This fall, I’m focused on writing new fiction as often as possible while working with my existing customers. I am also researching topics in sports, history and the arts for new magazine assignments, so stay tuned. I recently interviewed literature scholar Shoshana Milgram about Victor Hugo for an article which is coming soon. Also, stand by for a link to an article about Pittsburgh and Ayn Rand in this winter’s edition of Pittsburgh Quarterly.
Meanwhile, I’ve added a couple of movie-themed article links to the site archives. My review of John Ford’s 1960 motion picture about a Negro soldier accused of raping a white woman, Sergeant Rutledge, which is truly heroic unlike the heavily hyped Black Panther, can be read here. This week, the World Series ended, so I’ve included my 70th anniversary review of The Stratton Story, starring June Allyson and James Stewart. This inspiring, romantic movie is a simple and heroic baseball tale; read my review here.
My recent viewing of Joker starring Joaquin Phoenix moved me to finally see Martin Scorsese’s Taxi Driver (1976). While I notice certain similarities, it’s the differences with that year’s Best Picture Oscar winner, Rocky, that really caught my attention. My analysis found both a flaw and much to appreciate. Look for a new review soon. Meanwhile, read my newest classic movie breakdown of another Academy Award-winning Best Picture, David Lean’s Lawrence of Arabia (1962), which I recently watched in Hollywood’s historic Cinerama Dome, on The New Romanticist here and Aurora’s classic movie site, Once Upon a Screen, here. My theme about this exceptional movie is that its value lies in its depiction of one man’s intransigent pursuit of a heroic life.
New movies I’m planning to see and may review include the new Kasi Lemmons (Eve’s Bayou, Black Nativity) picture about one of my earliest heroes, Harriet Tubman, Harriet, featuring her husband Vondie Curtis-Hall (Chicago Hope) and son as well as Janelle Monae (Moonlight, Hidden Figures). I’m also planning to see the new movie about Fred Rogers starring Tom Hanks, probably while I’m on assignment in Pittsburgh among fellow Pittsburghers who knew Mr. Rogers best. Time permitting, I also want to see The Current War, Judy and Motherless Brooklyn. Later this year, I plan to preview my writing for the new year, including my adult educational media and writing courses and other new writings. Wishing you a happy Halloween until then.
Comedienne Julia Sweeney’s back and I saw her new one-woman show, Older & Wider, last weekend in Westwood. I’ve always found her humor to be unique, relevant and compelling, so I was interested in seeing her return to show business after a break to be a wife and raise her daughter on Chicago’s suburban North Shore.
Happily, Older & Wider is topical, intelligent and hilarious. While I incessantly hear about “diversity and inclusion”, I rarely hear about demand for rare, intelligent artists of ability such as Julia Sweeney, who’s making the most of being an older woman in her new theatrical work. I am glad to know that she’s currently starring in a new show on Hulu. I’d love to see her get more work in Hollywood.
I’ve posted my review of Julia Sweeney: Older & Widerhere.
Also, read my new interview with screenwriter and director Robert Benton here. We met during Turner Classic Movies’ 2018 Classic Film Festival at the site of the first Academy Awards, the Hollywood Roosevelt Hotel, on Hollywood Boulevard. I’ve met and interviewed Benton before and found him to be incredibly sharp, thoughtful and engaging.
This time was no exception. The subject was his Oscar-winning Best Picture, Kramer vs. Kramer, a groundbreaking movie about men, parenting and divorce which celebrates its 40th anniversary this year. We discussed his original choice for the crucial supporting role of Joanna Kramer, which eventually went to Meryl Streep, propelling her career. But Benton, who’s talked with me about working with Nicole Kidman, Morgan Freeman and Anthony Hopkins, also went into detail about working with Sally Field, who won an Oscar for her performance in what’s probably his most personal film, Places in the Heart.
Robert Benton, whose Texas-based Places turns 35 years old this year, has created, written or directed some of the most iconic movies of the modern age, from Bonnie and Clyde to Superman (1978) to Kramer vs. Kramer. I consider it a privilege to interview this former journalist again in the heart of supposedly “inclusive” Hollywood where this masterful storyteller should be invited to create more movies.
My newest classic movie review honors the 70th anniversary of a film about great baseball legend; the story of Chicago White Sox pitcher Monty Stratton, portrayed by James Stewart. Like Places in the Heart, the Academy Award-winning motion picture, The Stratton Story (directed by Sam Wood and released in the same year he was robbed and died) partly takes place in the Lone Star state and involves tragedy, overcoming adversity and a single act of gun violence.
The picture also stars Agnes Moorehead as Stratton’s tough-minded mother and June Allyson as his romantic partner. I don’t want to spoil the experience of the 1949 film about Monty Stratton, whom I’m afraid has sadly fallen into relative oblivion. But I found this movie about rising to one’s hardest challenges inspiring. It’s about baseball, of course. It’s also about what happens when the most hardworking type of person fails, falters or makes a potentially deadly mistake — and the character of one who chooses to recover — and the type of person who loves him.
But, like the best sports-themed movies, it’s also very much about living life; the daily hustle and grind of it in simple yet daunting steps. Read my review of The Stratton Storyhere.
I’m working on private writing assignments and creating some summer lessons but I’ve gathered a few links to recent Southern California-themed articles for those who might be interested and may have missed reading them online or in the newspaper. My exclusive interview with the Ayn Rand Institute’s new CEO, Jim Brown, who talked with me at his Irvine office about management, including what he’s learned from serving in the United States Air Force, was published in the Los Angeles Times Orange County edition; you can read it here. Brown, whom I think is planning to attend and address next month’s OCON in Pittsburgh, names his favorite Ayn Rand lecture and works by longtime Orange County resident and ARI founder Leonard Peikoff. Brown also identifies what he considers the institute’s greatest success.
The head of another Southern California institute, the newly formed Institute for the Study of Los Angeles (ISLA), recently sat down with me at the host campus quad at Occidental College for a wide-ranging interview about plans for the future. Professor Jeremiah Axelrod discussed his family’s unique migration to LA from Alabama, restrictive covenants and the top places to visit in LA in my exclusive new piece about his thoughts and interesting historical facts about the region. The article, which runs this week, is available to read here.
One sordid chapter in LA history is the serial crimes by the Hillside Stranglers, which was integral to the downfall of one of the city’s first prominent shopping malls. I recently profiled Eagle Rock Plaza, which has since been nicknamed the Mall of Manila but was once a popular attraction for events featuring a teen idol, Olympic gold medalist and a movie starlet. Tenants over the years included Howard Johnson’s, May Company, The Wherehouse, See’s Candies, Bob’s Big Boy, Baskin-Robbins and Vroman’s Bookstore. Before the mall opened, local LA residents were so excited, they demanded to have “Eagle Rock” put in its name and the city of Glendale was so nervous about losing tax revenue to the competition that the local government mandated free downtown parking — before Eagle Rock Plaza even opened. But when two serial rapists and murderers showed up, posing as policemen, stalking a bus stop by the shopping center and picking up their youngest victims there, business slowed. Read the shopping center story here.
The movie almost everyone loves, last year’s popular Hidden Fgures, debuts on home video today.
When I saw it last year, I enjoyed it so much that I thought maybe I may have missed something; that it might have been too polished for me to notice any shortcomings. So I asked for a second screening, which is something I rarely do and only in an extreme effort to be objective. I liked it better on a second viewing, even as I became more aware of its flaws, such as some overacting.
Buy the Movie
Why is this Oscar-nominated movie so universally well liked by audiences? I think it’s because, like any serious, goal-driven project, Hidden Figures keeps perspective and keeps its topic rooted in reality. So, while the story of three individuals of ability, who happen to be Negro women at a time when blacks and women were prejudged and unjustly treated, takes injustice seriously, the movie co-written and directed by Theodore Melfi (St. Vincent) also takes its higher aim seriously: to depict the achievement of excellence. The women’s accomplishments were not overdramatized; they were properly depicted as an important and integral part of a whole which led to an act of outstanding, and uniquely, inextricably American, progress.
The struggle was portrayed with realism, not sugarcoated or diminished. But so, too, the byproduct of the ladies’ productiveness was depicted and Melfi and company did so without minimizing the achievements of the NASA (actually, pre-NASA) engineers, scientists and astronauts. Too often, movies about overcoming adversity and injustice oversimplify facts, drop context and present a false dichotomy, lacking in depth and nuance. Hidden Figures, whatever its limitations, dramatizes the hard work of real progress, social and scientific, the simplicity of being appreciated for one’s ability and the power of unifying to achieve a grand and noble goal.
This is a rare and desperately needed depiction, and, sometimes, these points are obscured or lost in press tours, but that’s what makes this upbeat, uplifting movie appealing—it shows everyone that being one’s best is the perfect defense of every persecuted individual, especially the persecuted person of ability. I’ve added my exclusive interview with the film’s director, Ted Melfi, to the archive. Read the interview, read my review of Hidden Figures and buy the movie.
Nestled in the hills of Los Angeles is a uniquely compact and inviting home where I first met Dion Neutra. I had spoken with and interviewed the noted architect, who studied and worked with his father, the late Richard Neutra, a few times for articles about modern architecture. The prospect of an extensive interview had previously been discussed though it hadn’t been conducted. This time, when Dion Neutra suggested that we meet for an interview, it was promptly scheduled. I drove to LA’s Silver Lake neighborhood, parked and climbed the steep stairs. I soon met the man who made with his father some of America’s most distinctive and iconic homes and buildings. We sat in a dining room and talked for over an hour. Days later, we would toast to his 90th birthday and, later, talk again about a campaign to restore one of his father’s signature buildings, the Eagle Rock Clubhouse. During our exchange, we managed to cover a lifetime of memories, thoughts and details of his father, meeting Ayn Rand, Frank Lloyd Wright, the Kun house, World Trade Center, Neutra’s Gettysburg Cyclorama and his childhood trauma in Silver Lake. I knew from previous talks that Neutra’s son and heir could be both eccentric and exhausting. This conversation is no exception. Read my exclusive interview with Dion Neutra.
Jim Brown, Ayn Rand Institute CEO
Another inheritance-themed opportunity for an exclusive talk recently presented itself when the Ayn Rand Institute (ARI) named a new CEO. His name is Jim Brown and his background is in business, financial analysis and military leadership. Qualifications alone merited my interest and I immediately welcomed him to the ARI and asked for an interview, which he kindly granted at his Irvine office. Though days into the job, he discussed plans, management philosophy and his favorite Leonard Peikoff works. As an Objectivist who first visited the ARI as a teen when I took the bus to its office on Washington Boulevard in Los Angeles, who has worked and studied with the ARI, I want my readers to read the interview and consider supporting the ARI under Jim’s new management. An edited transcript of my conversation with the center for Objectivism’s chief executive officer—Jim Brown’s first interview as ARI’s chief executive officer—appears on Capitalism Magazine (postscript: read a shorter version in the Los Angeles Times here).
And I am delighted that my favorite filmmaker—director Lasse Hallström—granted to me his only interview about his successful motion picture, A Dog’s Purpose, before returning to making Disney’s adaptation of the beloved Christmas ballet The Nutcracker. I am often enchanted by Mr. Hallström’s work. I always anticipate whatever he chooses to make. And I am privileged to have interviewed Lasse Hallström before. This time was particularly rewarding.
Lightness in his pictures is perhaps the most indelible quality. Think of the French village in Chocolat or Venetian escapades in Casanova. The way he guides an ensemble cast to perfect union for an exalted or higher cinematic goal—around foodmaking in The Hundred-Foot Journey, liberation in What’s Eating Gilbert Grape, serenity in An Unfinished Life, healing in The Shipping News, and the power of a dog to align man to what’s here and now in A Dog’s Purpose—should also be known. All of his movies, which began with his film about ABBA, are wonderfully musical including A Dog’s Purpose. But what, besides unity, love and lightness, is more pressing and relevant now than the seriousness with which he films his stories? This unique blend by a Swede who lives in America is often mistaken strictly as sweetness, which one should expect in a circus culture of cynics, celebrities and smears. The interview with Lasse Hallström, the artist who to me best expresses in today’s movies the American sense of life, is one I know I’ve earned and deserve.
I did not plan the pieces as a thematic trifecta, though it occurs to me that these three interviews explore man’s mastery of living in accordance with nature, man’s mastery of advancing the ideal and man’s mastery of recreating both in movies. Read, think and enjoy.
Richard Hatch has died of pancreatic cancer. The actor, who played Captain Apollo on ABC’s Battlestar Galactica, was 71 years old. We met twice; once in St. Charles, Illinois, where, as a boy, he taught me a lesson in benevolence. The second time was over 35 years later at a cafe in Studio City, California, where we talked about the science fiction series Battlestar Galactica, which was being discussed for a possible revival at Universal Studios (the interview is unpublished).
As a kid, I had been a fan of his work as a policeman on the ABC crime drama The Streets of San Francisco. Later, in the spring of 1977, when I found out Hatch was staying at the same resort where I was visiting with my family on spring break, I found him and asked for an autograph. Meeting an actor playing a dynamic young cop appealed to this suburban kid in the 1970s. I remember 1977 as strangely subdued yet also conflicted and turbulent. Nightly news was dominated by war, terrorism, domestic and foreign, hijackings, riots and constant dissent and debate over politics. So, I was drawn to cop shows. The Streets of San Francisco like Kojak, Hawaii Five-O and Dragnet depicted the pursuit of justice as noble and important. They depicted a world in which peace was possible. Detectives proceeded to solve crime through investigation based on facts and going by reason. They were men of action. When Richard Hatch looked at me, listened and said Yes before signing his name, it affirmed more than my hero worship; his relaxed, amicable and accommodating manner showed me a certain kindness. I always remembered that he responded to my request with a quality more enduring than mere charm. He treated me as though asking for an autograph is the most natural thing in the world. I’ve had a number of formative encounters with VIPs—movie stars, sports champs, future presidents—that contributed to my ability to communicate with influencers. My childhood brush with Richard Hatch is one of the first.
I still have the autograph. When I interviewed him by phone in 2012, an extensive interview which covers the whole range of his career and is being quoted and cited in his obituaries, including the Hollywood Reporter‘s, I recounted the 1977 meeting and thanked him once again. He was still kind, if more seasoned and cautious, which I think is evident in the exchange. He was candid, too, and one of the things we discussed were his “abusive stepfathers” which added to my appreciation. When we met again—this time, as writer and actor, neither as a household name—he was indefatigable. And now I know that this is how I will remember him. To have been an actor, earned a livelihood and kept himself both whole and real, neither becoming beaten down nor neurotic and inflated, is an accomplishment. Richard Hatch, who remains known and beloved for single first, last and lone seasons of top programs as well as for touching countless lives including mine with his bright, positive attitude, was beautiful inside and out.