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Who the Hell's in It: Portraits and Conversations, by Peter Bogdanovich

Who the Hell's in It: Portraits and Conversations, by Peter Bogdanovich



Who the Hell's in It: Portraits and Conversations, by Peter Bogdanovich

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Who the Hell's in It: Portraits and Conversations, by Peter Bogdanovich

Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).

Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.
Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.

On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.”

On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ”

Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”

John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”
These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.

  • Sales Rank: #232646 in Books
  • Published on: 2004-09-28
  • Released on: 2004-09-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.54" h x 1.70" w x 6.58" l,
  • Binding: Hardcover
  • 544 pages

From Publishers Weekly
While Who the Devil Made It allowed Bogdanovich to chat with Hollywood's great directors, this work finds him hobnobbing with some of the screen's legendary actors. He arranges the profiles according to when he met the subjects. Bogdanovich began as an actor, studying under Stella Adler, but met many of his subjects as a journalist for Esquire and other publications in the 1960s. Some of those encounters resulted in lifelong friendships with stars like Cary Grant and Jerry Lewis, but once Bogdanovich began writing and directing his own movies (like the Oscar-nominated The Last Picture Show), several relationships became professional, too, which leads to tales of working with legends like Boris Karloff and Audrey Hepburn at the end of their careers, as well as a heartbreakingly poignant chapter on the making of River Phoenix's last film. There's someone for just about every sort of film buff: from Bogart and Bacall to Sinatra and Martin, from John Wayne and Jimmy Stewart to John Cassavetes and Ben Gazzara. Despite the strong autobiographical context, Bogdanovich never dominates, always giving his stars center stage and ending each chapter with a list of recommended viewing. Those who like classic movies will fall in love with this book and, despite its nearly 600 pages, they'll find themselves wishing for more. 120 photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
As they did with his 1997 compendium on film directors, Who the Devil Made It, critics embraced Bogdanovich’s Who the Hell’s in It, his paean to legendary Hollywood actors, most of whom are now dead. Reviewers applaud the detail and care with which Bogdanovich paints his subjects—Audrey Hepburn and Marlene Dietrich, among them—and the professional insight he brings to this collection. "Inside the bon vivant and raconteur that is today’s Bogdanovich," writes the Washington Post, "is an honest-to-goodness film historian." They agree Bogdanovich is singular when he allows Lauren Bacall to reminisce about Bogey and prompts Jerry Lewis to hold forth on Dean Martin. However, several conclude that Bogdanovich’s friendship with his principals sometimes obscures his ability to view them with the cold eye necessary for objective analysis.

Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
In this follow-up to his collection on directors (Who the Devil Made It, 1997), Bogdanovich turns here to actors, profiling 26 of the most influential of the past century, including Lillian Gish, Charlie Chaplin, Audrey Hepburn, Cary Grant, James Stewart, Marlene Dietrich, Sidney Poitier, and Marlon Brando. Many of these pieces first appeared elsewhere, particularly in Esquire magazine, but Bogdanovich adds introductions, thumbnail performance critiques, and choice anecdotes. For example, the author tells of chatting with John Wayne about movies on the set of El Dorado (1965), after which Duke exclaimed, "Jeez, it was good talkin' about--pictures! Christ, the only thing anybody ever talks to me about these days is--politics and cancer!" An invaluable archive of a nearly lost cinematic world--only five of the subjects are still alive--that director-actor Bogdanovich has himself intimately inhabited for some 50 years. Alan Moores
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Alice M. Elrod
great

11 of 11 people found the following review helpful.
More Stars Than there are in Heaven
By enubrius
If you're looking for a book that spills the dirt on some of the biggest names in Hollywood (when Hollywood WAS Hollywood), this ain't it! Bogdanovich, as he did with the great directors in "Who The Devil Made It?", has penned love-letters to some of tinsel town's greatest performers. As with the first volume, almost all of these pieces are told from the personal viewpoint of his inter-actions with each of the stars, a ploy that could become tedious in less capable hands. It is important to remember, however, that, before he was a director, and sometime actor, Bogdanovich was one of the best writers on the art of film, a talent he retains to this day. The pieces vary in length from less than 10 pages to an almost novella length essay on Jerry Lewis. The problem, if any, is that the short pieces often seem TOO short and the longer ones, especially the Lewis piece, could have stood a little trimming. But, all in all, these mash notes (you won't find many negative comments on any of his subjects) are beautifully written and speak of a time and place we shall never see again. If you love film, this is your next big read!

8 of 8 people found the following review helpful.
Uneven, but a few good chapters
By Amazon Customer
Peter Bogdanovich, the director of such films as The Last Picture Show and The Cat's Meow, has compiled in this book a group of essays, each one about a specific actor, many, if not all, of them legendary (the actors, not the essays). The actors range from Stella Adler, the legendary acting coach, to River Phoenix, the tragic model for fatal drug overdoses.

Some of the chapters are less involving than others, and this can be attributed to Bogdanovich's limited relationships with some of the subjects in the book. However, some of the chapters are also incredibly gripping, as Bogdanovich paints personal portraits of those close to him throughout his years in film.

My personal favorite chapter was about the aforementioned Phoenix, who was a train wreck waiting to happen, but as Bogdanovich tells it, he was also an unbelievable talent and just a great guy to be around - that is, while he was still around.

The other actor that really captured my attention was John Cassevetes, who is probably more well-known as a pioneering director and producer of independent films. Bogdo (as Cassevetes referred to him) is able to explain some of Cassevetes's genius and cavalier attitude towards filmmaking, which was basically "I'm making this film the way I want - you're either in or out." You just have to respect that.

Overall, the book is uneven, and it almost has to be, with such a wide array of Peter-profiled personalities. This gets a recommendation for those interested in classic Hollywood film lore and the "real" lives of screen legends.

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