Beautiful Mess, Marilyn Forever Blonde, Jerry Lewis The Last American Clown

Sired by a wealthy New York scion who abandoned her showgirl mother, Geneva Kelly is no weak-kneed fool. So how can she be falling in love with the taciturn, straight-arrow Revenue agent when she’s got Princeton boy Billy Marshall, the dashing son of society doyenne Theresa Marshall, begging to make an honest woman of her? While anything goes in the Jazz Age, Geneva’s adventures will shake proper Manhattan society to its foundations, exposing secrets that shock even this free-spirited redhead. As Ella Gilbert discovers more about the basement speakeasy, she becomes inspired by the spirit of her incandescent predecessor, and decides to live with abandon in the wicked city. —The Wicked City (2017) by Beatriz Williams

He was real. He was kind. He was funny. And under the kindness and the humor, there was an edge to him that had emerged… “I love her,” he said softly. It was like he’d been waiting just for her and until he saw her, he couldn’t really smile. “My entire life, I’ve only loved one woman. I didn’t have crushes on any of the girls I worked with. I didn’t go chasing after anybody when I tried to make it for a while after the show ended. I didn’t fall for anybody in college. I dated some but it was more because I wanted to try and forget about her, even though I knew it wouldn’t work. She’s everything for me, Keelie. You understand that? I love her. More than I’m ever going to be able to love anybody. And now I finally have the chance I’ve been waiting my whole life for... I love her, damn it. She’s my world.” —Wrecked (2013) by Shiloh Walker is a beautiful look into true and enduring love. Source: www.amazon.com

Protagonist Del Corwyn is an aging relic—an actor who climbed from errand boy to Academy Award nominee; who kept company with Hollywood’s golden era elite; who even shared a close friendship with Marilyn Monroe. But now, Del Corwyn is facing bankruptcy. Humiliated and forced to downgrade his lifestyle and sell the home he's long cherished, Del is destined to fade into a history of forgotten legends—unless he can revive his career. All he needs is one last chance. While searching through memorabilia from his beloved past, Del rediscovers a mysterious envelope, dated 1962, containing an original screenplay by Marilyn Monroe—and proof that she named him its legal guardian. Seemingly overnight, Del goes from bankrupt, washed up has-been to the top of Hollywood’s A-list. But the opportunity to reclaim his fame and fortune brings a choice: Is Del willing to sacrifice newfound love, self-respect and his most cherished friendship to achieve his greatest dream? John Herrick's Beautiful Mess (2017) follows one man's journey towards finding love and relevance where he least expects it. Source: booklife.com

Greg Thompson wrote and produced the one woman play "Marilyn Forever Blonde," which Sunny Thompson starred in for 10 years after acting off-Broadway and headlining Nevada casinos. The play explores what might have been Monroe's last day of life. The play's back story has now been made into a documentary by director Tammy Plimmer, who suggested world premiering it at the April 6-14 American Documentary Film Festival in Palm Springs. Festival director Teddy Grouya not only accepted it, he put it in the largest Camelot theater in the Palm Springs Cultural Center due to public demand for tickets. The film, "Becoming Marilyn Monroe," will screen April 10 and 12. DESERT SUN: Why is Marilyn still fascinating more than 55 years after her death? THOMPSON:  I think it has a lot to do with her softness. You can see it in her eyes in all of her photos. I have met young girls who came to the play and said they were big Marilyn fans and yet they had never seen a movie with Marilyn in it.  Only her photos! They had fallen in love with an image. The biggest compliment that I’ve received in 10 years came right in the beginning when we were in Hollywood and Marilyn's close friend (fashion designer) Richard Blackwell came backstage and grabbed my hand and said "I never thought I would see you again! Nobody gets her softness and you got it!" Source: www.desertsun.com

Jerry Lewis told GQ magazine a story about how he had a one night stand with Marilyn Monroe: “Lewis is suddenly insistent that Marilyn Monroe and President Kennedy — whom Lewis admired — never had the affair many believe they had. When I look skeptical, he turns stern. ‘I’m telling you what I know. Never! And the only reason I know is because I did. Okay?’ Wait, what?? He nods, adding that Monroe used sex like he uses humor: to make an emotional connection. ‘She needed that contact to be sure it was real.’ Ok, but what was it like to make love to the most famously tragic sexpot of all time? ‘It was…’ he says, taking a beat, ‘long.’ He smiles ruefully. ‘I was crippled for a month.’

In the TV “Biography” episode hosted by Peter Graves, entitled “Jerry Lewis: The Last American Clown” (1996) guest interviewes consisted of Patti Palmer Lewis (former Wife), Janet Leigh (Actress), Stella Stevens (Actress), Connie Stevens (Actress), Kathleen Freeman (Actress), Bill Richmond (Screenwriter), etc. Archive film footage included Jerry Lewis, Dean Martin, Marie Wilson, Hal Wallis, Marilyn Monroe, Leslie Caron, Brian Donlevy, Sammy Davis, Jr. and Danny Lewis. Film Clips included a screen glimpse of Jerry Lewis through the years, in scenes from My Friend Irma Goes West (1950), Sailor Beware (1952), Living It Up (1954), Pardners (1956), The Delicate Delinquent (1957), The Sad Sack (1957), The Bellboy (1960), Cinderfella (1960), The Ladies Man (1961), The Errand Boy (1961), The Nutty Professor (1963), The Patsy (1964), The Family Jewels (1965), The Big Mouth (1967), The Day the Clown Cried (1972), and Hardly Working (1980).

Jerry Lewis was ahead of his generation in terms of gender dynamics, and despite of settling down at a young age and assuming his family man image, he was capable of reaching a wider emotional complexity than most of his contemporary showbiz fellows.  The Last Vegas Show journals (2017), inspired by Jeanne Carmen's “My Wild, Wild Life” (2006) show Lewis in his intimacy as more of a romantic suitor than a clumsy clown. He was a complete putz of a man onscreen but rarely his ideal girl was a ditz. However, Lewis would have loved working with Marilyn Monroe (the consummate ditzy sex-symbol) in a comedy. In Hollywood or Bust (1956), Anita Ekberg acted as the clueless bombshell who is obsessively adored from a distance by Jerry. Source: medium.com

“Unlike so many who knew him, my memories were not of his movies, or the MDA Telethons, but of the times when it was just us,” Jerry's widow Sandee Lewis said to Las Vegas Review Journal after he passed away. “Calling me beautiful, making me a small glass of coffee filled with just cream and sugar just like my mom, or having a stuffed Barney toy on his piano, always sitting there during his live shows, just so I could have a reminder that he was thinking of me. I remember two years ago, getting out of the car in the freezing rain in Washington, D.C., just so he could take a picture with me in front of the Lincoln Memorial.” Source: www.reviewjournal.com

The Las Vegas house that once belonged to Jerry Lewis is up for sale. The house is located on Reno Avenue in the Scotch 80s neighborhood, which is located just west of Interstate 15 and minutes from Downtown Las Vegas. It is listed for $1.4 million and has 6 bedrooms and 6 bathrooms. The Scotch 80s neighborhood has been home to the movers and shakers in Las Vegas since the '50s. Lewis lived at the property for thirty years. The bar in the family room was host to many celebrities, and the pool and backyard area are ideal for entertaining. The median list price for a home in the famous neighborhood is $734,000.   Source: www.lasvegashomes.com

Glitz, Fleeting Nostalgia, Jerry Lewis

The glamour of pre–WWII Hollywood and the glitz of postwar Las Vegas are the playgrounds of young Esme Wells and her dreamer parents—her bookie father, and her movie star wanna-be mother who never gets past showgirl roles in B-musicals. Adrienne Sharp’s fourth novel is a grimly sad story of big dreams, bad luck, and worse decisions, as Esme and her parents move from Hollywood’s scams and cheesy musicals to the Las Vegas world of casinos, high rollers, suckers, and gangsters. By 1945 Esme’s father works for mobster Bugsy Siegel as the gangster’s vision of a gambling city comes true. Underage, she works as a casino cigarette girl, where her good looks draw the leering attention of Nate Stein, a ruthless thug who intends to take over all of Las Vegas. After Bugsy is bumped off, Esme falls in with serious mobsters like Mickey Cohen and Meyer Lansky, eventually becoming Stein’s teenage mistress and chorus line showgirl. When Esme discovers her father’s involvement with the less-than-legal dealings, the story builds to a dangerous boil. This glittering noirish tragedy, with its lushly imagined period landscape and subtle feminist trajectory, is both fun to read and sad to think about. Sharp’s narrative is a bold and gritty portrayal of unreachable dreams, anchored by its notable depiction of Esme. The Magnificent Esme Wells will be released on April, 10, 2018. Source: www.publisherweekly.com

The 1950s occupied a central position in the nostalgic imagination of the United States: indeed, it was the revival of 1950s Rock’n’Roll in the early 1970s that first made nostalgia a household term. It therefore comes as no surprise that nostalgia for the 1950s features heavily in two recent books: Michael Dwyer's “Back to the Fifties: Nostalgia, Hollywood Film, and Popular Music of the Seventies and Eighties” (2015) and Gary Cross's “Consumed Nostalgia” (2015). Dwyer rejects this “amnesiac model of nostalgia” interpretation, arguing “that nostalgia must be understood not as a reduction or denial of history but as a fundamentally productive affective engagement that produces new historical meaning for the past as a way of reckoning with the historical present.” Cross states this form of nostalgia “binds together not community nor families but scattered individuals”, it is “less about preserving an ‘unchanging golden era’ than it is about capturing the fleeting and the particular in its ‘authenticity’”, it helps “us cope with the extraordinary speed-up of time by letting us return to our childhoods”, and is “rooted in special emotions linked to recovering distinctive memories.”  The nostalgia for the 1950s, for instance, first became a subject of cultural criticism because it infected a younger generation without recollections of the period. Cross’ hypothesis that nostalgia is a reaction to social acceleration and fast capitalism has a lot going for it. According to sociologist Hartmut Rosa, every surge of acceleration is followed by nostalgic sentiments. In fact, Rosa makes the same argument in his theory of social acceleration. Source: nostalgia.hypotheses.org

Dean and Me is a snapshot of how a couple of divergent characters came together to literally change the face of popular entertainment: Martin and Lewis were the post-war pulse of a battle weary nation, and the resulting hilarity and hi-jinx looked like it would never end. So when the duo officially called it quits, 10 years to the day after getting together, fans were flummoxed -- and the confusion continued as neither man spoke to the other in 20-plus years. Many people outside the industry believe that the creative process comes easily and exacts never-ending rewards. Lewis debunks all those myths, especially when he's listing a performance schedule that required three shows a night (finishing around 3am) for several weeks, including a daily schedule that required publicity stops and business meetings. Lewis makes it very clear that Martin loved the ladies -- as he puts it, "often and very well" -- which was part of the make-up of male oriented show business in the '40s and '50s. Appearances are deceptive, though, and it's implied that Lewis had the higher sex drive of both entertainers.

Lewis does not blame his partner for the inevitable and bitter break-up in 1956. Instead, he makes it very clear that the separation was almost all his idea. He wanted to expand into filmmaking, and Martin was happy with continuing the nightclub comedy act. But there is also a kind of backward compliment being paid here, since Lewis indicates that it was Martin's seething rage, his lack of individual respect and his cold interpersonal nature that drove the divide between them. It's Dean's desire to step out of Jerry's generous limelight (Lewis was the beneficiary of glowing notices while Martin was universally panned) that really drove the decision to quit. Few see that Jerry Lewis is actually a bridge between the old fashioned chuckles of Hollywood's Golden Era and the more experimental, existential humor of the post-modern period. Instead, he seems forever fated to be the dopey dude, the kooky caricature of a nerd. Sadly, such a sentiment diminishes a great deal of very good work. Thanks to a famous collaboration with director Frank Tashlin and his own turns in the creator's chair, we can witness the rise, fall, and unjust dismissal of an amazing artist.

The Ladies Man (1961): It remains a monumental achievement in set design and art direction. Throwing his weight around as a box office behemoth, Lewis demanded and received an entire Paramount soundstage to create what is, essentially, an entire four story house complete with grand concourse, spiral staircases, open walled bedrooms, and an old fashioned elevator running up the side. It was a massive masterpiece of a playset, and Lewis made the most of it. Visually it is amazing, the comedy relying more on small moments than the epic environment created.

The Errand Boy (1961): As a love letter to the studio system, it stands as one of his true classic comedies. A skewering of Hollywood hubris in combination with the filmmaker's fleet footed physical shtick resulted in a creative combination that would underscore his next few films. Tinsel Town never took such a well-intentioned tweaking.

It'$ Only Money (1962) (with director Frank Tashlin): Relatively forgotten, even among Lewis fans, this oddball detective farce -- Lewis is a TV repairman and alongside a shifty private dick, get caught up in the search for a rich family's missing heir -- is one of the funnyman's forgotten gems. Lewis is loose and screwy in every scene, with terrific nonsensical, non-sequitur patter and ad-libs that equal his best moments on screen. Tashlin really amplifies his anarchic style, and Lewis loses himself in the relatively low key role.

The Nutty Professor (1963): Without a doubt, this stands as one of comedy's major cinematic milestones. By riffing on his relationship with ex-partner Martin (who Buddy Love is obviously mirrored after) and putting to use every kind of cleverness imaginable, we get a wonderful whirlwind of dopiness and deftness. In this Jekyll and Hyde satire, Lewis actually display a character study, not just weird variations of his persona, and the emotional underpinning of the relationship with Stella Purdy is heartfelt and very human. If you wonder what keeps Lewis part of the motion picture equation, even four decades later, this fantastic film is the answer.

The Patsy (1964): Often cited as one of Lewis's more cynical films, this droll look at celebrity and the shallowness of fame is, in reality, on par with The Nutty Professor as a certifiable sensation. A dynamite combination of silent film gags, pop culture spoof (see Ed Sullivan mocking himself!), and insightful evisceration into the cult of personality, it's a brilliant and brazen farce.

Three on a Couch (1966): Attempting to make the leap into more 'adult oriented fare', many feel Lewis succeeded with this sincere psychobabble. The therapeutic theme is prevalent throughout Lewis’s films, including That’s My Boy (Hal Walker, 1951), The Delicate Delinquent (Don McGuire, 1957), and The Disorderly Orderly (Frank Tashlin, 1964). One of the film’s most magical sequences is Lewis and Leigh dancing in a ballroom with a beautiful, dreamy lassitude (Lewis’s back to the camera and Janet Leigh’s enraptured eyes looking heavenward as the two glide on an arc of rapture).  Three on a Couch becomes a film about the need for expressing love and a restatement, in different terms, of the self-reliance theme of The Nutty Professor. Source: www.popmatters.com

Arthur Miller: Writer, Marilyn Monroe, Alienation

What hot-blooded heterosexual American man of the 1950s wouldn’t have married Marilyn Monroe? But the more you know about Monroe—her brooding, contemplative nature; her often-fetishized love of reading—the more her attraction to Arthur Miller starts to make a poignant kind of sense. He saw not only her artistic potential, but a kind of brokenness about her that most men found convenient to ignore. In the documentary, an elderly Miller recalls something he said to Marilyn many years before their marriage: “I said, ‘You’re the saddest girl I’ve ever met.” Or at least that’s the story he always told her, the one she repeats in footage used in the new documentary Arthur Miller: Writer. “As he describes it, I was crying when he met me,” said a hesitant Marilyn. “What makes you so sad?” Clark Gable asks from beneath the brim of a cowboy hat. “I think you’re the saddest girl I ever met.” “You’re the first man that’s ever said that,” a morose Monroe says in an scene from The Misfits. 

Arthur Miller: Writer (which premieres on HBO on March 19) is a documentary directed by Rebecca Miller, the playwright’s daughter from his third and final marriage to the Austrian photographer Inge Morath. “Where Jean Harlow had been the bombshell-as-feminine symbol of wealth and military might,” Karina Longworth notes: “in post–World War II America, Marilyn became the feminine icon of plenty and of the victory of pleasure divorced from worry or responsibility.” In 1986, Gloria Steinem published a biography of Monroe, Marilyn: Norma Jean, a corrective to the salacious and largely ridiculous 1973 Monroe biography by Norman Mailer, in which he posited that the star had been murdered by the U.S. government. (Mailer admitted the same year, on 60 Minutes, that the book was a cash grab.) In Rebecca Miller’s interviews, filmed at his kitchen table in Connecticut near the end of his life, the playwright seemed to retain a real compassion for Marilyn. The strange benevolence of this one-sided portrait of Monroe and Miller is that you walk away from it thinking that he really understood her. That under slightly different circumstances, they could have been happy.

“She was witty,” Miller says, gazing wistfully from his kitchen table in Connecticut. “She was making fun of the situation as she was playing it. That was the difference. People thought they could imitate her by being cute. But she was being cute and making fun of being cute at the same time. There was another dimension, which is very difficult to do.” Source: www.theringer.com

Ruby became a showgirl and companion but she didn't sleep with her admirers. The homely, awkward Don Knotts look-alikes who attended ham radio conventions got the same, velvety Ruby Wilde presence as did the members of Rotary clubs and The American Legion, the Veterans of Foreign Wars, and the men who came to find distraction after a miserable, wallet-emptying divorce. Ruby soon realized that more often than not they simply wanted to be heard, to tell their stories without criticism or interruption. The high rollers bought her rubies and garnets, sapphires to match her eyes. They bought her designer clothes at the casino boutiques. Her bathroom counter was crowded with bottles of perfume. She owned silk negligees, and even a supremely soft cashmere robe dyed the peaceful color of a doe bedded down on a forest floor. But there were gifts more extravagant than necklaces. Johnny Litchfield, a high-stakes gambler from Chicago, offered to buy Ruby a penthouse in the Windy City, where he said he’d be able to keep an eye on her. Ruby was learning to turn men down gently, with such finesse that they didn’t feel rejected. Ruby turned down Johnny’s Peter Piper penthouse. Instead, she accepted a ten-thousand-dollar poker chip, and every time Chicago Johnny came to town he found her—and gave her more outlandish gifts. He was a hard-bitten man with a cratered face and pale blue eyes that were too small. But those eyes were surrounded by ribbed fans of wrinkles, the kind that came only with repeated laughter. And Johnny made her laugh. He told her stories of outrageous gambling wins and losses, of his days as a middleweight boxer and then as an MP in Hawaii, corralling World War II soldiers on leave. She sold the jewelry she didn’t particularly like at the jewelers all the girls used—Goldfarb’s on East Twain Avenue. She banked the money, earning eight percent interest on her savings. When an enamored Saudi prince gave Vivid a boat, the Sunglow Apartment girls ended their nights by Lake Mead as the sun rose. Ruby, Rose, Vivid, and Dee christened the boat Siren Song and for their naming ceremony piled caviar onto water crackers and emptied three bottles of Bollinger Blanc de Noirs champagne. It was just girls. They scrambled eggs on the boat’s little propane cookstove, ate crusty bread donated by the chef in one or another casino restaurant, and brewed dark, French roast coffee. Ruby studied Vivid, saw how she touched a man’s arm or shoulder lightly to let him know that he’d arrived in her inner circle. Ruby gained more than luxurious possessions from the men she entertained. She leaned in intimately, enticingly, so that a man could light her cigarette. Like a pearl forming about a grain of sharp sand, she used her newfound etiquette to further escape her rube beginnings. —"All the Beautiful Girls" (2018) by Elizabeth J. Church

In the modern era, ‘alienation’ came into its own as a talismanic term in the 1950s and ’60s. At the time, the United States was becoming increasingly affluent, and earlier markers of oppression– inequality, social immobility, religious persecution–appeared to be on the wane. ‘Alienation’ rose spectacularly from 1958 to its height in 1974. In short, alienation in the second decade of the 21st century has not actually faded away as a descriptor of human distress. Rather, it has become most visible in the anxiety of those who bemoan the transformation of a beloved homeland into an unrecognisable nation of aliens. America these days is not a happy place. Even though the economy is up, polarization is at an all-time high, and a feeling of malaise, or worse, grips the nation. Our subjective well-being has declined across the board in each and every state, even as the economy has sprung back to life. America is growing increasingly unhappy and the trend toward unhappiness is concentrated in the places that used to be among the very happiest. Whatever the reasons, America’s collective psyche is clearly suffering today. You’d expect happiness to rebound in a period that saw the economy recover from the Great Recession. In fact, the opposite happened. When we compared Gallup’s data on well-being to the Gallup data from 2009, we found that well-being actually declined in all 50 states between 2009 and 2017. What’s more, these declines are concentrated in the very states that had higher levels of well-being in 2009. Source: www.citylab.com

Life with the Invincible Bette Davis

Time Warner’s Turner and Warner Bros. reached a deal to stock Turner’s FilmStruck with more than 600 classic Hollywood films each month from the Warner Bros. library. At the same time, WB’s Warner Archive subscription-streaming service — launched in 2013 — will be shut down, and current customers will be migrated over to FilmStruck. Titles in Warner Bros.’ catalog coming to FilmStruck include many that have never been available on a subscription video-on-demand platform. Those include “Casablanca,” “Rebel Without a Cause,” “Singin’ In the Rain,” “Citizen Kane,” “The Music Man,” “Bringing Up Baby,” “The Thin Man,” “Cat People,” “A Night At The Opera,” “An American In Paris” and “Who’s Afraid Of Virginia Woolf?” In addition, FilmStruck will introduce new curated themes around WB’s Hollywood classics such as “Rogers & Astaire: The Complete Collection,” “Neo-Noir,” and a “Star of the Week” theme featuring titles with Bette Davis, Hepburn and Tracy, Ava Gardner and others. Source: variety.com

Bette Davis was the first person to receive 10 Academy Award nominations and she twice won for Best Actress. The first woman to receive a Lifetime Achievement Award from the American Film Institute, and the first female president of the Academy of Motion Picture Arts and Sciences. Davis was in the twilight of her career when the two met, but Kathryn Sermak still witnessed the flamboyant actress’s uncompromising work ethic in her final roles. “I lived with her for several years – it was like a mother/daughter relationship – and she became my best friend. Miss D was not only incredibly generous to me but very fair. I only know that when I first started working for her, Miss D and Bede were super, super close. Whenever she was on a set, photos of her children would come out for display in the dressing rooms. She was very proud of her family. Miss D was such a giving person and always believed in giving to others while she was alive. She gave Michael the Oscar she won for ‘Dangerous,’ and me the one for ‘Jezebel. ’ She told me I would know what to do with it one day.” 

The 1938 “Jezebel” Oscar sold at Christie's auction house for $578,000 which Sermak says at the time “was the highest paid for an actress’s Oscar.” The sale of the Oscar helped fund scholarships for aspiring actresses and actors through the Bette Davis Foundation. Sermak says of B.D. Hyman's My Mother's Keeper: “that book was such a huge betrayal I would never have believed her daughter could have done anything like that.” Still, she maintains, “my book is not about B.D., and I tried to take the high road. But Miss D said, ‘One day, you will tell the story.’” Sermak adds: “I want Miss D to be proud,  she was my teacher, and my mentor. From the response at the many book signings I’ve done, it’s clear people still love Bette Davis. I realize they’re not coming to see me, but want a part of Miss D.” The love between these two women—platonic, aspirational, and nurturing—is the capstone of Miss D & Me: Life with the Invincible Bette Davis. It is a type of female bond rarely portrayed in either books or cinema.

Bette Davis would often call Kathryn Sermak her “chum-friend-daughter.” “She was always the greatest supporter of women,” Sermak explains. “What she didn’t like was that women could be back-biting. She always said that women should empower other women—just like what men do in a boys’ club. She really did teach me everything – Discretion, respect. She was the most honest, respectful person. It didn't matter if you were the elevator person, she would greet them all. Always respect, she said. Everybody has a job to do. You're no higher or lower. Your fans are your bread and butter, the ones who pay the money to go to your movies.” 

The recent TV series Feud painted a picture of Davis as a difficult character in the actress' rivalry with Joan Crawford. Sermak implies that the tension between Davis and Crawford was born from the latter’s thwarted attempt to romantically woo the former.  “Joan did have a crush on Miss Davis, but Miss Davis is a man’s woman,” says Sermak. “Feud is entertaining; it's not accuracy. Miss D was always the first to admit when she was wrong. That's what a strong person does. She taught me about women – you bond together. She loved men, but she was supportive of women.” Of her last husband, Gary Merrill, Davis had said: "Gary was macho but none of my husbands was ever man enough to become Mr Bette Davis." Relationships and her abortions were not something Davis discussed with her ingénue assistant, although Kathryn learned about men from her employer. “She talked me through the stages of having boyfriends. She certainly helped me with Pierre [one significant other] and his messiness.” It became a competition between Pierre and Miss D for Kathryn, and it was clear Pierre stood no chance. The most difficult man in Bette's life was son-in-law Jeremy, married to her biological daughter, Barbara, known as B.D. They met when B.D. was 15 and he was 29, at the Cannes Film Festival. Jeremy was the British nephew of American film executive Eliot Hyman. Miss D was being escorted by the director Robert Aldrich – who, by the way, she never had an affair with, as they insinuated in Feud – and she needed an escort for her daughter. Jeremy went to pick up B.D., who was tall, slender and very striking, and she fell in love with her handsome companion.

Central to the book is a family reunion for July 4 Independence Day celebrations, when tensions reached a head between Bette and Jeremy. It had been a huge operation, with Bette and Kathryn preparing to make sure everything would be perfect for the arrival of the family for the holiday in a house in Huntington Bay. "She spared nothing for her family because she loved them so much." In an argument about whether there are clams in the Bay, the two personalities clashed. B.D.'s book was an enormous shock to Bette. "The betrayal – that was worse than the stroke. Miss D was completely blindsided by it. That's what killed her – a broken heart. She loved B.D. more than anything. She loved her adopted children and treated everybody fairly, but there was that mother connection with B.D. I once asked her, 'How did you give your daughter a lake?' and she said: 'A lake of money.'" She thought she wanted to die, so I exploded: "If you want to die, go ahead, we're going to fight this together." Miss D would not, says Kathryn, have liked today's Hollywood. "She wouldn't approve. She knew she and that world were going. Then came animation – it was just different times." Source: www.nowtolove.co.nz

Katharine Hepburn claimed in an interview for People Magazine in 1976 (shocking coming from an actress with such liberal background): "Most films today are about lunatics and degenerates. I try to avoid degenerates, because I think too much has been done for people who are totally alien to decent society. I would line them up and eliminate them." Unlike Hepburn, Bette Davis’s legacy is ultimately predicated upon her unique ability to understand and fully inhabit truly unlikable characters. She excelled at playing wounded and wounding women without an air of apology or condescension toward the characters (or audience). She played complicated characters whose monstrosity sometimes turned physical in the form of thick, mask-like makeup or physical scars. It isn’t that there haven’t been other actresses to take up this mantle. But none have done so with the consistency, honesty, and sheer delight that Bette brings to the screen. But more than anything, Davis turned anger into an art form and showed the humanity in the kind of women our culture often ignores. Bette Davis’s legacy is even more personal in the way she feels like a voice, an image reaching across the darkness to tell us there’s another way to survive. Source: www.rogerebert.com

For all of the media buzz over B.D. Hyman’s memoir of her life with mother Bette Davis, My Mother’s Keeper is a pathetically unrevealing book. When rumors of the book began leaking out several months ago, columnists speculated that the tome was going to be a Mommie Dearest–style scandalfest about another beloved superstar. Unlike Christina Crawford’s catalog of genuine horrors, B.D. Hyman has filled pages with some of the silliest and most mundane examples that have ever been committed to print. Based on the “evidence” in this book, Hyman’s case against Bette Davis would be thrown out of any court. Hyman gives us a few anecdotes involving heavy drinking, and egomania on the part of Davis. I doubt that this behavior is unusual in most families, let alone the high-pressured world of Hollywood stardom. Like so many familial mudslingers, Hyman tries to paint herself a passive victim of her mother. Rather than generate sympathy, however, it makes her look dumb. Hyman rails hysterically at Bette Davis in the manner of someone who wants to blame her mother for all of her own neurotic behavior. The book verges on parody in the section in which Hyman attacks her mother for passing off Stouffer’s frozen macaroni as a home-cooked dish (the woman includes a step-by-step description of Davis’ deception—I kid you not!). My Mother’s Keeper lacks an exposition of the sort of bizarre traits that Joan Crawford supposedly possessed. While Hyman’s report depicts Davis as an imperfect woman, some readers might react by saying, “So what?” Aren’t there a few other imperfect mothers in the world? And do we expect a movie queen to behave like a well-adjusted suburban housewife (assuming there is such a creature)? Epilog to review: Shut up, B.D. —The Sunday Post (1985) by Joe Meyers