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Books
 EDGE OF MIDNIGHT: The Life of John Schlesinger. An Authorized Biography by William J. Mann. This
excellent biography traces the life and career of director John Schlesinger from his childhood to his early days as an actor
to his first directorial efforts and on to the big splash he made with Darling starring
Julie Christie. Schlesinger really came into his own with the huge critical and financial success of Midnight Cowboy,
a film which helped usher in a new era of frankness in Hollywood. Most of the director's
later films were not quite as successful nor as feted. The book reveals that his superb film Sunday, Bloody Sunday was inspired by people and events from Schlesinger's own life, and documents his attempts to get
back on top again while accepting screen assignments that may have been beneath him [some of which he championed nevertheless].
Written with the full cooperation of Schlesinger and his lover, the book is bolstered with many interviews from the people
who knew the subject best. While looking into Schlesinger's attitude toward his homosexuality, Mann also analyzes the strengths
and weaknesses of Schlesinger's films, explaining why some were better received and better made than others. A compelling
and worthwhile biography of a director who may have been more influential than people realize. The book will make you want
to go out and look at DVDs of the director's many features. William Schoell.
THE HURDY GURDY MAN: The Autobiography of Donovan. Donovan Leitch.
Donovan was a popular folk-rock singer of the sixties who – according to him – “dropped out” of commercial
show biz when he was only twenty-four. Obviously feeling that his contributions to music have been overlooked, and he himself
under-appreciated, he tries to set the record straight in this autobiography. Donovan tries hard to create a certain mystique
of outsider, rebel and non-conformist -- “leaving home” at sixteen [he actually simply went off for a summer of
frolic the way many teens do] – when he's really a reasonably talented poet and composer who became famous at the obscenely
early age of eighteen. He never addresses the fact that his multi-millionaire status was hard to reconcile with his role as
the originator of “flower power.” This is a book less interested in truth than it is in explaining Donovan's greatness,
which he does on every other page, citing artists whose work was heavily influenced by his own. The funny thing is, Donovan
may well be right about his influence, but he should have let somebody else say it – again and again and again. Along
the way we learn how much of his music was influenced by his love for the woman he eventually married. We learn of numerous
affairs, his disillusionment with the music scene, what an insensitive jerk he could be in a rare and surprising moment of
candor and self-analysis, and his rather dopey conversion to Yoga. Donovan writes well, but the book is weakened by his need
to constantly reaffirm his importance. Although he includes photos and brief mentions of his four children, he never tells
us anything about them. For instance, he never mentions, or expresses pride in, his son Donovan Leitch's considerable acting
ability. But then, people who become famous at eighteen often grow up with a very warped set of values – and a sense
of Themselves Over All. William Schoell.
TAB HUNTER CONFIDENTIAL. Tab Hunter and Eddie Muller. Algonquin Books.
Once a movie star, always a movie star – and is there anything on earth more self-absorbed
than a movie star? Tab Hunter tells how a great-looking guy with absolutely no acting experience managed to become fading
star Linda Darnell's leading man in one of her last pictures, and then moved onward and upward to become a movie star in his
own right, appearing in such films as Damn Yankees and The Pleasure of His
Company. He doesn't gloss over how he quickly descended to the depths as a Hollywood
has-been, then made a comeback of sorts by co-starring with Divine in two funny movies. Hunter's story is reasonably absorbing
and somewhat enlightening about Hollywood, but what it mostly does is remind us of the shallowness of movie stars –
all movie stars. Not being normal people, they just don't get it. For instance, on one page Hunter [or rather his co-author]
writes how disappointed he was that his then-agent Henry Willson wasn't behind him more when he tested for an important role.
He complains that Willson didn't care if he got the role as long as it was one
of his many clients. So much for loyalty Hunter complains, or words to that
effect. What did Hunter expect Willson to do – focus only on him and to hell with all of his other
clients!!! It just doesn't occur to Hunter how hypocritical he sounds. Considering that
he's out of the closet – a decision that may have had more to do with the fact that his sexual orientation was pretty
much an open secret as opposed to true self-acceptance on his part -- Hunter refers to certain people he dislikes as “fags”
a lot more often than he should. But then, Hunter comes across as moderately likable but not especially bright. This is by
no means an essential read but many people will find it absorbing. William Schoell
 THE FAMILY: THE REAL STORY OF THE BUSH DYNASTY. Kitty Kelley. Random House; 2004.
“His religiosity allowed him to live in a black-and-white world of absolutes with no bedeviling
in-betweens.” Thus Kelley writes of our current president, George W. Bush, in this fascinating look at the Bush political
family from Senator Prescott Bush down to George H. W. Bush (“Poppy”) and way down to George W. Bush (“Dubya”):
these last two better known as “Dumb and Dumber.” Surprisingly, this is not just a Bush-bashing extravaganza (although
the family has given Kelley plenty of ammunition). Kelley relates how George H. W. Bush's father Prescott had more of a social
conscience than either his son or grandson, both of whom radiate an air of entitlement. She gives credit where it's due to
the two presidents, describing the father's sensitive nature and compassion (at least towards people of his class) and the
rare – very rare-- good points of his son. Although both Bush presidents claim to be self-made men against all evidence
to the contrary, Kelley exposes this hypocrisy and details how connections got both – especially Bush Jr. -- into the
White House. This is by no means just a collection of gossip – Kelley explores the behind-the-scenes elements of political
campaigning, in-fighting and betrayal with savvy and industrious insight. Kelley also examines the lives of the wives, children,
siblings, cousins and so on, including arrogant screw-up Neil Bush. You'll also learn how Jeb Bush
petitioned for the release of anti-Castro terrorist Orlando Bosch, who blew up a plane with 75 people aboard (including Cuban
athletes), and how his father granted the terrorist U.S. residency! Kelley describes Barbara Bush not as a lovable grandma
but an unpleasant frump who keeps grudges, snaps at people, and is just as uncultured as her husband and son. [Although Kelley
seems to criticize Barbara Bush for saying that Washington D.C. mayor Marion Barry was a “disgrace,” no other
word really describes the man.] The book goes into our current president's misspent youth when he majored in beer-drinking
and making an ass of himself (he's given up the former but still does the latter), as well as his days as a cheerleader (he's
not as athletic as his father was). [Kelley tells an anecdote about Bush confusing “tears” (of joy) with “tears”
(a piece of paper) which is hilarious!]
The Family makes it clear that the Republican party
has undergone a change-for-the-worse due to the influence of the religious right, which Republican candidates increasingly
cater to – to the detriment of the nation. Kelley also examines sexuality and “manhood” and how it relates
to the White House. While some of Kelley's sources, such as embittered, discarded wives and the like, may not be terribly
reliable, most of the book is exhaustively researched, well-documented, and highly credible. A splendid, immensely readable
book! -- William Schoell
 ALFRED HITCHCOCK: A Life in Darkness and Light. Patrick
McGilligan. Regan Books.
Although
the portrait that emerges of Alfred Hitchcock is not entirely devoid of weird, negative aspects, this book is in a sense an
“answer” to Donald Spoto's more “sinister” The Dark Side of Genius, which McGilligan frequently refers to. McGilligan's massive tome is a
thorough, very readable, and well-researched look into the life of the “master of suspense,” in which the author
attempts to put some of the more negative things written about the great filmmaker into context. Not that he's above getting
into a little “gossip” -- there are details on Hitchcock's impotence, his wife Alma's possible affair with a young
screenwriter, Ingrid Bergman supposedly trying to get Hitch into bed, and Hitchcock's relationship as surrogate father to
Brigitte Auber, who appeared in To Catch a Thief. [Auber
felt betrayed when Hitchcock made a pass at her and cut him completely out of her life. The fact that he tried to make up
with her despite his undoubted mortification suggests that Hitchcock wasn't just interested in her sexually but genuinely
cared for her. Auber comes off as extremely unsophisticated, naïve, and unforgiving.] We also learn
more about Hitchcock's relationship with 'Tippi' Hedren, star of The Birds and the criminally under-rated Marnie. McGilligan provides
fresh details about the making of Hitchcock's films, even ones that had extensive pre-production but
never actually got before the cameras. This is all very compelling stuff for Hitchcock admirers, and will make you want to
revisit his films as soon as you put the book down. There are some dumb moments, however. McGilligan suggests that some of
Hitchcock's leading men failed to give “romantic” performances because they were homosexual (he never uses the
term “gay” for some reason, giving the book a dated ambiance) -- but isn't that why they call it acting. He may not have been a great thespian, but Rock Hudson could certainly love up the women on the
screen convincingly despite his sexual orientation. Perhaps the gentlemen McGilligan refers to may have been unconvincing
as romantic leads not because they were gay but because they just weren't cut from that same sexy “lover boy”
cloth as Hudson
--William Schoell
 THE OTHER MAN. Michael Bergin.
Michael Bergin is the well-known actor and Calvin Klein underwear model who was involved with
Carolyn Bessette before (and after) she married John F. Kennedy Jr. His autobiography focuses on his
relationship with Carolyn – this was probably dictated by the publisher – and offers interesting details of it,
but it's too bad that this aspect crowds out the other fascinating elements of Bergin's life. The
behind-the-scenes glimpses of the life of a male model and the cutthroat modeling industry are so compelling that you often
wish Bergin had focused mostly on this and left the Bessette business for one chapter only. Bergin emerges as a likable, sympathetic
(if somewhat humorless?) figure, however; someone who is not above seizing an opportunity when it presents itself (which is
intelligent, of course) without necessarily being a “user.” On the other hand, like most people, Bergin doesn't
always see the reality of his life clearly (or doesn't want to, again like most people). He writes about the pride his family
had in seeing him posing in his underwear in a huge poster in Times Square without the slightest trace of irony. Later
he wonders why Bessette ultimately chose JRK Jr. over him, even though he spells out what was going on at the time. While
he and Bessette were dating, Bergin was living (platonically) with an older gay man who fell unrequitedly
in love with him and was tormented by his feelings. Even after learning this, Bergin still didn't move out of the older man's
apartment for some time. It doesn't seem to occur to him that Bessette might have wondered if he were bisexual. Or if he was
only “using” her the way she could have thought he might have been “using” the older man (Bessette
was instrumental in getting Bergin the high-profile job for Calvin Klein, after all). Again, Bergin doesn't really come off
as a ruthless opportunist stereotype, but surely Bessette might have wondered how much he really cared for her? In
any case, the book is a surprisingly good read. Bergin got a lot of criticism for coming out with the book, but look at it
from his point of view. Everyone else and his brother was having his say not only about JFK Jr. and Carolyn but even about
Bergin's relationship with her, so why shouldn't he, an actual participant, have had his say as well? Quite enjoyable and
fast-paced and with lots of sexy pictures. Say what you will about his writing and his book, Bergin is a very hot guy.
ME AND BOBBY D. A Memoir. Steve Karmen. Hal Leonard.
What happens to the people left behind – the
old friends and co-workers -- when someone makes the big time in show business? Steve Karmen attempts to answer that question
in this interesting memoir of his early friendship with the singer/actor Bobby Darin. This is by no means a biography of Darin,
although the reader will gain some insight into the man's character, which was extremely career-driven (probably why he made
it) and expedient at times, although Karmen relates examples of how Darin could also give credit when due and be extremely
gracious to old pals. [Although in one obnoxious moment Darin tells Karmen that he is not to ask for anything from him and
that “they travel on different levels.”] Most of the book relates a short-term engagement in Detroit where Darin
was the solo act and Karmen his guitar and vocal accompanist. Encouraged by his agent, Darin eventually
relegated Karmen to the side of the band and didn't allow him to sing any more back ups. Aware that Karmen was, ironically,
taller and better-looking than he was, Darin may have allowed jealousy to get the better of him, although it is also true
that it was Darin who had just cut a record and had an agent – not Karmen. Karmen split from Darin and had a brief try
at his own recording/acting/club career, but eventually found success as the composer of such famous jingles as “I Love
New York,” “This Bud's for You,” and many, many others. Perhaps too much of the book is devoted to Karmen's
stumbling attempts to get laid in Detroit, which becomes tiresome and is described in long stretches of dialogue
that go on for many pages as if he were writing a forgettable coming-of-age novel. [Karmen describes Darin as getting laid
on a regular basis in Detroit, continuously coming back to their hotel room smeared with lipstick, even bedding a mobster's
sexy girlfriend.] Much more interesting are the few pages describing his attempts to establish his own successful show biz
career, which has that certain ring of pain and truth, Karmen being undone by bad breaks and agents without enough clout.
He describes the combination of fascination, envy, and anguish he felt while watching Darin's club act and feature films.
Although the book is not without flaws, Me and Bobby D. is a reasonably affecting look at show biz survivors and casualties
and how they prosper, adapt, and make do. Throughout the book Karmen's love-hate for Darin clearly comes across. [On the back
cover Connie Francis, who apparently loved Darin unconditionally, is quoted as saying “the experience of reading Me
and Bobby D. brought closure from the heartache and emptiness I have lived with for over 40 years...”] -- William
Schoell
 BOBBY DARIN: A LIFE. Michael Seth Starr. Taylor. This is a workmanlike biography of Darin with some excellent interviews
with, and insights from, people who worked with him and knew him well. Mercifully Starr doesn't spend too much time on Darin's
childhood, and after a few pages takes us into the beginnings of his almost meteoric if short-lived show business career.
Darin is essentially portrayed by Starr and others as a man driven to succeed at an early age because of a heart condition
that would probably ensure him an early demise – as it did (at age thirty-seven). Of course, many young people with
perfectly healthy hearts are driven to succeed – the sooner the better --- but his condition may have added a certain
intensity to Darin's ambition. Darin could be prickly and cocky, which didn't endear him to some (Ed Sullivan was certainly
no fan), but he eventually mellowed and won people over with his talent. Starr doesn't spend as much time on the ultimately
shattered Darin-Sandra Dee marriage, which may disappoint those looking for juicy stories of marital combat, but he does adeptly
describe his recording career, film roles, and critical and fan reaction to same. Interestingly enough, at one point Darin
decided to almost “drop out,” sold all of his possessions, and moved as far away from everyone as he could get.
Bobby Darin: A Life is a good bet for readers who are curious about Darin but don't
necessarily want to read a thick tome on the performer; it gives all the basic facts of his life and is a quick read. -- William Schoell
CARY GRANT. Marc Eliot. Harmony Books. 2004.
This is a readable if not especially revelatory look at the life of Cary Grant from his troubled early years in England,
to his stage career in New York, to his highly successful film career, as well as his involvement with actor Randolph Scott
and his four marriages to women. It seems pretty clear to the reader (if not necessarily to Eliot) that Grant was essentially
a gay man who, while initially free-spirited and free-thinking and without any special qualms about his sexuality, spent his
later years (once stardom came upon him during a much less tolerant period) running from his sexual identity, always eager
to preserve his image and the career that gave him so many options, not the least of which was financial. Eliot makes some
attempt to explore the man's complexity but despite some details of his long relationship with Scott is less successful keeping
an honest tab on his true sexuality. Eliot is not a film historian – most of his previous books were on rock and folk
music – so he recycles such ancient canards as John Gilbert not having a voice fit for sound pictures and he classifies
Howard Hughes strictly as a heterosexual. At one point he writes that Shirley Temple “had set off a generation of middle-aged
men into cold sweats while still a toddler”(!) His descriptions of Grant's looks, appeal and acting ability occasionally
border on the poetic but sometimes veer into the pretentious. While the ultimate book on Cary Grant has yet to be written,
this is not at all bad for readers who are unfamiliar with previous biographies of the actor.
 GARY COOPER: AMERICAN HERO. Jeffrey Meyers. William Morrow. 1998. This is a fine biography of the late actor from his
beginnings in the silent film industry to his painful death by cancer many decades later. The portrait that emerges in this
book is less of an American “hero” than a fairly conservative (if not rockbound) icon who lived life the way he
wanted to (including numerous affairs which negatively affected his wife and daughter) then later regretted his actions and
found Catholicism. Even Cooper didn't think he was much of an actor, although Meyers analyzes his distinct if limited abilities
with aplomb, and several of his colleagues offer testament to his deceptive “genius.” Cooper was a star of extremely
limited range, but he got better as he got older and played characters who were closer in line with the real Gary Cooper.
His best performances were in High Noon, The Naked Edge (his final film), and
Ten North Frederick, in which he played a middle-aged man in love with a much younger
woman (a situation he was not exactly unfamiliar with). Meyers goes into Cooper's affair with Patricia Neal with depth, although
some readers may wish for more details on other, less important affairs, not to mention his youthful relationships with actor
Anderson Lawler and other gay males [or the true reasons for his hated of Cary Grant]. Meyers does not neglect Cooper's films,
thank goodness, and perceptively examines both their strengths and weaknesses and how and whether or not they advanced Cooper's
art. Meyers also goes into Ernest Hemingway's friendship with, and jealousy, of, the handsome actor, as well as Cooper's relationship
with HUAC. This is an intelligent, well-written biography.
 In Black and White: The Life of Sammy Davis Jr. Wil Haygood.
Knopf.
Gonna Do Great Things: The Life of Sammy Davis Jr. Gary Fishgall.
Scribner.
Sammy Davis Jr. was far more than just one fifth of “The Rat Pack,”
which both of these fine biographies make clear. Starting as a child in the days of vaudeville he worked his way up to become
a top club entertainer, Broadway star, movie actor, and TV host. While he was more successful at some things than at others,
he always gave 200% and was a literal bundle of talent. Sammy could sing, emote, play the drums, dance (including classic
tap-dancing), and do dead-on impressions of a host of celebrities (not just saying the lines most associated with them but
singing). These books both detail
Sammy's hungry early years when he traveled with his father and “uncle” as part of the Will Mastin Trio. His relationship
with Frank Sinatra is analyzed, as well as his relationships with JFK (a bitter disappointment) and Richard Nixon (a bitter
disillusionment). Both books do an excellent job of unveiling the demons that drove Sammy, and why he made the decisions –
and many mistakes – that he did. His affect on and interaction with the black civil rights movement and its leaders
also comes in for scrutiny. Haygood's book perhaps places its subject more in the context of the times as they pertained to
black Americans, providing some fascinating details about the attitudes of and toward black Americans during the different
periods of Sammy's career. On the other hand, Fishgall provides much more information on Sammy's army career, making the point
that in all likelihood he would have been segregated from white soldiers and many of the things he wrote about his Army experiences
in his memoirs have to be taken with a grain of salt. Haygood provides a highly interesting look at the writing of said memoirs,
“Yes I Can,” although he seems to take Sammy's clearly ghost-written book Hollywood in a Suitcase at face value (Fishgall reveals that the book was actually written by Simon Regan). Sammy was
a fascinating, influential character with a fascinating life. These books are both recommended for adult readers.
-- William Schoell. (Schoell is the author of a young adult
biography of Sammy Davis Jr, I Can Do Anything, which is a good bet for teenaged readers. Click on the photo below
to order a copy.
| click here to order bio of Sammy for teenagers |
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| Sammy Davis Jr. -- one of the all time great entertainers! |
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