Isabella Rossellini – Blood and Porridge

January 19, 2025January 19, 2025

The man from another place has gone to another place

From wikipedia.org / © Georges Biard

For the past few days, I’ve felt like wearing a black armband while I sip my cups of coffee. That’s because David Lynch, visionary maker of movies, short films, TV shows, web series, music videos and commercials, and artist, musician and actor to boot, passed away on January 15^th.

In his cinematic output, Lynch was surely one of the most American of film directors. His work was suffused with Americana, both the cosy variety populated by porches, picket fences, lawns, sprinklers, diners, coffee, pie and kindly, neighbourly folk; and the flashier variety whereby bequiffed, leather-jacketed Elvis wannabes and peroxide blondes cruised along endless highways in big, finned sports cars. This being Lynch, though, submerged beneath the Americana and frequently bubbling to its surface were things altogether weirder, darker, more surreal and twisted. There was as much Salvador Dali, Luis Bunuel and William S. Burroughs in his work as there was Edward Hopper, Frank Capra and Ray Bradbury. Meanwhile, though Lynch’s themes, motifs, imagery and stylistic touches felt unique – no wonder ‘Lynchian’ became a word – he wasn’t afraid to dress his visions in the clothes of familiar genres: horror, thriller, crime noir, science fiction and – something Lynch didn’t get enough credit for – comedy.

Anyway, here’s a guide to my favourite parts of the David Lynch film-and-TV universe.

Favourite Lynch cast

Lynch’s version of Dune (1984) was a box-office flop and received much abuse from critics. (Dung, I remember the New Musical Express calling it.) Unfortunately, Dune’s old-school producer Dino De Laurentiis wanted the doorstop-sized and labyrinthine Frank Herbert novel on which it was based crammed into a regulation two-hour movie. The condensed result didn’t make much sense.

© Dino De Laurentiis Corporation / Universal Pictures

But Lynch never worked with a better troupe of actors. It even outshone the cast that, four decades later, Denis Villeneuve assembled for his telling of the story in 2022 and 2024. The Lynch Dune features Kyle MacLachlan, Jurgen Prochnow, Francesca Annis, Kenneth McMillan, Paul Smith, Patrick Stewart, Richard Jordan, Freddie Jones, Sian Phillips, Virginia Madsen, Jack Nance, José Ferrer, Everitt McGill, Brad Dourif, Max von Sydow and Dean Stockwell. Oh, and Sting – more on him in a minute.

Favourite Lynch collaborator

That would be Jack Nance, who played Henry Spencer, lead character in Eraserhead (1977), the film that put Lynch on the map. With his impassive features, bouffant, tight suit and peculiar gait, Nance contributes as much to the film’s atmosphere as the elements that today we’d regard as typically Lynchian – the mutant baby, the lady in the radiator, the flickering lights, the industrial noise. Thereafter, he was in all Lynch’s film projects (apart from 1980’s The Elephant Man) up to 1997’s Lost Highway. He most famously played the amiable, fishing-and-chess-obsessed Pete Martell in Twin Peaks (1990-91), Lynch and Mark Frost’s oddball, sometimes barmy, occasionally confounding TV murder whodunnit, which coincidentally was a soap opera, comedy, horror story and science-fiction drama too.

© AFI Center for Advanced Studies / Libra Films

Nance’s life sounds pretty rough. His film work was intermittent and in the mid-1980s he worked as a hotel clerk to make ends meet. His second wife Kelly Jean Van Dyke (Dick Van Dyke’s niece) committed suicide. And he had severe alcohol problems. During the filming of Blue Velvet (1986), he was in such a state that Dennis Hopper – Dennis Hopper! – had to drive him to a rehabilitation centre. In 1996, Nance died of a subdural hematoma, resulting from a ‘blunt force trauma’. The previous day his face was bruised and he told friends that he’d been punched during a brawl he’d got into with some strangers in a doughnut shop. Lynch said in tribute: “There’s not another actor I can think of who could fill his shoes. I had roles in my head for future films that I was saving for Jack. I cannot think of anyone else who could do it.”

Favourite Lynch funny bit

The other day at work I was discussing Lynch’s passing with a colleague. I started enthusing about the sequence where Nicolas Cage and Willem Dafoe try to rob a feed store in Wild at Heart (1991) and how funny it was: “Willem Dafoe trips and falls on his shotgun and it goes off and you see the top of his head flying up in the air… Meanwhile, there’s a wounded clerk who’s had his hand blown off at the wrist… His colleague comforts him by saying modern surgery can reattach his hand… And then you see a dog running away outside with the hand in its mouth…”

At this point I realised my colleague wasn’t laughing with me, but was looking decidedly queasy. He didn’t seem happy to be reminded of that sequence. Which shows humour is subjective. Still, I think the attempted robbery in Wild at Heart is Lynch’s funniest moment.

© PolyGram / Propaganda Films / Samuel Goldwyn Company

Favourite Lynch musical bit

Lynch was a musician, so music played a big role in his films – right from Eraserhead, when the lady in the radiator sings In Heaven. In his final major work, Twin Peaks: The Return (2017), the long-awaited third season of his celebrated TV show, music wasn’t so much an element as a fixture. Each episode ended with a scene in the Roadhouse, the bar / concert venue in the town of Twin Peaks, where a musical act would be performing. Given Twin Peaks’ small size and remote location, the Roadhouse attracted some unfeasibly big names: Julee Cruise, the Cactus Blossoms, Rebekah Del Rio with Moby on guitar, and one Edward Louis Severson – Eddie Vedder to you and me.

But in my opinion, the act that rounds off Episode 8 of Twin Peaks: The Return is best of all. It’s the fearsome electro-metal juggernaut Nine Inch Nails, whom the Roadhouse MC introduces as the Nine Inch Nails, no less.

© Dino De Laurentiis Corporation / Universal Pictures

Favourite Lynch musician in an acting role

Lynch was also fond of putting singers and musicians in his casts. Many remember Sting playing Feyd-Rautha Harknonnen, evil nephew of the equally-evil Baron Harkonnen, in Dune. I’m not a fan of Sting’s acting but visually, with his spiky blonde hair, lean frame and daft codpiece, he was striking. Indeed, when I saw Denis Villeneuve’s Dune Part 2 and Austen Butler strolled into view as Feyd-Rautha, my first thought was: “Oh look, there’s what’s-his-name in the Sting role!”

© Twin Peaks Productions / New Line Cinema / CiBy 2000

However, my favourite Lynchian musical-cameo comes in the middle of Twin Peaks’ cinematic prequel Twin Peaks: Fire Walk with Me (1992). This is when David Bowie pops up as Phillip Jeffries, an FBI agent who’s been mysteriously missing for two years. One morning, he suddenly steps out of a lift at FBI headquarters. He proceeds to babble gibberish at FBI agents and Twin Peaks regulars Dale Cooper, Albert Rosenthal and Gordon Cole (Kyle MacLachlan, Miguel Ferrer and Lynch himself): “Who do you think this is, there…? I found something. And then there they were!” Then he narrates a trippy dream montage involving dwarves, killers, masks, disembodied mouths and long-nosed spectres. And then he vanishes into thin air. “He’s gone!” squawks McLachlan. “He was never here!” retorts Ferrer.

Bowie died early in 2016, before Twin Peaks: The Return began filming, which seemed to rule Philip Jeffries out of the third series’ storyline. However, Lynch did include Jeffries. Only now the disappearing agent is a giant teapot voiced by an actor called Nathan Frizell doing a Bowie impersonation.

David Bowie turned into a teapot. Only David Lynch could do that.

© Lynch-Frost Productions / Showtime Networks

Favourite Lynch sad bit

Because of the nightmarish aspects of his work – it’s not the majority of their content, but it’s the stuff that lingers in viewers’ minds – Lynch isn’t readily associated with pathos. Yet there are moments in his films that I find incredibly sad. In The Elephant Man, for instance, it’s when the titular character John Merrick (John Hurt) escapes from the freak show owned by the evil Bytes (Freddie Jones), with the help of the show’s other inmates. A dwarf, played by Star Wars’ Kenny Baker, remarks ruefully: “Luck, my friend, luck. Who needs it more than we?” Or in Twin Peaks: The Return when Deputy Hawk (Michael Horse) says a final goodbye to the ailing Margaret Lanterman, aka the Log Lady. This is made more poignant by knowing that Log-Lady actress Catherine Coulson died early in the third season’s production.

But my number-one Lynch sad moment is probably the ending of The Straight Story (1999), when Alvin (Richard Farnworth) finally makes it to the shack of his dying brother, Lyle (Harry Dean Stanton). They’re two old codgers, one using walking sticks and the other a Zimmer frame, and clearly aren’t used to expressing their feelings. But Lynch, with some basic dialogue (“Did you ride that thing all the way out here to see me?” “I did, Lyle.”), some silence and some anxious, exhausted looks and expressions from his actors, conveys a huge amount of emotion.

© Asymmetrical Productions / Film4 / Buena Vista Productions

Favourite Lynch scary bit

Obviously, there are lots of scary bits in Lynch’s oeuvre. I imagine he’d have been miffed if you described his works as ‘horror’ films, but he more than earned his entry in any ‘Encyclopaedia of Horror’.

Particularly freaky to me were several things in Twin Peaks and its 2017 sequel. The image of Killer Bob (Frank Silva) crawling over a sofa in the original series was terrifying. Twin Peaks: The Return featured in its first episode a strange experiment involving a big glass box and a mass of surveillance equipment that eventually conjures up a phantom entity. Unfortunately for the guy monitoring the experiment – who’s inopportunely chosen this moment to have it off with his girlfriend – the entity is equipped with kitchen-blender fingers and It proceeds to reduce their heads to bloody confetti. Also horrific is a sequence in a later episode wherein Deputy Bobby Briggs (Dana Ashbrook) tries to calm a hysterical woman at the wheel of a stalled car and a convulsing, vomiting zombie-like creature slowly rises out of the seat beside her. This is never explained or referred to again – a perfect, scary Lynchian moment in other words.

And I remember sinking into my cinema seat, not wanting to look at the screen too much, during Lost Highway (1996), when Lynch’s camera starts prowling deep – deep – into the black recesses of the house belonging to Fred (Bill Pullman), the film’s initial hero. That sequence had a real primordial chill to it.

But for my money, the scariest Lynch moment is the ‘Winkie’s Diner’ sequence in Mulholland Drive (2001). A man sitting in the diner (Patrick Fischler) recounts two dreams he’s had, both of which take place there. In each dream he’s been possessed by an inexplicable fear – and a man with a hideous face living behind the diner, whom he can see ‘through the wall’, seems to be responsible. When a companion suggests he exorcises the memory of the dreams by checking behind the real diner, he reluctantly complies. So they venture along the side alleyway, and… What follows is one of the very few jump-scares in cinematic history that actually made me jump.

© Lynch-Frost Productions / Spelling Entertainment

Favourite Lynch speech

Miguel Ferrer’s Albert Rosenthal, the arrogant FBI pathologist who assists Kyle MacLachlan’s Dale Cooper in Twin Peaks, gets my vote here. During the first season, Albert is very vocal about his low opinion of the town of Twin Peaks, which results in him getting punched out by Sheriff Harry S. Truman (Michael Ontkean). During the second season, when Truman’s ready to punch him out again following a particularly cutting jibe – “You might practise walking without dragging your knuckles on the floor” – Albert responds to the threat of violence with an impassioned speech explaining that he’s happy to be a knob-end if it helps him in the greater scheme of things, i.e. in the struggle against evil. Oh, and he’s a committed pacifist too.

“While I will admit to a certain cynicism, the fact is that I’m a naysayer and hatchet-man in the fight against violence. I pride myself in taking a punch and I’ll gladly take another because I choose to live my life in the company of Gandhi and King. My concerns are global. I reject absolutely revenge, aggression and retaliation. The foundation of such a method is love. I love you, Sheriff Truman.”

No wonder Cooper tells the dumfounded Truman afterwards, “Albert’s path is a strange and difficult one.”

© De Laurentiis Entertainment Group

Favourite Lynch villain

There are a good many contenders for this too: Killer Bob in Twin Peaks, Willem Dafoe’s Bobby Peru in Wild at Heart, and Kenneth McMillan’s Baron Harkonnen in Dune, who’s basically a levitating, leering sack of pus. But at the end of the day, my ‘Favourite Lynch Villain’ award has to go to Dennis Hopper’s Frank Booth in Blue Velvet.

The scene where the black-clad, slick-haired Frank assaults Dorothy Vallens (Isabella Rossellini) whilst acting out a deranged sexual fantasy, screaming things like “Baby wants to f**k! Baby wants to f**k blue velvet!” and slurping gas out of a canister is astonishing. It’s made even more harrowing by the fact that the hapless Jeffrey Beaumont (Kyle MacLachlan) is hiding nearby in a closet and has to witness it all. This is the moment when the preppy, clean-cut Jeffrey discovers life is a lot more complicated, in a bad way, than he thought. No wonder he laments: “Why are there people like Frank? Why is there so much trouble in this world?”

So, thank you David Lynch. Your oeuvre was sometimes comfortingly genial, sometimes perplexingly weird, sometimes shockingly dark – but it was always fascinating. I raise a damn fine cup of coffee in your honour.

© Lynch-Frost Productions / Showtime Networks

May 31, 2023July 18, 2023

When novelists and films collide

From Wikipedia / © Antonio Monda

May 19^th saw the death of Martin Amis, reckoned by some to be the greatest British novelist of his generation. I have to say that’s not an opinion I shared, although I liked his 1984 novel Money and some of the stories in his 1987 collection Einstein’s Monsters. Anyway, one thing I noticed about the lengthy obituaries of Amis I read after his passing – none of them mentioned the fact that he wrote the script for 1980’s science-fiction movie Saturn 3. This features a saucy robot, programmed with the libido of Harvey Keitel, pursuing Farah Fawcett around a base on one of Saturn’s moons. Why the omission? No doubt Amis’s obituarists declined to mention it out of respect. Saturn 3 was an embarrassment and Amis surely left it off his CV.

However, Amis and Saturn 3 do highlight how, over the decades, well-respected authors have been involved with the film industry – a world less interested in creative endeavour and excellence and more interested in giving the public what it wants, putting bums on seats and making a fast buck – and the results have frequently not been pretty.

Here are a few of my favourite examples of novelists and filmmakers colliding and the movies birthed by those collisions being, let’s say, memorable for the wrong reasons.

© Amicus Productions

John Brunner and The Terrornauts (1967)

The science-fiction author John Brunner was highly regarded in his day and won both the Hugo and the British Science Fiction Association (BSFA) Awards for his 1968 novel Stand on Zanzibar. Also, his 1979 novel The Jagged Orbit netted another BSFA award and his pessimistic and prescient 1972 novel, The Sheep Look Up, about extreme pollution and environmental disaster, was much admired too. Though he’s not so well-remembered now, the BBC website did devote a feature to him in its Culture section a few years back.

Perplexingly, the only film script Brunner ever wrote was for the ultra-low-budget British sci-fi movie The Terrornauts (1967), which is about some astronomers contacting the remnants of an alien civilisation stowed away on an asteroid, being abducted and taken to that asteroid, and eventually having to fight off an invasion fleet that’s heading towards earth. Brunner’s script was based on a book called The Wailing Asteroid (1960) by another sci-fi writer, Murray Leinster. I saw The Terrornauts on late-night TV when I was 11 and even at that young age thought it was dreadful, with its poverty-row special effects, its cardboard sets, and the thuddingly incongruous presence of comedy actors Charles Hawtrey and Patricia Hayes, inserted into the proceedings for alleged ‘comic relief’. Still, The Terrornauts was so terrible that it burned itself into my memory and I’ve never been able to forget the bloody thing since. For the filmmakers, I guess that was some sort of achievement.

Chief among those filmmakers was producer Milton Subotsky, who ran Amicus Productions with Max J. Rosenberg during the 1960s and 1970s and was better known for making horror movies. I read an interview with Brunner once and he confessed to writing The Terrornauts as a favour to Subotsky, who was a friend of his. Subotsky and Rosenberg, incidentally, had form in getting literary folk to pen their screenplays. They drew at various times on Robert Bloch, Margaret Drabble, Harold Pinter and Clive James, the latter for a film that never got off the drawing board. And for their 1974 lost world / dinosaur epic The Land That Time Forgot, they hired another esteemed science-fiction writer, Michael Moorcock. The low-budget dinosaurs in The Land That Time Forgot are rubbery and a bit laughable by today’s standards, but Moorcock was gracious enough to describe the film as ‘a workmanlike piece of crap.’

And speaking of dinosaurs…

© Hammer Films

J.G. Ballard and When Dinosaurs Ruled the Earth (1969)

Ballard is one of my all-time favourite writers. While a few filmmakers have come close to successfully translating his disturbing, dystopian and hallucinogenic literary visions into celluloid, such as David Cronenberg did with Crash (1996) and Ben Wheatley with High–Rise (2015), the pulpy When Dinosaurs Ruled the Earth was, weirdly, the only film that Ballard himself scripted. This was a sequel by Hammer Films – like Subotsky and Rosenberg’s Amicus, a British company best known for making horror movies – to its 1965 epic One Million Years BC, featuring Raquel Welch as a fur-bikini-clad cavewoman and with splendid stop-motion-animation dinosaurs courtesy of special-effects genius Ray Harryhausen.

While One Million Years BC is a movie to watch and enjoy with your brain set at low gear, When Dinosaurs Ruled the Earth is one where you need to switch your brain off altogether. Aside from the obvious scientific absurdity of human beings and dinosaurs being shown to exist at the same time, when they’d really missed each other by 65 million years, the film ends with a natural cataclysm so violent that part of the earth breaks off and creates the moon. But somehow, its main characters survive the carnage. The dinosaurs this time were animated by Jim Danforth and, though not up to Harryhausen’s standard, they’re good fun.

How, you wonder, did Ballard get emmeshed in such hokum? In his 2008 autobiography Miracles of Life, he gives an amusing account of meeting Hammer producers Aida Young and Tony Hinds when they were trying to brainstorm ideas for the film. The meeting had not gone well, but then Ballard rather desperately suggested that the big cataclysm at the end contain not a tidal wave crashing in, but one surging out from the shoreline. This would reveal “’…All those strange creatures and plants…’ I ended with a brief course in surrealist biology… There was silence as Hinds and Aida stared at each other. I assumed I was about to be shown the door… ‘When the wave goes out…’ Hinds stood up, clearly rejuvenated, standing behind his huge desk like Captain Ahab sighting the white whale. ‘Brilliant. Jim, who’s your agent?’”

© Rothernorth Films / Redemption Films

Fay Weldon and Killer’s Moon (1978)

Here’s the most mind-boggling collaboration on this list. On one hand, we have the feminist author Fay Weldon, who in works like The Life and Loves of a She-Devil (1983) strove to “write about and give a voice to women who are often overlooked or not featured in the media.” On the other, we have Alan Birkinshaw’s bonkers, grubby, low-budget horror effort Killer’s Moon, which seems the last thing Weldon would get involved with. Yet, uncredited, she rewrote the film’s dialogue.

Killer’s Moon has a quartet of escaped lunatics (wearing bowler hats like the Droogs in Stanley Kubrick’s controversial 1971 classic A Clockwork Orange) stalking the Lake District and terrorising some teenaged girls on a school trip whose coach has broken down. The loonies’ psychiatric treatment has included being dosed with LSD and now, mistakenly, they believe themselves to be dreaming. This makes them think they’re free to indulge without any repercussions in their darkest fantasies, which consist of rape, murder and animal mutilation. But don’t worry, animal-lovers. The dog that loses a limb early on, and spends the rest of the film hobbling about on three legs, was three-legged in real life. According to Killer’s Moon’s Wikipedia entry, she “was originally a pub dog who had lost a leg as the result of a shotgun wound sustained during an armed robbery. She was later awarded the doggy Victoria Cross award for bravery.”

Weldon’s involvement was for a familial reason. Director Birkinshaw was none other than her brother. She grumbled that by working on Killer’s Moon, she’d turned it into a ‘cult film’, but that’s exaggerating things a bit. Seen in 2023, Killer’s Moon is no cult film. It’s still daft, badly-made tat, and the bits of it that once seemed shocking just seem funny today.

© ITC Entertainment

Martin Amis and Saturn 3 (1980)

And now the movie that inspired this entry, the dire Saturn 3. Amis’s script was based on a story by John Barry – not the composer most famous for his work on the James Bond films, but John Barry the set designer on Star Wars (1977), who died of meningitis the year before Saturn 3 was released. Horror writer Stephen Gallagher was assigned the job of writing Saturn 3’s tie-in novelisation and once said of it: “The script was terrible. I thought it was bad then but in retrospect, and with experience, I can see how truly inept it was.” Gallagher added that this may not have been Amis’s fault and the script could have fallen victim to the film industry’s penchant for endless re-writing. He heard later that “every script-doctor in town had taken an uncredited swing at it, so it’s impossible to say if it was stillborn or had been gangbanged to death.”

Supposedly, Amis based some of his novel Money on his experiences with Saturn 3. It’s even said that one of Money’s characters, the ageing movie star Lorne Guyland, who’s convinced of his enduring youth and virility and isn’t afraid to disrobe and flaunt his body in an effort to prove it, was inspired by Saturn 3’s star Kirk Douglas. Years later, Amis remarked: “When actors get old they get obsessed with wanting to be nude… And Kirk wanted to be naked.”

© Zoetrope Studios / Golan-Globus

Norman Mailer and Tough Guys Don’t Dance (1987)

Three years after the publication of his crime-noir pastiche Tough Guys Don’t Dance, Norman Mailer got the chance to turn the book into a film starring Ryan O’Neal, Isabella Rossellini, Lawrence Tierney and Wings Hauser. The venerable American novelist was both co-scripter and director. I wrote extensively about Tough Guys Don’t Dance-the-movie a couple of months ago, so I won’t repeat here too much of what I said. It was, I wrote, “a delirious slice of so-bad-it’s-good campness”, where the cast visibly struggle “as they try to get their tongues, and their minds, around Mailer’s dialogue, which is largely fixated on performing the sex-deed with adequate levels of manliness. At one point Rossellini tells O’Neal that she and her husband, Hauser, ‘make out five times a night. That’s why I call him Mr Five.’ Though this is contradicted when Rossellini and Hauser have an argument. ‘I made you come 16 times – in a night.’ ‘And none of them was any good!’”

And of course, there’s the scene where hero Ryan O’Neal “finds out about his wife’s infidelity and reacts with a jaw-dropping display of bad acting – ‘Oh man! Oh God! Oh man! Oh God!’ – which, over the years, has become so infamous it’s now an Internet meme.”

© Scott Free Productions / 20^th Century Fox

Cormac McCarthy and The Counselor (2013)

Also not having much success with sexy dialogue was legendary American author Cormac McCarthy, who wrote the script for the Ridley Scott-directed movie The Counselor. At one point in The Counselor, we get an auto-erotic scene – that’s ‘auto’ as in ‘involving automobiles’ – where Cameron Diaz makes out with Javier Bardem’s sports car. While grinding against the windscreen on her way to a climax, and flashing a certain part of her anatomy at Bardem on the other side of the glass, he likens the sight to “one of those catfish things, one of the bottom-feeders you see go up the side of the fish tank.”

Most critics panned The Counselor, presumably because they’d hoped that it would combine the intensity of McCarthy’s celebrated ultra-violent Western novel Blood Meridan (1985) with the intensity of Scott’s darkly-perverse space-horror movie Alien (1980). What they got, though, was a bewildering crime thriller about drug cartels that, to quote Mark Kermode in the Observer, “gets an A-list cast to recite B-movie dialogue with C-minus results.”

Michel Houellebecq and the KIRAC arthouse porn movie (2023)

Many writers have turned up in films as actors, usually in supporting or cameo roles – Maya Angelou, William S. Burroughs, Stephen King, Salman Rushdie and, indeed, Norman Mailer and Martin Amis (who as a blond 13-year-old starred in 1965’s A High Wind in Jamaica). I doubt, though, if any of these have generated as much noise as French author Michel Houellebecq’s recent, er, performance in a film production from radical Dutch art collective KIRAC (Keeping It Real Art Critics). I haven’t managed to find the title of the film — which sounds like it belongs to the ‘arthouse porn’ category — in the news reports about it.

Houellebecq, it transpires, agreed to be filmed having sex in the movie and signed a waiver saying that the only restriction on his participation was that his face and his ‘block and tackle’ didn’t appear together in the same shot. KIRAC didn’t even extend an invitation to him originally. It was Qianyun Lysis, Houellebecq’s better half, who suggested they use her husband – and no, it’s not her, but another woman who appears in bed with Houellebecq in the film. Now anyone who’s read his sex-filled and provocative novels, such as Atomised (1998) and Platform (2001), would assume this sort of thing is right up Houellebecq’s street. However, he lost his enthusiasm for the project after a few days of filming (and after the deed had been captured on camera). He then denounced the production and has since been trying, and failing, to stop KIRAC releasing the film in France and Netherlands.

If I was crass and prurient, I would roll my eyes at this and give a little cry of “Oh là là!” But I’m not. So, I won’t.

January 31, 2023February 1, 2023

Norm!

I’m aware that some of the writers, artists, musicians and filmmakers whose work I admire were total arseholes in their personal lives. Possessing ‘artistic genius’, or just having an ‘artistic temperament’, was for them an excuse to commit all manner of heinous sins. Yet all I can do, I feel, is separate the art from the inadequate and disappointing personality that created it – and focus on and enjoy the former. As the writer Poppy Z. Brite (who sometimes goes by the name of Billy Martin) wrote recently about the author V.S. Naipaul: “Past a point, you can’t help what you love. Naipaul is my own problematic favourite, a sexist, racist, often unkind man, but I love his writing and he fascinates me as a person.”

To some extent, that sums up my feelings about that famous post-war American man of letters Norman Mailer, who would have been 100 years old today if he’d still been on the go. To say Mailer was problematic as a person is an understatement. From all the accounts the guy was a belligerent, egotistical, self-promoting, homophobic and misogynistic dickwad who lamented about ‘the womanisation of America’ and was preoccupied with the sort of toxic masculinity that, in the 21^st century and as embodied by the likes of Putin and Trump, seems capable of threatening the continued existence of humanity.

Most notoriously, in 1960, he stuck a knife into his second wife, Adele Morales, enraged when she told him he wasn’t as good a writer as Dostoyevsky. Morales survived and divorced him two years later. For that reason, my partner never refers to Norman Mailer as ‘Norman Mailer’, but as ‘Stabby’.

Among other things on Mailer’s charge-sheet, in 1981 he was instrumental in securing parole for murderer, bank robber and forger Jack Abbott. Abbott was also a writer, which for Mailer apparently righted all his other wrongs. Six weeks after his parole, Abbott stabbed to death a waiter following an argument about whether or not he could use a café’s toilet.

And yet… I’ve always enjoyed Mailer’s books when I’ve come across them, to greater or lesser degrees. This is despite – or if I’m in the right mood, because of – the rampant egotism of their author often finding its way onto their pages.

Mailer’s first novel The Naked and the Dead (1948) is to my mind one of the great novels written about World War II. Mailer wrote about it from experience, as he’d been posted to the Philippines with the 112^th Cavalry. It made an impact on me with its pessimism, which isn’t just about human nature when it’s put under hideous pressure in a theatre of war. The pessimism also concerns the current, and likely future, condition of the USA, which is symbolised by the platoon at the centre of the plot. They represent an assortment of different ethnic and regional groups that make up American society – Jewish, Italian, Irish, Mexican, Southern – and they generally don’t like or trust each other. In charge of them are a psychotic sergeant, an educated and liberal-minded lieutenant and, at the top of the chain of command, a fascistic general who believes the war against Japan is soon going to morph into a war against the Soviet Union. The enlightened lieutenant offers the novel its one sliver of hope, but that hope is abruptly snuffed out in a plot-twist some way before the end.

However, even if you find the political allegory in The Naked and the Dead clunky, there’s no denying that it conveys the numbing physical exhaustion of warfare – especially a war fought in a jungle on a tropical Pacific island. If George Orwell’s Homage to Catalonia (1938) gets across the idea that more than anything else war will leave you bored witless, The Naked and the Dead persuades you that it’ll leave you utterly knackered too.

One unfortunate feature of the novel, and something that modern-day readers will no doubt find hilarious, is that Mailer had to pepper his prose with the word ‘fug’, an invented substitute for the F-word. Warned by his publishers that the dialogue of his soldier-characters couldn’t be too realistic, even though in a real combat zone hard-pressed soldiers would be spewing the F-word endlessly, Mailer ended up having them say things like ‘Fug you!’ and ‘Fugging hell!’ It must have stuck in Mailer’s craw – and Mailer had a big craw for things to get stuck in – when, later, he was introduced to the celebrated writer and wit Dorothy Parker and she exclaimed, “So you’re the young man who can’t spell f*ck!”

A decade after its publication, The Naked and the Dead was turned into a movie. It’s a prime example of Hollywood taking something with an uncompromising message and watering it down to make it more palatable to mainstream cinema audiences – and losing what made the original effective in the process. Not only does the lieutenant (Cliff Robertson) survive at the end but, if I remember correctly, he gets to make an inspirational speech about the value of everyone pulling together. However, Mailer was already aware of the rottenness of Hollywood and in 1955 had written a novel on the topic, The Deer Park. This was the era when the House of Representatives’ Committee on Un-American Activities was at its most powerful and the notorious Hollywood Blacklist was ending filmmakers’ careers, events that are referred to in his book.

I don’t remember much about the plot or characters of The Deer Park, but I recall the vividness of its setting, Desert D’Or, a desert town that’s become a fashionable resort and refuge for Hollywood bigwigs. Its existence as a pocket of lavish make-believe amid the desert’s harshness is matched by the artificiality of its inhabitants, who are an immoral, scheming, backstabbing, bullying lot. Wikipedia informs me that the novel’s title “refers to the Parc-aux-Serfs (‘Deer Park’), a resort Louis XV of France kept stocked with young women for his personal pleasure”, which seems appropriate.

Unsurprisingly, when the 1960s began to swing with sex, drugs and rock ‘n’ roll, and the Vietnam War, Mailer took to the decade like a duck to water. At a young and impressionable age – 17 years old – I read Mailer’s Armies of the Night, in which he recounts how he marched on the Pentagon in October 1967 and told the US government to stop the war in Vietnam. To be honest, Mailer did have a bit of help here. About 100,000 people marched with him, including Allen Ginsburg, Abbie Hoffman and Jerry Rubin, who tried to use concentrated, psychic hippie-power to levitate the Pentagon building and ‘exorcise the evil within’.

A ’fictionalised work of non-fiction’, Armies of the Night was the first such book I’d encountered and it took me a while to get used to its central conceit, wherein Mailer describes what happened at the march not as some omnipotent narrator, or in the first person, but in the third person, so that he becomes a character in the action itself. Yes, it’s a memorable device but, inevitably with Mailer, it’s self-aggrandising too. At one point, possibly inspired by Armies of the Night, I wrote entries in my journal for a few months in the third person. Years later, when I re-read what I’d written, my main thought was: “What a big-headed wanker I must have been back then.”

Mailer was in the first person for the next book by him I’ve read, also a work of non-fiction, 1975’s The Fight. This is about the ‘Rumble in the Jungle’, the famous boxing match between Muhammad Ali and George Foreman (who, to a younger generation, is primarily known as the inventor of the George Foreman Lean Mean Fat-Reducing Grilling Machine). With Ali at his peak, and Foreman at his meanest and most lethal, this was, for boxing fans, an epic event. It was also a grotesque one, because one of the 20^th century’s most opulently corrupt dictators, Zaire’s Mobutu Sese Seko, hosted the fight in his country. Sparing no expense, Mobutu also flew in some of the world’s greatest musicians, like James Brown and B.B. King, for a musical gala to accompany it. And it was no surprise that the world’s biggest literary ego, Mailer, rocked in too to write a book about it.

While I prefer the 1996 documentary When We were Kings (to which Mailer contributes) as the definite account of the Rumble in the Jungle, I think The Fight is pretty good. Mind you, with so much going on in Zaire at the time, Mailer could hardly fail to write an entertaining book about it all. And it does provide a fascinating insight into the mind of the man who called himself the greatest… The book mentions Muhammad Ali a few times as well.

Random House USA Inc

Having read one Mailer book from the 1940s, the 1950s, the 1960s and the 1970s, it’s fitting that the last of his works I’ve encountered is from the 1980s, 1984’s Tough Guys Don’t Dance. Mailer didn’t take the writing of this novel terribly seriously. It was something he dashed off in two months, to fulfil a contract, and is very obviously a pastiche / piss-take of the crime-thriller noir genre, vaguely in the tradition of Mickey Spillane and Raymond Chandler. Its plot twists all over the place before, unconvincingly, the hero’s dad – a no-nonsense hard man, but with a heart of gold, no doubt representing Mailer’s own image of himself – pops up out of nowhere to sort everything out.

I thought it was basically rubbish, then, but it was enjoyable rubbish. Maybe I liked it because, as with Tough Guys Don’t Dance’s hero Tim Madden, I was going through a hard-drinking phase at the time, waking up occasionally with a raging hangover but no firm idea of what I’d ended up doing the previous night. Thus, I could relate to what Madden goes through in the book. Though unlike Madden, I never woke up to find (1) an inexplicable tattoo on my body that hadn’t been there before, and (2) an inexplicable severed head in my possession that hadn’t been there before, either – the events that set the story in motion.

One thing that’s genuinely good about Tough Guys Don’t Dance is its setting, which is Provincetown in Cape Cod, Massachusetts – in real life Mailer had a house there, in Commercial Street. He nicely captures the eeriness of the place when the summer weather has receded and the tourist season has ended, when ‘one chill morose November sky went into another’ and, seemingly, the town’s ‘true number of inhabitants must be thirty men and women, all hiding’.

Three years later, Mailer got the chance to turn Tough Guys Don’t Dance into a movie, which he directed, and co-scripted with the distinguished screenwriter Robert Towne, and with Francis Ford Coppola’s Zoetrope Studios as one of the production companies. Sounds good, yes? Well, no. The producers were Menahem Golan and Yoram Globus of the notorious Cannon Group, whose previous meisterwerks included Breakin’ 2: Electric Boogaloo (1984), Bolero (1984), Invasion USA (1985), Cobra (1986) and Death Wish 4: The Crackdown (1987). And despite the talent involved, Tough Guys Don’t Dance definitely bears the Cannon imprint most strongly in terms of quality. It’s a delirious slice of so-bad-it’s-good campness.

Thus, you get a party sequence, which appears to be Mailer’s idea of what a decadent 1980s shindig would be like – yuppies with feather-cut hairdos cavorting like arthritic elephants to some god-awful 1980s soft-rock music while nose-hoovering cocaine off the tabletops and brazenly opening the front door stark-naked because they think it’s their ‘boyfriend’. (No, it’s actually the local police chief, played by Wings Hauser, come to ask them to turn the noise down.) Still, I’m told that Mailer filmed much of the movie at his own house in Provincetown, so maybe he did hold parties like this. Then there’s the scene where Madden (Ryan O’Neal) finds out about his wife’s infidelity and reacts with a jaw-dropping display of bad acting – “Oh man! Oh God! Oh man! Oh God!” – which, over the years, has become so infamous it’s now an Internet meme.

To be fair to O’Neal, almost everyone in the film is having a bad-acting day. This ranges from the way-over-the-top ‘southern’ accents sported by Debra Sandlund and John Bedford Lloyd – “Madden, take it in the mouth or you’ll die. Will you take my pride and joy into your mouth?” – to the stilted awkwardness of just about everyone else (Hauser, Isabella Rossellini, Frances Fisher) as they try to get their tongues, and their minds, around Mailer’s dialogue, which is largely fixated on performing the sex-deed with adequate levels of manliness. At one point Rossellini tells O’Neal that she and her husband, Hauser, “make out five times a night. That’s why I call him Mr Five.” Though this is contradicted when Rossellini and Hauser have an argument. “I made you come 16 times – in a night.” “And none of them was any good!”

On the plus side, Lawrence Tierney gives a solid performance as Madden’s dad. I’ve read somewhere that after seeing him in this, a young Quentin Tarantino decided to hire him for Reservoir Dogs (1993). Also, Mailer adds some supernatural elements that I don’t recall being in the book, and ramps up the general weirdness, so that the film becomes an oddly prescient mixture: a superficially sleepy little town, dark secrets, murder, drugs, violence, corruption, the uncanny, the strange… There’s even a creepy forest where O’Neal has hidden his marijuana stash. Yes, three years before the real event, did Mailer accidentally create the prototype for David Lynch’s Twin Peaks (1990-91, 2017)?

Like Captain Ahab and his whale, Mailer spent his literary life pursuing that elusive beast, the writing of the Great American Novel. Though the critical consensus is that he never managed it, he did produce some very big books along the way, like Ancient Evenings (1983) and Harlot’s Ghost (1992), neither of which I’ve read – and with them weighing in at 709 and 1168 pages respectively, I doubt if I ever will read them. Nonetheless, I suspect I’ll find myself perusing Mailer’s other, more digestible books in future, because basically I enjoy his stuff. My partner may not approve, but there are still works by old ‘Stabby’ that I’d like to have a stab at.

And the only possible reaction to that distasteful pun is: “Oh man! Oh God! Oh man! Oh God!”