find an excuse to hire every football player and model they can. It’s almost uncanny how difficult it is to convince them that maybe, instead of a run of movies about kids getting laid in the backseat of the car, maybe you could have a run of movies about Vietnam or Central America. There are two kinds of movies being made: There’s Ferris Bueller’s Day Off and there’s Ferris Bueller’s Day Off, you know, John Hughes’s imbecilic movies. Will I get invited to the prom or not? Who gives a rat’s ass.
“Now Platoon has finally done it. But if Oliver had the script of Salvador right now, and he brought it to a studio, they probably would say, ‘God, you’re great. And Platoon was sensational and we really want to be in business with you, but do you have anything else, maybe? Instead of this thing about Central America?’”
Before I met Woods for the first time, his press agent had told me, “The great thing about Jimmy is that you don’t really have to interview him. Once he gets going, he’s off.” It’s true.
“I hate the guy I played in Salvador—I think he’s a total asshole. I don’t hate him; I’m indifferent to him—the kind of guy who is a drunken, boring, disgusting fool who’s always gypping people with money and lying and bullshitting and all the other wonderful things that compulsive obsessives do—but I loved the story. And I found a way of turning that character into a fictional amalgam of what he is and what I hoped he could be in his life, which caused untold amounts of violence between me and Oliver Stone, but the final synthesis was worthwhile.”
“I hear Oliver Stone is pretty intense.”
“Well, he met his match the day he walked on the Salvador set in Mexico with me. But our arguments were over the right stuff. They were about interpretation, balancing the picture, not making it a polemic. Not making the character too heroic, which Oliver didn’t want. And not making him such a loathsome scumbag that the audience would be so turned off that they wouldn’t get any of it, which was my point of view. And so we had two very antithetical points of view that resulted, I thought, in a very constructive synthesis. And I like to work that way. If it’s all peaches and cream, you’re in trouble, believe me. It’s a cardinal rule of filmmaking that if everybody’s happy at the dailies every night, you’ve probably got a piece of junk on your hands. We struggled through that thing like a war. We’re great friends now.”
“Give me an example of a fight.”
“One day Oliver and I were having a terrible argument. And he said, ‘You know, you’re a rat and a goddamn weasel and I hate you and I hope you die!’ I said, ‘This is great—ten minutes before a scene.’ The next day, we’re doing the scene where I’m trying to convince Elpedia Carrillo to marry me. I was supposed to say to her, ‘OK, so I’ve done some bad things in my life.’ Instead, I said,’OK, I’m a rat and a goddamn weasel!’ And I threw it right in. And he said, ‘Oh, you had to embarrass me, right? You have to throw it into the take.’ And that came out of an argument that Oliver and I had. And he was gracious about leaving it in.”
“What did Richard Boyle think of your Richard Boyle?”
“Richard was pretty content to sort of try screwing the extras and having free lunches and free drinks—which I say affectionately. He was always on the set and, in all seriousness, was concerned to make sure the Salvadoran uniforms looked right, and that the peasants looked right, and so on.
“At one point, one of Boyle’s friends there said, ‘Richard would never wear a Hawaiian shirt.’ I said, ‘No, but on the other hand, what Richard really wears is so frigging ugly that if you put it on the screen, people would walk out of the theater.’ I mean, he has the worst taste in clothes imaginable. My shirts weren’t what he would wear in actual fact, but they did poetically capture the spirit of Boyle more than what Boyle himself would actually wear.”
“So I guess you’d work with Oliver again?” I break in, spearing a strawberry.
“He wanted me to do Platoon, but I didn’t want to go get any more tropical diseases this year,” he replies. “I’ll stick by Oliver, even if his next one isn’t courted and wooed by the critics. I know the vagaries of this business. I know that they can turn on him like a lightning bolt. They may; I won’t. You know, John Daly, chairman of Hemdale, is doing Oliver’s film after the next one. When the bigwigs who all turned down Salvador and Platoon wanted it, he said, ‘Hey, John Daly was my friend. John Daly’s got it.’ I had a studio exec say to me, ‘Well, Oliver Stone doesn’t want to talk to me.’ I said, ‘Well, he knows that you hate him. You may work on the premise of “Hey, if it’s big bucks, screw it!” But there’s a moral consideration. You spit in a guy’s face, he doesn’t wipe it off with a hundred dollar bill. You think I’m a piece of crap? Then I’ll just stay a piece of crap and now you can’t have me, even though I’ve been dipped in gold. Oliver believes in something. You don’t. That’s the difference.”’
* * * *
I first met Woods in a nunnery—that’s right, a nunnery—in downtown L.A., built on a giant estate overlooking the entire smog-laden city baking in eighty-five-degreeish desperation. The bougainvillea are staggered on the terraced garden walls; the walls are stained an Italian sepia, like a Leonardo line drawing. The mixture of downtown L.A. and this thrust of pastoral, idyllic Italy is unnerving.
But then, what about Jimmy Woods isn’t.
The movie is called Best Seller and it’s about a Joseph Wambaugh-type cop-writer (Brian Dennehy) who is contacted by a white-collar hit man (Woods) who wants Dennehy to expose the corporation he works for.
When filming stops for resetting the cameras, Woods comes to me in his Armani suit and we begin to walk down to his trailer.
Me: “Let’s get serious. Where do you get your technique?”
Him: “What kind of technique?”
Me: “Do you have any technique other than plowing forward?”
Him: “I don’t even know what you’re talking about—technique for what?”
Me: “Acting, acting, what you do.”
Him: “Yeah, I put batteries in my alarm clock and try and get here on time.”
Me: “Do you have a philosophy of acting?”
Him: “I admire the James Cagney ‘plant your feet on the ground, look the other guy in the eye, and tell the truth’ school of acting. I’m not into the ‘four hours before you go to work pretend you’re a radish’ school of acting.”
By now we’ve reached this kind of luxurious trailer and spend the next few hours facing each other in claustrophobic air-conditioning across a table in a breakfast nook meant for old retired couples to play gin rummy.
Me: “They said you quit the Tavianis’ new film because you were afraid of being kidnapped and wanted a twenty-four-hour-a-day bodyguard.”
Him: “Actually, it was a stronger reaction. It was when I read that France and Italy provided safe havens for terrorists—and had a tacit agreement with them. And I thought: You bastards weren’t objecting when we left half a million American bodies here to protect your grandmas from being raped by Russians drinking gasoline in 1945. You know what, why don’t you rely on Libyan tourism?”
Me: “Are there any kinds of roles that you don’t want to do, or that you wouldn’t accept?”
Him: “I have made a conscious effort in the past year or two to avoid villains, only because I did a couple that were rather well received, even though they were extremely different characters. But the press can tend to typecast you. Best Seller is my farewell to villainy, but it was such a delicious character, I couldn’t resist it.”
An AD comes to summon Woods to the set. He stands in line with the rest of the people, assembling his lunch—pork chops, apple sauce, peas, mashed potatoes with lots of gravy, and chocolate milk. Director John Flynn comes over and says, “He acts with a pin stuck through his muscle. It gives him that edge. Otherwise he falls asleep.”
“Yeah, with you directing, I’m surprised I don’t have narcolepsy.”
“Yeah, when you sit through the rushes—”
“We could bottle those babies and sell them for Valium.”
* * * * *
Fade to pink and the slanting sunlight of a Beverly Hills morning. We’re back at the Polo Lounge. These days, Woods is busy on a new project for Atlantic Releasing Company, except that this time he’s behind the camera, as well as in front of it. He’s coproducing a film based on the novel Blood on the Moon, a murder-suspense thriller in which he stars as a Los Angeles police detective. I wonder whether, in his role as a producer, he is “nice”?
“I’m never going to be nice. Nice is what studio executives are when they’re offering your part to somebody else behind your back after they’ve already made a deal with you.”
“So what’s it like to be a producer?” I ask.
“It’s great, because I treat people the way I would like to have been treated when I was only an actor,” he says, pushing his plate aside. “It’s easy, if you’re honest—if you’re straightforward. If I’m asking somebody to work for less than the usual salary, what I do is bring out the budget and show it to them. I don’t bullshit around with them.”
“There’s been a big stir about David Puttnam coming out against inflated stars’ salaries,” I say, glancing at the movers and shakers at nearby tables. I can talk Industry with the best of them.
“But it’s not just the stars’ salaries, it’s the executive producers’ salaries. I know that people do not go to see a movie because Jon Peters produced it. They go to see a movie because Robert Redford is starring in it. Or Oliver Stone directed it. I mean, the people who make movies should get paid for making movies, and the people who make phone calls should get paid for making phone calls—by the hour. Unfortunately, they’ve got it all backward in this business.”
Suddenly he looks almost remorseful. “Don’t get me wrong,” he says. “There are studio heads who are friends of mine, whom I like very much. I always dump on these guys and I don’t mean to, because I do not envy them the task they have before them. If I had to answer to the people they have to answer to, I’d probably hang myself. Their job is to make money. The Killing Fields was a studio movie. Terms of Endearment, finally, was a studio movie. And they were great movies.”
This is almost too nice, so I change the subject. “You once told me that it’s usually a bad sign if everything’s going peaches and cream. Do you know when it’s working and when it’s not working?”
“Almost invariably. Not only the performance, but the feeling on the set. I mean, if I see, like, an unbelievably stupid costume on somebody, chances are that there’s five other unbelievably stupid costumes on other actors, because people are either good at what they do or bad at what they do. And usually they’re bad, not for lack of talent, but for lack of dedication. And that drives me crazy. The one thing that makes me want people to disappear from a set is that they’re too busy doing something else and don’t have time to do the job that they’re getting paid for. You know, buying a string of condos in Marina del Rey or whatever else they have on their mind. My attitude is that when you make a film, you eat, drink, and sleep it. And be thankful that you can go twenty-two hours a day, because if you’re spending any time less than that, you’re probably not giving it your best shot.”
“Are you interested in directing?” I ask.
“The T-shirt at Creative Artists Agency—have you ever seen it? It’s an agent sitting behind his desk, holding his head in his hands, and there’s a chair with a dog sitting in it, smoking a cigarette, and the suitcase he has says, ‘Ralph, the Talking Dog.’ And the caption is, ‘Of course, what I really want to do is direct’: So, you know. If I ever direct, you’ll know when you go to see the movie, and you can tell me.”
“Is there anything else you’ve always wanted to—”
“—the world? No. I’m fine. See, I wasn’t terrible after all. It’s all a myth.”
I actually had hoped not. But maybe so.
[Our old pal Robert Ward has been telling a story about Rod Steiger for years and he’s kind enough to drop by and share it with us. For some good ol’ on location movie fun, check this out.—Alex Belth]
By Robert Ward
I was in Durango, Mexico in the 70’s on the set of a movie I had written called Cattle Annie and Little Britches, a comic western starring Amanda Plummer as Cattle Annie and Diane Lane as Little Britches. The male stars were Burt Lancaster as Bill Doolin and Rod Steiger as Bill Tilghman, the sheriff who hunts the gang of outlaws down. The whole tale was pretty much true, about the teen aged girls joined the infamous Doolin Dalton Gang. They were smarter than the boys and ended up planning their robberies.
The shoot was going fine until Rod Steiger showed up. He and Lancaster hated one another because of some financial matter, which had transpired years back when they were going to be in the movie making business together. Apparently, Rod pulled out at the last minute and the whole project nearly fell apart. Lancaster kept it together with other people but there was still bad blood between them. Perhaps that was part of the reason for the ghastly things that transpired that night. That and the fact that Steiger was on the down side of his career and was feeling vulnerable.
In any case we held a first night “welcome to the movie ” dinner party for Rod at a real Mexican restaurant in down town Durango, with real Mexicans in it. Everyone but the movie people and Rolling Stone writer Jack Hicks were local folks. The party started on time but Rod showed about a half hour late. He was seated in the middle of the table next to some of the gang members, cowboys like Kenny Call, who had won every major rodeo award known to man. Rod objected to this seating and demanded to be at the head of the table where the producer Rupert Hitzig was sitting. Under his breath he mentioned his Academy Award for “The Pawnbroker.” Rupert happily gave up his seat to Rod, who was now sitting next to me.
We all started eating, and drinking, trying to forgetthe nasty vibes Rod had laid on the gathering. Things seemed ok, until this young girl got up with her guitar. She was about 14, and sang these earnest love songs in Spanish walking among the tables as she warbled. She was young, beautiful and her songs were heartfelt. Everyone loved her, the Mexican patrons, and our table applauded fiercely. Everyone but one man, Rod Steiger. He looked at me and said, “Do you see what she’s doing?” I said, “Yes, she’s singing a song and doing it quite well too.” Rod glared at me and said “No, she is trying to destroy me! I heard you play the guitar today Ward. Get it from her. We have to top her!”
I tried to reason with him. “Rod, you’re a international movie star. You don’t need to compete with a 14 year old girl.” Rod looked at me, said “You obviously know nothing about competition. You must always compete with anyone who tries to top you.” Reluctantly, I asked the girl if we could borrow her guitar. She was happy to loan it to us. I sat down and started playing some blues licks and Senor Rod got up and began to improvise a blues song which sounded like something Sophie Tucker might have sang.
Hideous would not be too strong a word to describe his singing. He pranced through the tables, sometimes hitting them, and upsetting glasses of wine and beer. Yet, the patrons were kind and clapped for him, some even yelling “Hooray for Senor Rod.” He sat down and smiled in a victorious way and we all began to eat again.
It was then that I noticed these four swarthy Mexican workers staring at us. These guys were muscular and wore grimy shirts. They had obviously just come off some tough job. They didn’t like Senor Rod. They didn’t like me, the guitar player, I was pretty certain. I tried to ignore them. Everything seemed to cool down. That is, until the girl got up and sing again. This time she sang the song of her native town, Durango. Heartfelt sentiments about her home, city of her family, city of her heart. People went crazy whistling, yelling.
Senor Rod looked at me. “Get the guitar, Ward. You don’t understand, we can’t give in!” I looked at Hitzig who whispered that I had to play or Rod might not show up tomorrow to say his lines! So I borrowed the guitar again, feeling like the biggest ass in Mexico. This time Senor Rod got up on the floor and poured Cognac into people’s drinks as he waddled around singing more of his horrible, show tune blues. This time there was practically no applause and the four tough workers glared at all of us. It was now obvious to everyone in the place that Rod was trying to top the local heroine. And failing miserably.
Everyone in our party felt that disaster was about to strike us all so we paid the bill and ran out to the cars which waited to take everyone to the safety of the set encampment. A few seconds later everyone was safely whisked away. That is, everyone but Rolling Stone reporter Hicks and yours truly. We were mere writers after all. Who cared what happened to us? So we were left out in the street outside of a restaurant where inside lay a gang of Mexicans who rightly hated us as the ultimate Ugly Gringos. I prayed a little: “God, don’t let that door open until we can call for a cab.” I put pesos into the pay phone on the corner and waited. And then it happened.
The door to the cafe opened and the four Mexican hardasses who had been eyeing us all night, stepped out, and walked toward us. They walked in lockstep and looked like they were out to kick some serious American butt. As they got closer I whispered to Hicks, “This is it man. I’m hitting the first guy and you get the guy on his left” “What then?”Jack said. You’re your ass off.” Was my clever reply. They came closer, closer still and then the toughest one stopped, only a foot away from me. He stared into my eyes and said: ” Hey man you play Chuck Berry?”
I was so stunned by this friendly request I almost answered with the a hostile reply. Then I heard what he had actually said. Stunned, I smiled and said, “Hell yes, I do.” He smiled and said, “Then come on back in. Let’s have some fun, man!” And Hicksie and I went back in with our new amigos, and played all night. As we drank and sang “Maybelline,” the toughest one, Julio, looked at me, laughed and said, “You know Bobby, we all knew you hated Senor Rod as much as we did.” They were right, I did.
Check out Michael Sragow’s admiring review of Once Upon A Time In America and then dig the restored director’s cut that was released a few years back. I haven’t seen the movie since the Eighties. It’s time.
This past weekend over at The Stacks, I reprinted Peter Richmond’s 1992 GQ profile of Eddie:
“[My] popularity after Beverly Hills Cop—all that ‘He’s so hot’ shit—everything was going out of control. Everything came too easy … And when the laughs come too easy, you start doing things like walking through movies. You get too comfortable. You start getting out of control. You start tripping. You argue. You get the big head. You wear a leather suit and a glove with a ring on the outside.
“And I let myself get fat. There’s nothing like going into a movie theater and looking up on screen and you’re a fat guy in a bad movie.”
Here he laughs. Not the “Eh! Eh! Eh!” laugh, though—he never laughed that laugh in his customized bus.
“But I came out of that head … Now I’m as happy as I’ve ever been. I’ve got a beautiful chick, a beautiful daughter [Bria, age 3], a great record, a great movie. But it was a long time coming.”
Image via A Quiet Lion.
Hey, if the weather isn’t going to cooperate at least this flick might give you a good chill.
You guys know me as a P. Kael freak so you can imagine how honored I am to be able to reprint one of her reviews–of a fun movie too (Damn, I miss Raul Julia):
The movie is a confluence of fantasies, with a crime plot that often seems to be stalled, as if a projector had broken down. A good melodramatic structure should rhyme: we should hold our breath at the pacing as the pieces come together, and maybe smile at how neat the fit is. Here the pieces straggle, and by the end you’re probably ignoring the plot points. Raul Julia, who turns up as the Mexican Comandante Escalante, has a big, likable, rumbling presence; his role recalls the Leo Carrillo parts in movies like The Gay Desperado, with a new aplomb. And for a few seconds here and there Raul Julia takes over; he’s funny, and he detonates. (The character’s lack of moral conflicts gives his scenes a giddy high.) Then the film’s languor settles in again. An elaborate government sting operation waits while Mac and Escalante play Ping-Pong, and waits again while they sit in a boat and Mac talks drivel about bullfighting. (It’s the worst dialogue in the film; for sheer inappropriateness it’s matched only by Dave Grusin’s aggressive, out-to-slay-you score.)
Most of the dialogue is sprightly—it’s easy, everyday talk that actors can breathe to. But Towne’s directing is, surprisingly, better than his construction—maybe because when he plans to direct he leaves things loose. He says, “I make the character fit the actor, I don’t try to make the actor fit the character.” That sounds as if he’s highly variable, a modernist. But he isn’t. He likes bits from old movies, such as having the cops who are planning to surprise Mac be so dumb that they leave peanut shells wherever they’ve been posted. The difference between the way Towne handles the peanut shells and the way a director of the thirties would have (and did) is that he doesn’t sock the joke home; he glides over it. He wants the effect, yet he doesn’t want to be crude about it, so he half does it. Almost everything in the action scenes of the last three-quarters of an hour is half done. Often he gives you the preparation for action and no follow-through; sometimes the reverse.
Huge thanks to Kael’s daughter, Gina James, for giving me permission to share this with you.
About four months ago, I screened a beautiful 35mm print of the picture for my daughter and her friends. “Why do we keep watching this?” I suppose it’s [Joseph] Cotten and [Alida] Valli – that’s the emotional core of the picture. For instance, the scene where Holly Martins (Cotten) finally goes to her apartment. He’s a little drunk, and he tells her he loves her and he knows he doesn’t have a chance. That’s when she says, “The cat only liked Harry.” So that leads right into the great revelation of Harry Lime in the doorway with the cat – which is iconic. But it’s more than that – it’s one of the great epiphanies in movies: the cat turning the corner and nestling itself on those wing-tip shoes, and then Harry Lime being revealed when the light is turned on in the doorway and it shines in his face.
Remember Walker Percy’s great novel The Moviegoer? He refers to that moment in such a beautiful, special way. It became a moment internationally, a shared experience for a vast audience seeing that film. It’s not just a dramatic revelation – there’s something about Orson Welles’ smile at that point that shifts everything to another level, and it sustains no matter how many times you see it. Welles comes into the picture about halfway through. That’s the first time you actually see him, after you’ve spent so much time picturing him in your mind because everyone has been talking about him and thinking about him. So that might be the best revelation – or the best reveal, as they say – in all of cinema.
This one goes to eleven.
Remember the old Bugs Bunny cartoon where the airplane is plummeting to the earth and we see the numbers on the speedometer getting higher and higher, faster and faster and finally it says: “Silly, isn’t it?”
I kept waiting for a cutaway to that line as I watched Mad Max: Fury Road. There were moments that I laughed out loud because there’s a Looney Tunes quality to the movies’ craziness–I don’t know what other response you can have. I didn’t find the movie thrilling or suspenseful or even tense. There are some scary moments, but nothing that freaked me out. I felt excited in an over-caffeinated way, but it’s so over-the-top, so fantastic, I almost immediately felt detached and after about 15, 20 minutes, bored. It’s magnificent but not for me.
I was talking to a friend recently about appetites and he called himself a pathological maximalist. Forgive the pun, but I kept thinking about that as I watched Fury Road.
The ads boast that the movie was made by “Mastermind” George Miller and that’s no stretch. This isn’t the work of a director. This is a finely tuned, well-realized orchestration from a mastermind. It’s not pure chaos. There is a keen sense of pacing, there are quiet scenes, with breaks in the action, but really I thought the whole thing was akin to watching two-plus hours of slam dunk highlights. It’s an extended guitar solo, an orgy of technical virtuosity, one stunt more improbable than the next. The technique is formidable and some of the images are captivating–though I dare you to recall any specific images after being bombarded by so many. But the story–which at times suggests Thunderdome as much as The Road Warrior–is corny despite its admirable political sensibility. The dialogue is so sparse that it is easy to laugh at–B-movie fromage. The early movies had that quality too but they also had more of a low budget vibe, a punk vibe. This is Cirque du Soliel, this is Vegas, Grand Theft Auto. Miller’s left punk behind. This is rock opera video game for the hyper modern age.
I’ve read Tom Hardy, who plays Max, say that he had no idea what Miller wanted him to do during filming and I think that comes across. Not that it matters–Max is just an action figure who is playing the role of second banana (the lead is played by Charlize Theron). But it’s too bad because I liked Mel Gibson’s tortured hero of the early movies. (And I liked his dog.) There is nothing of the immediacy and realism of the first two movies here. Even if they were cartoons, there was a semblance of credibility, too Here, Max is captured, chained, and when he breaks free, instead of collapsing from fatigue, he springs to life like the Hulk.
I suppose this movie is in step with the times. Maybe that’s why the critics have fallen all over themselves writing about it. How can you ignore not admire such technical brilliance? But this is the kind of roller coaster that doesn’t appeal to me. It’s remarkable and if you like your thrills and spills larger than life you’ll dig it.
The rest of you can spare yourself the pounding.
The Road Warrior is one of my favorite action movies. Mad Max is creepy as hell, too. The thing about the first two Mad Max movies is that for all the unrelenting action, and despite the fantastic premise, it’s all rooted in credibility. I always felt that part of Miller’s achievement was to make you believe you are there–with these guys coming after you. They are a comic book–and the third movie went someplace that didn’t really appeal to me)–but realistic in a strange way; that’s what made them so frightening and effective. (The second movie also has some nice comedic touches).
Plus, I liked Max’s dog.
The new one looks pumped up with the action and pyrotechnics. I hope that same sense of urgency and credibility exist.
Mad Mad: Fury Road is supposed to be dope. Think I’ll have to cart my ass to the theater for this one.
Her career is pure stardust.
She was a teenage model in Italy, came to New York City at eighteen, and left for Los Angeles when her knees gave out for good; there she was discovered by her first manager, who was in line at the bank where she was trying—loudly and without success—to cash her last New York modeling-job check to keep her room at the Farmer’s Daughter, formerly an L. A. fleabag. But Theron came up hard in a hard country, on a hard continent.
“On the street where I was raised—75 percent of the people who lived on that street are not alive anymore. For no reason. For nothing. Life means nothing. In my formative years, I was in an environment that was filled with turmoil—political turmoil—in a world that was incredibly unsafe. And still is. In the early nineties, we were number one in homicide in the world. In HIV/AIDS, we’re still number one. We were number one in carjacking; I think we’re now number three. It became a place where the value of life—there was no value of life.
“You can’t oversimplify it; it comes from a very real place. It’s sad, because the people are good. They’re good people, and they’re resilient people, more than anywhere else in the world that I’ve ever come across. There’s something about South African flesh—we get up and we move forward, and we sometimes don’t take a moment for a little bit of self-awareness or self-pity. We’re such beasts at having to survive—I have the utmost respect for that, but it’s not the healthiest way to go through life. We’ve become a generation in South Africa that is driven by very valid anger, but the cost is coming at such a high level—and that’s a painful thing to watch. A lot of my emotional drive comes purely from the fact that I was born on that continent, and that I was raised there, and that it was different. I have a very strong relationship with Africa, one that’s built on lots of love and massive pain.”
I’m not a Hitchcock fan but I’ve probably seen close to half of his movies. Never saw Rear Window, though, just bits and pieces on TV. Until last week when I was in L.A. and went to see a screening of Rear Window at a revival theater in Santa Monica.
I had a good time; it was fun watching the movie with an audience.
I didn’t realize how erotic it is. I especially like this scene with Grace Kelly and Jimmy Stewart.
A few days ago I curated the following essay by Charles Simic on Buster Keaton over at the Daily Beast. Check it out, won’t you?
Comedy is about timing, faultless timing. It’s not so much what the story is about, but the way it is told, with its twists and surprises, that makes it humorous. Keaton draws a hook with chalk on the wall and hangs his coat on it. A brat in the theater drops his half-sucked lollipop from the balcony on an elegant lady in a box who picks it up and uses it as a lorgnette. The hangman uses a blindfold intended for the victim to polish the medal on his jacket. The shorts, especially, are full of such wild inventions. No other silent-film comic star was as ingenious.
Among hundreds of examples from Keaton’s films, one of my favorites comes from the short Cops. At the annual New York City policemen’s parade, Buster and his horse and wagon find themselves in the midst of the marching cops. Buster wants to light a cigarette, and is searching his pockets for matches, when a bomb thrown by an anarchist from a rooftop lands next to him on the seat with its short fuse already sizzling. There’s a pause, “an inspiring pause,” as Twain says, building itself to a deep hush. When it has reached its proper duration, Buster picks up the bomb absentmindedly, lights his cigarette with it as if this were the most normal thing to do, and throws it back over his head.
The short Cops is paradigmatic Keaton. Again, the plot is simplicity itself. In the opening scene we see Buster behind bars. The bars turn out to belong to the garden gate of the house of a girl he is in love with. “I won’t marry you till you become a businessman,” she tells him. Off he goes, through a series of adventures, first with a fat police detective in a rush to grab a taxi, the contents of whose wallet end up in Buster’s hands. Next, he is conned by a stranger who sells him a load of furniture on the sidewalk, pretending he is a starving man being evicted. The actual owner of the furniture and his family are simply moving to another location. When Buster starts to load the goods into the wagon he has just bought, the owner mistakes him for the moving man they’ve been expecting. His trip across town through the busy traffic culminates when he finds himself at the head of the police parade passing the flag-draped reviewing stand where the chief of police, the mayor, and the young woman he met at the garden gate are watching in astonishment. Still, the crowd is cheering, and he thinks it’s for him. After he tosses the anarchist’s bomb and it explodes, all hell breaks loose. “Get some cops to protect our policemen,” the mayor orders the chief of police. People run for cover, the streets empty, the entire police force takes after the diminutive hero.
What an irony! Starting with love and his desire to better himself and impress the girl he adores, all he gets in return is endless trouble. It’s the comic asymmetry between his extravagant hope and the outcome that makes the plot here. The early part of the movie, with its quick shuffle of gags, gives the misleading impression of a series of small triumphs over unfavorable circumstances. Just when Buster thinks he has his bad luck finally conquered, disaster strikes again. The full force of law and order, as it were, descends on his head. Innocent as he is, he is being pursued by hundreds of policemen. Whatever he attempts to do, all his stunts and clever evasions, come to nothing because he cannot outrun his destiny. After a long chase, he ends up, unwittingly, at the very door of a police precinct. The cops are converging on him from all sides like angry hornets, blurring the entrance in their frenzy to lay their nightsticks on him, but incredibly Buster crawls between the legs of the last cop, he himself now dressed in a policeman’s uniform. Suddenly alone on the street, he pulls a key out of his pocket, locks the precinct’s door from the outside, and throws the key into a nearby trashcan. At that moment, the girl he is smitten with struts by. He looks soulfully at her, but she lifts her nose even higher and walks on. Buster hesitates for a moment, then goes to the trashcan and retrieves the key. “No guise can protect him now that his heart has been trampled on,” Gabriella Oldham says in her magnificent study of Keaton’s shorts. At the end of the film, we see him unlocking the door and being pulled by hundreds of policemen’s hands into the darkness of the building.
What makes Keaton unforgettable is the composure and dignity he maintains in the face of what amounts to a deluge of misfortune in this and his other films. It’s more than anyone can bear, we think. Still, since it’s the American Dream Buster is pursuing, we anticipate a happy ending, or at least the hero having the last laugh. That’s rarely the case. Keaton’s films, despite their laughs, have a melancholy air. When a lone tombstone with Buster’s porkpie hat resting on it accompanies the end in Cops, we are disconcerted. The images of him running down the wide, empty avenue, of his feeble attempt to disguise himself by holding his clip-on tie under his nose to simulate a mustache and goatee, are equally poignant. Let’s see if we can make our fate laugh, is his hope. Comedy at such a high level says more about the predicament of the ordinary individual in the world than tragedy does. If you seek true seriousness and you suspect that it is inseparable from laughter, then Buster Keaton ought to be your favorite philosopher.
Little Boy Blues is Malcolm Jones’ beautiful memoir about growing up with his mother (and sometimes, his father) in North Carolina in the late Fifties and early Sixties. It’s my favorite kind of memoir–understated, succinct, honed. The prose is precise without being delicate: “My father was a quiet man. If he put more than two sentences together, that was a speech. There was nothing forbidding or taciturn about his silence, though. On the contrary, it was somehow companionable, almost comforting. He wore his quietness lightly, like a windbreaker.”
The book’s also funny: “On the one hand, I was an incorrigible optimism. I had no reasons for this, never figured out where this notion that things were bound to get better came from, but nothing could extinguish it. At the same time, I spent a good part of every day being terrified of something–anything from mayonnaise in sandwiches to batting against the older kids in backyard baseball games. I was like the boy who confronts a roomful of manure and becomes convinced that somewhere in that room is a pony. It was just that I was equally convinced the pony would eat me.”
I think you guys would dig it. Here’s a taste for you, reprinted with the author’s permission.
From Little Boy Blues
By Malcolm Jones
It was still hot outside when we left the movie theater. I had expected that. It was the darkness that took me by surprise. We had gone in while it was still broad daylight, and now it was full dark, an impenetrable darkness made even thicker and blacker by the humid heat of a late-summer night and the myriad tiny white-hot lights burning in the ceiling that projected well past the ticket booth, all the way out over the sidewalk, where the lights mapped a bright island on the concrete sidewalk. The ceiling supported an electric sign that spelled out, in a foursquare block-letter style, the word WINSTON, blazing in the night. Time had gotten away while I wasn’t looking.
“What are you waiting for, honey?” my mother said. “Let’s go.”
I was stuck in that island of light. We had crossed the thickly carpeted lobby lined with wall sconces generating just enough illumination to make the small room resemble a cave. We had pushed through the lobby’s heavy metal doors draped in lush velvet curtains, passing out of the twilit dimness of the lobby into the abrupt brilliance of the outside foyer. And there, between the theater and the real world, with my mother marching ahead, already almost to the sidewalk, I stopped to let my eyes adjust to the hot light that seemed to set the night on fire. The first things I saw when my vision returned were the heavy chrome and glass cases set into the walls flanking the foyer. Each case contained half a dozen stills from the film we had just seen, and every image shimmered like a tiny mirage. And there I stopped.
Mother was still speaking, but I barely heard her. I was too busy concentrating on the scenes depicted in those glass cases. My eye moved from one image to the next, dawdling the longest on Peter O’Toole as T. E. Lawrence striding down a sand dune toward a dynamited train lying on its side in the desert. Beside it was one of Lawrence smeared with blood after butchering Turkish soldiers on his way to Damascus. The movie ate up all the space in my head, addling me so thoroughly that I could not find words to express what I felt. I was not the same person who went into that movie theater, and I was having trouble catching up with myself.
Lawrence of Arabia was by far the most complex film I had ever seen, starting with an early scene in British headquarters in Cairo where Lawrence was a mapmaker. A soldier pulls out a cigarette. Lawrence lights it for him and then lets the match burn all the way down to his fingers. When another soldier tries the same thing with a lit match, he drops it, exclaiming, “Ow, it ’urts! What’s the trick?” Lawrence calmly replies, “The trick, William Potter, is not minding that it hurts.” A few minutes later, a black-clad Arab guns down Lawrence’s guide in the desert and then threatens to take his compass. “Nice English compass,” the killer says. “How about I take it?” Lawrence says, “Then that would make you a thief.” Impervious to pain, brave, resourceful—Lawrence’s exploits looked like the stuff of Boy Scout training manuals. Then, a bit at a time, it all came undone. He lost his Arab army and then his confidence. The capture of Damascus from the Turks felt hollow, even to me, although I wasn’t ready to give up on Lawrence. I walked out at the end not knowing what to think. Part of me was still mentally charging toward that wrecked train. But another part of me grappled with Lawrence’s uneasiness in his role as hero. I didn’t know quite what to make of him—it would be years before I understood that I wasn’t supposed to—and this disturbed me, had been disturbing me, in fact, since the movie started.
No sooner had the opening credits disappeared off the screen than Lawrence got killed in a motorcycle accident. The death of the hero in the first five minutes of a movie was not something I was used to, and for a while I nursed the hope that perhaps he would come back to life, injured but alive. But no: the rest of the movie, all three hours plus, was a flashback. And in case you forgot how it all started, the filmmakers had inserted a scene at the very end where Lawrence, on his way home to England from Arabia, sees a motorcycle—the very instrument of his death—coming toward the car in which he’s riding.
“Honey, hurry up!” I looked up out of my reverie to see my mother standing fifty feet down the sidewalk, waiting for me to catch up. Reluctantly, I followed her, and as soon as I passed from that pool of light—that enchanted territory—the spell was broken. The vividness—so intense that almost fifty years later I can still remember almost every detail of that movie and every detail of what I felt while watching it, even what I ate and drank while I watched—all that vanished in the split second in which I passed from light to dark and hurried to catch up with my mother.
These Michael Caine impressions are funny.
Found via Longform: check out these excerpts from Cameron Crowe’s story, “Fast Times at Ridgemont High”:
Jeff Spicoli, a Ridgemont legend since third grade, lounged against the doorframe. His long dirty-blond hair was parted exactly in the middle. He spoke thickly, like molasses pouring from ajar. Most every school morning, Spicoli awoke before dawn, smoked three bowls of marijuana from a small steel bong, put on his wet suit and surfed before school. He was never at school on Fridays, and on Mondays only when he could handle it. He leaned a little into the room, red eyes glistening. His long hair was still wet, dampening the back of his white peasant shirt.
“May I come in?”
“Oh, please,” replied Mr. Hand. “I get so lonely when that third attendance bell rings and I don’t see all my kids here.”
The surfer laughed-he was the only one-and handed over his red add card. “Sorry I’m late. This new schedule is totally confusing.”
Mr. Hand read the card aloud with utter fascination in his voice. “Mr. Spicoli?”
“Yes, sir. That’s the name they gave me.”
Mr. Hand slowly tore the red add card into little pieces, effectively destroying the very existence of Jeffrey Spicoli, 15, in the Redondo school system. Mr. Hand sprinkled the little pieces over his wastebasket.
It took a moment for the words to work their way out of Spicoli’s mouth.
“You dick “
Mr. Hand cocked his head. He appeared poised on the edge of incredible violence. There was a sudden silence while the class wondered exactly what he might do to the surfer. Deck him? Throw him out of Ridgemont? Shoot him at sunrise?
But Mr. Hand simply turned away from Spicoli as if the kid had just ceased to exist. Small potatoes. Mr. Hand simply continued with his first-day lecture.