erik lundegaard

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Wednesday April 19, 2017

Desert Dreams: Did Tatooine Begin as a Film Project on the Set of 'Mackenna's Gold'?

There's a great little vignette near the end of Glenn Frankel's much-recommended “High Noon: The Hollywood Blacklist and the Making of an American Classic,” that doesn't have anything to do with “High Noon” or the blacklist but does have something to do with the making of an American classic. 

Carl Foreman, screenwriter/producer for “High Noon,” was blacklisted during its production for past communist ties and refusing to name names before HUAC. He wound up in England for a few years, then re-testified before HUAC in 1956 without naming names, and, with stops and stutters, rejuvinated his career. By 1967, he was writing/producing a film, “Mackenna's Gold,” with an early '60s cast to die for (Gregory Peck, Omar Shariff, Telly Savalas), all of whom were on the downhill slide by this point.

Foreman also funded several fellowships at USC film school, and in one he offered four students the opportunity to work on the “Mackenna's” set while producing a short film about how the movie was made. One of the students, Michael Ritchie, nailed it. Another was a problem: 

George Lucas had no interest in mainstream commercial movies—he saw himself either as a documentarian or creator of avant-garde underground films—and he proposed making his short film about the desert where much of Mackenna's Gold was filmed. “Carl had a fit, he got so angry with me,” Lucas would later recall. “And he said 'you can't do one about the desert, you're supposed to do it about the movie'... ”So we kind of butted heads ... I just thought of him as some big Hollywood producer, you know, had tons of money and had connections ... one of the establishment.“

The various layers of irony in that paragraph is so lovely: that Lucas thought the blacklisted Foreman one of ”the establishment“; that Lucas wasn't interested in mainstream commercial movies; and that Lucas got infatuated with the desert and wanted to film it. 

This kid, in the summer of love, who identified with what would become the ”Easy Rider" generation of filmmakers, would, in 10 years, destroy them with a massively mainstream commercial product that spent much of its time on a desert planet. 

You can see Lucas' student film here. You can buy Frankel's book here. I recommend the latter in particular. It's the best thing I've read on the Hollywood blacklist. 

Possible origins of Tatooine

Lucas' Gold.

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Posted at 06:30 PM on Apr 19, 2017 in category Books
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Saturday April 15, 2017

Winston Churchill, Comsymp

Near the end of “High Noon: The Hollywood Blacklist and the Making of an American Classic,” the much-recommended new non-fiction book by Glenn Frankel, we get a bit of blacklisted screenwriter Carl Foreman's life in exile in London. Some bad stuff: He suffered writer's block, drank too much, slept around on his wife, felt angry all the time. He did do a few pictures for Columbia under a pseudonym, then became one of the first, if not the first, blacklisted writer to work openly again without having to name names before HUAC. He wrote and produced the lackluster “The Key,” starring William Holden and Sophia Loren, then struck it big by writing and producing “The Guns of Navarone” with Gregory Peck, Anthony Quinn and David Niven.   

One of the fans of “Navarone” was Winston Churchill, then 88, who set up a meeting with Foreman at his office to discuss the possibility of Foreman writing the movie adapatation of his memoir, “My Early Life: A Roving Commission.” (It finally became a movie in 1972, seven years after Churchill's death.) “In the interest of full disclosure,” Frankel writes, Foreman admitted to the former prime minister, and the man who had invented the term “The Iron Curtain,” that he had been blacklisted in the '50s for earlier Communist connections. This was Churchill's reply:

“Oh, I know all about you,” Churchill said. “But we don't like political blacklists in England. And speaking for myself, I don't care what a man believed in when he was a boy. My concern is whether or not he can do the job.”

Go fuck yourself, Hedda Hopper, Hedda Hopper. 

Carl Foreman and Winston Churchill

Carl Foreman with infamous fellow traveler Winston Churchill. 

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Posted at 03:48 PM on Apr 15, 2017 in category Books
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Thursday April 06, 2017

Miracle Marlon

Glenn Frankel's much-recommended “High Noon: The Hollywood Blacklist and the Making of an American Classic” includes a great story about Marlon Brando during his prep for “The Men,” which is about a WWII soldier who is paralyzed from the waist down. It's not only Brando's first film role but the first movie to unite the team that would make “High Noon” two years later: producer Stanley Kramer, writer Carl Foreman, and director Fred Zinneman:

A devout believer in Method acting, Brando immediately immersed himself in patient life at the Birmingham hospital. He confined himself to a wheelchair and drove a car specially fitted with hand controls like the vets themselves used. Brando spent four weeks living in a ward with thirty-one wary, frustrated, and often angry men. He dealt with them without a teaspoon of pity or condescension. Soon he became their leader. In the most famous tale, Brando went drinking one night with his new friends from the ward, and when a woman at a bar started praying aloud for their recovery, Brando listened for a spell, then rose up haltingly. “I can walk! I can walk!” he cried. Then he broke into a soft shoe and danced his way to the sidewalk, his paraplegic buddies trailing after him in full mirth.

Another good Brando story can be found in our recent feature on entertainment attorney Bonnie Eskenazi

Marlon Brando in "The Men"

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Posted at 07:41 AM on Apr 06, 2017 in category Books
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Tuesday January 03, 2017

For Jan. 20, 2017

Here'a a passage from “The Undoing Project: A Friendship That Changed Our Minds” by Michael Lewis

The central question posed by Gestalt psychologists was the question the behaviorists had elected to ignore: How does the brain create meaning? How does it turn the fragments collected by the senses into a coherent picture of reality? Why does that picture so often seem to be imposed by the mind upon the world around it, rather than by the world upon the mind? How does a person turn the shards of memory into a coherent life story? Why does a person's understanding of what he sees change with the context in which he sees it? Why—to speak a bit loosely—when a regime bent on the destruction of the Jews rises to power in Europe, do some Jews see it for what it is, and flee, and others stay to be slaughtered?

Raising this last question for a friend. 

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Posted at 05:57 AM on Jan 03, 2017 in category Books
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Wednesday December 28, 2016

You May Also Like ...

I don't know how long this has been going on, but Barnes & Noble is now doing the thing of recommending items based on your purchases. I noticed this over the holidays. You buy, say, “The Book of Daniel,” and they'll suggest another E.L. Doctorow or maybe a history on the Rosenbergs or McCarthyism or the New Left. Their recommendations wind up in your bag along with your receipt. 

Here's the recommendation I got based on Salinger purchases:


  • Catcher in the Rye by Salinger, J.D.
  • Bell Jar by Plath, Sylvia
  • Things They Carried by O'Brien, Tim
  • Girl on the Train by Hawkins, Paula

The last is a bit of a stretch. Or something.

Anyway, it's a nice innovation ... 20 years late.

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Posted at 06:59 AM on Dec 28, 2016 in category Books
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