Bruce Crawford’s Unexpected Movie-Movie Life, Omahan Salutes Classic Hollywood Films with Panache: See Shirley Jones and ‘Carousel” May 24
If you’re a classic movie fan in and around Omaha then the closest thing to a Turner Classics Movie Film Festival in these parts are the twice-a-year revivals that Bruce Crawfort puts on for charities. His next is a May 24 screening of the 1956 movie musical Carousel starring Shirley Jones and the late Gordon MacRae with a special appearance by Jones, who will speak before the film and sign autographs afterwards. The 7 p.m. event is at Joslyn Art Museum’s Witherspoon Concert Hall. Tickets are are available at the customer service counter at Omaha Hy-Vee supermarkets.
Also on this blog is an exclusive interview I did with Shirley Jones. You can also find here previous stories I’ve done about Crawford and his film events and guests. The blog features many other film stories as well.
©by Leo Adam Biga
Now appearing in Metro Magazine
When Omaha impresario Bruce Crawford introduces legendary stage-screen star Shirley Jones at a May 24 screening of Carousel it will mark the 32nd time he’s celebrated Hollywood royalty at one of his film events.
The 7 p.m. event will be at Joslyn Art Museum‘s Witherspoon Concert Hall.
Jones feels the 1956 film adaptation of the Rodgers and Harmmerstein stage classic, Carousel, features some of the great composer-lyricist team’s finest work. She was under personal contract to R & M when she made the picture with co-star Gordon MacRae. “I think it’s the best score they ever wrote. I think it’s the most beautiful,” says Jones. “I open my concert with ‘If I Loved You’ and I close it with ‘You’ll Never Walk Alone.’ Every song says something, every song means something in Carousel and I just think it’s magnificent.”
All the trappings
For 20-plus years now Crawford’s feted classic movies and the legends who made them. He does it in grand style, too. Attending a Crawford event has all the trappings of a Hollywood premiere, complete with red carpet, limos, searchlights, media, VIP guests, costumed reenactors and movie memorabilia displays.
Renowned celebrity pop artist Nicolosi creates original commissioned pieces for the events that the U.S Postal Service now uses to adorn commemorative envelopes and stamps.
Crawford’s programs always benefit a cause. This time it’s the Omaha Parks Foundation. Past beneficiaries included the Nebraska Kidney Association.
He counts Oscar winners among his acquaintances and friends. He particularly close to special effects wizard Ray Harryhausen. Crawford’s work in support of classic film has taken him around the country presenting programs around his first love – movie music. He’s been an invited participant for live programs and filmed documentaries honoring movie icons such as Harryhausen.
His Omaha events attract national media attention and his efforts earn endorsements from organizations like the American Film Institute. Radio documentaries he produced years ago on composers Miklos Rozsa and Bernard Herrmann still air worldwide.
Shirley Jones and Gordon MacRae in Carousel
A life devoted to film
Wherever he goes and whatever he does in service of film is an expression of the intense boyhood fascination with movies he grew up with in Nebraska City, Neb. and later cultivated as a young man.
“It’s been my therapy,” Crawford says of his work. “I would have to say it’s some strange destiny. I look back to when I was a kid and now I can see where it makes sense – I can connect the dots. But to be from a small town in this part of the country it’s so out of the norm, is so alien. It’s just an unusual life.
“And to have gone as far as it has and to be with these people and to have that recognition and reputation for these events is mind boggling. I never would have imagined it would have gone quite so far.”
What began as an avocation is now a career.
“The most meaningful part of it is that I’ve been able to have a career and make my full-time work honoring classic films. That’s been incredibly gratifying for me because I absolutely love doing this.”
Nicolosi, the Chicago-based celebrity portrait artist who’s lent his talents to Crawford events since 2008, says the Omahan’s enthusiasm for classic film is infectious.
“He has such a passion for what he does it’s literally palpable. In any business it all boils down to relationships and there’s a genuine warmth and authenticity about Bruce. He’s the real deal. He has that strong Midwest work ethic. Every event he does feels like a giant homecoming. He’s brilliantly fluent in film, too.
“All of that keeps drawing me back. Plus, I’ve fallen in love with Omaha.”
Ray Bradbury, Greg Bear, Forrest J. Ackerman, Bruce Crawford, Ray Harryhausen
Avocation to career
Crawford’s first event in 1992 paid tribute to Harryhausen. Getting Harryhausen to come for a double-feature of Jason and the Argonauts and Mysterious Island at the Indian Hills was a coup but Crawford had an inside track to him.
“It was still tough to pull off but it wasn’t as tough because I had that rapport with him. There was a connection.”
A bigger coup was getting a week’s run of Ben-Hur for its 35th anniversary in 1993.
“Doing Ben-Hur was off the wall because I had no connection to that film. I knew nobody involved with that in any way. That is the real rosetta stone to this whole thing,” he says.
Crawford, who puts these events together with equal parts chutzpah and doggedness, contacted Ted Turner because the media czar owned the film’s rights. Much to Crawford’s surprise Turner ordered a new print struck of the 1959 classic and allowed Crawford first crack at it. Crawford also got the family of the film’s revered director, William Wyler, to come and secured the support of its star, Charlton Heston.
The success of the Ben-Hur run “set the stage” for what’s come since. His third program, a screening of The Longest Day for the 50th anniversary of D-Day, featured reenactors in military uniforms.
“That’s when the showmanship started,” he says.
For a screening of Psycho he brought star Janet Leigh. For King Kong he anchored a huge inflatable replica of the ape outside the Indian Hills and come show night featured dancing girls in grass skirts. The special guests included Harryhausen and author Ray Bradbury.
Subsequent events featured Patricia Neal (The Day the Earth Stood Still), Debbie Reynolds (Singin’ in the Rain) and John Landis (Animal House).
Some unexpected guests have arrived too. For last fall’s showing of American Graffiti acclaimed director George Lucas showed up unannounced, jetting in from a New York gig on his way back to the west coast. He was spotted by the the event’s official guest star, Cindy Williams, as well as several attendees. For the premiere of Ben-Hur Crawford recalls that Liza Minnelli, who was in town doing an Ak-Sar-Ben show, came incognito wearing sunglasses and a scarf.
Bruce Crawford with Debbie Reynolds
The shows go on
Pulling off these events means countless phone calls and emails getting the details just right. He must please the sponsors and charities he works with as well as cater to his special guests..
“But above everything else I feel a commitment to the audience. I want to make sure people enjoy themselves and have a good time. That’s my biggest goal.”
He hasn’t missed a beat yet.
“I’ve been lucky enough to get films and guests that always find a very sizable audience. The events just keep coming together, but I don’t take anything for granted.
Nicolosi’s come to appreciate Crawford’s imagination and tenacity.
“The secret to his success is his passion. He has such a clear vision and, in an endearing way, a stubbornness, which you need. Then nothing can get in your way.”
As soon as Carousel’s over Crawford, ever the showman, will be thinking what to do next and how to top what he’s done before.
Tickets for the May 24 event are $20 and available at Omaha Hy-Vee customer service counters.
On May 24 a Hollywood legend comes to Omaha for a one-night only screening of the 1956 film Carousel, in which she stars with Gordon MacRae. It’s the latest classic Hollywood tribute event from Omaha film historian and impresario Bruce Crawford, who’s previously brought Janet Leigh, Patricia Neal, and Debbie Reynolds, among other movie legends, to town. The Carousel event is at the Joslyn Art Museum’s Witherspoon Concert Hall. The program, done up in the style of a premiere, starts at 7 p.m. Tickets are on sale at the customer service counter at Omaha Hv-Vee supermarkets.
In my Q&A with her Jones discusses many aspects of her remarkable career, including the Cinderella story of how she came to be discovered by the great composing team of Richard Rodgers and Oscar Hammerstein, who put her under personal contract and launched her career. Jones is an easy interview. Down-to-earth, smart, funny, and unafraid to tell it like it is. She would be fun to hang out with.
Shirley Jones Interview: Classic Hollywood Star to Appear at May 24 Omaha Screening of ‘Carousel’
Interviewed by Leo Adam Biga
©Exclusive for the blog, leoadambiga.wordpress.com
LAB: Let me start by saying that Carousel is one of my favorite musicals.
SJ: “Mine too. It’s my favorite score. I think it’s the best score they (Rodgers and Hammerstein) ever wrote. I think it’s the most beautiful.”
LAB: That’s obviously saying a lot given who were talking about here.
SJ: “I know, exactly, but that’s my feeling and by the way my opinion was shared by Richard Rodgers. He always stated that he felt his finest work was Carousel.”
LAB: What do you feel makes it stand apart?
SJ: “Well, just all of it, the lyrics. I open my concert with ‘If I Loved You ‘and I close with ‘You’ll Never Walk Alone.’ Every song says something, every song means something in Carousel. And I just think it’s magnificent. ‘The Carousel Waltz,’ the opening, is so beautiful. I mean, I’m not saying everybody would feel that way, but I do, and as I said Rodgers always stated that he felt that way too.”
LAB: Rodgers and Hammerstein became very close mentors of yours.
SJ: “I was under contract to them.”
Richard Rodgers and Oscar Hammerstein
LAB: And were you the only one they had under contract?
SJ: “The only one, the one and only person put under contract to Rodgers and Hammerstein. And it was supposed to be a five-year deal. It lasted about four years, I guess, under which I did the movie Oklahoma, then I did the stage production all over Europe of Oklahoma with jack cassidy as my leading man. That’s how we met. And then I came back to do Carousel. Before all that though I was in my first Broadway show, South Pacific. It was the first thing I ever did – the last four months of the Broadway production – and then a show called Me and Juliet, which I went on the road with. So I did all of those under the contract of R & H, and then it was over.”
LAB: Why were they responding to you so strongly? You were after all very young and green and a total unknown.
SJ: ”Very, very young, I was 18, I was barely out of high school and on my way to college to become a veternerian. Oh yeah, that was the story, and I stopped off in New York with my parents. This was July. I was going to college in the fall. I’m from the Pittsburgh area and I’d done a lot of work at the Pittsburgh Playhouse during the summers when I was in high school. I was the youngest member of the church choir at age 6, so it was a gift that was given to me. Anyway, I went to an audition while I was in New York with my parents, an open audition. I knew this pianist in New York and he said, ‘Shirley, c’mon over, R & H are having open auditions for anybody that wants to sing for them because they had three shows running on Broadway at that time and their shows ran so long they had to keep replacing chorus people every few weeks. But I barely knew who these men (Rodgers and Hammerstein) were, you understand. I was a little girl from a town of 800 population. It was all very new to me.”
LAB: Was the audition run by John Fearnley?
SJ: “That’s exactly right, it was through him. People were waiting around the block holding their music. My friend and accompanist talked me into doing it. I said no at first because I was terrified. But I got to the stage, sang for the casting director and he did the usual, you know, ‘Miss Jones, what have you done?’ and I said, ‘Nothing,’ and he said, ‘Mr, Rodgers just happens to be across the street rehearsing his orchestra for Oklahoma (which was about to reopen at City Center and then go out on another tour) and I would like to have him hear you personally.’ And he cancelled the rest of the auditions for the day.
“So I waited. Again I wasnt sure who I was singing for and down the aisle walks this gentleman and he said, ‘Miss Jones?,’ and I said, ‘What did you say your name was again?’ Richard Rodgers. I sang for him and he said, ‘Miss Jones, can you wait about 20 mins? I’m going to call my partner Oscar Hammerstein at home and have him come and hear you.’ Now my pianist said, ‘Shirley, I hate to do this to you…’ But he had a plane to catch. He said, ‘I can’t wait,’ and Richard Rodgers said, ‘Nevermind, we’ll think of something.’Here I am alone, my first audition anywhere, anytime, anyplace. I waited and 25 minutes later down the aisle comes this very tall gentleman and he said, ‘Miss Jones, do you know the score of Oklahoma?’ and I said, ‘Well, um, I think I know some of the music but I don’t know the words,’ and of course I’m talking to the lyricist you understand. He said, ‘Nevermind, I have a score here.’ And I said, ‘Mr. Hammerstein, my pianist had to leave, I don’t have anybody to play,’and Rodgers said, ‘Nevermind, we have the full City Center Symphony across the street.’
“Now can you imagine, I’d never heard a symphony, seen a symphony, let alone sing with one. They took me across the street, I held the score in front of my face so I couldn’t look at them and I sang ‘Oklahoma’, ‘People We’ll Say We’re in Love’ and ‘Oh, What a Beautiful Morning’ with the City Center Symphony. Three weeks later I was in my first Broadway show (South Pacific). So that’s how it happened.”
Shirley Jones and Gordon MacRae in Oklahoma
LAB: You can’t make up something like that.
SJ: “No, you can’t, and you know xomething. I’m not sure it could even happen today. It was one of those fluke things that fortunately happened to me but I don’t i think it could ever happen in today’s times.”
LAB: Were there specific things in you they were responding to?
SJ: “Oh sure, well you know I was Laurie, I was from a little town, a little farm community. I was that girl. And the fact that I could sing. I could. As I said it was a gift. I’d studied. I mean, I could always sing but I started formal study when I was about 13 and I had a coloratura soprano voice. My teacher wanted me to go into opera because it was that kind of a voice but you know this music just came so natural to me. And the fact that the character was so close to who I was. And the fact that I had an incredible director for my first motion picture, Fred Zinneman. It was wonderful. That helped a lot.”
LAB: You felt fortunate to be in his hands?
SJ: “Oh, I cannot tell you how fortunate that was for me because I’d never done a film of any kind. And when I did the screen test…I had to screen test for it. They sent me to Calif. and fortunately Fred directed the screen test, which was unusual, because usually they have an assistant director do it, and Gordon (her costar Gordon MacRae) was in the test with me. He was already cast. And so from that standpoint it was all just wonderful because when I finished the screen test Fred said, ‘Have you ever acted before a camera before?,’ and I said, ‘Oh no,’ and he said, ‘Well, don’t change anything, you’re a natural,’ and from then on he was my mentor. I workedd with a lot of directors but there’s just a few that I just absolutely adored and because they thought of the actor, they were with the actor. It wasn’t just – put your hand here and speak, it was giving actors a reason for things and he was certainly a big one at that.”
LAB: R & H really handled you with care.
SJ: “They put me in South Pacific first to keep me with them and decided to sign me so I wouldn’t go to work for somebody else and then sent me to Calif. to screen test when I was in Chicago with Me and Juliet. Two wks later I get this phone call and its Rodgers and he said, ‘Hello, Laurie?’ So that’s how it happened.”
LAB: That had to be one of the most amazing screen debuts ever, an iconic part, iconic music. That music is going to endure forever.
SJ: “That’s for sure.”
Shirley Jones in Elmer Gantry
LAB: The movie was a huge hit and with your very first film you were a star.
SJ: “Yeah it just happened so quickly for me, it really did. But the truth of the matter and this is what I say in all my interviews…I went on to do Carousel but at that point pretty much they stopped making musical motion pictures and Rodgers hated Hollywood. He didn’t want to be here. They produced Oklahoma themselves, that was their production, they were on the set every single day in Nogales, Aarizona, where we shot it. But Carousel was 20th Century Fox and that was the end of the musical until way later when Music Man came to be.
“My career was over because at that particular time when you were a singer they didn’t consider you an actress and you know I hadn’t done anything but that and they didnt make musicals anymore. So I went into television and fortunately they were doing Playhouse 90 and Lux Theater and Philco Playhouse and I did a Playhouse 90 with Red Skeleton called The Big Slide and Burt Lancaster happened to see that and he was taken with my performance. And at this point in time I was doing a nightclub act with my husband Jack Cassidy. We were touring, we were at the Fairmont Hotel in San Francisco and I get this phone call and this man says, ‘Miss Jones, this is Burt lLncaster,’ and I said, ‘Sure it is,’ and I hung up. Fortunately he called back. Anyway, he told me about Elmer Gantry and he said, ‘Get the book, read the book, and I want you to fly in on your day off and meet with our writer-director Richard rooks and read for the role of Lulu Baines.’
“I did that and I was amazed he was thinking of me for this role, which was just incredible. I met with Brooks. Brooks didn’t want me. He wanted Piper Laurie. He didn’t want me at all but Burt fought fought for me and that’s how I got the part (that won her a Best Supporting Actress Oscar). But my point is had that not happened my career would have been over because I wasn’t an actress to Hollywood then. After Gantry then I went on to do 30 films.”
LAB: You went on to work with Brooks again.
SJ: “Yes, yes on The Happy Ending.”
Shirley Jones and Gordon MacRae in Carousel
LAB: How did R & H feel about the film adaptation of Carousel – were they pleased?
SJ: “No, not completely, they weren’t. You know, Frank Sinatra was signed to do it. I did all the prerecordings, all the rehearsals, all the costumes, everything with Frank. We were shooting in Booth Bay Harbor, Maine. Frank was thrilled about playing the role, thrilled. He said it was the best male role ever written. We get up there and we were shooting with two separate cameras (for different wide screen processes), which everybody knew from the beginning. And Henry King was the director and Frank came onto the set for our first dramatic scene and he saw the cameras and said, ‘Why the two cameras?’ Henry said, ‘Well, you know, we may need to shoot a scene twice, we’re doing regular cinemascope and cinemascope 55,’ and Frank said, ‘I signed to do one movie, not two,’ and back in the car and back to the airport.”
LAB: So that’s true then that that’s the reason he walked off the picture?
SJ: “Well , that was not the reason I’ve come to know. I called Gordon (MacRae) in Lake Tahoe and told him, ‘You’ve got the part in Carousel,’ and he said, ‘Give me three days, I have to lose 10 pounds.’ In later years, every time I’d see Frank I’d say, ‘Frank, what happened?’ ‘I don’t want to talk about it, Shirley.’And just about three or four years ago or so I was in a big conference with the press and some of the old guys from way back were sitting in the back row and talking about everything and I brought this story up and one of these old guys spoke up and said, ‘Shirley, don’t you know why fFank left?’ I said, ‘No, do you?’ ‘Oh yeah, everybody knew.’I said, ‘What was it?’ H said, ‘Ava Gardner (Sinatra’s then-wife) was in africa doing Magambo with Clark Gable and she called him and said, Unless you get your fanny down here I’m having an affair with Gable.’ So that was it.”
LAB: Well, that does sound more likely.
SJ: “Doesn’t that sound more likely?”
LAB: You were reteamed with Gordon MacRae – what was your working relationship like with him?
SJ: “Oh, it was wonderful, I adored Gordon. He and Sheila were the godparents of my first born son (Sean). We stayed close close friends. He was my favorite male singer of all time. When I was 16 he had a radio show called ‘The Teen Timers Club’ and every Saturday morning I would turn it on and hear his voice, so at 16 I fell in love with that voice.”
LAB: You know the last several years of his life he lived in Lincoln, Neb.?
SJ: “I know, I know.”
Shirley Jones and Gordon MacRae in Carousel
LAB: What kind of an experience was the Carousel shoot?
SJ: “Well, it was beautiful. We, we were in Booth Bay Harbor, Maine,. It was gorgeous. Ihad a little house overlooking the water. We were shooting on the dock. And Barbara Uric became my very, very best friend. I adored Barbara, We roomed together in New York and we had a place together here. It was great, I loved eryv body in the film.”
LAB: It’s a beautiful film but its very melancholy.
SJ: “Oh my goodness, yes.”
LAB: It touches on things most musicals don’t get to.
SJ: “Well, yeah, it’s a dark story. I mean, that’s the point. Billy Bigelow’s a bad guy and that’s why a lot of people said Sinatra’s personality would have been better for the role than Gordon’s. But for me ne never could have sung it like Gordon. Gordon’s soliloquy was just to die over.”
LAB: Do you feel the film has been somewhat overlooked or underappreciated?
SJ: “Yeah I do, I don’t know why exactly but I do. You know they did a revival of it in New York at Lincoln Center and I was sitting at the matinee and there were a lot of women sitting in the audience and you know it’s about wife abuse basically and it was really interesting right during the show all these ladies got up and screamed, ’Everybody leave, this is wrong,’ and they left the theater. Isn’t that something?”
LAB: How about the director of that film, Henry King?
SJ: “He was just an old-time director. That may have been the other reason why I feel the film wasn’t as good as maybe it could have been in many ways. He was very aging then and everything was just just what it should be, he didn’t go further than that. you know what I’m saying?.”
LAB: Even though movie musicals were already dying out by the time Carousel was released you still made two fine musicals after it, one of them, The Music Man, being another classic.
SJ: “Oh yeah, big time still. As a matter of fact my son (Patrick) and I have been doing it several places. I’m playing Mrs. Peru now on the stage. In 2014 they’re scheduling a four month tour of Patrick and myself, showing film clips and me talking about The Music Man.”
LAB: And let’s not forget April Love.
SJ: “Yes, Pat Boone, uh huh.”
LAB: I had the pleasure of interviewing him a couple years ago when he was the guest star for Bruce Crawford’s screening of Journey to the Center of the Earth, and he spoke very fondly of working with you.
SJ: “Oh, we had a wonderful time, really. Kentucky was great. We went to the Kentucky Derby. We’re still close friends.”
LAB: Didn’t you end up playing the role of Nettle?
SJ: “Mmm hmm, on the stage, I did it up in Connecticut. I’m graduating to the old lady roles now, I know.”
LAB: Do you enjoy coming to places like Omaha to share your passion for the films you made?
SJ: “Oh, sure, absolutely, of course I do. That’s been my career really. Winning the Academy Award. I’m still working up a storm all over the place. I just did a movie, this is hysterical – I play a zombie. They’re big now. Isn’t that funny? I’ve really come a long way, the Academy Award to a zombie.”
LAB: That proves you’re right on the cutting edge of things right now.
SJ: “That’s right, exactly.”
LAB: I have to ask you something about the Partridge Family because it was a pop culture phenomenon.
SJ: “Yes it was.”
LAB: Are you glad in the final analysis you did that?
SJ: “Oh, yes, I’m glad for personal reasons more than anything else and the fact it was a big hit. But you know at that time the agents and managers said, ‘Shirley, don’t do a television series,’ because I was a movie star. They said if it is successful you’ll be that character for the rest of your life and your movie career will be in the toilet. Well, they were right. But what I wanted was to stay home and raise my kids and that gave me that opportunity. I had three sons and they were all over Europe, on the road with me on movies everywhere and they were school-age and I said if this is successful it’s the perfect time for me to do this and it was. And it was great for me that way and it didn’t ruin my career but they felt at that time television was a step down.”
LAB: There are a few more of your movie experiences I want to ask you about. So what was it like working with Marlon Brando on Bedtime Story?
SJ: “Let me say that I think I got Brando at a very good time in his life because he wanted to play comedy and nobody would give him the opportunity. He’d just come from Mutiny on the Bounty in which he was hated. He was a brilliant actor but he wanted to expand. He adored David Niven. The only problem I saw at this time in his life is that it was nothing for him to do 40-50 takes on one scene.”
LAB: And you got the chance to work with the great John Ford in Two Rode Together, in which you co-starred with James Stewart and Richard Widmark.
SJ: “Couldn’t stand him. He was not good with women. He was a man’s man and he looked down on women. It was like, Who cares? I never got one direction from him, nothing. And he had a handkerchief hanging out of his mouth all the time. I said to Richard (Widmark), ‘What is that handkerchief?’ He said, ‘Shirley. don’t say anything about it, don’t ask him.’ But it was hysterical. He’d take it out and say, ‘Let’s get ready to shoot,’ and put it back in. And the script – there’d be a rewrite every single morning. So it was not an easy movie for me. Thank God I was working with people like Widmark and (Jimmy) Stewart because they were sensational and very helpful to me.”
LAB: They were protective of you?
SJ: “Oh, very much so, yes. So that helped a lot. I was offered another movie with him (Ford) after that and I said no.”
LAB: “The Man Who Shot Liberty Valance?
SJ: “Yes, that was it.”
LAB: You had the misfortune of catching Ford near the end of his career when he was even more cantankerous than before.
SJ: “I think early on he wasn’t quite like that but it was terrible then.”
LAB: You’re in one of my favorite movies – The Cheyenne Social Club.
SJ: “Ah, I love that movie.”
LAB: I think it’s underappreciated.
SJ: “So do I. It’s a great movie. it was a great movie to do. Gene Kelly directed it. I had a wonderful relationship with him, and I adored Jimmy. Jimmy lived down the street from me. I loved the story. And I think it’s the funniest thing Henry Fonda ever did.”
LAB: Fonda and Stewart are so masterful together in their simplicity and naturalness.
SJ: “Well, they were college roommates (roommates back East and in Hollywood), and I’ve often said watching them work was truly an acting lesson. They would ad lib, they knew each other so well, they knew each other’s timing. It was incredible.”
LAB: And this next one is not a great movie but you costarred in it with one of my favorite actors, James Garner…
SJ: “Tank. Oh, yes, I loved Jimmy, we had a good time.”
LAB: You’ve worked with a lot of legends…
SJ: “Oh, very much. I have a book coming out by the way – in June. It’s Shirley Jones, A Memoir. Yeah, it’s the story of my life.”
LAB: Is that something publishers have been trying to get you to do for some time?
SJ: “Yes, they have, and Simon and Schuster bought this so I’ll be on the road doing a lot of talking.”
LAB: So will we see different shades of Shirley Jones?
SJ: “Different shades absolutely. I’m not saying I slept with every male star that I worked with but I have a lot to say about everybody I worked with and two crazy husbands and 12 grandchildren, so my life has been rather extraordinary from the beginning.”
LAB: As you may have heard, Bruce Crawford really puts on the dog for his events. They’re like Hollywood premieres, only Omaha style.
SJ: “Yes, that’s what I hear. That’s great, I think that’s wonderful, it gives them an opportunity to view this film.”
- You’ll never walk alone- (lesplaisirssimplesdelavie.wordpress.com)
- Carousel (bettysbrownies.wordpress.com)
- Live From Lincoln Center: Rogers & Hammerstein’s Carousel (alaskapublic.org)
- Carousel (3159shroyer.wordpress.com)
Cindy Williams Interview: Film-television Atar to Appear at Nov. 2 Screening of ‘American Graffiti’ in Omaha
©by Leo Adam Biga
FOR EVENT DETAILS, VISIT: http://www.omahafilmevent.com
Cindy Williams broke our hearts in American Graffiti and made us laugh in Laverne and Shirley and this ageless American Sweetheart is still plying her craft in film, television, and theater. She’s coming to Omaha for a 40th anniversay screening of the classic George Lucas coming-of-age movie, American Graffiti. The Friday, Nov. 2 event at 7 p.m. in the Joslyn Art Museum’s Witherspoon Concert Hall is the latest revival by film historian and impresario Bruce Crawford. Williams will speak before the film to share some behind-the-scenes anecdotes from one of the most warmly regarded pictures of the last four decades. She spoke with me by phone from a bus transporting her and her fellow cast members after having just completed a performance of Nunsense Boulevard as part of a tour the musical comedy production is making on the East Coast and in the Southern states. The play is part of the Nunsense franchise by Dan Goggin. Williams appeared in Nunsense I and she calls the material “a lot of fun,” adding, “They’re happy musicals about a gaggle of nuns.”
LAB: In terms of your work on American Graffiti the first thing I’m curious about is what did you make of the young George Lucas?
CW: “He was just one of the gang, he was like one of us, he was our age. We knew he had directed at film at USC. There were rumblings he was a boy genius and his film THX-1138 was received so well. When Ron Howard and I went in to read for him, even before we had read it, he said, ‘Think of it as a musical.’ He told us that was because the music would never stop in the entire film except when the source of the music was gone, which would mean that the car was gone or the characters were out somewhere where they couldn’t hear a radio.
“I remember walking out of that meeting with Ron and saying, ‘A musical, incredible, that’s genius. Both of us agreed on that.”
LAB: So what kind of an experience did you have working on the film considering it was a low budget production all shot at night and you were among a cast of relative newcomers on a film that the studio (Universal) had little faith in?
CW: “It was like a very risque church camp experience.”
LAB: How is that?
CW: “We had one car, which was the prop car, that also was the car that took us to and from the hotel – the Holiday Inn we were staying at. Everybody had to ride together because he (the driver) wasn’t going to make anymore trips than he needed to because he was also the prop master. There was a Winnebago for the cast. There were no dressing rooms, there was no makeup, there was no place to go.
“We would start shooting at 6 at night and end at 6 in the morning with a guy from Universal there watching the clocl, making sure we didn’t go over schedule, and with one hand on the plug to the generator (to pull it and shut down filming if he had to). And so it was like fly-by-your-pants and we’ve-got-to-get-this-done and we’re-all-pulling-together.
“I don’t know if Ron had worked for Roger Corman yet but I had and I believe Harrison (Ford) had and a few others had. It was like Roger’s schedule. We were all young and anything he (Lucas) said we would just go with. Like the ending scene…Ron and I had been dismissed, it was over for us for the night, so we were in the Winnebago and he was in the boys section and I was in the girls section and we were waiting to get a ride from the prop car home. And all of a sudden the A.D. came in and said, ‘Put your wardrobe back on, we’re shooting the ending scene.’ And this was like 5 in the morning.
“Well, we had never rehearsed it, we weren’t prepared. I panicked and I said, ‘I can’t do this, I’ve read it like twice, we haven’t blocked it.’ We put our wardrobe on and ran out to George and said, ‘We’re not ready,’ and he said, ‘We’ve got to shoot it now because we’ve got to get the sun rising.’ We said, ‘Well, what do we do?’ and he said, ‘Improvise.’ And so we all got together and decided what we wer’e going to do. Haskell Wexler, the cinematographer, with a hand-held (camera)…The cars turned over, they started the car on fire, and Harrison and I figured out I’d be hitting him with my purse and then Ron was going to run up…We just talked about it as actors and we discussed it with George in about 30 seconds and he said, ‘Action!,’ and that was it, it was one take and it was over.”
LAB: Did you have a sense while making it that the picture was something special or did it surprise you because as you know little was expected of the film and yet it became a sensation?
CW: “That’s a tribute to the genius of George Lucas and to the beautiful photography of Haskell Wexler (one of three DPs on the film and officially credited as the film’s “visual consultant”). But, you know, the overriding factor is George Lucas had a vision and he shot the vision. And when he said it was a musical, when you think about the music in the film it’s another character in the film and it tells the story. It just leads everybody through this fabulous one night of coming-of-age.”
LAB: Do you regret that Lucas departed from this personal, humanist strain of movies to go on to do the Star Wars franchise?
CW: “That’s a very good question, no one’s ever asked me that. But here’s the thing: we wouldn’t have had Star Wars, there wouldn’t have been the phenomena of Star Wars. Yeah, you’d have to ask George, I can’t speak for George. In him, you have someone who can write the humanist story and who also can write the techno story and the fantasy futuristic story in brilliant terms. And let’s not forget it was written by Gloria Katz and Willard Huyck and George.”
LAB: Anything more you’d care to add about Lucas?
CW: “He’s a great great person, he’s got a wonderful heart and he just happens to be a genius. He’s a computer-age genius along with being a humanist.”
LAB: Even though you were a relative unknown to most moviegoers then, you’d already done some films and a fair amount of television before Graffiti and you’d worked with some very good people. I’m thinking of Drive, He Said with Jack Nicholson and Bruce Dern and Travels with My Aunt with Maggie Smith and directed by George Cukor.
CW: “I don’t even know if I had a line in Drive, He Said. Travels with My Aunt – I had just come back from doing in Spain, and the next day they called me about American Graffiti and I said, ‘I cannot come in and meet anyone.’ I was jet-lagging so bad that I was sick, I just wanted to go to bed for like a month. They kept calling me and I went in and that was because of the casting director Fred Roos, who’s brilliant. He produced The Godfather. He cast American Graffiti. Fred Roos had cast Mayberry RFD and that’s why he thought of Ron to play the lead in American Graffiti.
“I went in and I met with George and I really liked George. After I read the script I said, ‘I’d like to play debbie, the Candy Clark character, or Carol, the Mackenzie Phillips character, and Fred Roos said, ‘No, we’ve cast those, we cant find the ingenue, Laurie,’ and I said, ‘Oh please don’t make me an ingenue who cries all night.’ I didn’t want to go and screen test becauae I was so tired. I didn’t think i could learn the dialogue. I’ve got ADD and Dyslexia anyway, so it was almost impossible. I needed two weeks and a fresh mind. Well, I went in and did screen test with Ron and they offered me the part, and I said, ‘I can’t,’ I was still jet-lagging. I know, it sounds crazy. So then my agent called and said, ‘I think this is going to be a great movie.’ But it wasn’t until Francis (Coppola, who produced the film) called (that she accepted the part).
“I hadn’t seen The Godfather but I had seen (his) You’re a Big Boy Now – it’s one of my top ten favorite movies of all time. I was just awe struck that Francis Coppola would call me. I was like hypnotized: Yes, evil master, I will do the film. I said, ‘Of course I will.’ And it wasn’t because of The Gofather, it was because of You’re a Big Boy Now.”
LAB: You went on to work with Coppola on The Conversation, which also reunited you with Harrison Ford.
CW: “I could tell you a whole bunch about that (film) and about the genius of Francis Coppola, and I’m talking about a double scoop of genius.”
LAB: A few years after Graffiti you played the character of Shirley Feeney on several Happy Days episodes before starring alongside Penny Marshall in the monster TV sitcom hit Laverne and Shirley and so I take it then that Graffiti had quite an impact on your career?
CW: “Oh, absolutely. People always ask me if it was because of American Graffiti that Happy Days happened. I think they had already shot the pilot for Happy Days and American Graffiti was shelved by Universal. They hated it (despite great test screenings). Yeah, it was shelved for a year and then Francis Coppola offered to buy it. You should look that up, it;s so interesting. And then it was because Elton John and a bunch of musicians had screenings for it and people went crazy and they loved it and it became a populist kind of thing. And then I guess Universal took another look.
“Well, you know Universal passed on Star Wars (too), so then Fox picked it up.”
LAB: And the rest is history. Star Wars helped usher in the blockbuster event motion picture but Graffiti became a huge hit in its own right, sparking the nostalgia craze, and it’s still one of the top money earned versus cost to make productions in movie history.
CW: “Who knew?”
LAB: Why do you feel it resonated so strongly with the public?
CW: “It was the music, the cars, the characters. It all took place in one night, it was coming-of-age. There was something for everybody in that film.”
LAB: It’s a beautiful observance of certain youth rituals in a particular place and time and yet there are universal themes of yearning and courtship it touches on, too.
CW: “That’s so true, Leo. It’s the basic goodness of those rituals and also, and I remember George saying this, the story took place before President Kennedy was assassinated and before we all went to just hell in a handbasket, before everything became cynical. It was like a delineation. It was an age of innocence in those cars and with that music. There was nothing diabolique or gruesome or shocking. It was just all this sweet mirth. They were happy times, and you go to Garry Marshall in creating Happy Days. It was really a lovely time. It was such a different time.
“I remember that line drawn where you’re happy one day and then the president is assassinated and the whole country is trying to figure it out and mourn and grieve, and then all this cynicism began.”
LAB: You obviously continue to feel very warmly about American Graffiti and what it represents.
CW: “I always will. That film, to be a part of it, is such a privilege and an honor. A happy happy time of my life.”
LAB: Are you still close to some of the cast and crew?
CW: “Oh yeah, I see Paul Le Mat all the time and Candy (Clark) and Bo Hopkins. Things were so uncanny about the film. Like my best friend Lynne Marie Stewart, who played Miss Yvonne on Pee Wee’s Playhouse, she played Bobbie Tucker, who throws Richard Dryfuss out of her Volkswagon. Do you remember that scene? Well, Richard Dryfuss was her childhood friend – they went to elementary school together, and I knew Richard because of Lynne way before any of us started acting professionally. And so that was just like crazy that we all got cast in it, though Lynne and I went to theater school together. We knew Fred Roos together.
I haven’t seen Suzanne (Somers) and Ron (Howard) in a while. Richard, I’ve seen recently, and Harrison. But yeah everybody’s very friendly.”
LAB: Did you see any evidence of Howard’s interest in being a director?
CW: “Yes, he would get out of the car and he’d go and talk to Haskell and come and sit back in the car because we had no where else to do, and I’d say, ‘What are you doing?’ and he’d say, ‘Oh, I’m just asking Haskell how he’s shooting this because I’d like to direct some day,’ and I thought, ‘Yeah, right.’”
LAB: I take it that you’re coming to Omaha for this revival screening because you enjoy celebrating the film with fans.
CW: “I’m happy to get up before the film and tell everybody this was shot in 28 nights for $750,000 and most of that went to the music rights. Tell them little stories about it because people who love it, that just makes them love it even more and it let’s them see it the way I see it. I kind of give them a from-the-inside out kind of view of it. So yeah it’s a happy thing, Leo, and how many of those are in the world right now?”
LAB: The whole night shooting aspect of it is pretty fascinating.
CW: “Twenty-eight nights. It all takes place at night except for one shot in the morning when Kurt (Dryfuss) takes off for college in the plane. If you look at the plane real close one of the engines catches on fire when it starts up.”
LAB: Just how tight the shooting schedule was boggles the mind. But then again working fast forces you to be inventive.
CW: “You know, when you don’t give people a chance to (over)think and they’re thinking on their feet sometimes you get the best stuff because people just work twice as hard and they just buckle down. It’s great. When I was in school and we’d have a scene due a week you just did it, you didn’t question anything, you didn’t say, ‘What’s my motivation?’ You figured it out in your mind and your body and your heart and your soul and you did it.”
LAB: Do you regret making the sequel to American Graffiti?
CW: “No, not at all.”
LAB: Even though it was very poorly received and is not well regarded today either?
CW: “I know but I don’t regret it at all. I wish George had given the director more time to shoot it.”
LAB: Where do you place American Graffiti in your career compared with other projects you’re most proud of?
CW: “They’re on a loop – American Graffiti, Laverne and Shirley and The Conversation.”
LAB: You’ve done some producing as your career’s gone on.
CW: “I did co-produce Father of the Bride and that’s a whole other ball of wax, which im happy to talk with you about some other time. It’s a good story.”
FOR EVENT DETAILS, VISIT: http://www.omahafilmevent.com
- Lucas to be grand marshal of Modesto Graffiti parade (modbee.com)
- THE LIST Coming-of-age gems (goerie.com)
- Happy Birthday, Cindy Williams!!! (kidzrockinc.co)
- Penny Marshall Looks Back On Life – And The Movies – In Memoir ‘My Mother Was Nuts’ (movieline.com)
- AFI Night: #62 American Graffiti (mateohines.wordpress.com)
Gabrielle Union Takes Serious Turn in BET Drama ‘Being Mary Jane’ and PBS Documentary ‘Half the Sky’
Gabrielle Union. She’s hard to ignore because of her beauty, intelligence, confidence, grit, and good heart. All those qualities and more are on display in a new PBS documentary event, Half the Sky, premiering Oct. 1 and 2 that features her as one of six celebrity advocates who travel to different corners of the world to explore women and girls overcoming oppression. Those traits are reportedly also on display in her title role performance in the new BET movie, Being Mary Jane, that’s set to premiere early next year before developing into a series. My cover story on Union below is the latest among three cover stories I’ve done on the actress over the years. You can find the previous stories on this blog as well. I expect I’ll file more Gabby stories in the future as well.
Gabrielle Union Takes Serious Turn in BET Drama ‘Being Mary Jane’ and PBS Documentary ‘Half the Sky’
by Leo Adam Biga
Now appearing in The Reader (www.thereader.com)
Gabrielle Union has reached a point in her film and television career where she’s doing more meaningful projects. Not by accident either. The maturing actress known for her assertive persona and frank views has been ever more deliberate about her personal and professional choices.
“Probably since 2006 I’ve been concentrating on making sure I’m happy and doing things for the right reason and surrounding myself with good, positive people and eliminating the rest,” says the Omaha native with mega family and friends here. “I’ve got a peace of mind I’ve never had and I’m just really happy.”
It seems hard to believe but this glam goddess is 40 now. She’s still enough of a pop culture presence and sex symbol to grace the cover of the new EBONY magazine. She’s the perfect age, too, for the driven title character she plays in the new BET movie Being Mary Jane. The drama, slated to air in early 2013, is leveraged to become the network’s first original dramatic series.
The movie premiered at the recent Urbanworld Film Festival in Manhattan.
Her character Mary Jane Paul is a smart, popular Atlanta TV host striving to have it all in a male-dominated field while her biological clock ticks.
It might as well be describing Union’s real life as a single black female juggling career, family, living large and causes. Mary Jane’s another in a long line of her together black women roles. As she puts it, “I don’t mind creating positive images for women of color.” She says she and her two adult sisters, both successful in their own right, are confident, capable people today in large measure because of her mother, Theresa Glass Union, a former social worker and corporate manager.
Gabby’s no stranger herself to career and relationship issues. After her marriage to former NFL player Chris Howard ended in divorce she was a free agent. Then she met NBA icon Dwyane Wade, whose own marriage dissolved. Since finding each other on the rebound they’ve become a favorite power couple in celeb circles.
But it’s a project that didn’t require Union to do any acting that may make her most enduring impression. She’s one of six celebrity advocates in the new PBS transmedia documentary series Half the Sky. It premieres October 1 and 2. Union and Co. serve as witnesses and guides for this sprawling, multi-continent media event that examines the oppression of girls and women in developing nations.
The despairing realities revealed are offset by the courageous actions of individuals and organizations, so-called agents of change, working to improve conditions on the ground.
The title comes from the best selling book by noted New York Times journalists Nicholas Kristof and Sherly WuDunn. The series explores how girls and women in poverty become trapped in family-society restraints that limit opportunities and enable abuse, servitude and discrimination. The film finds education the most powerful liberating force for freeing people from bondage.
Girls are often discouraged from completing their education and even if they do they must still confront serious obstacles. Some do. Many don’t.
Producers invited Union to participate along with fellow actresses Diane Lane, Eva Mendes, Meg Ryan, Olivia Wilde and America Ferrera. Each was assigned to travel to a separate developing nation (Liberia, Sierra Leone, India, Pakistan) with Kristof. Their mission – to investigate what problems females face and report on proven remedies. Union and her peers acted as citizen journalists – their curiosity, empathy and questions complementing the professional reporter’s work.
Having a celebrity tag along is nothing new for Kristof.
“Nick has a history of engaging witnesses in his travels as a reporter,” says Half the Sky executive producer and director Maro Chermayeff. “He does his yearly Win-a-Trip where readers apply to go on an extensive journalist’s trip with him and he’s also traveled with Angelina Jolie and George Clooney (the actor intros the series). He has a very hard core following and what he’s often said about that is he wants to ‘bring fresh eyes.’”
In whatever corner of the world the celebrities, Kristof and filmmakers went they met females in distress as well as advocates working on their behalf. Chermayeff profiles select girls and women, whose stories become the prism through which we view the problems and solutions.
Union spent two weeks with Kristof and Chermayeff for a segment set in Vietnam‘s Mekong Delta. The actress got close with two girls there, Duyen and Nhi, both of whom contend with barriers to try and further their education.
“Their stories are amazing and their overcoming adversity kind of puts everything in perspective,” says Union.
During her Delta stay she met John Wood, co-founder of Room to Read, an NGO providing books and support to millions of children worldwide. It got its start in Vietnam. Duyen and Nhi are both Room to Read scholars. She also met a pair of Vietnam nationals who work as program facilitators with the girls and their families.
Half the Sky promotional materials brand the project’s ambitious aim as “turning oppression into opportunity” through programs and efforts that “seek to engage, educate and motivate the world to action.”
Union says the experience opened her eyes to the “very skewed idea Americans have of Vietnam.” She says she went “open to hearing the stories from the war and the rebuilding that happened after the war.” She adds she was most surprised by how “for the most part the Vietnamese are very openly welcoming of Americans.”
Chermayeff, who made the HBO doc The Kindness of Strangers in Omaha, says some colleagues questioned using celebrities
“But we knew celebrities could do two things. They could be fresh eyes and they could also shine a light, bounce a little bit of their ability to draw in a different audience on these very important issues.”
At a screening of the finished film she says skeptics acknowledged how effective the advocates are as “a bridge between the audience and the experience.”
“We knew we didn’t want the talent to distract from the stories or to be playing the role of an expert. They’re not experts. But we knew we were reaching out to women who were socially engaged, who had walked this walk and talked this talk before. They were working in this space. Gabrielle Union’s done extensive work with young women and girls on gender based violence in the States.”
Union’s heavily involved in supporting rape victims and raising money for cancer research. While a student at UCLA she was raped at the job she worked. From the time her film-TV career took off in the late 1990s she’s spoken candidly about what happened and she encourages victims to become survivors whose voices are heard. After close friend Kristen Martinez died of breast cancer Union devoted herself to spreading the word about the need for breast cancer screenings, which she does as a Susan G. Komen for the Cure ambassador.
When asked to carry her activism to Half the Sky she balked at first, only because she was coming off an especially busy period, but after seeing how it aligned with her own values and interests in empowering females, she signed on.
“I just couldn’t say no. i just wanted to be part of telling the story. It was incredibly humbling. I mean, I do a lot of work for women and girls on behalf of the Susan G. Komen for the Cure, Planned Parenthood, the UCLA Rape Crisis Center. I lobby state legislatures and the U.S. Senate and Congress to create funding for rape crisis centers. I’m on the President’s Committee to stop violence against women.
“I was happy to do be asked to take part in such a huge project as Half the Sky in bringing awareness to the issue of girls and women living in oppression.”
The much-anticipated series is the kind of prestige, serious endeavor that might gain her a whole new following. Most of her recent film work has been in black-themed soap operas featuring her niche as a sharp-tongued shrew with a heart-of-gold (Deliver Us From Eva, Think Like a Man, Tyler Perry’s Mr. Good Deeds) though those pictures do have wide crossover appeal.
While not apparent at first there’s a thruline from Half the Sky to Being Mary Jane to other work she’s doing because they’re all projects that matter to her.
Mary Jane is produced by Mara Brock Akil and Salim Akil, the hot writer-director team whose BET series The Game is a phenomenon. They’ve also collaborated on the network’s Girlfriends and the feature Sparkle.
Mary Jane Paul may be no stretch for Union, whose real life intelligence, strength and independence have sustained her in a rough business, but it represents one of the few times she’s gained the lead in a straight dramatic role. The Akils promise to give her more to work with than the bitchy divas she initially drew attention with or the stalwart, largely thankless wifely supporting parts she’s lately assumed.
She says she’s long wanted to work with the couple and recalls a conversation she once had with Mara Brock Akil about the types of roles and projects she desired. Ones with substance and relevance. She feels Mary Jane realizes those aspirations, saying it’s the best TV pilot script she’s read since Scandal, the ABC thriller series she wanted but didn’t land (Kerry Washington got the lead).
Besides the creative team behind it Union says what ultimately sold her on Mary Jane is its very real, true depiction of aspirational single black women just like herself and her friends. The dramatic situations, whether with family or romantic relationships or work dynamics, seem drawn from her and their own lives.
Not surprisingly, she often calls actor friends for feedback when weighing a possible career-changing role.
“Anytime I have a question about acting and should I do it, should I not do it, I call Sanaa Lathan (the star of Something Different).”
Mary Jane was such a natural fit Union didn’t necessarily need her friend’s counsel this time. She did on the underrated and undersign Cadillac Records (2008).
“I asked Sanna about it and she said, ‘Baby, if it doesn’t scare you, you shouldn’t do it.’ And if you look at her choices she definitely lives by that and I’ve tried to incorporate more of that. Even auditioning for things where I’m like, ‘Oh, gosh, there’s no way in hell I’ll get that,’ and most often I don’t but to even put myself in a position of trying and to stretch myself as an actor and to put myself out there as an actor and to take more risks feels pretty good.”
Union’s embraced her share of risks, too. In Neo Ned (2005) her character and a neo-Nazi played by Jeremy Renner fall hard for each other in the confines of a psych ward.
On the surface her Cadillac Records part as Geneva Wade, the girlfriend of Muddy Waters, may seem safe but she says it was a stretch because, “one, there was no glamour to it, and two, there was no humor.” Thus, it exposed her. “Yeah, it’s scary to not be able to have a lot of hair and makeup and to not look glamorous and to not always get the punchline, so it was a little nerve wracking for me.”
“And if you’re going to put people in victim or hero mode she was a bit of a victim of Muddy Waters,” says Union. “She took a lot of grief, she was the long-suffering partner but she stood by him and she supported him and she dealt with whatever came her way and she did it with quiet dignity and class.”
Union says, “It reminded me so much of my mother’s story and so many women of that generation or now who deal with that same thing, and I tried to portray it with as much respect as I could.”
The star’s parents divorced years ago.
Half the Sky took Union out of her comfort zone again. Minus a script. she wasn’t asked to be anyone but herself. No where to hide. Minus a wardrobe of styling outfits, she wore practical casuals for negotiating dikes and roadways and coping with rainy season downfalls and repressive tropical climes.
Chermayeff admires that Union threw herself into this immersion experience with poor working class families living on dikes in the delta.
“I love her, she’s a great girl.”
Dueyn’s family lives in a makeshift tent after their shack was flooded. Just to get to school is an epic journey for the girl, who must cross waterways in boats and then make a 17-mile trek by bike, each way. To appreciate how much effort all that takes Union retraced the route alongside the girl, including making the bike trip.
As Kristof shares in a voice-over, “Duyen is kind of a classic situation in rural areas where you have a girl who’s so bright and so capable but she’s a long way from any school…and that is far from unique in the developing world.”
Union explains in her own voice-over, “I think I realized just how long, how lonely her journey home is. Crap roads, crazy vegetation where anyone can hide. Anything could happen to her in 17 miles, and she’s just rolling by herself. I asked, ‘Does anyone ever bug you as you’re riding home?’ and she said, ‘Oh yeah… men have stopped me before.’”
Human predators prey on targets like Duyen. In certain parts of the world it can mean being sold or kidnapped into the sex trafficking underworld.
Sometimes the abuser’s right inside the family. Nhi is forced to sell lottery tickets by her father, whom, she reveals, beats her when she doesn’t sell her entire allotment.
“It’s probably a lot worse than even what she’s shared because she can’t control it,” Union tells the Room to Read facilitator. “With Nhi everything she’s feeling you can see. She’s trained by her father you don’t tell the neighbors what’s going on, you don’t tell your teachers, you don’t tell anyone what happens in this house but her emotions are betraying her.
“For a lot of children in disadvantaged situations and households education’s a safe haven. (School’s) a place where for the most part you can trust the people there and it’s a few hours every day where you are physically safe and good things are happening.”
“That’s a story that was very, very close to Gabby’s heart because Nhi was really working and struggling,” says Chermayeff.
As Union tells the facilitator, “When I was 19 and I left home I ended up getting raped…When you’re raped it’s the absence of control, so the one thing I could control was school and I just dove into my school work and I became an amazing student. So I can relate to Nhi being so driven in school and I just wish for girls who have to go through any kind of adversity that they have education as an outlet for healing.”
The actress says she came away from Vietnam inspired by “the perseverance of these young girls, who move hell and high water to get an education. If that means paying for it themselves, they pay for it themselves, if that means living away from their families they do that.” She says Nhi’s situation so moved her that she and Dwyane Wade have set up a scholarship fund for Nhi to complete her studies.
Union’s helping Wade raise his two sons and a nephew. She has three new young siblings to dote on now, too, since her mom, who lives in Omaha, recently adopted three pre-school aged children. The children’s biological mother is a niece to Glass and a cousin to Union.
“It’s like we’re starting over,” Union says . “I’m coming back in big sister mode trying to mold a set of young people and provide as much as we can. It’s kind of like we’re going back in time and we get to do it over and fix some of the mistakes we made in the past. My mom very much believes in we-are-our-brother’s keeper and you’re only as strong as your weakest link, and she refuses to let our family down.”
For more on the documentary, visit http://www.halftheskymovement.org.
- Girls Gone Global (thedailybeast.com)
- Will You Join the Half the Sky Movement? (blog-aauw.org)
- Join Six Amazing Actresses for an Inspiring Television Event | Independent Lens | PBS – Trailer (point4counterpoint.wordpress.com)
I have been fortunate enough to interview several film legends and with this story I landed a biggie in the person of the late Robert Wise, the Oscar-winning producer-director who made two of the greatest screen musicals in West Side Story and The Sound of Music, though as my piece points out he was a versatile enough filmmaker that he made memorable movies of all different genres, including horror, crime, Western, and science fiction. My story appeared on the eve of a revival screening of West Side Story at the restored Orpheum Theater in Omaha some eight or nine years ago. The event was organized by local impresario Bruce Crawford. For the story I interviewed Wise, co-star Russ Tamblyn, who came to the showing, and Crawford. Though Wise was not a great filmmaker or auteur he was certainly one of the most commercially successful prodcuer-directors of his era. His career also spanned an incredibly long period, from the Golden Age of 1930s-1940s Hollywood well into the 1980s, and intersected with scores of great talents. It was a distinct privilege to speak with him. Flm lovers should note that this blog is full of my stories from my work as a film journalist.
‘West Side Story,’ An American Classic
©by Leo Adam Biga
Originally appeared in the New Horizons
Before becoming the home of Omaha’s performing arts in the 1970s, the Orpheum Theater reigned as the grandest movie palace in the city. It’s only fitting then the newly renovated downtown Orpheum will, for one night only, on Monday, November 11, showcase a national cinema treasure – West Side Story – in a special screening benefiting the St. Vincent DePaul Society of Omaha
The event is the latest in local impresario Bruce Crawford’s series of annual film revivals presented in the manner of Hollywood premieres. This time, he’s arranged personal appearances by three West Side Story notables — its Oscar-winning producer-director Robert Wise, co-star Russ Tamblyn and vocalist Marni Nixon, who provided the singing voice for Natalie Wood. Also, a choreographed work by Robin Welch of the Omaha Theater Ballet will pay homage to the dance numbers in the film. Wise, Tamblyn and Nixon will speak prior to the film and sign autographs afterwards.
Crawford said he’s secured “an archival print” for the showing, which will offer audiences a rare chance to see the film in all its 70 millimeter Super Panavision glory on the big screen. In the opinion of Crawford, a devotee of film music, West Side Story “broke the mold” as far as the American musical is concerned. “I consider it a modern opera. Maria,Tonight, In America – these are not just show tunes, these are almost operatic arias,” he said. “I think it transcends the musical genre and is the most unique of all film musicals, hands-down.”
Released by United Artists in 1961, West Side Story became a huge box-office hit and one of the most honored films in Academy Award history, winning 10 Oscars, including for Best Picture, Best Director (Wise and co-director Jerome Robbins), Best Supporting Actor (George Chakiris) and Best Supporting Actress (Rita Moreno). As successful as the film was, it owed everything to the original stage production upon which it was based. Boldly transposing the forbidden romance of Shakespeare’s Romeo and Juliet to the New York gang milieu and exchanging the Montague-Capulet feud for the gang warfare between the Caucasian Jets and the Puerto Rican Sharks, playwright Arthur Laurents, lyricist Stephen Sondheim, composer Leonard Bernstein and director-choreographer Jerome Robbins covered new ground in American musical theater with their honest depiction of racial issues.
The modern, socially-conscious drama became a Broadway phenomenon soon after opening at New York’s Winter Garden Theater in 1957. Brimming with an urgent passion and intellect, the show ran more than 700 performances before going on tour. Sensing a hot property when they saw one, producers ponied-up to buy the film rights. In the changing landscape of American cinema then, old-line Hollywood studios were giving way to brash new independent film companies, one of which — Mirisch Pictures — acquired the rights to the play and, in association with Seven Arts Productions, launched the much-anticipated screen version.
To helm the film, veteran Robert Wise (Somebody Up There Likes Me) was signed and, in an unusual arrangement, Broadway’s Robbins was given co-directorial responsibilities. The plan was for Wise to direct the dramatic scenes and to shape the overall story for the camera and for Robbins to develop the demanding dance and music numbers. Screenwriter Ernest Lehman (Sabrina, The King and I, Sweet Smell of Success, North By Northwest) wrote the film adaptation. Bernstein and Sondheim again provided the powerful music and lyrics around which the entire spine of West Side is built. In preparing the film, Wise-Robbins elected not to use any leads from the Broadway show and instead cast five fresh-faced young players under contract to various studios.
As the souful, starcrossed lovers whose romance defies family, ethnic and gang codes of honor, Richard Beymer was cast as Tony, the Polish-American boy, and Natalie Wood as Maria, the Chicano girl. Newcomer George Chakiris took the showy part of Bernardo, the charismatic leader of the Sharks. Plucked from the obscurity of previously decorative bit parts, Rita Moreno won the role of Anita, the fire brand mate of Bernardo. And, finally, for the cocky role of Riff, the leader of the Jets, Russ Tamblyn got the call.
In recent phone interviews from their California homes, Wise and Tamblyn spoke about making the film and the artists they collaborated with. After 56 years directing some of the most famous features in movie history, 88-year-old Robert Wise is finally retired from picture-making, although movies are always on his mind. The venerable Wise is the last of the old guard of Hollywood filmmakers. In a distinguished career that saw him transition from the editing room at RKO, where he cut such classics as Citizen Kane, to assuming the director’s chair, from which he oversaw dozens of popular films of every conceivable genre, Wise earned a reputation as a fine craftsman. His fluid, incisive, unadorned work exudes a sober integrity reflective of his own character. In preparing a film a director is like a reporter and Wise, who intended to be a journalist, anchors his work in research. “When I go into any project I research every aspect of it thoroughly, so I can tell all the truth and reality I can up on the screen,” he said.
By the time Wise joined the West Side creative team, he was a bankable, versatile director adept at making suspense films (The Curse of the Cat People), horror films (The Body Snatcher), film noirs (The Set-Up), crime thrillers (Odds Against Tomorrow), Westerns (Blood on the Moon), science fiction flicks (The Day the Earth Stood Still), high dramas (Executive Suite), biopics (I Want to Live) and war films (Run Silent, Run Deep). Despite never directing a musical, he worked as an assistant editor on Astaire-Rogers pictures, an experience, he said, that helped him know “the form” of the musical. Four years after West Side, he struck gold with another Broadway adaptation – The Sound of Music –which broke all box office records.
Wise knew the challenge in making a film from a play, any play, was in finding ways to open the story up in cinematic terms that liberated the action from the constraints of the stage. So that he could capture the grit, vitality and scope of West Side’s New York City setting, he realized he must get dynamic shots of the Big Apple and thus fix the story’s urban location in people’s minds. To do that, he came up with the novel idea for the signature opening — a sweeping helicopter pan looking straight down at the looming cityscape. The resulting images offer arresting views of the city and serve to heighten the reality and poetry of the stylized drama. The filmmaker had to fight reluctant, penny-pinching executives to do the opening his way.
“Well, they were not too happy about it because it was going to cost a lot more money to shoot that, but that was the only way to do it,” he said. “I didn’t want to fake that out here in Los Angeles. I wanted to deliver New York and I didn’t want to do it with that same old shot across the river of the bridge and the skyline. I got to wondering what it would look like just straight down — a New York most people have never seen. I didn’t actually shoot that myself. A second-unit man did it for me. I think we had about a half-hour’s worth of film, which we cut down into what’s in the movie.” The montage rythmically leads into the first pulsating shots of gang members moving in the streets and breaking into dance.
Aside from his own contributions, Wise felt secure knowing he had a brilliant book, sublime lyrics and memorable music to work with. In his mind, a film is only as good as its screenplay. He said, “We had a marvelous script by a writer-friend of mine, Ernest Lehman, who’s done several of my other things. The foundation of any film is the script, and if it’s not on the page, you’re not going to get it up there (on the screen). If you’ve got it on the page and if you get the right cast together and the right crew, then away you go and you let the chips fall where they may.”
Russ Tamblyn said West Side was a project where “all the ingredients clicked.” Among the big egos and talents behind it, he said, it was the cool, calm, quiet Wise who held it all together. “He was quite different from Jerome Robbins. Jerry was very passionate and out front. He would get mad at dancers if they couldn’t remember steps and he wanted actors to keep doing stuff over and over and over again. On the set, boy, he was a demon. Whereas Robert Wise was more laid-back. He was the kind of director I really like — that’s more self-assured and would point you in the right direction and leave it up to you to go there. That’s the thing I loved about him. He just is really sweet. You can call him at his office, and he answers the phone. There aren’t many people in his position that do that.”
When, more than half-way through production, the film fell behind schedule and went over-budget, the fiery Robbins was fired and assistant Tony Mordente, who also played one of the Jets, Action, assumed the choreography. Ironically, Robbins won Oscars for his energetic, sexually-charged choreography and co-direction.
Behind-the-scenes intrigue or not, Tamblyn enjoyed the shoot and felt lucky to be part of the film at all. He was “on loan” to the producers from MGM, where he was a contract player. He actually tested for the role of Tony, but ended up playing Riff over the objections of studio head Bennie Thau, who felt the part projected the wrong image for a young star being groomed as a clean-cut boy-next-door type. West Side was not the first or last musical for Tamblyn, who displayed his acrobatic style, replete with his trademark back flip, in Seven Brides for Seven Brothers, Tom Thumb and Hit the Deck. While lacking formal training, the former Los Angeles youth tumbling champ got the equal of a graduate-level dance education from such master choreographers as Robbins, Michael Kidd and Hermes Pan. Although “extremely intimidated” by the dances required in West Side, he gained confidence during months of rehearsal and from being in the company of fellow former child actors Natalie Wood and Richard Beymer, whom Tamblyn later co-starred with in David Lynch’s cult TV series Twin Peaks.
Tamblyn, who considers West Side Story “the peak” of his career, enjoys attending revivals of the film. “Last year we did a cast and crew reunion in New York at Radio City Music Hall,” he said. “It was completely sold out. It was right after 9/11 and we didn’t even want to go, but Mayor Giuliani asked us to, and it was one of the best trips I ever had there.” Robert Wise was there too and said the film “played like gangbusters.” For his Omaha screening, Bruce Crawford is “thrilled” to have the combination of “a legendary filmmaker, a classic film and the Orpheum Theater.”
- How we made … Russ Tamblyn and George Chakiris on West Side Story (guardian.co.uk)
- Five top stage-to-film musical makeovers (nydailynews.com)
- West Side Story, film soundtrack, CD review (telegraph.co.uk)
- The Search for the ‘West Side Story’ Album Cover in NYC (wqxr.org)
I am developing a film story-event project that’s piecing together what happened when a confluence of remarkable talents came together to make a low budget road movie in the late 1960s and their production journey brought them to western Nebraska. The road pic was Francis Ford Coppola’s art house special, The Rain People, starring Shirley Knight. That production cemented a relationship between Coppola and a young protege, George Lucas, who was along as a production associate and to document the making of the film. The project also connected Coppola with two actors who would go on to play prominent roles in his future pics: James Caan and Robert Duvall. That’s not all. The Rain People additionally led to Duvall starring in Lucas’ first feature, THX-1138, and to the actor directing his first film, the documentary We’re Not the Jet Set, which profiles an Ogallala, Neb. area ranch-rodeo family, the Petersons, whom Duvall became very close to. As I make progress on the story I will be posting interviews I’ve conducted with many of the principles involved in the films. What follows is an interview I did with James Caan. Look for upcoming interviews I did with Robert Duvall, Francis Ford Coppola, cinematographers Bill Butler (Rain People) and Joseph Friedman (Jet Set) and editor Stephen Mack.
James Caan Interview: From My Film Connections Project (An In-Progress Film Story-Event Project)
©by Leo Adam Biga
JC: “Bobby’s older than me. We first met in ’68 when we did a picture called The Rain People for Francis (Ford Coppola). That’s when we met the Petersons. That was first, I believe.”
LB: Except that IMDB shows Countdown was released in ’68, the same year The Rain People, a ’69 release, was in production, and so I’m thinking you two made Countdown first.
JC: “Oh yeah, you can’t argue with those fuckers. We had a lot of fun on Countdown. That was one of Bob Altman’s first features.
LAB: I thought perhaps you and Duvall might have met before that, like through New York acting circles.
JC: “No, no, because I came out here (L.A.) when I was like 21. I studied in New York. We didn’t study together. I did like an off-Broadway play there for eight months and then I did whatever television was available then. There was one called Playhouse 90. It was a three-camera show. It was like a play they put on live television. And then there was Naked City, which was a series. And then there was that Route 66, which I did in Philadelphia. But then that was pretty much it in New York.
“And then I got called out to California. But I had to know Bobby before that (Countdown-Rain People) because we were already goofing on each other. That’s weird though – I thought I knew Bobby before that, for what reason I don’t know. Is it age, what is it, Jesus Christ?!
LAB: So what is it that accounts for your enduring friendship?
JC: “Just kind of a blatant honesty I think. I mean, it’s not like I don’t like actors or something, but I don’t just much travel in those circles, and Bobby’s not one of those either. I mean, I know made him laugh a little bit and I like that because I like making people laugh and I guess he likes laughing or something. And Bobby’s obviously a terrific actor and really easy to work with. From day one till today I dont think there’s anyone more giving than him working on camera. Some actors are terribly selfish and they think the worse you are the better they look, so they don’t give a shit when you’re on camera, which is a horrible principle because there’s no such thing as bad acting in a good scene.
“And then I think horses. I don’t know if I was into horses. I think it was a kind of freedom and not so involved in being all withdrawn and letting the job overtake your entire life. It didn’t mean we didn’t work but we had a lot of fun. And he was a terrible practical joker. He couldn’t hold a goddamned secret for nothing. I mean, if you had something you really didn’t want out there and you whispered it to your best friend, he’d wait till there were 500 people in the room and blurt it out. That’s Bobby.”
LAB: If I’m not mistaken you were attached to The Rain People project from the beginning whereas Duvall joined the company some time later, and, that in fact he may have replaced another actor.
JC: “I think Rip Torn or somebody.”
LAB: What did you make of the young Francis Ford Coppola?
JC: “Francis at that time was very aesthetic. And he wrote the thing as a play I think, and we did it somewhere up in Columbia or somewhere. We did it as a play. It was sort of like a rehearsal thing that Francis did.”
LAB: How did the two of you meet?
JC: “I met Francis when he came out here. I guess he had seen one or two things I had done. I obviously hadn’t done too many. I think by that time he had written Patton. I think he stayed at my house. I had a little guest house, so he stayed there for awhile. We got to be friendly. Having come from the Neighborhood Playhouse with (Lee) Strasburg and all those people, he was a young guy – I think Francis is like a year older than me. He was from New York (by way of Detroit). As a matter of fact his grandmother lived around the corner from me in Sunnyside.”
LAB: What about The Rain People got you interested in doing the part of Killer Killgannon?
JC: “It was a great opportunity, a great character. Just from talking to him (Coppola) I knew he knew actors and he had already received some notoriety with You’re a Big Boy Now and obviously having written Patton at the age of 23 (24 actually) or whatever the hell he was. But obviously when I started working with him I knew he was something special. The guy pretty much knew about everything. When you look from there to The Godfather and all the guys Francis hired…if you look at every department head, the biggest today in their departments, whether Walter Murch in sound, Gordy Willis, Dean Tavalouris, they were all pretty much found by Francis.
“There was one Francis at that time. He was the best. I don’t know how many films I’ve done but Francis is still the best.”
LAB: Duvall told me a funny anecdote about Coppola, who apparently confided he was scared of the Petersons. That struck Duvall as funny too since Coppola went on to make films about mafia killers.
JC: “Francis wasn’t a Brooklyn Italian, he was Mediterranean Italian. All art. And, well they’re (the mafia) from New York. He understood them. He never understood what my love for rodeo was by the way.”
LAB: What kind of experience was The Rain People shoot for you?
JC: “I was like depressed through that whole picture, mostly because of this character I played. I was playing this guy with this brain damage, and I’m traveling and my community was not out there with a bunch of aesthetic, ethereal actors and actresses and cameramen. We were on the road, God, for that whole picture. We started out in Long Island and ended up in Ogallala out there. I had really no idea where we were going from day to day. From there (Long Island) we went to Virginia, we went down to Chattanooga and then across the country and wound up, as I’m sure he had scouted and everything, over in Ogallala.
“There was like 18 of us, the crew and the actors. It was just me and Shirley Knight, so every night I’d go to a different Holiday Inn and play with the light switches. I didn’t know what to do, I was a New Yorker. It was tough but it was a good picture I think. It’s really a nice picture. It was critically acclaimed. It won the San Sebastian Film Festival.”
LAB: Were you satisfied with how the script’s story was realized on screen?
JC: “That got a little mixed up,…the whole story kind of took a turn. That’s some personal stuff. People were supposed to be concerned about Shirley’s problem (her character’s problem). In other words here’s a woman who had all this responsibility, not only was she married but she had a baby, it all got too much and so she decided to take this ride and then she picks up some young guy who played college football. The whole idea of the picture is he in a sense becomes the embryo she’s carrying because she had to care for him and so forth. So it was all set up. Shirley played her a little mean and tough. I think what happened with the audience and Francis is they became more concerned with me than they did with her. She was the one you were supposed to worry about.
“Some of the choices were on the mean side, so they (the audience) became more involved with what happened to me.”
LAB: How was it working with Shirley Knight?
JC: “Shirley was a little tough. I like her but she was a little tough. And then by the way when Bobby showed up we started having fun. He’s the funniest son of a bitch. He was playing this motorcycle cop and he told me, “I’ve got two kids and everything, I don’t ride no goddamned motorcycle.’ ‘Fuck it, Bobby, goddamnit you’ve gotta ride the motorcycle, you’re a motorcycle cop on the highway. It ain’t nothin’, I’ll teach you in three minutes.’ So I had to get my brother to come out and double him. Oh, man, we laughed our asses off.
“He had that one scene at night with Shirley on the bike, going literally two miles an hour before I have that fight with him. ‘OK, action,’ and the thing would sputter out. (After multiple takes) finally he made it around the corner and came to a stop. Shirley got off and he threw the kick stand down and got off and he took three steps and the son of a bitch fell over, and he just yelled out, ‘Fuck you!’ Oh, my God…(laughing). Bobby was amazing. When he’d blow up, there was nothing like it.”
LAB: What about the very young George Lucas?
JC: “George was there all the time filming. He did a documentary The Making of The Rain People. He wore a big harness and had a 16 mm camera strapped to his chest. I thought he was born with it or something because I never saw him without it.
LAB: Part of the fun that came with Duvall’s arrival on location in Ogallala was the two of you meeting up with the Petersons.
JC: “B.A. (the late patriarch of the Peterson clan and the ostensible star of We’re Not the Jet Set) “Yeah, they were a wild group. They would fight in the middle of the living room, and oh boy I mean fist fight, and he’s (B.A.) sitting back in a chair saying, ‘Now, no hitting in the face, no hitting in the face.’ Those were the rules. With Denny Peterson I got my nose into (branding and roping).”
LAB: You were already into horses by the time you met the Petersons.
JC: “When I came from New York I got a horse right away because I think that was the thing to do. (Growing up) I always played make believe in the streets – it was Roy Rogers or wharever the hell it was. After hanging around with Denny and those guys he took me to my first branding which was at the Haythorn ranch in Bruell (Neb.). They have a huge ranch out there. I think I had a week off for a little stretch and rather than go home I went to this branding, and then from there it got in my blood.
“Denny picked me up at four in the morning, threw me in a trailer and we drove out there. I didn’t know any of these guys and I tried to look as western as I could, you know. I even had chew in my mouth. I didn’t want to stick out like some idiot from Hollywood on this big branding. Denny and I got amongst some guys, we saddled up and rode out, they were pushing some huge herd and I just fell behind ‘em yelling ‘Ha, ha, ha…’ The first few days I just wrestled these calves. One of the Haythorns said, ‘You guys keep a pushing on this herd’ – toward this water hole. They were going to top these other hills. So a bunch of them ran off and Denny left with them and left me alone with these other guys.
“I was dressed in my jeans and the oldest ranch hat. I never said a word, which for me is really difficult. I just kept spittin’ and yellin’ and pushin’ the herd, and we finally got ‘em to this water hole, and all of a sudden these two or three calves just bolted and ran up this steep old hill, so I whirled around with these old boys looking and I just took off up the hill. A herd or one is not bad but two is near impossible. So I got myself in a sweat chasing one. I’d get ‘em together and one would break to the left. Finally I got the two of ‘em and I started driving ‘em down the hill and I saw those old boys still sitting down at the water hole and one of ‘em looked up and said, ‘Hey, Hollywood (laughs),’ and I swallowed my chew and I went, ‘Yeah?’ He said, ‘You can leave them go.’ I said, ‘What’s that?’ He said, ‘They’ve already been branded (laughs). So that’s the way I gave myself up I guess.
“But boy that was some experience. Goddamned, the work. It’s a great tradition actually. These guys come from all over, the neighboring ranchers, like the Petersons. And then all the wives, boy what a feast they put out. A spread for all the hands. They’d have all these homemade pies. You name it. By four o’clock, you talk about sleep and sore. I was done, I was hurtin’ boy. It was great.
“These range calves weigh 300 or some pounds, so I got shit on and kicked and pissed on. It was the hardest work. But it was really a big honor. Like on the fourth day they build these big catch pens in different sections and run these cattle from the different sections. And on the last day old Waldo Haythorn, who was the grandpa, gave me the honor of roping. I remember there were guys coming up from Texas, some great ropers. Everett Shaw, who was a big time roper from Texas, came up and roped for old Waldo. They do that, they invite ‘em up to be some of the ropers.
“You’d be tied onto your saddle and just rope these big old calves out of the herd and drag ‘em by the pit. I was flanking ‘em and spread eagling for two or three days. They doctor them and do whatever they do. And they (the Haythorns) bought me a hat as a thank you gift, a nice black stetson.”
LAB: You were a ‘made man’ after that.
JC: ‘Oh, yeah, that was it. I was done right then and there. Yeah, that was pretty good.”
JC: “I had a friend in Vegas named Dean Shendal (one-time professional steer wrestler and rodeo star and a fixture on the Vegas social scene; he opened his Green Valley ranch and practice arena to celebrities and competitors). All the rodeo champs used to train there and practice there before all the finals in Oklahoma City. I guess that’s how I got into rodeoing. Well, listen, from that point on I became an amateur and I filled my card in a year. I became a pro. It was just in my blood.
“When I started doing these bigger films, I was the first guy they had put in his contracts that I couldn’t rodeo, which is understandable. I could understand why they didn’t want me rodeoing on the weekends.”
LAB: You were heavy into your pro rodeo career when you worked on Funny Lady.
JC: “That’s a funny story. There was an incident where…there was about four weeks left on the picture and my lawyer at the time called me and said, ‘Jimmy, a week from next Wednesday I’m going to ask you to walk off the picture.’ I said, ‘What? What are you talking about?’ He said, ‘Well, they still haven’t signed the contract.’ Mind you, I’d been on it for two months already. I said, ‘What do you mean?’ Well, it turned out they agreed to the same deal I had on Cinderella Liberty and whatever and then they discovered, you’re not going to participate in the music rights, and they weren’t going to add that, which they usually do, to the gross of the picture – whatever little percentage I had. So they were arguing back and forth.
“Ray Stark (the film’s producer) was a tough guy and his lawyer was tough. I was sneaking out anyway (to rodeo). I was roping with a kid named H.P. Evens, who was a world champion at that time. And before that Wednesday I snuck out with H.P. and entered this rodeo in Palm Springs and as luck or whatever had it I roped this steer and I think as I sat back down to (?) it the horse threw me over the front of that saddle horn and that rope just ran through my hands. I wouldn’t let it go because I won like $86 or some bullshit. I could have lost a finger.
“It finally kicked up and dallied but it literally took all the hide off between my thumb and my forefinger. Just ran down to the bone. Oh my God, I remember some guy pouring some new skin in there. I had to go to work Monday. How the hell you going to keep that from the makeup people? I move my hands a lot in this picture, I’ll wrap it up, they’ll never notice it. So I do this scene with Barbra (Streisand). Nobody saw nothing. The minute I came off I headed to my trailer and I started putting some gauze on my hand and there was this guy standing there watching me. It was Ray Stark. He came over and said, ‘Goddamnit, you’ve been rodeoing again.’ I didn’t say nothing. And he said, ‘Didn’t you read your goddamned contract?’ And I said, ‘I don’t believe I’ve got one, Ray, and there’s another rodeo coming up this next week.’ Well, that afternoon the contract got signed.
“They took away my motorcycle from me and my right to enter rodeos.”
LAB: The Haythorns have quite a legacy.
JC: “I knew they were huge ranchers. I think there was some trail they blazed…”
NOTE: In 1890 Harry Haythorn, Waldo’s grandfather, and helpers drove 700 horses from eastern Oregon to the family’s ranch north of Ogallala, Neb., and then to the Rosebud Indian Reservation in south-central South Dakota, and this became the basis for the Duval-starring mini-series Broken Trail.
“So I became friendly with them (as did Duvall, who’s been to the Haythorn ranch several times).”
LAB: Of course Duvall got to know the Petersons intimately when he made his documentary about them.
JC: “I know he stayed close to them, and you know Rex (Peterson) along with Shelly (Peterson) are both out here, they both work in the industry (as horse trainers-wranglers). I haven’t heard from Denny. Shelly, I think she works in the Teamsters Union. Rex is training horses out here. He’s the most like his dad I guess of the guys I know. He’s a tough old sonofabitch. He ain’t got time for a lot of how ya’ doins and stuff.”
LAB: Duvall told me his experiences with the Petersons and the Haythorns informed his portrayals of the western characters he’s played. Is the same true of you?
JC: “My interest in ranching and all that, certainly that was a foundation for Comes a Horseman. And that was a complete fucking mess. I’ll get into that because Alan Pakula (the director), may be rest in peace, I wasn’t very fond of him, but two or three out of a hundred aint bad. But he didn’t know which end of a horse ate and he was the guy I got. I put the whole picture together and I’m not one of those guys that do all that stuff. I’m kind of lazy. I go in my trailer, say my words and go back in my trailer. When that picture was first conceived I went and got Jane Fonda. It was just a story about ranch life in 1945 in Montana. Montana was the last unfenced range in the country in ’45. And this guy (his character) comes back. It was just about the ranch life,. He joins forces with this girl.
“There was no Jason Robards character. There was none of that Bonanza bullshit. And Richard Farnsworth, I gave him his first acting job. He was great. And that’s what it was. I wanted to do a semi-documentary small picture. I went and spoke to Terrence Malick, who I wanted to do it and Terry said, ‘I know I’m going to shoot myself but I only do my own stuff…’and da-da-da. So then my agent got Alan Pakula. I was about to go off and do some picture with Claude LeLouch and I spent three or four hours with him (Pakula) telling him,’ Look, here’s what it is.’ And, of course, I had the best ropers in the world out there, and some of that roping in there was pretty hairy and wicked, 1,200 pounders. I just wanted to see these two people doing their work, trying to round these cattle up and all the stuff that’s entailed, and in the middle of the story, to put it in its simplest form, I wanted somebody from some oil company to come and offer them some silly money for the right to drill a hole where they found some oil on their property, and they say no, at which point I wanted the audience to go, ‘This is bullshit, this is nonsense, they’re working their ass off, who wouldn’t take $2 million?’
“And then when they finish driving the cattle to the station at the end of the picture I wanted the audience to realize that the only reason to ranch in my mind is that you love it, it’s for the right to do it again the next year, like the Haythorns and the Petersons. The idea that most of the people in the audience don’t really love what they do and they realize that instead of that being baloney, they get it. That’s what I wanted to happen. And then I came back from France and I read this thing (Pakula’s revised script) and went to the studio and said, ‘I’m not doing this – people hanging and rape. What are you talking about?’ And one of our guys got killed doing some stunt that was added to the end of the picture. It was a horror. But Jane was great.”
LAB: The way you describe what you were after on Comes a Horseman reminds me of what Duvall captured in We’re Not the Jet Set. You’ve seen his film, right?
JC: “No, what’s so funny, I speak to him three times a week, I mean he’s my best friend, you know. He tells me what he ate the night before (he does a dead-on impression of Duvall intoning, ‘the best steak I ever had…’ I called and said, ‘Bobby, send me a copy, I haven’t seen it.’ I knew all about it. Well, so you’d think he’d have it. He told me to call his assistant but she couldn’t find a DVD copy.”
LAB: He said the two of you have been looking a long time to do another project together.
JC: “Well, there’s this one project I found called Old Timers. It’s owned by this one company and for some reason they won’t turn it loose. It’s been out there for four or five years.”
NOTE: The project is being made with different actors under the new title Standup Guys.
“Yeah, I’d sure like to find something for me and Bobby. Yeah, there’s nothing I’d like better, you know. I just have fun when I’m working with Bobby. He’s at the point where he doesn’t want to do pictures with too many words anymore.”
NOTE: Caan says he has a Western he’s trying to get off the ground, but he runs into resistance from young suits who don’t know his rodeo and riding background.
JC: “‘What the hell does Jimmy know about horses?’ So I fight that all the time. I’m always Sonny Corleone. These people can’t get it out of their mind. For the first 20 years after The Godfather if there weren’t 12 people dead by page 20 on a picture I never got it. Then all of a sudden I sang and danced (in Harold and Walter Go to New York and Funny Lady) and they said, ‘Well, geez, we didn’t know you sing and dance.’ Well, shit, no one ever asked me. ‘Well, we didn’t know you were a cowboy.’ Well, no one ever asked me. (To me) Talk to some of your friends who can write – time ain’t getting any shorter, you know.”
- ‘The Godfather’: An offer many helmers could refuse (variety.com)
- Francis Ford Coppola’s search for the best ending (management.fortune.cnn.com)
- ‘Twixt’ review: xxxx (sfgate.com)
- How we made … Francis Ford Coppola and Stewart Copeland on Rumble Fish (guardian.co.uk)
One of the world’s leading writer-directors and a legendary actress he admires from America’s last golden age of film may just be made for each other, artistically speaking that is, which makes the “tete-a-tete” they will engage in July 22 at the Film Streams Feature Event in Omaha all the more interesting. The filmmaker is Alexander Payne and the leading lady is Jane Fonda and they will undoubtedly spend a fair amount of time discussing American cinema from the late 1960s through the late 1970s, a period that Payne adores and that saw Fonda do her best work. There’s also the Fonda Family legacy to be considered, one with deep resonance to Nebraska because her famous father, the late stage and screen star Henry Fonda, was born and raised in Nebraska and began acting at the Omaha Community Playhouse. That’s where Jane and her brother Peter made their stage debuts. When the lone picture she made with her father, On Golden Pond, premiered she accompanied the movie to Omaha for a red carpet extravaganza at the Orpheum Theatre. Now she’s back 30 years later to talk shop with a native Nebraska filmmaker. Full circle.
I have a companion story on the blog that gives details about the Jane Fonda repertory series at Film Streams to run from late June through August 30. She also selected two favorite films that will be getting screened, her father’s personal favorite among his own films, 12 Angry Men, and the great Preston Sturges social satire, Sullivan’s Travels, which is also one of the most scathing looks ever at the corrupt Hollywood ethos. Film Streams is also screening Peace, Love & Misunderstanding, which features Jane’s most recent film acting performance.
Alexander Payne Talks Cinema with Kindred Spirit Jane Fonda at Film Streams Feature Event in Omaha
©by Leo Adam Biga
To appear in the July issue of Metro Magazine
He’ll converse with an intelligent artist he admires and whose best work came in his favorite decade of American movies, the ’70s. Then there’s all the noted directors and actors she’s worked with and the legacy of her famous father and brother to discuss.
It’s apropos that a renowned filmmaker from Omaha will review Fonda’s own legendary career before an audience of Nebraskans since her family is so tied to this place. Her adored father Henry remains an enduring native son. The loyalty the late stage and screen star showed to the state is not lost on Jane or Peter, who are adopted Nebraskans.
The threesome’s cinema paths rarely crossed. Just as Henry’s career waned, Jane’s and Peter’s took off. But there was a golden moment when they all converged. As the Old Hollywood studio system died out a brash new group of creatives crashed the gates to usher in the New Hollywood in the late 1960s. In that emerging space of permissiveness and artistic freedom depictions of sex and violence reached new extremes, more humanistic stories came in vogue, locations gained favor over sound stages and stylistic devices, like flash cuts, took hold. Amid this liberated landscape the Fondas made films that forever changed things.
Jane paradoxically struck a blow for both misogyny and feminism in Roger Vadim’s sexually bold adaptation of the adult comic strip Barbarella. Henry went rouge playing completely against type as a sadistic killer in the Sergio Leone Western Once Upon a Time in the West. Peter became a counterculture hero in the hippie, Harley, drug-fueled road picture classic Easy Rider.
Then, in a dramatic career transformation, Jane went from frothy sex symbol to first-rate dramatic actress of social conviction, winning Oscars for her risk-taking work in Klute and Coming Home. Later, she found the project that became her ailing father’s cinema swan song and their only film together, On Golden Pond. Fast forward a generation and Peter channeled his father in his Oscar-nominated lead role in Ulee’s Gold.
While the Fondas contributed to the unrestrained new cinema a young Alexander Payne cut his teeth on ’70s films as an audience member at the Dundee and Indian Hills Theatres. As Payne acknowledged in accepting his Oscar for The Descendants last February, his mother Peggy was his most devoted filmgoing companion.
He was an intellectually precocious youth with a preternatural appetite for adult art fare. He made his own short films with an 8 mm camera his restauranteur father, George, received as a bonus from Kraft Foods for customer loyalty.
Payne, a Creighton Prep graduate, considered studying journalism but fixed on history and Spanish literature at Stanford University. He didn’t formally study film until he entered UCLA, where his thesis project, The Passion of Martin, played festivals and netted him a production deal from Universal Studios.
By the time he made features in his hometown in the mid-1990s and early 2000s, repeatedly shooting in the same Dundee neighborhood where he and Henry Fonda grew up, Jane was already retired from movies.
For Citizen Ruth Payne cast a strong, socially committed woman not unlike Fonda in Laura Dern to play the title character of Ruth Stoops. Interested in making uncompromising films akin to those he fell in love with during the ’70s, Payne unflinchingly took on the abortion debate in the picture.
His next movie, Election, placed Reese Witherspoon in the kind of catty vixen part a young Jane would have been just right for.
Payne’s subsequent male-dominated films co-star women in roles that put men in their place. In About Schmidt Connie Ray is a trailer park wife sympathetic to Jack Nicholson recently losing his wife until he makes a pass at her and she throws him out. One can imagine Fonda in that part. In Sideways Sandra Oh is the cool wine pourer babe who goes ballistic when she discovers Thomas Haden Church has been lying to her and Virginia Madsen is the cool Earth Mother who sees past Paul Giamatti’s shortcomings. Fonda’s played similar characters.
As a good woman wronged in The Descendants Judy Greer finds the right balance of tenderness and rage Fonda delivered as Cat Ballou, Bree Daniels (Klute), Lillian Hellman (Julia) and Kimberly Wells (The China Syndrome).
No doubt Payne would have loved to work with Fonda in her prime. Who knows, now that she’s acting again perhaps they’ll be a part for her in one of his future projects. Just not his next one, Nebraska, a road movie that follows an embittered Nebraskan (Bruce Dern) living in Montana hell-bent on claiming a sweepstakes prize his estranged son (Will Forte) knows doesn’t exist. The son is sure his father will come to his senses long before they reach their destination of Lincoln, Neb. The journey revisits the old man’s dispiriting past and en route the sympathetic son decides to give his fool of a father the gift of saving face.
Payne’s angling to shoot the project in Nebraska this fall. He and casting director John Jackson are hard at work trying to find authentic Nebraska types as extras.
- Jane Fonda Takes Center Stage at Film Streams, Where Her Life in Film is Celebrated this Summer (leoadambiga.wordpress.com)
- At 74, Jane Fonda learned how to be a hippie (todayentertainment.today.msnbc.msn.com)
- Dena Krupinski Makes Her Hollywood Dreams a Reality as a Turner Classic Movies Producer (leoadambiga.wordpress.com)
- Film Streams at Five: Art Cinema Contributes to a Transformed Omaha Through Community Focus on Film and Discussion (leoadambiga.wordpress.com)
- Jane Fonda Comes Home (leoadambiga.wordpress.com)
The Omaha art cinema Film Streams is making a habit of saluting prominent American screen actresses. The way it works is a guest star comes for a special evening in which Film Streams board member and world acclaimed filmmaker Alexander Payne interviews her live on stage, ala Inside the Actors Studio. A repertory series of her work is part of the deal. Laura Dern got the treatment the first time. Debra Winger came next. Jane Fonda is this year’s feted subject. Depending on your age or aesthetic or political affiliation Fonda means different things to different people. For some, she’s an enduring star. For others, a faded one. Depending on your tastes, she boasts an impressive body of stand-the-test-of-time work or else a decidedly uneven euvre outside a few notable exceptions. Many still find unforgivable her anti-war protests and vilify her every move. Many more feel affectionate and nostalgic about her as the daughter of Henry Fonda and as one of the 1960s and 1970s biggest stars. She’s prettty much done it all as a cinema diva – from ingenue to sex symbol to serious Method actress, the star of box office hits and critically acclaimed prestige pics, gobs of Golden Globe and Oscar nominations, two Academy Award wins for Best Actress, an Emmy for Best Lead Actress. Retiring from the screen at age 50 and making a comeback at nearly 70. Now, of course, as a woman of a certain age (74) she’s a supporting player or character actress who brings a rich persona and background to any role she takes. Part of the context of Jane Fonda today is that her adventurous personal life informs her work. Her boarding school and debutant upbringing. Her early modeling career. Studying under Lee Strasberg. Her marriages to Roger Vadim, Tom Hayden, and Ted Turner. Her activist years. Becoming a Hollywood Player as a producer. Making herself a fitness guru. Her forever strained relationship with her famous father. And her identity today as a healthy aging advocate and author. You’ll find plenty of film stories by me on this blog. Many happy cinema returns.
Appeared in the July issue of Metro Magazine
The Fonda Legacy
This summer Film Streams celebrates the many faces of actress Jane Fonda.
She and one of her biggest fans, Alexander Payne, converse live on stage July 22 at the Holland Performing Arts Center for Feature Event IV, the art cinema’s annual fundraiser. A Fonda repertory series runs through August 30.
The Fonda legacy in Nebraska looms large. Her late iconic father Henry Fonda was born here. He started acting at the Omaha Community Playhouse, where Jane and brother Peter trod the boards. Henry retained deep ties to the state and the Playhouse. He once brought the entire production of his Broadway triumph Mister Roberts to town. In 1955 he, fellow Playhouse alum Dorothy McGuire and 17-year-old Jane appeared in a benefit production of The Country Girl directed by Joshua Logan.
Peter, who attended the University of Omaha, occasionally visits the Playhouse.
When the only film pairing the famous father and daughter, On Golden Pond, made its Midwest premiere at the Orpheum she came.
Unlike her father’s beloved public persona, Jane’s is complex.
For much of the 1960s she was a spirited ingenue and sometime vixen plying her cover girl looks and wiles more than her acting chops in cinema trifles. Her comedic work in Cat Ballou and Barefoot in the Park hinted at star potential.
Film Streams founder-director Rachel Jacobson, an admirer, says Fonda “always had a deeper, more introspective quality even when playing the lighter roles.”
When Fonda’s French filmmaker husband Roger Vadim exploited her sex symbol status in Barbarella she could have been typecast. Instead, she did a makeover from vapid party girl and blonde bimbo to social activist and serious actress.
She earned acclaim for her dramatic turns in They Shoot Horses Don’t They? (1969) and Klute (1971), the latter earning her the Best Actress Oscar. That’s when “she came out from behind the shadow of both her father and brother” (Peter made it big with Easy Rider), says film historian Bruce Crawford of Omaha.
She also drew ire for her anti-war comments and protests. By the time she divorced Vadim and married activist Tom Hayden she was branded “political.” Fonda made socially conscious projects in Julia (1977), Coming Home (1978) (another Best Actress Oscar) and The China Syndrome (1979).
Her career peaked in the late ’70s-early ’80′s with Nine to Five, On Golden Pond and her Emmy-winning performance in TV’s The Dollmaker (1984). By then she’d morphed into a home workout video diva. After divorcing Hayden she surprised many by marrying media tycoon Ted Turner and promptly retiring from the screen at age 50. Her recent return to movies comes on the heels of her best-selling memoirs and healthy aging advocacy.
“She’s continually reinvented herself and her image,” says Jacobson. “She’s just very deliberate about how she thinks about herself and her own evolution. She’s a fascinating person.”
Payne curates the Feature Event and in Fonda, 74, he’s once more chosen a dynamic figure to talk cinema shop, following Steven Soderbergh, Debra Winger and Laura Dern. Jacobson says, “The people he’s interested in having conversations with are really strong artists with great careers.” She says Payne won Fonda over by saying her appearance would support the arts in Omaha. “That’s why she’s coming.”
She hits all the right notes as an aspiring schoolmarm turned outlaw seeking to avenge her father’s death. Lee Marvin steals the show in the dual roles of killer Tim Strawn and gunman Kid Shelleen.
She fearlessly plays an over-the-top sex object in highly suggestive scenes bordering on soft-core porn in this tripped-out fantasy directed by Vadim.
They Shoot Horses Don’t They?
Her transformation began with this unadorned portrayal of a desperate, ill-fated dance marathoner under the direction of Sydney Pollack.
As high end call girl Bree Daniels she’s a raw-nerved neurotic mixed up in a dangerous liaison with small town detective Donald Sutherland in the big city.
Fonda plays the kind of strong woman, Lillian Hellman, she clearly emulates. Her playwright character embarks on a dangerous mission abroad for a friend, Julia (Vanessa Redgrave), opposing the Nazis.
She makes believable the evolution from naive war bride to anti-war sympathizer who falls for paraplegic activist vet Jon Voight. The fictional awakening reverberates with Fonda’s own coming-of-age.
The China Syndrome
Playing an ambitious TV reporter fighting to cover a nuclear reactor accident the authorities want suppressed Fonda is in her element. Her subdued conviction is a welcome contrast to high-strung Jack Lemmon and Michael Douglas.
Nine to Five
Sardonic Lily Tomlin and sassy Dolly Parton are long-suffering office workers harassed by womanizing boss Dabney Coleman. Pert Jane is the innocent newbie. The women execute a militant plan to turn the tables in this feminist farce.
On Golden Pond
Jane plays out real life issues with her dad in this tale of an estranged daughter starving for affection from a father who has trouble giving it. Katharine Hepburn co-stars in the poignant drama.
Tickets for the 6:30 p.m. Feature Event are $35. For pre and post-event party tickets and for series screening dates-times, visit www.filmstreams.org.
- Photos: Jane Fonda Wows at Cannes (abcnews.go.com)
- Regina Weinreich: Jane Fonda: More Than the Sum of her Parts (huffingtonpost.com)
LATEST UPDATE: Interviewed the celebrated actress Shirley Knight, the star of The Rain People and one of the latest puzzle pieces I needed to get to for my Film Connections story-event project highlighted here. This blog features my interviews with Knight and her Rain People co-stars James Caan and Robert Duvall. Soon to be posted are interviews I did with that film’s cinematographer, Bill Butler, and itswriter-director, Francis Ford Coppola.
ANOTHER UPDATE: Interviewed legendary director of photography Bill Butler. You may not know the name but you know his work. He was the cinematographer for some of the best films of the 1970s, including Jaws and The Conversation. He also shot key parts of The Godfather and took over One Flew Over the Cuckoo’s Nest from Haskell Wexler. He’s lensed some of the best made-for-TV movies (The Execution of Private Slovick) and mini-series (The Thorn Birds). He’s a legend in the film industry, with an Oscar nomination and a lifetime achievement award from the the American Society of Cinematographers. And he’s still working at 91! He just completed work on a new feature.
My interview with him concerned the Film Connections story-event project I am developing in conjunction with The Reader and Film Streams (see below). That project connects the dots of when Butler joined Francis Ford Coppola, George Lucas, James Caan, Robert Duvall, and Shirley Knight in shooting part of The Rain People in Nebraska, which led Duvall to make the documentary We’re Not the Jet Set about a Nebraska ranch-rodeo family.
Bill gave me some great back story anecdotes about The Rain People shoot. Pretty much all the dots are connected now concerning the story I want to tell with the exception of my interviewing Shirley Knight and George Lucas. I’ve made the requests, but so far no go.
UPDATE: I scored my hoped-for “interview” with Francis Ford Coppola for this project, though he ended up responding by email rather than by phone to a long list of questions I posed. But at least he took the time to answer my queries. Look for my Q&A with him on this blog in the near future.
I was a burgeoning film buff in 1974 when the Omaha World-Herald‘s now defunct Magazine of the Midlands ran a piece on a documentary film that Robert Duvall, who had recently gained acclaim for his work in the first two Godfather films, was directiing in Ogallala, Neb. about a ranch-rodeo family there, the Petersons. The film, entitled We’re Not the Jet Set (1977), sounded promising enough but what really got my attention was the fact that Duvall only came to meet the Petersons and to make his film about them as a result of coming to Nebraska a half-dozen years earlier for a few weeks wors on the art road movie, The Rain People (1969), a film written and directed by Francis Ford Coppola and assisted by George Lucas. Rain People starred Shirley Knight and co-starred James Caan and Duvall. The Petersons had a horse pen just across from the motel the cast and crew stayed at and Duvall and Caan got to know the family by riding some of their horses. Duvall became so intrigued with this colorful clan that he returned again and again to immerse himself in their life and to shoot the documentary. It was the actor’s first directorial effort of what’s turned out to be a distinguished body of work as a director (Angelo My Love, The Apostle, Assassination Tango).
What most struck me then and now is how these figures, who at the time were obscure, except for Knight, would in a few years come to be major players in Hollywood. I loved the fact that they converged in the middle of nowhere for a small film that led to another film. And as I’ve come to find out, the experience of making these films in rural Nebraska led to enduring relationships and collaborations and the inspiration for yet another film. For example, Duvall and Caan have stayed in contact with the Petersons, several of whom have wound up in the film industry as wranglers, trainers, and stunt riders. And it was through the Petersons that Caan and Duvall met a more prominent ranch family, the Haythorns, and the actors’ interactions with them led to Caan becoming a professional rodeo competitor and to informing Duvall’s later Western mini-series Broken Trail.
Jet Set was released in 1977 to mostly strong reviews from its featured screenings at film festivals, in select art house cinemas, and on public television. Since then the film has pretty much been unseen. There are reasons for that. As I have come to find out, its virtual disappearance from the market is a real travesty because the work stands with the best docs from that era. As it happened, I saw Rain People well before seeing Jet Set, a film that until two years ago only existed for me in terms of the few write-ups I’d found about it. When I finally decided in 2010 to develop a story about all of this, including the connections and relationships around the films, I contacted Duvall’s then-production company, Butcher’s Run, and they were nice enough to both send me a DVD of the pic and to arrange an interview with Duvall himself. Jet Set was a real revelation for me. It’s a superb example of cinema verite filmmaking and it comes as close to pure cinema as any film, dramatic or documentary, that I’ve seen from that era, and I’ve seen a lot.
Duvall led me to his good friend Caan, whom I also interviewed. I also got in touch with several of the Petersons and interviewed them as well. Since then I’ve interviewed some more of the principals behind Jet Set, notably cinematographer Joseph Friedman and editor Stephen Mack. I am in the process of trying to get interviews with Knight and Rain People cinematographer Bill Butler.
But I’m getting ahead of myself. For years, decades really, that Herald story about the film I referred to earlier stuck in my mind. It gnawed at me all the while I worked as a film programmer and publicist in Omaha and then when I transitioned into freelance journalism. In the era before the Internet it was hard to find much reference to the film. It certainly wasn’t available for rental through any distributor I ever came upon. The last 15 years or so I’ve consistently looked for opportunities to write about film and this blog is a good showcase for the many film stories I’ve filed. The story of Rain People and Jet Set is one I longed to tell. Since leaving the film programming world in the early 1990s I also longed to organize some film event. Now I am combining the two longings in one project. My in-progress story is slated to be published in some Nebraska publications and I’m working with the publisher of The Reader (www.thereader.com) and the director of the Omaha art cinema Film Streams on possible screenings and other events related to my story.
Still,there’s much work to be done: I need to make Coppola and Lucas aware of this film story-event project in hopes of interviewing them and inviting them to attend whatever is planned. If there’s anyone out there reading this who can get this in front of them or their associates, please do. Or if you can provide me their contact info, please do. They are an essential part of the story I’m telling and while I’m prepared to move forward without their participation I’d rather not if I don’t have to.
My main purpose with all this is to bring this story to light and to help revive interest in these films, particularly We’re Not the Jet Set. Recently, Turner Classic Movies added The Rain People to its rotating gallery of films shown on the cable network. But Jet Set remains inaccessible. I would also like to see the Lucas documentary, The Making of the Rain People, revived since its a portrait of the early Coppola and his methods a full decade before his wife Eleanor shot the documentary Hearts of Darkness about the anguished making of Apocalypse Now. The story I’m telling is also an interesting time capsule at a moment in film history when brash young figures like Coppola, Lucas, Duvall, and Caan were part of the vanguard for the New Hollywood and the creative freedom that artists sought and won.
You’ll note I have not posted any images from We’re Not the Jet Set, and that will soon be remedied thanks to Robert Duvall and Stephen Mack.
And while this is not a film blog per se, you’ll find hundreds of articles here I’ve written about films, film artists, and film lovers.
The entire company of cast and crew on The Rain People
Film Connections: Coppola, Lucas, Butler, Knight, Caan, Duvall
An In-Progress Story
How a 1968 Convergence of Future Cinema Greats in Ogallala, Neb. Resulted in Multiple Films and Enduring Relationships
From the Melting Pot of Francis Ford Coppola, George Lucas, Shirley Knight, Robert Duvall, James Caan and Two Ranch-Rodeo Families Came ‘The Rain People,’ ‘We’re Not the Jet Set’ and More
©by Leo Adam Biga
The complete story will appear in the Keith County News, The Reader and other publications
An unlikely confluence of remarkable cinema talents descended on the dusty backroads of Ogallala, Neb. in the far southwest reaches of the state in the summer of 1968.
None other than future film legend Francis Ford Coppola led this Hollywood caravan. He came as the producer-writer-director of The Rain People, a small, low-budget drama about a disenchanted East Coast housewife who, upon discovering she’s pregnant, flees the conventional trappings of suburban homemaking by taking a solo car trip south, then north and finally west. With no particular destination in mind except escape she gets entangled with two men before returning home.
Coppola’s creative team for this road movie included another future film scion in George Lucas, his then-protege who served as production associate and also shot the documentary The Making of The Rain People. The two young men were obscure but promising figures in a changing industry. With their long hair and film school pedigree they were viewed as interlopers and rebels. Within a few years the filmmakers helped usher in the The New Hollywood through their own American Zoetrope studio and their work for established studios. Coppola ascended to the top with the success of The Godfather I and II. Lucas first made it big with the surprise hit American Graffiti, which touched off the ’50s nostalgia craze, before assuring his enduring place in the industry with the Star Wars franchise that made sci-fi big business.
Rain People cinematographer Bill Butler, who went on to lens The Conversation for Coppola and such projects as One Few Over the Cuckoo’s Nest, Jaws and The Thorn Birds, was the director of photography.
Heading the cast were Shirley Knight, James Caan and Robert Duvall. Though they enjoyed solid reputations, none were household names yet. Caan’s breakthrough role came two years later in the made-for-television sensation Brian’s Song (1970). The pair’s work in Coppola’s The Godfather elevated them to A-list status. Rain People was not the last time the two actors collaborated with the filmmakers. Duvall starred in the first feature Lucas made, the science fiction thriller THX-1138. The actor went on to appear in Coppola’s first two Godfather pictures as well as The Conversation and Apocalypse Now. After his star-making performance as Sonny Corleone in The Godfather Caan later teamed up with Coppola for the director’s Gardens of Stone.
Among Rain People’s principals, the most established by far then was Knight, already a two-time Best Supporting Actress Oscar nominee (for The Dark at the Top of the Stairs and Sweet Bird of Youth).
The experience of working together on the early Coppola film forged relationships that extended well beyond that project and its small circle of cast and crew. Indeed, this is a story about those connections and their reverberations decades later.
For example, Duvall and Caan were already horse and Old West aficionados when they were befriended by a couple of Nebraska ranch-rodeo families, the Petersons and Haythorns. The interaction that followed only deepened the artists’ interest in riding and in Western lore. This convergence of New York actors and authentic Great Plains characters produced some unexpected spin-offs and helped cement enduring friendships. Duvall and Caan remain best buddies to this day.
Duvall became so enamored with the colorful, cantankerous Peterson clan, a large, boisterous family of trick riders led by their late patriarch, B.A. Peterson, that he made a documentary about them and their lifestyle called We’re Not the Jet Set. The actor returned to Nebraska several times to visit the family and to shoot the film with a skeleton crew. It was his first film as a director and it’s easy to find resonance in it with his future directorial work (Angelo My Love, The Apostle, Assassination Tango).
He and the Petersons became close enough that at his invitation some of them visited the The Godfather set. The family and the actor have kept in touch all these years and some have visited Duvall’s Virginia farm.
On one of Duvall’s visits to Nebraska the Petersons introduced him to the Haythorns and the true-life stories of that family’s early, epic cattle drives became the inspiration for Duvall’s mini-series Broken Trail.
Meanwhile, Caan sufficiently learned the ropes from working alongside the Haythorns and their hired hands to become a professional rodeo competitor, an activity the suits in Hollywood increasingly frowned on as his career exploded.
With their reputation as expert horsemen and women preceding them, several of the Petersons ended up in the film industry as wranglers, trainers and stunt people, boasting credits on many major Hollywood projects. One member of the family, K.C. Peterson, even ended up working on a film Duvall appeared in, Geronimo, An American Legend.
None of it may have happened if that band of filmmaking gypsies hadn’t come west. Their presence certainly got the attention of the locals while it lasted but no one could have predicted the Coppola production would lead, at least indirectly, to other films and deeper connections that played out over several years.
It’s hard to imagine how else Duvall would have happened upon the Petersons as the subjects for a film.
The man responsible for bringing Duvall to Nebraska, Coppola, was a fish-out-of-water here. His parents were musicians and he grew up in urban Detroit and Queens, New York, immersed in a life of art, literature, theater and the movies. The Hofstra theater arts grad entered UCLA’s fledgling film studies program, where his work soon attracted the attention of Hollywood.
At the time he made Rain People he was finding his way at Warner Brothers. Like all the major Hollywood studios then, Warners struggled adapting to changing audience tastes and escalating production costs and began entrusting young upstarts like Coppola with productions traditionally assigned old veterans.
While directing Finian’s Rainbow for Warners-Seven Arts Coppola met Lucas, a Modesto, Calif. native and USC film school product. Eager to break from studio constraints and make their own personal art films, the two were kindred spirits, When Coppola enlisted a small band of like-minded artists for Rain People, Lucas was a natural choice. The experience of making that film convinced them to launch American Zoetrope, a counter-culture answer to the old studio system that like United Artists decades before put the creatives in charge of production. The studio’s first two projects were the Lucas written and directed films THX-1138 and American Graffiti.
The producing partners parted ways in the mid-’70s.
But for a magical time the career arcs of these and other cinema stalwarts intersected to produce some of the most satisfying collaborations of the 1970s. As fate would have it a crucial part of that intersection unfolded in rural Nebraska among area denizens whose rough-and-tumble work-a-day lives were far removed from the distorted, make-believe reality of Hollywood. Lucas’ making-of doc about the experience records it for posterity.
Situated just below the southeast corner of the Nebraska Panhandle, Ogallala was about the last place you’d expect to find a gathering of the soon-to-be New Kings of Hollywood. But that’s exactly what transpired. This is the story of how those connections led Duvall to make We’re Not the Jet Set, an underseen film that may be getting new life courtesy of Nebraska art cinemas.
TO BE CONTINUED…
Editor’s Note: As I further develop the story, I’ll be making more posts. And when screenings and other events are scheduled in conjunction with the story, I’ll be sure to post that info as well. I’m posting my interviews with all the key figures in this story-event project..
- Filmmaking tips from a legend – Interview with Francis Ford Coppola (eoshd.com)
- Lucasfilm Names Kathleen Kennedy Co-Chair As Successor To George Lucas (deadline.com)
- Duvall stars as cantakerous hermit in ‘Get Low’ (ctv.ca)
- George Lucas retiring to make ‘hobby movies’ (guardian.co.uk)
- ‘The Godfather’ Turns 40 (sanfrancisco.cbslocal.com)
- Dena Krupinski Makes Her Hollywood Dreams a Reality as a Turner Classic Movies Producer (leoadambiga.wordpress.com)
- Shirley Knight Interview (leoadambiga.wordpress.com)