THEN AND NOW: A MEMOIR Barbara Cook

THEN AND NOW: A Memoir. Barbara Cook with Tom Santopietro. HarperCollins; 2016.                                                                                                                                                             Barbara Cook made her Broadway debut in the now-forgotten Flahooley, but she went on to great success in Plain and Fancy, and even greater success as Marian Paroo in The Music Man. And there were other triumphs to come. To say Cook had a weird childhood is an understatement. Her father walked out at six because he could no longer live with her mother, who lived vicariously through her daughter and did not seem to see her as a separate entity. Cook and her mother shared the same bed (non-sexually) until she was twenty! Cook's one and only marriage ended in divorce -- she had a long-time affair with the married actor, Arthur Hill [The Andromeda Strain] -- but gave her a beloved son, and she also developed a taste for food and, much worse, a continuous desire for alcohol. Her weight ballooning and alcohol taking over her life, Cook was even more depressed when in desperation her son moved in with his father. Hitting rock bottom, Cook, with the aid of friends and co-workers, was able to get off the bottle and began much concert work, including a night at Carnegie Hall, and was finally back on Broadway in Sondheim by Sondheim. Cook did some "straight" dramatic work on Broadway in Little Murders and other shows, and also wound up in the British production of the ill-fated Stephen King musical Carrie. As the memoir's title suggests, this book gives a backstage, insider's look at the differences between the theater in its golden age and today, when shows are no longer written for stars, and someone can graduate into a leading role without having had much experience, as in the past. Along the way Cook offers interesting sketches of such people as the difficult and self-absorbed Elaine Stritch [Monster-in-Law] and Music Man co-star Robert Preston [The Lady Gambles], whom she inexplicably seemed to find super-sexy. Despite working with many gay men over the years, she temporarily freaked out when her son came out of the closet. Cook was honored with a Kennedy Center award in 2011. Cooks' other notable musicals include Bernstein's Candide, The Gay Life, and She Loves Me. Cook was as good an actress as she was a a singer, as she proved in the "A Little Sleep" episode of Alfred Hitchcock Presents. In this she played a "bad," wealthy party girl who finds her destiny at an isolated cabin. Her co-star was Vic Morrow and Paul Henreid was the director.    

Verdict: Good, quick read of an interesting life and career. ***.

MAME

Auntie Mame and Patrick on the Statue of Liberty!

MAME (1974). Director: Gene Saks.

The story of madcap Auntie Mame was turned into the musical Mame, starring Angela Lansbury. Although Lansbury, who could sing and had appeared in a great many movies, could certainly have essayed her screen equivalent, the role was instead given to Lucille Ball, who couldn't sing a lick. Remember the classic "Operetta" episode of I Love Lucy? When Ricky remarks that Lucy on occasion hits a flat note, Ethel reassures him that "every time she opens her mouth the entire cast will join in." If only they had followed that policy in this movie, because dear Lucy's croaking pretty much devastates all of her numbers. However, that being said, Mame is not a bad movie. Ball is not up to Russell's level, but she's hardly terrible as Mame Dennis, although the picture is completely stolen by Bea Arthur as Vera Charles (Coral Browne was great as Vera in the original, but she didn't steal the picture from Russell). "The Man in the Moon" is a funny number, as is "Bosom Buddies," and "My Best Girl" is a pretty tune. There are other good songs, but Lucy butchers all of them, except when Jane Connell repeats her Broadway role as Agnes Gooch and adroitly delivers her one big solo. [There's also a new song, "Loving You."] Kirby Furlong and Bruce Davison [Stolen: One Husband] are fine as the young and older Patrick, respectively, and Doria Cook-Nelson scores as Patrick's fiancee, Gloria, as does Patrick Labyorteaux as Mame's little grandson, Peter. Lucille Benson is funny as the mother of Robert Preston's Beauregard Burnside, who marries Mame and travels the world with her. The sub-text of the film substitutes racism for anti-Semitism. Say what you will about Mame, when the whole troupe breaks into the title tune the movie certainly plays. Jerry Herman did both music and lyrics, including the snappy "Open a New Window," an anthem to having new life experiences.

Verdict: Not in the league of Auntie Mame, but not bad on its own terms. *** out of 4.

CHILD'S PLAY (1972)

James Mason and Robert Preston

CHILD'S PLAY (1972). Director: Sydney Lumet. Based on the stage play by Robert Marasco.

Odd things, including outbreaks of violence and secretive behavior, have been happening at a Catholic boys school. While Frank the headmaster (Ron Weyand) tries to figure out what's going on, a conflict arises between stern, old-style professor Malley (James Mason) and the younger, more beloved coach, Dobbs (Robert Preston of The Lady Gambles). There are rumors going around about Malley, and certain magazines have been sent to his home, along with other harassment; Malley is convinced that Dobbs is behind it all. But whatever Malley's peculiarities, is Dobbs quite the good guy that he pretends to be, and who is actually behind the sinister events at the school which threaten to close it down? Child's Play is very suspenseful and boasts an absolutely superb performance by James Mason. A particularly good scene has him reacting to news of his mother's death. Robert Preston is also good, although a cut below Mason. Beau Bridges is not bad as a student who has returned to the school as a teacher, although he is occasionally on the amateurish side. There are some sharp performances by the younger actors who play the besieged students. Threatening to turn into Children of the Damned at times, Child's Play is a bit far-fetched and theatrical, even maddening, but it is also quite absorbing, suspenseful and fascinating. And that Mason! Robert Marasco, who wrote the stage play upon which this is based, also wrote the novel, Burnt Offerings, the film version of which starred Bette Davis. Sidney Lumet directed a number of stage to screen adaptations, of which The Last of the Mobile Hot Shots was undoubtedly the worst.

Verdict: Much, much better than that "Child's Play" about the killer doll. ***.

THE LADY GAMBLES

THE LADY GAMBLES (1949). Director: Michael Gordon.

While her husband David (Robert Preston) works on a dam in Nevada, Joan Boothe (Barbara Stanwyck) wiles away her time in a gambling casino. There she meets Corrigan (Stephen McNally), the pit boss who is attracted to her, and uses her in certain schemes and high-stakes card games. But Joan's bigger problem is a growing addiction to gambling, which eventually jeopardizes her marriage and even her life. While today we would simply refer to Joan as a "gamblaholic" and be done with it, The Lady Gambles comes up with some dime store psychology involving Joan's neurotic sister Ruth (Edith Barrett) to explain her addiction. In spite of that, the movie is absorbing, in no large part due to Stanwyck's typically riveting performance. McNally is also excellent as Corrigan, adding some interesting dimension to an underwritten role. Barrett certainly delivers as the tormented, jealous sister. Preston is fine in the least interesting role of the husband. Dyspeptic John Hoyt (Attack of the Puppet People) is his usual acerbic self as a doctor. Tony Curtis has a bit part as a bellboy, and William Hudson also has a bit. At one point in the film Corrigan tells the two sisters that his first name is Horace, which is how McNally was originally known when he appeared in such films as Laurel and Hardy's Air Raid Wardens.

Verdict: Stanwyck is one hell of an actress and this is a very interesting story. ***1/2.