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Summary
Summary
Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian's Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director). Now, in his new book, Who the Hell's in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart. Bogdanovich captures--in their words and his--their work, their individual styles, what made them who they were, what gave them their appeal and why they've continued to be America's iconic actors. On Lillian Gish: "the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress." On Marlon Brando: "He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon--the recognizable human commodity each new film was built around . . . The funny thing is that Brando's charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. " Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: "I was five years old. My mom and dad had a tux made--I worked in the borscht circuit with them--and I came out and I sang, 'Brother, Can You Spare a Dime?' the big hit at the time . . . It was 1931, and I stopped the show--naturally--a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed--they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning." John Wayne to Bogdanovich, on the early years of Wayne's career when he was working as a prop man: "Well, I've naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I'd been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford's need for a goose-herder just seemed to fit my pistol." These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich's book is a celebration and a farewell.
Author Notes
Peter Bogdanovich is the author of thirteen books. His essays and reviews have appeared in the New York Times, Los Angeles Times, Esquire and the New York Observer
Reviews (4)
Publisher's Weekly Review
While Who the Devil Made It allowed Bogdanovich to chat with Hollywood's great directors, this work finds him hobnobbing with some of the screen's legendary actors. He arranges the profiles according to when he met the subjects. Bogdanovich began as an actor, studying under Stella Adler, but met many of his subjects as a journalist for Esquire and other publications in the 1960s. Some of those encounters resulted in lifelong friendships with stars like Cary Grant and Jerry Lewis, but once Bogdanovich began writing and directing his own movies (like the Oscar-nominated The Last Picture Show), several relationships became professional, too, which leads to tales of working with legends like Boris Karloff and Audrey Hepburn at the end of their careers, as well as a heartbreakingly poignant chapter on the making of River Phoenix's last film. There's someone for just about every sort of film buff: from Bogart and Bacall to Sinatra and Martin, from John Wayne and Jimmy Stewart to John Cassavetes and Ben Gazzara. Despite the strong autobiographical context, Bogdanovich never dominates, always giving his stars center stage and ending each chapter with a list of recommended viewing. Those who like classic movies will fall in love with this book and, despite its nearly 600 pages, they'll find themselves wishing for more. 120 photos. Agent, Sherry Arden. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
In this follow-up to his collection on directors ( Who the Devil Made It, 1997), Bogdanovich turns here to actors, profiling 26 of the most influential of the past century, including Lillian Gish, Charlie Chaplin, Audrey Hepburn, Cary Grant, James Stewart, Marlene Dietrich, Sidney Poitier, and Marlon Brando. Many of these pieces first appeared elsewhere, particularly in Esquire magazine, but Bogdanovich adds introductions, thumbnail performance critiques, and choice anecdotes. For example, the author tells of chatting with John Wayne about movies on the set of El Dorado (1965), after which Duke exclaimed, Jeez, it was good talkin' about-- pictures! Christ, the only thing anybody ever talks to me about these days is--politics and cancer! An invaluable archive of a nearly lost cinematic world--only five of the subjects are still alive--that director-actor Bogdanovich has himself intimately inhabited for some 50 years. --Alan Moores Copyright 2004 Booklist
Kirkus Review
Following up Who the Devil Made It (1997), a solid collection of pieces about directors from film's Golden Age, Bogdanovich presents a series of uneven takes on film stars he has known. The director of The Last Picture Show, etc., here attempts to enshrine 27 actors he has worked with or known, whose candlepower, he fears, is dimming with time. A strong writer, Bogdanovich creates sharp images of such famous stars as James Cagney, Lauren Bacall, James Stewart, and Henry Fonda, but also pays just tribute to the less well-known Ben Gazarra and John Cassavetes. The author, who's done some acting himself, ably captures his subjects at work, as in his descriptions of Jack Lemmon on a soundstage in Irma La Douce. But some of Bogdanovich's enthusiasms seem misplaced. His adoring, 75-page profile of Jerry Lewis is especially irksome for the comic's self-serving, foul-mouthed remarks. Bogdanovich's selection of River Phoenix and Sal Mineo as "great names of the past" is questionable, and he does not always tell a full story. He brushes aside "rumors" that Mineo, Cary Grant, and Anthony Perkins were bisexual or gay, overlooking or ignoring considerable documented evidence that Mineo and Perkins, at least, had many gay relationships, and that, more importantly, their sexual orientations may have shaped their lives. The author's inclusion of many tales from his own life is sometimes irritating, sometimes fascinating. His frequent mentions of Cybill Shepherd wear thin, but his stories about Marlon Brando, Stella Adler, and the Actors Studio evoke the vital New York theater of the 1950s. Inside this anthology, an autobiography is trying to get out. Often engaging, but lacks the consistent depth and keen judgment of John Kobal's People Will Talk (1986). (120 photos) Copyright ©Kirkus Reviews, used with permission.
Library Journal Review
At one time considered a directorial "boy wonder," Bogdanovich (The Last Picture Show) became acquainted with many of the great stars of his day and of earlier eras. Here, he reflects on the allure of 26 actors, ranging from the iconic (Charlie Chaplin and Marlon Brando) to the surprising (Sal Mineo and Lillian Gish). He knew some of them quite well, while others were passing acquaintances; the only star discussed here whom he never met is Humphrey Bogart, for whom he seems to have a considerable affinity. These collected ruminations are by no means meant as a tell-all: he treats his subjects with sympathy throughout. Occasionally, he does drop bits of gossip, which add a little spice. What comes through is Bogdanovich's abiding love of the cinema; inevitably, these accounts are as much about him as they are about his subjects. This might put some people off, but the book is readable if not particularly revelatory; for most cinema collections.-Roy Liebman, California State Univ., Los Angeles (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
MARLON BRANDO The first and only star I ever asked for an autograph was Marlon Brando; he was also the first star I had met. It was around New Year's 1954, I was fourteen, and had just seen a matinee at New York's City Center starring José Ferrer in a heavy drama, The Shrike. Outside on the darkening winter sidewalk, I was looking at the posters proclaiming the production "a major cultural event" when I glanced up the street toward Seventh Avenue, and instantly from about a half-block away recognized the person coming toward me. My heart started beating faster as I quickly turned back to the poster. I felt I had to talk to him: it was Marlon Brando, for God's sake, and if I didn't get an autograph, no one would believe I had just seen him walking up 55th Street toward Sixth Avenue. I knew Brando was in town shooting the longshoreman drama On the Waterfront, with Elia Kazan directing (and for which Brando would win his first Best Actor Oscar), but I didn't know until I saw the film eight months later that he was wearing his costume home: soon-to-be-familiarto-the-world gray checkered jacket, work pants and motorcycle boots. I glanced again; when he was just a few feet away, absorbed in thought, hands shoved into the jacket's side pockets, I turned and approached him, saying, "Mr. Brando, may I have your autograph?" He didn't alter his step a fraction, looked at me briefly, and just kept walking as he said, fairly deadpan, with that slightly nasal Midwestern twang, "Yeah." I fell in step with him, starting to search for a pad and pencil I knew I had somewhere, which is what I muttered. Brando looked over at me, still walking, and said, not unpleasantly, "You got a pen?" I repeated that it was on me someplace and, to fill the moment, said enthusiastically that I had just seen José Ferrer in The Shrike. Had he seen it? "Yeah," he said, "I thought it stunk." I stammered something meek, finally found the pencil and small pad, handed them over. Still without hesitating or changing his stride, Brando signed his name lengthwise on the pad, first name above the second, then gave it and the pencil back to me. I thanked him and, still a bit thrown by his comment on the Ferrer production, couldn't really get it together for another remark, mind speeding the whole time to a kind of blurred blank. I would later recognize that same strange look of stasis on people asking for my autograph. The mind goes into overload-there is suddenly so much to talk about that no words at all can formulate themselves. At this point in his career, Brando was already a kind of legend and yet he had appeared only in two successful Broadway plays (in the original Life with Father and in Kazan's production of Tennessee Williams' A Streetcar Named Desire ) and five films, of which two (Fred Zinnemann's The Men, and Laslo Benedek's The Wild One, both produced by Stanley Kramer) had done poorly at the box office. When I ran into him on the street, I'd seen four of those five film performances more than once: seen him as Stanley Kowalski in Kazan's film version of A Streetcar Named Desire (Brando's first Oscar nomination); in the title role for Kazan's Viva Zapata!, written by John Steinbeck; as Marc Antony in the all-star Joseph Mankiewicz--John Houseman production of Shakespeare's Julius Caesar; and as the rebel biker in The Wild One, the first biker film, essentially the start of the modern Western. After twelve years, Roger Corman had the first success in this genre with The Wild Angels (for which I wrote 80 percent of the final script and directed the second unit), making Peter Fonda a star and therefore setting the stage for Easy Rider three years later, which finally made the genre legitimate. And altered the Hollywood hierarchy radically for a while by inaugurating the brief Era of the Director in the United States, of which Brando himself would become an integral, indeed crucial, element with his 1972 performances in The Godfather and Last Tango in Paris, the wheel coming full circle. Brando's first picture, The Men, had not been in circulation since its small initial 1950 release; Brando as a paraplegic was such a dud financially that when it was reissued (not until 1957, to cash in on Brando's extraordinary popularity in the mid-fifties) the title was changed to Battle Stripe to make it seem like a new war film. The public wasn't fooled and the movie fared no better. The Wild One (despite the success of Streetcar and moderate winners Zapata and Caesar ) had recently opened in New York as the top half of a one-week double-bill, a sure sign that the studio didn't think it would work commercially. Meanwhile, Brando is brilliant in both, and was already by this moment in time the hippest actor there was, the most influential, most imitated, most controversial, most respected by other actors. Since I wanted very much to be a professional actor, my awe in his presence essentially rendered me speechless though my mind was racing with all those many images of Brando I had already accumulated. The whole truth is that in those early teenage days I was a popular mimic at school, doing impressions of a number of stars, Brando prominent among them, and to such a degree that within a year or so some students started calling me Marlon. By now, Brando and I had reached the corner of Sixth Avenue and 55th. The light was green so Brando kept going. I thanked him again as he moved off the curb and glanced at me to say, "So-long, kid." As he did I noticed one boot stepped into a pile of dog shit. I thought of advising him of what had happened but he continued on determinedly, hands shoved back into jacket pockets, and I flashed that my father had said stepping in dog shit was good luck. Certainly before I could figure out how to say, "You just stepped in dog shit," he was at the other side of the avenue, and soon disappearing into the darkness. For years I treasured the little piece of paper with Brando's signature on it, carrying it in my wallet long into my twenties (though now it's lost). That evening, on the bus home, I felt a kind of magical sense of being special, of being among the chosen; why else would I be lucky enough to have had such an encounter? My inside pocket glowed like hot gold with the proof it contained of the miracle, the benediction. Certainly, I'd never felt anything like this before. Perhaps it's the sudden proximity to genius, talent or celebrity; the old thing about the spotlight falling on you because you're momentarily illuminated by the star's glow: reflected glory. I have felt it many times since that chance meeting with Brando but never again with the kind of intense mystery of the first experience. Excerpted from Who the Hell's in It: Portraits and Conversations by Peter Bogdanovich All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
Table of Contents
| Introduction: The Magical Art | p. 3 |
| 1 Lillian Gish | p. 38 |
| 2 Humphrey Bogart | p. 43 |
| 3 Marlon Brando | p. 64 |
| 4 Stella Adler | p. 77 |
| 5 Montgomery Clift | p. 92 |
| 6 Cary Grant | p. 97 |
| 7 Jack Lemmon | p. 125 |
| 8 Jerry Lewis | p. 142 |
| 9 Dean Martin | p. 217 |
| 10 Sal Mineo | p. 232 |
| 11 James Stewart | p. 242 |
| 12 John Wayne | p. 270 |
| 13 Henry Fonda | p. 300 |
| 14 Boris Karloff | p. 319 |
| 15 John Cassavetes | p. 329 |
| 16 Charlie Chaplin | p. 353 |
| 17 James Cagney | p. 366 |
| 18 Marlene Dietrich | p. 375 |
| 19 Anthony Perkins | p. 392 |
| 20 Frank Sinatra | p. 402 |
| 21 Ben Gazzara | p. 423 |
| 22 Audrey Hepburn | p. 434 |
| 23 Sidney Poitier | p. 449 |
| 24 River Phoenix | p. 458 |
| 25 Marilyn Monroe | p. 482 |
| Acknowledgments | p. 493 |
| List of Illustrations | p. 495 |
| Permissions Acknowledgments | p. 503 |
| Index | p. 505 |
