I guess some of you don't remember Bo Jackson—I do. The greatest athlete I ever saw, and I was in the arena that night Michael Jordan scored 51 for the Washington Wizards.
Bo was an electrifying combination of speed and power, an all-star in two professional sports. He'd do things you'd never see anybody do before or since, like run along the outfield wall or break a bat over his head or outrun the entire Seattle defense on a Monday night in 1987, even though they had the angle on him.
Not to mention that in his first at bat against the New York Yankees after his hip replacement surgery, he hit an opposite field home run. Tell that to your grandmother the next time she whines about slipping on the ice.
Legendary sportswriter Dick Schaap voted him the greatest athlete of the 20th century.
My little brother knew Bo personally back when they were both students at Auburn and said he was a wonderful guy. I never met him myself, so my Bo story comes second hand through my law school roommate, who was pals with the kid who was the starting pitcher for Samford the day Bo and the Auburn Tigers baseball team came to Birmingham to play. In Bo's first at bat, the kid threw him a slider low and away that Bo lined off the rightfield fence for a double. "No way he hits that pitch for a double again," the kid said. So the next time up, he threw the same slider, low and away. This time Bo lined it over the fence for a home run.
The kid was out of the game by the time Bo came up again. I think the final score was 15-1. Good times.
This last Tuesday afternoon, Mister Muleboy and I made our way to Manhattan for a V.I.P. preview of Golden Boy, a revival of a 1937 Clifford Odets play about an up-and-coming boxer who also happens to be a talented violinist—a high concept that might strike you as faintly ridiculous, but then maybe you're not old enough to remember Mike Reid who some forty years ago was an all-pro defensive tackle for the Cincinnati Bengals as well as a concert pianist and later a Grammy-winning songwriter who was inducted into the Nashville Songwriters Hall of Fame in 2005.
As I keep telling you, there are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. So we were there with open minds.
Clifford Odets, as you probably know, was a playwright who had a brief but wildly-successful run on Broadway in the 1930s. He was also one of the founding members of the Group Theater, an influential theater company that introduced "Method" acting to America. His best-known stage work includes Waiting For Lefty, Golden Boy and The Country Girl. After tastes changed on Broadway in the early '40s—or should I say, after Broadway lost its taste for Clifford Odets—he decamped for Hollywood. He famously struggled there, but he did make one lasting contribution, collaborating on the screenplay to Sweet Smell of Success, starring Tony Curtis and Burt Lancaster, one of the most biting and cynical movies of the 1950s. He died in 1963.
That the Coen Brothers spoofed Odets in Barton Fink as a pretentious Broadway playwright lacking the talent even for hackwork perhaps should have given me pause before racing up to see what the New Yorker notes is a "rarely revived" play, but what can I tell you—I love the theater, I love free food and, to quote Cole Porter, I happen to like New York.
And when I have to give the world a last farewell,
And the undertaker starts to ring my funeral bell,
I don't want to go to heaven, don't want to go to hell.
I happen to like New York.
After cocktails and hors d'oeuvres at Jeffrey Zakarian's Lambs Club with forty or so of our fellow blog-typing wallflowers—I am as dull and dreary in person as I am fascinating and unforgettable online—Mister Muleboy and I crossed 44th Street to the Belasco, a fully-refurbished turn-of-the-last-century jewel built by the legendary Broadway producer David Belasco. He designed the auditorium to create what he called a "little theater" experience, with three tiers of seats pushed close to the stage to foster an intimacy between the performers and the audience.
Sitting there, I thought it's no wonder that the Belasco has featured so much serious drama over the last century, including such plays as Johnny Belinda, The Song of Bernadette and A Raisin in the Sun, as well as much of the Group Theater's output. Indeed, Golden Boy premiered 75 years ago this month at the Belasco—and I'm thinking that its revival there now is not a coincidence.
This new production of Golden Boy stars Seth Numrich (War Horse) and Yvonne Strahovski (Chuck and Dexter) in the leads, with Tony Shalhoub, Danny Burstein, Ned Eisenberg and Dagmara Dominczyk, among others, in support. Tony winner Bartlett Sher directs.
The play opens in the seedy offices of Tom Moody, a boxing promoter who was once the best in New York, but who, like the rest of the country, has been struggling to make ends meet since the stock market crash of 1929. At his side is his mistress and girl Friday, Lorna Moon. Lorna is a self-described "tramp from Newark" who was plucked by Moody from a life that sounds vaguely like prostitution to live a life that still sounds vaguely like prostitution, only with one client, better clothes and a softer bed.
Moody is trying to figure out how to raise the $5000 necessary for a divorce settlement—the sap genuinely wants to marry Lorna—when into his office and into his life rushes Joe Bonaparte, a brash young punk who claims to be a great boxer in need only of a great manager to hit the big time. When one of the fighters in Moody's stable breaks a hand before that evening's bout, he shoves the kid into the ring and discovers, shock of shocks, he has a potential goldmine within his grasp.
The only problem is, the boy is also a gifted violinist who's afraid of ruining his delicate mitts on another man's chin. And how can you hope to win the title if you won't take your hands out of your pockets?
Enter the girl.
You know how to get men to do what you want them to do, Moody tells her. Get him to fight and we can finally get married. And so she sets out to seduce the kid. The thing is, though, as time passes, she can't quite decide whether she's manipulating the boy or falling in love with him. She's been batted around enough to want the security that Moody represents, but like most of us, still longs for true love.
Despite the complications of the love triangle, though, the central conflict is between Joe and his father, with the violin and Joe's rare talent for playing it—he's won a gold medal and a scholarship—standing in for the decision each of us must make eventually: what do you want out of life?
Joe's tired of being ashamed of his poverty and sees boxing as a shortcut to fame, fast cars and flashy clothes—all the things he's never had and his father, a Zen master who pushes a fruit cart, has never counted as important. His father will support Joe's choice as long as he's passionate about it, but what he sees in the boy suggests to him that it's the soulful beauty of the violin rather than the violent release of the ring that gives him true pleasure. That there's no real money in music, his father tells him, isn't important as long as you have a purpose in your life and a song in your heart.
But a parent can't live his child's life for him, he can only hope that as the boy makes his mistakes, the consequences aren't so permanent and debilitating that they ruin him for good. And therein lies the rub, for the violin requires delicate hands and boxing is the destroyer of hands. That boxing is also the destroyer of minds and souls—as represented by the angry, brain-addled palooka the father meets in act two—only exacerbates his fears.
In a time when, thanks to the internet, it's possible to be both a struggling artist and a capitalist fat cat, the choices presented here might seem a little quaint. Played out, though, as Golden Boy was in 1937, against the backdrop of the Great Depression and the rise of fascism in Europe, the choice between the humane and the expedient wasn't a trivial one—the future of civilization hung in the balance.
So what did I think of the play, Mrs. Lincoln?
The acting is top-notch—especially that of Danny Mastrogiorgio as Tom Moody and Tony Shalhoub as the father. Shalhoub you probably remember from Monk, and I imagine he could add warmth and wit to a recitation of the phone book. Mastrogiorgio, who was previously unknown to me, turns a heel into someone you can root for without softening Moody's edges, and it's his performance you can't take your eyes off of. I'll be looking for more of him in the future.
As for the rest of it, the direction is crisp, the staging inventive, the costumes expertly evoke the period. Kudos all around.
The production's flaws lie within the play itself. At times, Odets was so keen to make his points, he seemed to forget his characters were people rather than allegories and plot devices. Lorna, especially, changes tack from scene to scene depending on which direction the story needs go, rendering her motivations not so much complex as murky.
And let me tell you, while complex is exhilarating, murky is frustrating, irritating, and finally enervating—especially by the end of a nearly three hour play.
Still, it's the sort of story that'll stick with you for days, giving you something to mull over rather than forget, and since for a change there was no traffic in the Lincoln Tunnel, I'd call the evening a success—I was home in bed with Katie-Bar-The-Door well before the sun peeked over the horizon.
This being a classic film blog, I was naturally curious afterwards to see how the pros in Hollywood adapted the play to the big screen, and the following morning, I wound up watching the 1939 film adaptation starring Barbara Stanwyck, William Holden and Adolphe Menjou.
It's a more conventional crowd-pleaser, that's for sure.
The girl was already a hop skip and a jump from being a classic Barbara Stanwyck character and Hollywood simply straightened out her through line, turning her into a "dame from Newark" who rediscovers the heart of gold that was always beating in her tastefully slender bosom. Her Lorna is both bitchier and ultimately sweeter than Odets's conception because she, not Moody, is the schemer calling the shots. She's got the boy, her boss and the whole wide world by the balls and she relishes that it's up to her to decide whether and how hard to squeeze.
Like most of Stanwyck's best roles, she's interesting because—right or wrong—she's the one in control.
And how does the film handle Joe Bonaparte?—a pertinent issue since, Mike Reid or no Mike Reid, the choice between the boxing ring and the violin is not and never has been a real world dilemma. William Holden plays him as a tousled-haired schoolboy, twenty-one going on twelve, who nevertheless feels a need to pull his own weight. Music is wonderful, he concedes, but it doesn't put food on the table. The shift in motivation changes the story's central philosophical conflict from an issue of the eternal versus the ephemeral to one of the idealistic versus the practical, a subtle but significant difference.
With Adolphe Menjou playing Moody for laughs, Lee J. Cobb (at age 27!) channeling Chico Marx as William Holden's father, and the supporting cast delivering their lines at twice the speed of normal human speech, the tone is bright and brassy rather than portentous, more Guys and Dolls than Eugene O'Neill.
Does that make the movie better than the play? Well, it's shorter anyway. No doubt the changes were necessary to make the story palatable to an audience that had sacrificed a great deal more than the violin to survive the Great Depression. There's no denying, though, that the movie version of Golden Boy has always been regarded as a minor entry on each of its stars' resumes.
In the final analysis, the film is more a curiosity—a chance to marvel at an impossibly young William Holden eleven years before his breakthrough in Sunset Boulevard—than a necessity. Fit it into your schedule, maybe, after you've run through the best of Holden's (and Stanwyck's) work.
So how about the Broadway revival—can I recommend it to you?
Well, the Ice Capades it isn't, and if you're in town for one night looking for the dramatic equivalent of hot dogs and cotton candy, honestly, you should go elsewhere. But if you're hungry for a deep dish of heavy think in the company of Odets, the Group Theater and the ghosts of Old Broadway, by all means, dive in.
Just don't expect them to spoonfeed it to you.
Golden Boy is currently in previews at the Belasco. It officially opens on December 6 and runs through January 20, 2013. To visit the show's website, click here.
Three on a Match is the story of three classmates—bad girl Joan Blondell, good girl Bette Davis, and rich girl Ann Dvorak—who meet three very different fates. A pre-Code classic, Three on a Match packs episodes of drug addiction, adultery, prostitution, blackmail, kidnapping, child neglect, suicide and Bette Davis in her undies into 63 breakneck minutes. It also features the best performance of Lyle Talbot's career as a weak-willed hoodlum who invites Dvorak to take a walk on the wild side.
The show starts at 4 pm this Saturday, December 1, 2012, at the AFI-Silver in Silver Spring, Maryland.
Don't know yet whether I'll be in attendance—I'm actually typing this post three weeks in advance—but I can't imagine I'll introduce myself to Margaret Talbot even if I do attend. The Monkey don't schmooze!
Are you a fan of Pinterest—the internet's online pinboard? I know some of you are because you've mentioned it on your blogs. And I do read your blogs, every single day.
Well, Pinterest is holding a contest with a grand prize of dinner for two at Saju Bistro and tickets to the Broadway revival of Clifford Odets's Golden Boy.
Golden Boy, which is currently in previews, stars Tony Shalhoub (Monk), Yvonne Strahovski (Dexter and Chuck) and Seth Numrich (War Horse), and is directed by Tony-winner Bartlett Sher. (And since this is a classic movie blog, I might mention Golden Boy was adapted for the big screen in 1939 and starred Barbara Stanwyck, Adolphe Menjou and an impossibly young William Holden.)
How do you enter? Allow me to quote from the source:
Follow @LCTheater on Pinterest - Pin an image that you feel represents your ultimate dream to a board on your Pinterest page - Under each pin, include the tags @LCTheater and #GOLDENBOYDreams - Once you've pinned your item, post a comment UNDER THIS PIN with a link to your board.
Being a quill and ink writer in a blog and twitter age, I'm not 100% sure what any of those words mean, so maybe you should just follow this link (here) and read the rules for yourself.
My review of Golden Boy—both the play and the movie—will be up and running in the next day or two. In the meantime, the contest runs through December 9. Get cracking!
Empire of the Sun was the pivot on which Steven Spielberg's career turned. Before, it was all pure fun and escapism; after, his films are characterized by deep shadows.
Ostensibly, Empire of the Sun is the story of one boy's experiences during World War II as he survives internment in a Japanese prison camp in China, but more broadly speaking, it's about the end of childhood.
Childhood is characterized above all by a sense of invulnerability, the fantasy that you're the center of the universe, that everyone is watching you, everyone cares what happens to you. Growing up is largely a process of being disabused of this notion, from the first time you fall and skin your knee, to the dream that didn't come true, to the death of someone important to you. It's a nearly universal experience, that moment of passing through something and coming out the other end changed forever, so much so that when once in a blue moon, you meet someone who's never had life kick them in the ass, they're like freaks with two heads.
But their moment is coming. It comes for everybody eventually.
PICTURE (Drama) winner:Empire Of The Sun (prod. Steven Spielberg, Kathleen Kennedy and Frank Marshall)
PICTURE (Comedy/Musical) winner:The Princess Bride (prod. Rob Reiner and Andrew Scheinman)
PICTURE (Foreign Language) winner:Der Himmel über Berlin (Wings of Desire) (prod. Anatole Dauman and Wim Wenders)
ACTOR (Drama) winner: Joe Mantegna (House of Games)
ACTOR (Comedy/Musical) winner: Nicolas Cage (Raising Arizona and Moonstruck)
ACTRESS (Drama) winner: Glenn Close (Fatal Attraction)
ACTRESS (Comedy/Musical) winner: Cher (Moonstruck)
DIRECTOR (Drama) winner: Wim Wenders (Der Himmel über Berlin a.k.a. Wings of Desire)
DIRECTOR (Comedy/Musical) winner: Rob Reiner (The Princess Bride)
SUPPORTING ACTOR winner: Peter Falk (Der Himmel über Berlin a.k.a. Wings of Desire and The Princess Bride)
SUPPORTING ACTRESS winner: Anjelica Huston (The Dead)
SCREENPLAY winner: William Goldman, from his novel (The Princess Bride)
I clerked in a shoe store for a while to help pay the bills when I was a law student and I have to tell you, nothing will shake your faith in capitalism and human nature quite like being on the working end of a sale ...
I saw Ferris Bueller's Day Off in 1986 along with everybody else, and thought it was very funny. And then I didn't see it again for twenty-five years. I figured a comedy about a rebellious high school student wouldn't resonate much in my middle aged brain. Boy, was I wrong. It's actually a very mature film with lessons that apply no matter what your age.
And it's still very funny.
1986 was a big year for writer-director John Hughes who had hits with both Bueller and Pretty in Pink. The latter features a fine performance by Molly Ringwald just before gravity plucked her career off the end of a table, but is otherwise marred by the casting choice of Jon Cryer as the boy who pines for her. The screenplay originally had Ringwald rejecting rich pretty boy Andrew McCarthy in favor of the true blue Cryer, but as you might expect, test audiences barfed and Hughes rewrote the final scene.
Cryer went on to an award-winning career playing Charlie Sheen's hapless little brother on Two and a Half Men; Hughes recycled the original ending (with the genders flipped) in Some Kind of Wonderful.
PICTURE (Drama) winner:Platoon (prod. Arnold Kopelson)
PICTURE (Comedy/Musical) winner:Hannah And Her Sisters (prod. Robert Greenhut)
PICTURE (Foreign Language) winner:Jean de Florette and Manon des Sources (Manon of the Spring) (prod. Pierre Grunstein and Alain Poiré)
ACTOR (Drama) winner: Bob Hoskins (Mona Lisa)
ACTOR (Comedy/Musical) winner: Matthew Broderick (Ferris Bueller's Day Off)
ACTRESS (Drama) winner: Sigourney Weaver (Aliens)
ACTRESS (Comedy/Musical) winner: Molly Ringwald (Pretty in Pink)
DIRECTOR (Drama) winner: Oliver Stone (Platoon)
DIRECTOR (Comedy/Musical) winner: Woody Allen (Hannah and Her Sisters)
SUPPORTING ACTOR winner: Dennis Hopper (Blue Velvet and Hoosiers)
SUPPORTING ACTRESS winner: Dianne Wiest (Hannah and Her Sisters)
SCREENPLAY winner: John Hughes (Ferris Bueller's Day Off and Pretty in Pink)
Named for Katie-Bar-The-Door, the Katies are "alternate Oscars"—who should have been nominated, who should have won—but really they're just an excuse to write a history of the movies from the Silent Era to the present day.
To see a list of nominees and winners as well as links to my essays about them, click here.
Remember: There are no wrong answers, only movies you haven't seen yet.
The Silent Oscars
And don't forget to check out the Silent Oscars—my year-by-year choices for best picture, director and all four acting categories for the pre-Oscar years, 1902-1927.
Look at me—Joe College, with a touch of arthritis. Are my eyes really brown? Uh, no, they're green. Would we have the nerve to dive into the icy water and save a person from drowning? That's a key question. I, of course, can't swim, so I never have to face it. Say, haven't you anything better to do than to keep popping in here early every morning and asking a lot of fool questions?