DOCSLIB.ORG

Outlaw Cinema: How Three Pairs of “Fugitive Lovers” Changed the Course of Movie History by Eddie Muller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Outlaw Cinema: How Three Pairs of “Fugitive Lovers” Changed the Course of Movie History by Eddie Muller outlaw cinema: how three pairs of “fugitive lovers” changed the course of movie history By eddie muller For a glimmering moment in the anything-seemed-possible 1960s, Jean-Luc Godard was going to direct Bonnie and Clyde. To screenwrit- ers David Newman and Robert Benton, it made sublime, subversive sense. They were devotees of Godard’s À bout de souffle (Breath- less, 1960), the most startling example of France’s nouvelle vague, the whirlwind of filmmaking innovation that blew from the pages of writers demurred, claiming that bad Texas weather would play hell Cahiers du cinéma magazine to touch aspiring directors all around with the filming. Godard dismissed them with his now-famous retort: “I the world. Newman and Benton, feature writers for Esquire, were so speak to you of cinema and you speak to me of meteorology?” invigorated by Godard’s film (as well as François Truffaut’sShoot the It was Truffaut’s friend Leslie Caron who mentioned the Bonnie and Piano Player, 1960, and Jules and Jim, 1962) they wanted to create Clyde script to Warren Beatty. The actor believed fame and fortune was a cinematic storm of their own, this side of the Atlantic. In much the to be gained making an art house film for the American mass market—de- same way American Patricia Franchini (Jean Seberg) infatuates young spite his having learned precisely how not to do it with Mickey One (1965), Parisian gangster Michel Poiccard (Jean-Paul Belmondo) in Breathless, a black-and-white nouvelle vague–inspired flop directed by Arthur Penn. It the cinephilia of late fifties’ Paris crossed the Atlantic to inspire these “All you need had bewildered exhibitors and the few paying customers it attracted. impressionable, ambitious New Yorkers. for A movie Taking on the role of Bonnie and Clyde’s producer as well as its star, What was it in Godard’s revolutionary work that Newman and Ben- Beatty made the film a hit by wrapping its controversial elements—blatant ton wanted to bring to America? is A gun And amorality, sexuality, and orgasmic violence—in the latest edition of trendy Above all, attitude. Beyond its revelatory revamping of film tech- A girl.” Hollywood glamour. As outlaw sex symbols, Beatty and costar Faye Dun- nique, the lasting legacy of Breathless is its hoped-up depiction of un- away outdid Belmondo and Seberg, inspiring a revival of 1930s fashion in tethered, disaffected youth. Its underlying existential philosophy—the jean-luc godard the midst of the dressed-down Vietnam era. only meaning in life is in the living itself—is recklessly, but lovingly, Although the final film owes as much to the influence of Walker Evans grafted onto the skeletal structure of 1940s noir films cherished by and Akira Kurosawa as it does Jean-Luc Godard, Bonnie and Clyde (1967) Godard and Truffaut (who wrote Breathless’s story). Newman and retains several direct links to Breathless: its influence can be felt in the ed- Benton sensed the rising of a restless youth culture in America, and iting of Bonnie’s bedroom scenes, where nervous jump-cuts suggest her grafted their representative take on callow, rebellious outlaws onto sexual restlessness; in the headlong driving scenes, conveying the exhila- the Depression-era tale of bandits Bonnie Parker and Clyde Barrow. ration of the open road; in the exciting acceptance of “mistakes,” as when Secondly, they wanted to emulate the nouvelle vague style, to a fight spills out of frame and the camera must scurry to catch up. bring something bold and bracing to American films. InBreathless , As if to openly declare its kinship to Godard’s film,Bonnie and Clyde Godard had done for the language of cinema what the Beat poets replicates the scene in Breathless where Michel and Patricia hide from the had done for literature—liberate it from the tyranny of tradition for police in a movie theater, the onscreen dialogue offering ironic counter- tradition’s sake. Like the Beats, Godard’s work angered and inspired point to the characters’ situation. There’s even an odd (accidental?) refer- in equal measure, a sure sign that it was breaking new ground. Bosley ence near the film’s end, when the lens in Clyde’s sunglasses pops loose, Crowther, resident critic-curmudgeon of the New York Times, sniffed just as Belmondo’s does in Breathless. that “sordid is really a mild word for [the] pile-up of gross indecen- In its final form, however,Bonnie and Clyde was closer to old-school cies” that comprised Breathless. Hollywood filmmaking than to the Frenchnouvelle vague. Its ground- Truffaut read an early draft of Newman and Benton’s Bonnie and breaking status was due entirely to its romantic glorification of criminal Clyde script, and met with the writers in 1964, when he was in New behavior—essentially killing off the last vestiges of Hollywood’s once- York to interview Alfred Hitchcock for his book, Hitchcock/Truffaut. venerable Production Code. After Bonnie and Clyde, cinematic sex and leFt: From top to bottom, Gun Crazy He arranged a screening of an American film that he believed should (1950), Breathless (1960), Bonnie and violence would never be the same. inform their final draft:Gun Crazy (1950). Truffaut suggested his col- Clyde (1967). And neither would American film criticism. Many people believe the league Godard—who was at the screening—should direct. Godard, ever aBove: Faye Dunaway and Warren Beatty success of Bonnie and Clyde was at least partially due to an ecstatic re- the guerilla-director, quickly offered a rapid-fire shooting schedule. The in Bonnie and Clyde (1967). view in the New Yorker by then-fledgling critic Pauline Kael. Her gushing 62 63 outlaw cinema: how three pairs of “fugitive lovers” changed the course of movie history By eddie muller For a glimmering moment in the anything-seemed-possible 1960s, Jean-Luc Godard was going to direct Bonnie and Clyde. To screenwrit- ers David Newman and Robert Benton, it made sublime, subversive sense. They were devotees of Godard’s À bout de souffle (Breath- less, 1960), the most startling example of France’s nouvelle vague, the whirlwind of filmmaking innovation that blew from the pages of writers demurred, claiming that bad Texas weather would play hell Cahiers du cinéma magazine to touch aspiring directors all around with the filming. Godard dismissed them with his now-famous retort: “I the world. Newman and Benton, feature writers for Esquire, were so speak to you of cinema and you speak to me of meteorology?” invigorated by Godard’s film (as well as François Truffaut’sShoot the It was Truffaut’s friend Leslie Caron who mentioned the Bonnie and Piano Player, 1960, and Jules and Jim, 1962) they wanted to create Clyde script to Warren Beatty. The actor believed fame and fortune was a cinematic storm of their own, this side of the Atlantic. In much the to be gained making an art house film for the American mass market—de- same way American Patricia Franchini (Jean Seberg) infatuates young spite his having learned precisely how not to do it with Mickey One (1965), Parisian gangster Michel Poiccard (Jean-Paul Belmondo) in Breathless, a black-and-white nouvelle vague–inspired flop directed by Arthur Penn. It the cinephilia of late fifties’ Paris crossed the Atlantic to inspire these “All you need had bewildered exhibitors and the few paying customers it attracted. impressionable, ambitious New Yorkers. for A movie Taking on the role of Bonnie and Clyde’s producer as well as its star, What was it in Godard’s revolutionary work that Newman and Ben- Beatty made the film a hit by wrapping its controversial elements—blatant ton wanted to bring to America? is A gun And amorality, sexuality, and orgasmic violence—in the latest edition of trendy Above all, attitude. Beyond its revelatory revamping of film tech- A girl.” Hollywood glamour. As outlaw sex symbols, Beatty and costar Faye Dun- nique, the lasting legacy of Breathless is its hoped-up depiction of un- away outdid Belmondo and Seberg, inspiring a revival of 1930s fashion in tethered, disaffected youth. Its underlying existential philosophy—the jean-luc godard the midst of the dressed-down Vietnam era. only meaning in life is in the living itself—is recklessly, but lovingly, Although the final film owes as much to the influence of Walker Evans grafted onto the skeletal structure of 1940s noir films cherished by and Akira Kurosawa as it does Jean-Luc Godard, Bonnie and Clyde (1967) Godard and Truffaut (who wrote Breathless’s story). Newman and retains several direct links to Breathless: its influence can be felt in the ed- Benton sensed the rising of a restless youth culture in America, and iting of Bonnie’s bedroom scenes, where nervous jump-cuts suggest her grafted their representative take on callow, rebellious outlaws onto sexual restlessness; in the headlong driving scenes, conveying the exhila- the Depression-era tale of bandits Bonnie Parker and Clyde Barrow. ration of the open road; in the exciting acceptance of “mistakes,” as when Secondly, they wanted to emulate the nouvelle vague style, to a fight spills out of frame and the camera must scurry to catch up. bring something bold and bracing to American films. InBreathless , As if to openly declare its kinship to Godard’s film,Bonnie and Clyde Godard had done for the language of cinema what the Beat poets replicates the scene in Breathless where Michel and Patricia hide from the had done for literature—liberate it from the tyranny of tradition for police in a movie theater, the onscreen dialogue offering ironic counter- tradition’s sake.
Load more

Recommended publications
  • Why Acting Matters Yale
    why acting matters Yale University Press New Haven and London David Thomson Why Acting Matters “Why X Matters” Published with assistance from the foundation and the yX logo are established in memory of Henry Weldon Barnes registered trademarks of the Class of 1882, Yale College. of Yale University. Yale University Press books may be purchased in Copyright © quantity for educational, business, or promotional 2015 by David use. For information, please e-mail [email protected] Thomson. (U.S. office) or [email protected] (U.K. office). All rights reserved. Set in Times Roman and Adobe Garamond types by This book may not Integrated Publishing Solutions. be reproduced, Printed in the United States of America. in whole or in part, including Library of Congress Cataloging-in-Publication Data illustrations, in any Thomson, David, 1941–. Why acting matters / David form (beyond that Thomson. copying permitted by pages cm—(Why X matters) Sections 107 and 108 Includes bibliographical references. of the U.S. Copy- ISBN 978-0-300-19578-1 (cloth : alk. right Law and except paper) 1. Acting. I. Title. by reviewers for the PN2061.T525 2015 public press), without 792.0298—dc23 written permission 2014029867 from the publishers. A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Also by David Thomson The New Biographical Dictionary of Film (sixth edition, 2014; first edition, as A Biographical Dictionary of Film, 1975) Moments That Made the Movies (2013) The Big Screen: The Story of the Movies (2012) Try to Tell the Story: A Memoir (2009) The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (2009) “Have You Seen .
    [Show full text]
  • Silent Films of Alfred Hitchcock
    The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad.
    [Show full text]
  • A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S
    Cinesthesia Volume 8 | Issue 1 Article 5 4-24-2018 Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S. Brennan Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Brennan, Kevin S. (2018) "Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window"," Cinesthesia: Vol. 8 : Iss. 1 , Article 5. Available at: https://scholarworks.gvsu.edu/cine/vol8/iss1/5 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Brennan: Can I Have a Look?: Hitchcock, Suspense, and "Rear Window" Oscar Peterson was a jazz pianist active from the mid 1940s right up to when he died in 2007. He is considered by many to be one of the greatest and most influential pianists of all time. In Clint Eastwood’s documentary Piano Blues (Eastwood, 2003), produced by Martin Scorsese, Ray Charles is quoted saying “Oscar could play like a motherfucker!” A quick look at any one of a plethora of videos on the internet of him playing will illustrate just what Ray Charles meant in his colorfully insightful commentary on Oscar Peterson’s piano playing abilities; the man’s fingers truly were legendary. An observation of these famous fingers at work clearly displays the level of control one can have over the piano.
    [Show full text]
  • Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
    Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides,
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
    BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • University International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Betrayal in Jean-Luc Godard's Breathless
    Studies in 20th & 21st Century Literature Volume 40 Issue 1 Article 6 2016 The Judas Effect: Betrayal in Jean-Luc Godard’s Breathless Vlad Dima University of Wisconsin - Madison, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dima, Vlad (2016) "The Judas Effect: Betrayal in Jean-Luc Godard’s Breathless," Studies in 20th & 21st Century Literature: Vol. 40: Iss. 1, Article 6. https://doi.org/10.4148/2334-4415.1874 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Judas Effect: Betrayal in Jean-Luc Godard’s Breathless Abstract This article revisits the ending of Jean-Luc Godard’s Breathless (1960) in an attempt to untangle the complicated relationship between the two main characters, and to claim that they are characters that belong to no identifiable genre. Instead, they come to life as characters at the intersection point of existentialism, creationism, and two radically different genres, film noir and neorealism. In essence, they are characters without a genre, always out of place, and their existential drifting generates a Judas effect—a trope that establishes betrayal and sacrifice as necessary narrative tools and that suspends the classical (cinematic) Oedipal cycle.
    [Show full text]
  • October 11, 2011 (XXIII:7) Arthur Penn, BONNIE and CLYDE (1967, 112 Min)
    October 11, 2011 (XXIII:7) Arthur Penn, BONNIE AND CLYDE (1967, 112 min) Directed by Arthur Penn Writing credits David Newman & Robert Benton and Robert Towne (uncredited) Produced by Warren Beatty Original Music by Charles Strouse Cinematography by Burnett Guffey Film Editing by Dede Allen Art Direction by Dean Tavoularis Costume Design by Theadora Van Runkle Earl Scruggs....composer: Foggy Mountain Breakdown Alan Hawkshaw....musician: "The Ballad of Bonnie and Clyde" Warren Beatty...Clyde Barrow Faye Dunaway...Bonnie Parker Michael J. Pollard...C.W. Moss Gene Hackman...Buck Barrow Estelle Parsons...Blanche Denver Pyle...Frank Hamer DAVID NEWMAN (February 4, 1937, New York City, New York Dub Taylor...Ivan Moss – June 27, 2003, New York City, New York) has 18 writing Evans Evans...Velma Davis credits: 2000 Takedown, 1997 “Michael Jackson: His Story on Gene Wilder...Eugene Grizzard Film - Volume II”, 1985 Santa Claus, 1984 Sheena: Queen of the Jungle, 1983 Superman II, 1982 Still of the Night, 1982 Jinxed!, Oscars for Best Actress in a Supporting Role (Estelle 1980 Superman II, 1978 Superman, 1975 “Superman”, 1972 Bad Parsons)and Best Cinematography (Burnett Guffey). Selected for Company, 1972 Oh! Calcutta!, 1972 What's Up, Doc?, 1970 National Film Registry – 1992 There Was a Crooked Man..., and 1967 Bonnie and Clyde. BONNIE PARKER (October 1, 1910-May 23, 1934). ROBERT BENTON (September 28, 1932, Waxahachie, Texas – ) won Best Writing Oscars for Places in the Heart (1984) and (March 24, 1909-May 23-1934). Kramer v. Kramer (1979); he also
    [Show full text]
  • J. Edgar Hoover: the Man and the Secrets. Curt Gentry. Plume: New York, 1991
    J. Edgar Hoover: The Man and the Secrets. Curt Gentry. Plume: New York, 1991. P. 45 “Although Hoover’s memo did not explicitly state what should be kept in this file, ... they might also, and often did, include personal information, sometimes derogatory in nature ...” P. 51 “their contents [Hoover’s O/C files] included blackmail material on the patriarch of an American political dynasty, his sons, their wives, and other women; allegations of two homosexual arrests which Hoover leaked to help defeat a witty, urbane Democratic presidential candidate; the surveillance reports on one of America’s best-known first ladies and her alleged lovers, both male and female, white and black; the child-molestation documentation the director used to control and manipulate on of his Red-baiting proteges...” P. 214 “Even before [Frank] Murphy had been sworn in, Hoover had opened a file on his new boss. It was not without derogatory information. Like Hoover, Murphy was a lifelong bachelor . the former Michigan governor was a ‘notorious womanizer’.” P. 262 “Hoover believed that the morality of America was his business . ghost-written articles warning the public about the dangers of motels and drive-in ‘passion-pits’.” P. 302 “That the first lady [Eleanor Roosevelt] refused Secret Service protection convinced Hoover that she had something to hide. That she also maintained a secret apartment in New York’s Greenwich Village, where she was often visited by her friends but never by the president, served to reinforce the FBI director’s suspicions. What she was hiding, Hoover convinced himself, was a hyperactive sex life.
    [Show full text]
  • Arthur Penn from Wikipedia, the Free Encyclopedia for Other People Named Arthur Penn, See Arthur Penn (Disambiguation)
    Arthur Penn From Wikipedia, the free encyclopedia For other people named Arthur Penn, see Arthur Penn (disambiguation). This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (February 2014) This article needs additional citations for verification. Please help improve this article byadding citations to reliable sources. Unsourced material may be challenged and removed.(September 2010) Arthur Penn Born Arthur Hiller Penn September 27, 1922 Philadelphia, Pennsylvania, United States Died September 28, 2010 (aged 88) New York City, United States Occupation Film director, producer Spouse(s) Peggy Maurer (1955–2010; his death) Children Matthew Penn, Molly Penn Arthur Hiller Penn (September 27, 1922 – September 28, 2010)[1] was an American director and producer of film, television and theater. Penn directed critically acclaimed films throughout the 1960s such as the drama The Chase (1966), the biographical crime filmBonnie and Clyde (1967) and the comedy Alice's Restaurant (1969). He also got attention for his revisionist Western Little Big Man (1970). By the mid-1970s his films were received with much less enthusiasm. In the 1990s he returned to stage and television direction and production, including an executive producer role for the crime series Law & Order.[2] Contents [hide] 1 Early years 2 Career 3 Personal life 4 Work o 4.1 Filmography o 4.2 Stage 5 See also 6 References 7 External links Early years[edit] Penn was born in Philadelphia, Pennsylvania, the son of Sonia (Greenberg), a nurse, and Harry Penn, a watchmaker.[3] He was the younger brother of Irving Penn, the successful fashion photographer.
    [Show full text]