{"id":244,"date":"2004-12-03T11:25:35","date_gmt":"2004-12-03T18:25:35","guid":{"rendered":"http:\/\/www.doubleperf.com\/blog\/archives\/2004\/12\/03\/of_marlon_and_matlock.html"},"modified":"2004-12-03T11:25:35","modified_gmt":"2004-12-03T18:25:35","slug":"of_marlon_and_matlock","status":"publish","type":"post","link":"http:\/\/www.doubleperf.com\/blog\/archives\/2004\/12\/03\/of_marlon_and_matlock.html","title":{"rendered":"Of Marlon and Matlock"},"content":{"rendered":"<p>Thursday was a busy night in the Boston film community.  The choices ranged from a theatrical screening of the upcoming HBO <a title=\"HBO Films: The Life and Death of Peter Sellers\" href=\"http:\/\/www.hbo.com\/films\/petersellers\/\">Peter Sellers film<\/a>, a preview of Mike Nichols&#8217; <I>Closer<\/I> at the Harvard Loews, a preview of <I>The Sea Inside<\/I> with a q &#038; a with Javier Bardem at the Boston Loews, and finally, a screening and q &#038; a with screenwriter and novelist (and, umm&#8230;legend) Budd Schulberg at B.U.  I was tempted by all of the choices, but opted for the most unique and least likely to repeat itself, a chance to hear the author of <I>What Makes Sammy Run?<\/I> and the screenwriter behind <I>On the Waterfront<\/I> discuss his work.  <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"budd_bu.jpg\" src=\"http:\/\/www.doubleperf.com\/blog\/wp-content\/uploads\/2004\/12\/03\/budd_bu.jpg\" width=\"225\" height=\"278\" border=\"0\" ALIGN=RIGHT \/>The evening began with a screening of the second Schulberg script directed by Elia Kazan, <I>A Face in the Crowd<\/I>.  I&#8217;d barely heard of it before last week, but I&#8217;m glad I caught it; it was scary, smart, and remarkably ahead of its time.  It starred a pre-&#8220;Andy Griffith Show&#8221; Andy Griffith, a pre-everything Lee Remick, and a young Walter Matthau, among others.  <a title=\"What Makes Sammy Run? (Budd Schulberg)\" href=\"http:\/\/www.whatmakessammyrun.net\/bschul.htm\">Budd Schulberg<\/a> is ninety years old, still a sharp, spry man, and has known just about everyone, it seems, in film and literature over the last eighty years.  He&#8217;s worked with directors like Kazan, John Ford, and Nicholas Ray; actors like Marlon Brando and Humphrey Bogart; bigwigs like Louis Mayer and Jack Warner; and as a child of Hollywood, it seems he knew just about everyone else.  When names like Dorothy Parker, Sinclair Lewis, and F. Scott Fitzgerald are dropped, though, things get weird; when he was asked in 1939 to work with Fitzgerald, even Schulberg apparently said &#8220;I thought he was dead.&#8221;   Schulberg graduated from Dartmouth in the class of 1936, and he and Fitzgerald worked together on the flop <I>Winter Carnival<\/I> there (though Fitzgerald was in Hanover for a weekend and disappeared, drunk, and was fired in front of the Hanover Inn).  <\/p>\n<p>Schulberg talked about his close relationship with Elia Kazan, whom he called &#8220;<a title=\"Elia Kazan at Reel Classics: Article: Elia Kazan: The Director And His Gifts; The Kennedy Center Honors the Artist\" href=\"http:\/\/www.reelclassics.com\/Directors\/Kazan\/kazan-article2.htm\">Gadge<\/a>,&#8221; Marlon Brando, with whom he connected on political and social issues, and his father, B. P. Schulberg, a studio head in Hollywood.  He seems like the last of a breed of people who are intertwined in the worlds of film and literature, as comfortable seeking out the curmudgeonly Sinclair Lewis and spending a weekend drinking highballs and talking about writing with him as they are working with people like Brando and Bogart.  It was a real privilege to hear him speak and to listen to stories of some of his incredible experiences.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Thursday was a busy night in the Boston film community. The choices ranged from a theatrical screening of the upcoming HBO Peter Sellers film, a preview of Mike Nichols&#8217; Closer at the Harvard Loews, a preview of The Sea Inside with a q &#038; a with Javier Bardem at the Boston Loews, and finally, a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-244","post","type-post","status-publish","format-standard","hentry","category-film"],"_links":{"self":[{"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/posts\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":0,"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/posts\/244\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/media?parent=244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/categories?post=244"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.doubleperf.com\/blog\/wp-json\/wp\/v2\/tags?post=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}