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| The many faces of Warren Beatty. |
Showing posts with label warren beatty. Show all posts
Showing posts with label warren beatty. Show all posts
Monday, October 26, 2015
I'm Starting a New Blog!
Sunday, October 25, 2015
The Films of Warren Beatty: Splendor in the Grass starring Natalie Wood and Warren Beatty, directed by Elia Kazan, written by William Inge (1961)
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| Poster for Splendor in the Grass, 1961. I like how Warren Beatty is described as "a very special star!" |
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| Warren Beatty and Natalie Wood in Splendor in the Grass, 1961. Don't go too far, you kids! |
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| Director Elia Kazan on the set of Splendor in the Grass, with Warren Beatty and Natalie Wood, 1960. You know, just directing shirtless, like you do. |
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| Warren Beatty and Natalie Wood, circa 1962. Natalie Wood had such great style, and she was so incredibly beautiful. |
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| This is such a cute picture of Warren and Natalie. Unfortunately, they weren't this happy all of the time. |
The first time moviegoers got a glimpse of Warren Beatty, he
was making out with Natalie Wood in a car. It was a fitting entrance for
Beatty, who became known as a legendary ladies’ man.
Beatty made his movie debut in 1961’s Splendor in the Grass, starring opposite Wood in a story about a
teenage romance. In Splendor, set in
Kansas in 1928 and 1929, Beatty played Bud Stamper, a standout athlete, and
Wood played Wilma Dean “Deanie” Loomis. Bud’s family is very rich, thanks to
oil, while Deanie’s father is a grocer. Unfortunately, both Bud and Deanie get
terrible advice about sex and relationships from their parents. Although
Deanie’s mother (Audrey Christie) wants Deanie to have the financial security
that Bud can give her, she is horrified at the thought that Deanie and Bud
might be going too far. As she says to Deanie at the beginning of the movie, “Boys
don’t respect a girl they can go all the way with. Boys want a nice girl for a
wife.” Deanie asks, “Is it so terrible to have those feelings about a boy?” Her
mother’s tart response is “No nice girl does…She just lets her husband near her
in order to have children.” Yikes.
In the Stamper household, Bud can barely get a word in
edgewise with his overbearing, Babbitt-like father Ace (Pat Hingle). Ace is
worried that a girl like Deanie is only interested in Bud for his money, and
will try to trap him into marriage by letting Bud get her pregnant. Ace’s
solution to that problem is telling Bud that he should continue to date Deanie,
but get his rocks off with slutty girls.
Splendor in the Grass is
full of sexual tension, as both Bud and Deanie want to have sex, but they know
that “good” boys and “nice” girls don’t have sex before marriage. The
temptation leads to turmoil and illness, as Bud stops seeing Deanie, and she
attempts to drown herself, which leads to her parents sending her to a
psychiatric hospital. Bud and Deanie marry other people, and they are left with
the memory of “the hour of splendor in the grass, of glory in the flower.”
Splendor is a
superb movie, written by William Inge, one of the major American playwrights of
the 1950’s, whose other works include Come Back, Little Sheba, Picnic, and Bus
Stop. Inge captured the passion of young love, and also the stultifying
small town that Bud and Deanie inhabit, with its rigid behavioral expectations.
Splendor was directed by Elia Kazan,
one of the major American directors of the 1950’s, whose other films include A Streetcar Named Desire, On the Waterfront,
and East of Eden. There was a lot
of talent assembled for Splendor in the
Grass, and they all did remarkable work. Warren Beatty gave an excellent
performance as Bud, and Natalie Wood delivered one of her definitive
performances as Deanie.
The supporting cast of Splendor
was marvelously talented. Pat Hingle was great as the annoying Ace Stamper.
Hingle had recently survived a terrible accident, as he had fallen fifty feet
down an elevator shaft in 1959, breaking many bones and nearly dying. His limp
as Ace Stamper was no actor’s affectation-that was how Hingle walked after the
accident. As you watch the movie, you’ll notice that Hingle doesn’t seem old enough
to be Warren Beatty’s dad, and he wasn’t. Hingle was just thirteen years older
than Beatty. But Hingle was twenty three years older than Joanna Roos, who
plays his wife in the movie! Barbara Loden played Bud’s older sister, a wild
flapper who is in full rebellion against the family. Loden was having an affair
with Elia Kazan, and they eventually married in 1967. Look for Phyllis Diller
at the end of the movie as a nightclub hostess-she even gets to tell a few
jokes. Also be on the lookout for William Inge in an uncredited cameo as the
Reverend.
How did Warren Beatty get to be so lucky to make his first
film with Natalie Wood, Eliza Kazan, and William Inge? The story that usually
gets told is that Warren Beatty’s acting career was jump-started when the director
Joshua Logan saw him at the North Jersey Playhouse in in a production of Compulsion in December of 1958. Logan
was a noted theater director who co-wrote the book for South Pacific. Logan was a good friend of the playwright William
Inge, and had directed the movie versions of Inge’s plays Picnic, starring William Holden, in one of his best roles, and Bus Stop, starring Marilyn Monroe. Inge
thought that Beatty would be perfect for one of the lead roles in Splendor in the Grass, a screenplay he
was writing for director Elia Kazan. The story of Beatty being discovered by
Joshua Logan is repeated in Peter Biskind’s biography of Beatty, but Suzanne
Finstad’s Beatty biography has a different tale to tell. Finstad’s book states
that William Inge saw Beatty on an episode of an NBC TV show called True Story. Inge thought that Beatty
would be perfect for Splendor in the
Grass. (Warren Beatty: A Private Man,
by Suzanne Finstad, p.174) Inge refuted the story that he or Logan saw
Beatty on stage, and he said in 1967, “Just for the record, neither Josh Logan
nor I even knew that Warren had played in Compulsion.”
(Finstad, p.180) I couldn’t find any reference to Beatty appearing on an
episode of True Story on imdb.com to
confirm Inge’s story, but that doesn’t mean it didn’t happen.
Before Beatty made Splendor,
he was briefly under contract to MGM, but he bought himself out of the
contract in the summer of 1959, before he had ever accepted any roles at the
studio. Even then, Beatty was highly selective about the parts he played. At
this point in time, if Warren Beatty was known to anyone in the show business
world, it was most likely for being Shirley MacLaine’s little brother, or for
being Joan Collins’ boyfriend. But William Inge believed in Beatty’s talent,
and he gave Beatty the lead role in his new play, A Loss of Roses, which opened on Broadway in November, 1959. It closed after just three weeks. It
is, to date, Beatty’s only appearance on the Broadway stage. However, Beatty
was nominated for a Tony Award for Best Actor. A Loss of Roses was eventually filmed as The Stripper, released in 1963. Richard Beymer, most famous for
playing Tony in West Side Story, played
the role that Beatty played on stage. And, in another connection to Natalie
Wood’s most famous roles, Gypsy Rose Lee had a role in The Stripper.
Beatty’s screen credits at the time he began filming Splendor in the Grass included
appearances on 5 TV shows, plus 2 episodes of a TV show called Look Up and Live, and 5 episodes on the
teenage sitcom The Many Loves of Dobie
Gillis, playing Milton Armitage, a rich kid who vied with Dwayne Hickman
for Tuesday Weld’s affections. It was not exactly an overpowering body of work.
But Beatty did very well in Splendor. Of
course, it helped that Inge tailored the role to fit Beatty. Beatty’s acting
style was highly reminiscent of the late James Dean, and working with Kazan and
Wood only reinforced the connection to Dean. Beatty’s performance in Splendor is much better than his
performances in his other early movies, like The Roman Spring of Mrs. Stone, All Fall Down, and Lilith. Part of the reason might be that
Splendor is just a better movie than
Beatty’s other early movies.
At the time Splendor was
filmed in 1960, Natalie Wood was having a difficult time finding the kind of
roles she wanted to play. Wood had started out as a child star, appearing in
the Christmas classic Miracle on 34th
Street when she was just eight years old. Wood had made the difficult
transition to adolescence with her fantastic performance as Judy, opposite
James Dean in 1955’s Rebel Without a
Cause. But five years after Rebel, her
career seemed stuck. Off-screen, Wood was married to handsome young actor
Robert Wagner, and they were one of young Hollywood’s most popular couples, who
gathered headlines wherever they went.
Wood longed to play Deanie, and in the words of her
biographer Suzanne Finstad, “She saw Splendor,
and its director, Kazan, as her last best hope to restore her integrity as
an actress.” (Natasha: The Biography of
Natalie Wood, by Suzanne Finstad, p.254) Kazan said of Wood’s reputation at
the time, “People said generally that she was finished, washed up.” (The Sexiest Man Alive: A Biography of Warren
Beatty, by Ellis Amburn, p.35) Kazan had always had Wood on his short list
of actresses to play Deanie, but he was wary of her reputation as a pampered
movie star. Once he met her in person, he knew that she would be excellent as
Deanie. Kazan said later of Wood, “She worked as if her life depended on it.” (Natasha, p.256)
As excited as Wood was to play Deanie, there were also parts
of the script that made her nervous. Wood was very frightened at the thought of
filming the scene where Deanie attempts to kill herself by throwing herself
into a reservoir where she and Bud used to park and neck. Wood had been terrified
of water since she was a child, and insisted that Kazan hire a double to film
the scene. Wood claimed that Kazan hired a double, but the double couldn’t swim
at all, forcing Wood to perform the stunt herself. Kazan claimed that he didn’t
hire a double for Wood. Regardless of the truth, Wood had to confront one of
her deepest fears, and the scene is wrenching not only because of Deanie’s
emotional state, but because of the way it echoes Wood’s own tragic death by drowning
in 1981. (Natasha, p.261-2 has more
information about the filming of the scene.)
Another difficult scene for Natalie Wood to film was the one
in which Deanie has an emotional argument with her mother while taking a bath. Her
mother tries to get more information about how far Deanie went with Bud, and
asks her, “Did he spoil you?” Deanie yells back “I’m not spoiled!” Natalie had
to perform the scene nearly naked, and she also did it without an accessory
that she always wore. For the bathtub scene, Natalie took off the bracelets
that she wore on her left wrist. She had broken her left wrist at a young age,
and it never healed properly, so her wrist bone stuck out a bit. Natalie was
always very self-conscious about her wrist, so she wore bracelets to hide it. But
for the bathtub scene, Natalie isn’t wearing anything on her left wrist. Wood’s
biographer Suzanne Finstad wrote the following about the bathtub scene: “The
combination of Kazan’s wizardry, Natalie’s emotional connection to the
mother/daughter conflict in the scene, the panic of dousing her head under the
bath water, and the vulnerability she felt at being seen ‘naked’-without her
bracelet-produced a hysteria in Natalie that may be her most powerful moment as
an actress.” (Natasha, p.260)
Together Natalie Wood and Warren Beatty made a very pretty
pair. Beatty was an extremely handsome young man, with a thick head of dark
brown hair, full, sensual lips, a cleft chin, and clear blue eyes. Women didn’t
seem to care that his ears stuck out a little bit. Natalie Wood was simply
stunning. She was a very attractive woman who had lots of sex appeal. Wood was
petite, with reports of her height varying from 5’0” to 5’3”. Wood had
beautiful big warm brown eyes, dark brown hair, and an inviting smile. And no man
ever cared that her left wrist stuck out a little bit.
On the set, Wood and Beatty had a somewhat frosty relationship.
Wood bestowed on Beatty the nickname “Mental Anguish,” for the way he
overanalyzed every nuance of the script. (Natasha,
p.258) In an unfinished memoir from 1966, Wood wrote of Beatty: “After he
got the role, a few misunderstandings crept in. Warren had heard rumors that I
didn’t want him in the film, that he was too much of an unknown, that we needed
an established male star to carry the picture at the box office. None of this
was true. But Warren believed it…Warren acted quite aloof.” (Warren Beatty: A Private Man, by Suzanne
Finstad, p.235) Finstad describes Wood’s memoir in more detail: “In July of
1966, Wood submitted her ‘life story’ to Peter Wyden, then the executive
director of Ladies’ Home Journal, and
a book publisher. It was written by hand, and in typescript with Wood’s
handwritten corrections.” (Finstad, p.260)
Beatty’s romantic relationship
with Wood almost certainly did not start on the set of Splendor, but rather a year later, in 1961, after Wood separated
from Robert Wagner. During filming of Splendor
Beatty was still dating Joan Collins, and Collins and Wagner were frequently
on the set. Splendor began filming in
New York City on May 9, 1960, and it wrapped on August 16, 1960. Just two days
later Wood started rehearsals for West
Side Story. (Biskind, p.38) Ironically, Beatty had tested for the role of
Tony in West Side Story, but he lost
out to the dull and colorless Richard Beymer.
(Finstad, p.228)
In his book Pieces of
My Heart, Robert Wagner wrote, “Beatty had nothing to do with our breakup,
and Natalie didn’t begin to see him until after we split.” (Wagner, p.136,
quoted in Biskind’s biography of Beatty) In an interview with Peter Biskind,
Beatty also says that nothing happened between him and Natalie during filming.
“There’s a lot of apocrypha about Natalie and I having something going on
during Splendor in the Grass. It’s
utterly untrue. In fact it was a fairly distant relationship.” (Biskind, p.37)
Natalie Wood’s account of how her relationship with Beatty began
also squares with what Beatty and Wagner said. Wood wrote, “I have suffered in
silence from gossip about my walking away from my marriage to go with Warren.
There was gossip and speculation that Warren was in some way responsible for
the end of the marriage. It is totally untrue. Warren had nothing to do with
it. We began our relationship after, not before, my marriage collapsed.”
(Finstad, p.268, source is Wood’s 1966 “life story”)
Wood and Wagner announced their separation on June 21, 1961,
and a month later, on July 27th, Beatty was Wood’s date at a preview
screening of West Side Story. Even
though Robert Wagner said Beatty didn’t have anything to do with their breakup,
he was still pissed off at Beatty. “I wanted to kill the son of a bitch. I was
hanging around outside his house with a gun, hoping he would walk out. I not
only wanted to kill him, I was prepared to kill him.” (Wagner, Pieces of My Heart, p.142, quoted in
Biskind bio) If Wagner had really wanted to kill Beatty, he probably should
have just hung around outside the house that Natalie Wood was renting.
Both Wood and Beatty were pilloried in the popular press at
the time they started dating, because the assumption at the time was that their
relationship had precipitated the disintegration of Wood and Wagner’s marriage.
Beatty, who has long had a contentious relationship with the press, was accused
of being a homewrecker, and he said in an interview with Peter Biskind: “The
press has beat the shit out of me since 1960. Nobody gets beat up like a
twenty-two-year-old pretty boy.” (Biskind, p.49)
Wood and Beatty’s relationship was anything but calm, and
they eventually broke up in 1963. But for a while they were one of the hottest
Hollywood couples, a sort of junior version of Elizabeth Taylor and Richard
Burton. Wood wrote of their relationship, “Neither Warren nor I was ready for a
permanent relationship…at bottom, we both knew it was only an interim
relationship. Both of us were not only immature but moody…we were both so
confused that we thought fighting and hostility meant real emotional honesty.”
(Finstad, p.273, source is Wood’s 1966 “life story”)
Splendor was
released on October 10, 1961, and Beatty was given a big press buildup before the
film’s release. That buildup, combined with his new romance with Wood meant
that millions of people had seen Warren Beatty’s face and name before they had
ever seen him on screen. Which begs the question: why was the post-production
period for Splendor so long? In those
days, it was extremely rare for a movie to be released 14 months after it had
finished filming, especially a property that the studio actually had faith in. A
more normal post-production period for Splendor
would have meant a release in early 1961. If Kazan had really been under
pressure from Warner Brothers, it could have even come out in December of 1960.
Another odd thing about the release of Splendor
is that it came out just before West
Side Story, which premiered in New York City on October 18, 1961. West Side Story would assuredly be one
of the major releases of 1961, so why release Splendor at the same time and have two films starring Natalie Wood
competing at the box office? But it doesn’t seem as though the competition hurt
either film, as they both did very well. According to Wikipedia, West Side Story was the highest-grossing
movie released in 1961, earning $43 million. Splendor in the Grass was number 10, earning $11,000,000. Annoyingly,
there’s no link to where the total for Splendor
comes from. IMDB says Splendor made
$8.7 million, which was still a huge total, and would put it at 14th
for the year.
Wood and Beatty both received glowing reviews for their
performances in Splendor, and they
were both nominated for Golden Globes. They both lost, Beatty to that year’s
Oscar winner, the handsome German actor Maximilian Schell for his role in Judgement at Nuremburg, and Wood to
Geraldine Page for Summer and Smoke. (Ironically,
one of Wood’s fellow nominees was Beatty’s sister Shirley MacLaine, who was
nominated for The Children’s Hour.) However,
Beatty did win the Golden Globe for “Most Promising Newcomer-Male,” which he
shared with the singer Bobby Darin.
Splendor in the Grass was
nominated for two Oscars, William Inge for his original screenplay, and Wood
for Best Actress in a Leading Role. Beatty and Wood attended the Oscars
together, and Life magazine was so
sure Natalie would win the Oscar that they hired a photographer to follow her
on the day of the ceremony, April 9, 1962. (Natasha,
p.282-3) Inge won the Oscar, but Wood lost to Sophia Loren, who won for her
role in Two Women. Meanwhile, West Side Story won 10 Oscars that
night. Later that week, after losing the Oscar, Wood filed for divorce from
Robert Wagner. According to Beatty biographer Ellis Amburn, part of the reason
Beatty wasn’t nominated for an Oscar for Splendor
was because Warner Brothers was trying to push for Beatty to be nominated
as Best Supporting Actor for The Roman
Spring of Mrs. Stone, which was a foolish idea, as anyone who has seen
Beatty’s performance in that film can attest.
An interesting postscript to Beatty and Wood’s relationship
is that in 1966, three years after they broke up, Beatty tried to persuade Wood
to star in Bonnie and Clyde with him.
It was one of the few times when Beatty was not able to get what he wanted from
a woman, as Wood turned him down. Beatty said, “I guess I wasn’t too persuasive;
at that point I wasn’t getting a lot of offers and Natalie was riding the crest
of her career.” Wood said in a 1969 interview, “I loved the script and I loved
the part, but I had personal reasons. I didn’t want to go to Texas on location
and well, Warren and I are friends, but working with him had been difficult
before.” (Both quotes from Natasha, p.313)
It’s fascinating to think what Bonnie and
Clyde would have been like with Natalie Wood instead of Faye Dunaway.
Splendor in the Grass is
a fantastic movie, and I would highly recommend it for any fans of Warren
Beatty, Natalie Wood, William Inge, and Elia Kazan.
Monday, October 19, 2015
Book Review: Star: How Warren Beatty Seduced America, by Peter Biskind (2010)
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| Paperback cover of Star: How Warren Beatty Seduced America, by Peter Biskind, 2010. |
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| Author Peter Biskind. |
Actor. Writer. Producer. Director. Sex symbol. Family man.
Warren Beatty is all of these things and more, as Peter Biskind shows in his
2010 biography of Beatty, Star: How
Warren Beatty Seduced America. Biskind examines the full scope of Beatty’s
life and career, and Star features
interviews with numerous people who know Beatty or have worked with him.
Biskind is obviously an admirer of Beatty’s talent, but he doesn’t turn a blind
eye to Beatty’s faults.
Star is not an
authorized biography of Beatty, but Biskind was able to interview Beatty for
the book. In the introduction Biskind spells out his relationship with Beatty,
and one of the ground rules that Biskind set out for himself was that he would
not dig into Beatty’s personal life during his marriage to Annette Bening. I
can understand Biskind setting this rule, as he knew that he needed to keep his
access to Beatty. But it weakens the book, because that’s the part of Beatty’s
story that’s missing. How is it that Hollywood’s most famous ladies’ man for
thirty years suddenly became a steady and stable family man? That’s a very
interesting change, and I wish there was more about it in the book.
Jeremy Pikser, who wrote the screenplay for Bulworth with Beatty, gave his own
theory as to how Beatty went from bachelor to family man: “I don’t think there
was a great sea change in Warren, other than it was time. He never gave up the
idea of having a family, and being a movie star he was able to delay that much
longer than a normal person could. If somebody said to me, ‘You can fuck as
many beautiful women you want until the age of fifty, and then you can get a
beautiful thirty-year-old woman to marry you, and have children with you’-
who’s gonna turn that down? Annette was the perfect person, with a strong
family background of her own, who was relatively stable, not a nut job, and a
good actress.” (p.463)
If you want dirt on Beatty’s serial womanizing before he met
Bening, you’ll get plenty on that in Star.
Well known for his many high profile relationships, Beatty dated actresses Joan
Collins, Natalie Wood, Leslie Caron, Julie Christie, Diane Keaton, and Isabelle
Adjani. He also had relationships with singers Michelle Phillips of the Mamas
and the Papas, and Madonna.
Perhaps the most ridiculous paragraph in the book is the one
in which Biskind attempts to calculate how many women Warren Beatty has slept
with. There’s a quote from Beatty in which he supposedly said he couldn’t go to
sleep without having sex. Biskind takes Beatty literally, and so he arrives at
the figure of 12,775 women. (p.160) Contrary to what Biskind says in the book,
that figure does not account for time that Beatty was in a relationship and
having sex with the same woman night after night. Biskind simply took 35 years,
from 1956 until Beatty met Annette Bening in 1991, and multiplied 35 times 365
days a year. I find it pretty unlikely that Beatty actually slept with a
different woman every single night for 35 years. That would tire out anyone.
Beatty’s reputation as a ladies’ man, and the attending
attention his love life has received from the press, has threatened to
overshadow his reputation as an actor and a filmmaker. It’s ironic that Beatty’s
private life has drawn such attention, because Beatty actually is a very
private man, who only gives interviews with great reluctance, and goes to great
lengths to avoid actually saying anything in those interviews. But if Beatty
didn’t want so much attention to be focused on his private life, he shouldn’t
have dated so many famous actresses.
One of the best stories in the book comes from Dustin
Hoffman, who co-starred with Beatty in the ill-fated 1987 comedy Ishtar. Hoffman and Beatty were on
location in Morocco, and Hoffman noticed that Beatty’s attention suddenly
drifted to a woman who was walking on a sand dune hundreds of yards away.
Hoffman asked Beatty, “Theoretically, is there any woman on the planet that you
would not fuck? If you had the chance?”
“That’s an interesting question…Is there any woman that I
wouldn’t fuck? No, there isn’t.”
“Theoretically, you would fuck any and every woman…”
“Yes.”
“You’re serious.”
“Yes.”
“Why?”
“Because…you never know.”
Hoffman said, “I thought that was the most romantic thing
I’d ever heard a man say, because he was talking about spirits uniting.”
(p.357-8) It’s a great anecdote that goes a long way towards explaining the
mindset of Warren Beatty. Why sleep with another woman when you've slept with
so many already? Because you never know, the next one might be the perfect one.
Why shoot another take after you've shot 25 or 30 takes? Because you never
know, the next one might be the perfect one.
Beatty is well-known for being a perfectionist on the set of
his movies, a trait that can drive some people nuts. Buck Henry, who
co-directed Heaven Can Wait with
Beatty, had this to say about working with him: “Except for actors, everybody
{who works with him} ends up so bitter that they have a skewed vision of what
actually takes place, and you never can quite piece it together.” (p.234-5)
Biskind has interviewed many people who have worked with Beatty on various
movies, and they offer valuable insights into Beatty’s working habits and his
complicated personality. However, as Buck Henry’s quote above shows, their
stories need to be taken with a grain of salt. There are a lot of stories from
people who have worked with Beatty who basically say, “He’s a perfectionist, he’s
annoying,” and eventually it becomes quite repetitive.
Beatty’s chronic
indecisiveness and his perfectionism have hampered his ability to finish film projects,
and Beatty’s filmography is quite small. Beatty has made just 22 movies since
his screen debut in 1961. Fortunately for Beatty, among those 22 movies are
some truly great ones, like Bonnie and
Clyde, Shampoo, Heaven Can Wait, Reds, and Bugsy. Beatty has long been a favorite at the Academy Awards, and
he is the only person to be nominated for four Oscars for a single film more
than once, for his films Heaven Can Wait and
Reds. Beatty won the Oscar Best Director
for Reds in 1981.
Biskind has a lot of material in his book on Beatty’s successes
like Heaven Can Wait and Reds, and also a lot on Beatty’s disasters
like Ishtar, Love Affair, and 2001’s Town and Country, which remains Beatty’s
most recent movie. (Beatty has apparently finished filming his long-gestating
movie about Howard Hughes, but there’s no release date yet.) If you’re looking
for stories about Warren Beatty being a perfectionist, there are many of those
in this book.
Star is an excellent
book, and it will probably stand as the definitive biography of Warren Beatty,
unless a future biographer gains Beatty’s full cooperation and access to his
personal archives.
Wednesday, October 14, 2015
Warren Beatty-related TV Review: Dick Cavett's Vietnam (2015)
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| Logo for Dick Cavett's Vietnam, a 2015 special. |
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| Warren Beatty in 1972, looking very similar to how he looked when he appeared on The Dick Cavett Show on November 1, 1972. |
Dick Cavett’s Vietnam is
an hour-long TV special that aired on PBS earlier this year. It’s made up of
clips from Cavett’s talk show, which originally aired on ABC from 1968 to 1974.
Cavett was well known for his erudite wit and his intelligent questions. During
his run on ABC, Cavett featured many different guests who were both for and
against American involvement in Vietnam. Unfortunately, on Dick Cavett’s Vietnam, we simply don’t see enough of the actual
shows. Dick Cavett’s Vietnam tries to
pack way too much into its brief running time, as it traces America’s entire
involvement in Vietnam, going back to the early 1950’s, when we were supporting
the French government when Vietnam was still a French colony. The material on
the show is good, but the backstory of the war takes up way too much time.
Dick Cavett’s Vietnam also
relies much too heavily on two talking heads, Fredrik Logevall and Timothy
Naftali. Logevall and Naftali are both smart and articulate, but there’s just too
much of them and not enough clips from Cavett’s show. (You can watch Dick Cavett's Vietnam here.)
One of the best, and most articulate, guests that Dick Cavett’s Vietnam features is Warren
Beatty. Since I’m a big fan of Warren Beatty’s, I thought it was worth
chronicling his appearance in this documentary. Beatty appeared on the November
1, 1972 episode of The Dick Cavett Show. Beatty
wasn’t on the show to promote a movie, but rather to promote Democratic
presidential candidate George McGovern. Beatty was one of the key celebrity
supporters of McGovern, and he helped organize many fundraising concerts to benefit
the campaign. Beatty’s appearance on The
Dick Cavett Show is one of his rare appearances on a television talk show.
Beatty is in his full 1970’s glory, looking much like he did in The Parallax View, with a full head of
thick, long, dark hair, a brown jacket, and a white shirt with an open collar.
Beatty has a reputation for being a difficult person to
interview, and despite his obvious intelligence, he sometimes seems tongue-tied
when speaking publicly. None of that is in evidence on the Cavett show. Beatty
is sharp and extremely articulate in the clips we see from the show, and it’s
very clear that he’s passionate about politics.
Cavett asked Beatty the question, “What about the people who
say, what business do you actors have going out and influencing people?”
Beatty’s response was: “The fact that they would ask that
question is the essence of the problem in the country right now, because it
assumes what I call a kind of a mythology of expertise, that certain people are
experts on politics, and certain people aren’t. And I guess what’s really gone
wrong in the country and naturally, you have to talk about the war over the
past ten years, we’ve all left it up to the experts. We all left it up to McNamara,
or to Johnson. You know, we can’t blame what’s happened on Johnson, on Nixon,
on the leaders. We have to blame it on ourselves….I think we’re all at fault in
the country and that I think the problem now in the country is an indifference,
and I think that indifference is the result of the fact that we have been lied
to by our leaders for eight years, and we’ve lied to each other.”
Beatty was correct. Vietnam was one of the
first times that Americans realized they were being lied to by their own
government, and they realized it as the war was still going on.
In the next clip we see of Beatty, he says: “And for all of
our adult lives we’ve been told, ‘Well, those people know things, and if you
knew what the President knew, then you wouldn’t be saying what you’re saying.’
Well, we finally found out that we were right. Our instincts were right. We
shouldn’t have been killing those people, we shouldn’t have been bombing those
people and it’s up to people like you and me and the rest of us to say what we
think and not be ashamed of what we think and not defer to experts. There are
no experts, I think, when you’re talking about questions of compassion and
humanity.”
Beatty’s summation of his feelings hits the nail on the
head, in my opinion, and his appearance on The
Dick Cavett Show in 1972 shows what a smart, passionate, and committed man
he is.
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