One of George Stevens’ filmmaking maxims was: “The camera is not the instrument. People are always the instrument.” Nowhere in his oeuvre is this more evident than in Shane, perhaps the most peculiarly cast A-grade Western in Hollywood history.

It all started with a memo from Paramount Studios, where the director was currently under contract: “Herewith story and treatment entitled Shane, which we would like you to consider for one of your two remaining pictures. . . This property is now being supervised by one of our studio producers, but no serious problem would be involved in re-assigning it to you, and we are prepared to do so if you like it. . .” Stevens did like it, and soon began reading both the novel and existing script, marking them up with marginal notes that contained the seeds of dialogue and shots that would go on to become immortal.

As packaged, the movie was set to star Alan Ladd, Paramount’s most popular star — only John Wayne eclipsed Ladd’s popularity in moviegoer polls during those heady years. But Stevens initially considered other options. Many of his jotted notes about the character of Shane referenced “Monty,” showing that Stevens was thinking of using Montgomery Clift, the young, tight-jawed brooder then appearing in the director’s tragic love story A Place in the Sun (1951). Gregory Peck was also in the running. Meanwhile, author Jack Schaefer wanted “a dark, deadly person” — someone more like tough-guy gangster actor George Raft — to portray his hero. For the part of Joe Starrett, the homesteader and father of the young boy, names like Broderick Crawford, Burt Lancaster, and William Holden were bandied about. (more…)

When I was just a kid, I saw the stage musical, “Peter Pan,” starring Mary Martin in the title role and Cyril Ritchard as Captain Hook.  It is to this day the only version of that old war-horse I ever liked.  I still don’t know why that story has retained its popularity since 1904.  Even Walt Disney couldn’t work his magic on it.

What I remember best about the show, the tunes aside, is that at the point when Tinkerbell’s light was flickering, and she was supposedly at death’s door, the audience was urged to start clapping in the hope that our applause would somehow save her.  Suddenly a woman seated behind me leaned forward and said, “Little boy, you aren’t clapping.  Don’t you want Tinkerbell to live?”

“I know the story,” I told her.  “She’ll live even if nobody claps.” (more…)

Esther Ralston, at the height of her Hollywood stardom in the 1920’s.

They called her: The American Venus.

She lived in a Hollywood mansion with a staff of servants. Her chauffeur drove a limited edition limousine. But she ended her days in an upscale trailer park in Ventura, California.

One of the enduring mysteries—for yours truly—are the scores of Hollywood starlets, innocent young women, who are attracted to bad men: drunks, gamblers, liars, tinsel town sociopaths.

Esther Ralston is a prime example of an early Hollywood star who showed great promise as an actress—she played drama and comedy with equal craft—but three ill-considered marriages effectively derailed Ralston’s career and drained away her considerable fortune. (more…)

I remember reading years ago that Lisa Marie said that, in private, Michael Jackson spoke in a perfectly normal (well…) male voice.  By the magic of Google, I found the piece and present it to you.  Tina Brown, Washington Post, March 2005.  Ms. Brown has a very sharp and unsparing take on America’s Peter Pan of Pop.  And in the Rolling Stone interview to which Ms. Brown refers, Lisa Marie is even more devastating about the man behind the man-boy mask:

Read Brown’s Article Here.

An interview with Jackson’s ex-wife Lisa Marie Presley by Chris Heath in Rolling Stone in April 2003 would support the “secretly sane” theory. “I was always saying [to Jackson] people wouldn’t think I was so crazy if they saw who the hell you really are,” Presley told Heath. “That you sit around, and you drink and you curse and you’re [expletive] funny and you have a bad mouth, and you don’t have that high voice all the time. I don’t know why you think that works for you, because it doesn’t anymore.” (more…)

Don’t beam me up, Scotty. The Capt. James T. Kirk in the new “Star Trek” film is proof of how much ground men have lost in today’s culture. 

Before you tell me it is just a movie, recall the words of series creator Gene Roddenberry: “I have no belief that Star Trek depicts the actual future,” Roddenberry said, “it depicts us, now…”  And right now, the latest Star Trek depicts men as insecure, impulsive lechs who need women and aliens to keep them out of trouble.

Consider four attributes of the ideal man: self-control, bravery, confidence and sex appeal.

In the original series, Kirk has supreme self-control. He sacrifices himself for the safety of his crew and, in more than one episode, even chooses duty over true love. In the latest “Star Trek,” Kirk is Peter Pan, an irresponsible, reckless man-boy.  (Warning: plot spoilers ahead.) The new Kirk tears down an empty Iowa highway in a stolen hot rod and drives off a cliff, jumping out to save himself, not the car.  He gets into bar fights to serve his vanity, not some higher cause like rescuing the crew from aliens.  (more…)