GRANT WILLIAMS

GRANT WILLIAMS, Giancarlo Stampalia. Bearmanor; 2018.

It is made clear from the beginning that this is not a traditional biography of the actor Grant Williams -- most famous for The Incredible Shrinking Man -- but a career study put together from assorted press clippings and interviews with a couple of co-workers and acting students. Stampalia was hampered by Williams' extreme privacy during his life, as well as the absence of living co-stars and others who were willing to contribute anecdotes. However, Stampalia adds depth to his manuscript with his analyses of Williams' acting approach to various roles, and whether his performances worked or not, and why they did or didn't. He goes on for some length on The Incredible Shrinking Man -- but there are also notes on all of Williams' film, TV, and radio appearances. Although it would be easy to see Williams as a closeted gay or bisexual man suffering from Catholic guilt -- and this may certainly have been the case --  Stampalia argues that this assessment is by no means certain without solid proof. If Williams failed to reach major stardom it may have been, as Stampalia suggests, that he was more interested in being a good actor than in being a movie star. However, even his TV and "B" movie career might have suffered because of his heavy drinking and possible alcoholism. Williams became a regular on Hawaiian Eye and gave a notable performance in the thriller The Couch. Stampalia makes a strong case for Williams' acting talent -- he did a creditable job playing Peter Tchiakovsky on a episode of The Magical World of Disney -- although it is also true that the effect the actor frequently exuded was one of handsome blandness. Stampalia is perhaps more erudite then other writers of movie star fan books, so he can be forgiven the occasional foray into pretentiousness. The book is bolstered with lots of interesting photographs.

Verdict: Intensive study of a comparatively minor film player who kept his secrets to himself. ***. 

JAMES MASON

James Mason 

JAMES MASON. 1909 - 1984.

This week Great Old Movies looks at one of our favorite actors: James Mason. When I was a youth Mason starred in two of my favorite movies, Hitchcock's North By Northwest and Journey to the Center of the Earth. As the years went by I could appreciate Mason as much for his acting ability as for the films he appeared in, although even as a kid I could tell he was good.

As I have already seen and/or reviewed a great many of Mason's films, I decided this week to look at a few oldies that I had never watched before. Alas, I was to discover that poor James Mason made quite a few lousy movies, especially in the earlier days of his career. However, Mason himself was rarely less than stellar. Mason gave especially fine performances in such films as Child's Play; Lolita (in which he was, as was often the case, much better than the material); 5 Fingers; The Wicked Lady; and many, many others. You can read a review of a biography of him here.

As I said, Mason made more than his share of stinkers, a few of which are reviewed this week. But it's fun to read about stinkers, isn't it? (Better than watching them, I suppose.)

In any case, James Mason was no stinker.

He was one of The Greats!

CAGNEY BY CAGNEY

CAGNEY BY CAGNEY. James Cagney. Doubleday; 1976.

James Cagney had no particular interest in writing his memoirs, but he was tired of authors getting the facts wrong and decided he had better tell his own story. The first section of the book features a lot of tales detailing just how tough Cagney was growing up in a bad neighborhood where you had to prove yourself with your fists. Cagney wouldn't be the first song and dance man who felt a need to affect a super-macho image. (Ironically, one of his first jobs had him dancing in drag!) The book is more interesting when Cagney gets into his career, and he makes it clear that he considers himself, first and foremost, a dancer. Cagney felt that making movies was a grind, and he wasn't thrilled with some of the by-the-numbers assignments he was thrown into, nor with the fact that real bullets were originally used in scenes with machine guns! (Oddly, he doesn't acknowledge that he was making much, much more money than the average person.) He writes pleasantly of his fellow actors, with two exceptions: an unnamed leading lady whom he finds condescending: and Horst Buchholz, with whom he appeared in One Two Three. When Buchholz tried one of his "scene-stealing didoes," Cagney was going to "knock him on his ass." Cagey was a rarity in that he wasn't that interested in a typical Hollywood lifestyle, preferring to live in the east, and he was happily married to the same woman, a former actress, for a great many years. Liberal in his youth, Cagney became more conservative as he got older, and also became a conservationist. The book is full of ruminations on how the picture business has changed, as well as the country, and includes many samples of his poetry, which is much better than Jimmy Stewart's. Cagney comes off as a moderately cultured man with some good horse sense, who didn't allow his movie stardom to completely define him. He writes bluntly of movie colleagues who just can't accept the fact that their careers are over and no one is interested in them anymore, a fate that did not ensnare Cagney, as he became an icon instead of a has-been.

Verdict: Probably not the last word, but an interesting look at a very interesting and talented actor. ***.

THE LIVES OF ROBERT RYAN

THE LIVES OF ROBERT RYAN. J. R. Jones. Wesleyan University Press; 2015.

Robert Ryan was never quite in the front rank of iconic movie stars such as Newman or Redford, but he was definitely a movie star and left a long body of work behind him. This excellent biography takes a discerning eye to the actor and his films, and uncovers some difficulties in his long-time, mostly happy marriage. Although some critics unfairly saw him as "wooden," he could be extremely effective in such films as Clash By Night, Born to Be Bad with Joan Fontaine, About Mrs. Leslie with Shirley Booth, and especially On Dangerous Ground with Ida Lupino, although he could be defeated by bad material such as Back from Eternity with Anita Ekberg. As he got older, Ryan offered fine character parts in such films as The Outfit and Executive Action, and was often the only good thing about the movie. Despite his gruff appearance and the conservative roles he often played, Ryan was a liberal, taking a stance against the blacklist when it wasn't quite safe to do so, and espousing liberal causes throughout his life. Always wanting to be seen as a serious actor and not just a movie star, Ryan even appeared in Shakespeare and many good theater pieces. Ryan had occasional affairs, most famously with Merle Oberon.

Verdict: Highly interesting and readable book on a very interesting actor. ***1/2.

THE MAN WHO SEDUCED HOLLYWOOD

THE MAN WHO SEDUCED HOLLYWOOD: The Life and Loves of Greg Bautzer, Tinseltown's Most Powerful Lawyer. B. James Gladstone. Chicago Review Press; 2013. An A Capella Book.

Now that pretty much all of the major stars of classic Hollywood have been written about ad nauseam, authors have turned to supporting players [Mary Wickes] or talented minor stars who never quite got the breaks [Ann Dvorak]. And now The Man Who Seduced Hollywood is about a fringe figure who has wandered into biographies over the years, lawyer Gregson Bautzer, who dated famous stars such as Joan Crawford, Lana Turner, Ginger Rogers,  and Dorothy Lamour [and who married Dana Wynter of Invasion of the Body Snatchers fame], and who made a great many deals for the power brokers of Hollywood, as well as representing them and their players in court. Bautzer was tall, dark and handsome, but he also had a severe drinking and anger management problem; he also had completely undistinguished WW2 military service. At times the hero worshiping-tone seems overdone and unwarranted, but while the material isn't always presented in the most dramatic fashion, this is still a workmanlike and interesting job.

Verdict: Behind the scenes in Old Hollywood. ***.

OLIVIER Philip Ziegler

OLIVIER. Philip Ziegler. MacLehose; 2013.

This is a very entertaining overview of the life and career of Lord Laurence Olivier which makes it clear that if he lived for anything, it was his art. The book examines his emergence as a fine if often controversial Shakespearean actor, his three troubled marriages (to Jill Esmond, Vivien Leigh, and Joan Plowright), his career in films, including work in Hitchcock's Rebecca, The Prince and the Showgirl, Carrie (in which he gave a particularly superb performance), and other films, and especially his job as director of the National Theater, which was beset with difficulties but which he was determined to hold on to. There are also behind-the-scenes details of the productions of Olivier's Shakespeare films to go along with his numerous stage performances of the Bard. Whether he was director, star, or both, Olivier always liked to take charge, which sometimes put him in conflict with the rest of the cast. One of the most amusing aspects of the book is how it recounts Olivier's rivalry with the other two Great Actors of his day, Ralph Richardson and John Gielgud, not to mention his attitude towards American film stars such as Kirk Douglas. Olivier may well have loved his wives and children, but he was, above all, An Actor. Author Ziegler may not have a background in film or theater -- most of his books are historical works -- but he still manages to do well by his subject.

Verdict: Absorbing look at the world of Laurence Olivier. ***1/2.

A LIFE OF BARBARA STANWYCK: STEEL-TRUE 1907 - 1940 Victoria Wilson

A LIFE OF BARBARA STANWYCK: STEEL-TRUE 1907 - 1940. Victoria Wilson. Simon and Schuster; 2013.

Wilson's twenty-years-in-the-making 1000 pp biography of Stanwyck covers the first half of her life and career in great detail. Wilson covers her first marriage to Frank Fay with more thoroughness than previous biographers, and works hard to give the readers a sense of the various time periods and their cultural and political influences throughout the decades covered. Wilson is clearly a fan of Stanwyck's, but she doesn't admire every film or performance, and often offers astute analysis of her pictures and acting techniques. There are no great revelations in the book, however, and anecdotes are often lifted from other books [some of which are mentioned in the notes but, oddly, not in the bibliography]. Unlike some Out biographers like William Mann, Wilson is fairly coy when it comes to sexuality [with more insinuations in the captions than in the text]. Still, the book is well-written and pulls the reader along, even if some of the copious detail -- particularly when it doesn't necessarily pertain to Stanwyck -- can become wearisome at times. The five pound book is just too long.

Wilson has been an editor at Knopf for years, but apparently resisted any and all attempts at editing her own book. For instance, she gives us a mini-bio of Bette Davis for a couple of pages simply because she appeared with Stanwyck in So Big, but neglects to inform us if the two women even got along or not. Why give us a history of all of the Marx Brothers simply because Zeppo becomes her friend and manager? She continues to follow the life and career of Barbara's old friend Mae Clarke [without discussing her performance in Waterloo Bridge] long after the two women have stopped being part of one another's lives. It makes sense to give background info on some of the other people in the Stanwyck life, but not virtually everyone she encountered. Some of this is excusable for the ardent film buff, among which I'm sure Wilson can be counted. Wilson is correct in discussing the original silent Stella Dallas at the point where Stanwyck does the remake, but throughout the book one gets the sense that there was a battle between author and editor and the author won every time. [Wilson makes the mistake many beginners do -- she puts all of her research into the book.] There is also a certain choppiness to some sections as well, with paragraphs that inexplicably run only one sentence when they could easily have been added to the paragraph above, and the like. Steel-True badly needs a stronger editorial hand. It is also disappointing that some material, such as the fate of Stanwyck's adopted son Dion, will have to wait for a second volume when most of us will have forgotten what was in the first!

Verdict: Strictly for die-hard Stanwyck fans who will enjoy it; others beware. ***.

HIGH SOCIETY: THE LIFE OF GRACE KELLY

HIGH SOCIETY: THE LIFE OF GRACE KELLY. Donald Spoto. Three Rivers Press/Crown; 2009.

This is an entertaining and absorbing look at the life and career of Grace Kelly, the actress who worked with Hitchcock and others and dropped out of Hollywood to become the princess of Monaco. Kelly was the niece of the playwright, George Kelly, who wrote "Craig's Wife" and other plays so she did have a special "in," although her looks, bearing and talent may have helped her in any case. Kelly appeared on many live television dramas such as "The Rockingham Tea Set" on Studio One, as well as on the stage, where she hoped to make a name for herself. But Hollywood called, and after a couple of minor (Fourteen Hours) and major (Mogambo) roles  she wound up in Alfred Hitchcock's Dial M for Murder  and two others for the Master, Rear Window and To Catch a Thief. Kelly won an Oscar for her work in The Country Girl and was set to become one of Hollywood's most important mega-stars when she fell in love with the prince of Monaco and sailed off for what wasn't quite a fairy tale ending. Spoto makes it clear that Kelly itched to act [she did one short film much later which has been suppressed by the royal family] and was rather bored with her duties as a princess and her allegedly storybook life in the castle. Hitchock nearly got her out of retirement by offering her the lead in Marnie, but as much as Kelly wanted to do the film, it didn't work out. While High Society may not be the last word or is as rigorously in-depth as it could have been, it is a solid, readable account of Kelly's life and career.

Verdict: Interesting look at a Hollywood legend. ***.

JENNIFER JONES: THE LIFE AND FILMS

JENNIFER JONES: THE LIFE AND FILMS. Paul Green. McFarland; 2011.

Author Green makes it clear at the outset that this is less a traditional biography of Jones than it is a study of her films. So while you might have to go elsewhere to read more intimate details of, say, her first marriage to Robert Walker, Green nevertheless provides most of the important facts of Jones' life story in a compelling fashion. Green examines all of Jones' movies -- including her early Republic period as Phylis Isley when she appeared in such cliffhangers as Dick Tracy's G-Men and made little impression -- from The Song of Bernadette to Carrie [in which she gave one of her all-time best performances] to The Towering Inferno, providing critical and audience reaction, behind-the-scenes notes, and a discussion of how effective Jones may or may not have been in a particular role. Green also includes chapters on her stage work, TV appearances, and parts that she nearly played but didn't, as well as abortive film projects. This is packed with info, intelligently presented, for the Jones fan. Foreword by Robert Osborne of Turner Classic Movies.

Verdict: Excellent, very readable book on a somewhat neglected movie star. ***1/2.

DROPPED NAMES: FAMOUS MEN AND WOMEN AS I KNEW THEM

DROPPED NAMES: FAMOUS MEN AND WOMEN AS I KNEW THEM. Frank Langella. HarperCollins; 2012.

In this unconventional memoir, actor Frank Langella (Diary of a Mad Housewife; Dracula; Frost/Nixon) spares the reader the need to look up famous names in the index. Langella is smart enough to know that most people read autobiogs by second and third tier celebrities [well-known, but not superstars or household names] to see what they have to say about the mega-stars they worked with, so the book is divided into many chapters bearing the names of the famous and pretty famous. [Of course, it is also true that in a "memoir" of this nature you can avoid answering the hard questions about yourself.] In concise, well-written sections we read Langella's impressions of everyone from Bunny Mellon to Jackie Onassis to Paul Newman to Marilyn Monroe. Some of these chapters are especially well-done, such as the section on the lonely middle-aged Elizabeth Taylor [although Langella never really makes it clear why he didn't want to go on seeing her except that she "would eat him alive," which sounds like a cop out. If he no longer found her attractive, why not just say so?] You sometimes get the impression Langella only exists when he's in the company of celebrities [the wealthier, the better]; that the rest of the time he's folded up, maybe in one of those vinyl bags you put clothes in and hang in closets, in a state of suspended animation, waiting for the next party or the next invitation to the Mellon estate. While, as I've stated, this is an unconventional memoir, it's still a bit startling that Langella says virtually nothing of substance about his wife [wives? who can tell?] and children, and reading between the lines you also sense he's possibly being coy about his own sexuality [giving a supposedly "sophisticated" book a somewhat dated quality]. In the meantime, he "outs"  late author Dominick Dunne, among others. So while the book has its entertaining stretches and drops many, many names, it has the usual limitations of a work by a tiresomely self-absorbed "celebrity." Langella gives the last word, more or less, to super-rich Bunny Mellon: "Don't think so much about famous people," she told him. "They already think too much about themselves."

Verdict: Readable and generally well-written, but hardly essential. **1/2.

FULL SERVICE: MY ADVENTURES IN HOLLYWOOD AND THE SECRET SEX LIVES OF THE STARS

FULL SERVICE: MY ADVENTURES IN HOLLYWOOD AND THE SECRET SEX LIVES OF THE STARS. Scotty Bowers with Lionel Friedberg. Grove Press; 2012.

Every sophisticated person knows that many of the big Hollywood stars were privately gay, just as they know that there are many people living "straight" lives with spouses and children who secretly like their own sex. Therefore, there isn't much that's really new in this memoir by a man who claims to have been a procurer for the stars, as well as a male whore. The book has a tone of dishonesty from the first, as Bowers -- although he admits bedding hundreds of guys [and not always for money] -- claims that he isn't gay [he doesn't label himself bisexual either, although no one would believe he's straight!] but prefers women. Surrrre. Despite a welcome veneer of healthy [and some unhealthy] modern attitudes towards sex in the book, Bowers' sensibility is still old-fashioned and pre-Stonewall, as he spends most of his time in the company of gay men but sets himself above and apart from them while giving lip service to gay rights. He seems to have no problem with being molested more than once when he was as young as nine (and no problem with the molesters as well)! While no doubt much of the stuff he writes about is true, there is also the taint of exaggeration and outright fabrication: Bowers writes as if he was a close personal friend of all of these people he tricked with and arranged bed partners for [without being paid!?] and delivers suspect or rehashed anecdotes -- as if a prostitute would ever have been part of a true Hollywood inner circle regardless of some pillow talk. Yeah, he could have seen and overheard things, but you have to wonder if he personally witnessed or experienced everything he says. The book is sloppily written as well, with Bowers claiming someone is bisexual on one page and then gay on the next, but then Bowers at 88 doesn't seem to know which he is, either. One chapter goes into the female loves of his life, and he has a wife, but no photos of the women or that many details about them are included as compared to the many men in his life. Why write a tell-all book like this and stay more or less in the closet? Which makes it even more fantastic that the book has gotten endorsements from the likes of Gore Vidal and respected gay biography William Mann -- did these guys even read the book? [And did Mann actually use Bowers as a source for some of his books?] For all of the sex mentioned [if not detailed with any particular erotic writing skill], Full Service doesn't hold the attention. I'm all for books that honestly go into gay life in old and new Hollywood, but this book will probably do little to convince people that behind the closet door there was far more gay activity -- in Hollywood and everywhere else -- than anyone suspected.

Verdict: Mostly an un-erotic, superficial and suspect bore written by a self-deluding "old queen." *1/2.