Wild Bill Wellman: Hollywood Rebel - Tapa dura

Wellman Jr., William

 
9780307377708: Wild Bill Wellman: Hollywood Rebel
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ISBN 10: 0307377709 ISBN 13: 9780307377708
Editorial: Pantheon, 2015

Sinopsis

The extraordinary life—the first—of the legendary, undercelebrated Hollywood director known in his day as “Wild Bill” (and he was!) Wellman, whose eighty-two movies (six of them uncredited), many of them iconic; many of them sharp, cold, brutal; others poetic, moving; all of them a lesson in close-up art, ranged from adventure and gangster pictures to comedies, aviation, romances, westerns, and searing social dramas.
 
Among his iconic pictures: the pioneering World War I epic Wings (winner of the first Academy Award for best picture), Public Enemy (the toughest gangster picture of them all), Nothing Sacred, the original A Star Is Born, Beggars of Life, The Call of the Wild, The Ox-Bow Incident, Battleground, The High and the Mighty...
 
David O. Selznick called him “one of the motion pictures’ greatest craftsmen.”
 
Robert Redford described him as “feisty, independent, self-taught, and self-made. He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense.”
 
Wellman directed Hollywood’s biggest stars for three decades, including Clark Gable, Gary Cooper, Barbara Stanwyck, John Wayne, Lauren Bacall, and Clint Eastwood. It was said he directed “like a general trying to break out of a beachhead.” He made pictures with such noted producers as Darryl F. Zanuck, Nunnally Johnson, Jesse Lasky, and David O. Selznick.
 
Here is a revealing, boisterous portrait of the handsome, tough-talking, hard-drinking, uncompromising maverick (he called himself a “crazy bastard”)—juvenile delinquent; professional ice-hockey player as a kid; World War I flying ace at twenty-one in the Lafayette Flying Corps (the Lafayette Escadrille), crashing more than six planes (“We only had four instruments, none of which worked. And no parachutes . . . Greatest goddamn acrobatics you ever saw in your life”)—whose own life story was more adventurous and more unpredictable than anything in the movies. Wellman was a wing-walking stunt pilot in barnstorming air shows, recipient of the Croix de Guerre with two Gold Palm Leaves and five United States citations; a bad actor but good studio messenger at Goldwyn Pictures who worked his way up from assistant cutter; married to five women, among them Marjorie Crawford, aviatrix and polo player; silent picture star Helene Chadwick; and Dorothy Coonan, Busby Berkeley dancer, actress, and mother of his seven children.
 
Irene Mayer Selznick, daughter of Louis B. Mayer, called Wellman “a terror, a shoot-up-the-town fellow, trying to be a great big masculine I-don’t-know-what. David had a real weakness for him. I didn’t share it.” Yet she believed enough in Wellman’s vision and cowritten script about Hollywood to persuade her husband to produce A Star Is Born, which Wellman directed.
 
After he took over directing Tarzan Escapes at MGM, Wellman went to Louis B. Mayer and asked to make another Tarzan picture on his own.
 
“What are you talking about? It’s beneath your dignity,” said Mayer.
 
“To hell with that,” said Wellman, “I haven’t got any dignity.”
 
Now William Wellman, Jr., drawing on his father’s unpublished letters, diaries, and unfinished memoir, gives us the first full portrait of the man—boy, flyer, husband, father, director, artist. Here is a portrait of a profoundly American spirit and visionary, a man’s man who was able to put into cinematic storytelling the most subtle and fulsome of feeling, a man feared, respected, and loved.

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Acerca del autor

William Wellman, Jr., is the author of The Man and His Wings. His articles have appeared in Film Comment, Films in Review, and DGA News. He is an actor and screenwriter and was executive producer of Wild Bill: Hollywood Maverick. He lives in Sherman Oaks, California, with his wife.

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From chapter 6: The Director's Board

As a contract director at Fox Studios, Wellman earned $185 a week. After seven pictures, his salary was . . . $185 a week. The seventh film, The Circus Cowboy, premiered June 19, 1924, at the Loew’s in New York City. This effort was also produced and directed by Wellman, and once again starred Buck Jones and Marian Nixon.
 
Variety, June 29, 1924: “Once in a while along comes a picture full of melodrama with high strung and far fetched situations which, neverthe­less, gets over through the excellent direction and strength of the story. This is one of those rarities.”
 
Now, at least, Wellman could afford his own place. Several months earlier, he had said goodbye to Dan Dix and Virgil, and moved into an apartment a few blocks from the studio. It had two rooms plus a bath­room with a shower. One room was a combination living room and bedroom, with a pull-down wall bed. The other was the kitchen. Fortu­nately, the apartment was large enough to accommodate Wellman’s new roommate—a big chow dog.
 
Before Cowboy had gone into production, Wellman had found Chow, as he named him, walking the streets in much the same way as he had done looking for places to live near the studios where he was employed. Wellman put up notices around the area, then hoped nobody would respond. Nobody did, and the roommates became great pals. Wellman put together a large dog bed, placing it next to his pull-down.
 
The initial problem was Chow’s eating. Dog food was expensive. Often they ate the same things, but Chow’s portions were larger than his master’s and he wanted to eat more often. In order to save food money, Wellman made a deal with his landlord that covered six months at a time. The second problem was what to do with the dog when Wellman was working. The landlord introduced him to an elderly female tenant in their building. She liked animals and took on the job of feeding Chow and letting him out once during the day. This worked quite well.
 
The whole business of working hard for almost a year, making seven quality pictures, but receiving no raise, was definitely wearing on Well­man. He was a big studio contract director. Why should he have to worry about feeding his dog? He had gotten nowhere with studio executives; his agent told him not to rock the boat, that he had a good deal and a bright future. Wellman was not convinced. He even discussed the matter with Chow.
 
“Chow and I went walking in the hills, Chow full of pep, me full of hatred that had been ripening in the last few Buck Jones pictures. My hatred was no raise in salary . . . I really got mad and explained the whole bloody business to Chow, there was nobody around except the squirrels who stopped their tree climbing the minute we came within ear shot. They didn’t even move, just sat very quietly listening to a dumbwit talk­ing business to a dog.”
 
On Monday morning, the great mogul William Fox arrived at the stu­dio. Since nobody would give Wellman a break, he decided to take things in his own hands and go see the big man. Encyclopaedia Britannica: “Wil­helm Fried Fuchs . . . motion picture executive who built a multimillion-dollar empire controlling a large portion of the exhibition, distribution, and production of film facilities during the era of silent film.” At the tender age of nine months, his German-Jewish parents changed his name to the direct English translation, William Fox. Known as “W.F.,” he was a publicity-shy individual whom the press called “a brilliant, excited, ener­getic, roughneck.”

Wellman sat in the roughneck’s office all day waiting for an audience. W.F. knew he was there and guessed for what reason. “Funny how flying could enter this problem but it did, and in a very understandable way. I was never afraid while flying fighting, some few times I couldn’t breathe for a while, but it passed and the fear, such as it was, changed to a fright­ful anger, topped by a desire to kill. That’s a hell of a topper. Being afraid of a man named Fox was as ridiculous as if I were going to have a fist fight with a nun.”
 
It was getting late and the secretary was preparing to leave. She repeated the familiar phrase that had been used throughout the day, “Mr. Fox is too busy to see you today.” Suddenly, W.F.’s door opened and out he came on his way home. He stopped, looked at Wellman, and said, “What do you want?” Wellman answered with two words, “A raise.” He answered back with two words, “You’re fired,” and went out into the hallway. Wellman followed behind, reminding him that he had made seven pictures for the same salary. W.F. turned and restated, “You heard me, you’re fired.” With this, Wellman grabbed hold of his necktie at the throat and twisted it tight. He considered exploding a right fist in his startled face, then reconsidered after seeing the fright in the mogul’s eyes. No more words were spoken. “I saw the fear of a coward on his face, so I did the thing a face like that deserved, I spit on it. I went out of the studio for good, he went back to his office to cleanse his face of the only sincere tribute he had received for a long time.”
 
Wellman’s name came down from the directors’ board at the Fox Stu­dios, and wouldn’t appear on any other studio billboard for a long time. His agent was disappointed; however, he told the unemployed director that with his credits, jobs would come soon. Soon didn’t happen. The rumor was out that Wild Bill had hit the saliva bull’s-eye, and W.F. made sure the studio executives got the word—Wellman was blackballed. This state of exclusion would last for over a year.

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Editorial
Pantheon
Año de publicación
2015
Idioma
Inglés
ISBN 10 
0307377709
ISBN 13 
9780307377708
Encuadernación
Tapa dura
Número de páginas
656
Contacto del fabricante
no disponible
Persona responsable
no disponible

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9780813180939: Wild Bill Wellman: Hollywood Rebel (Screen Classics)

Edición Destacada

ISBN 10:  0813180937 ISBN 13:  9780813180939
Editorial: The University Press of Kentucky, 2021
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