Steve McQueen's life was the prototypical example of a new sort of movie star who emerged in the 1950s and dominated the big screen in the 1960s and '70s as "the world's most popular actor" by the time his Hollywood Star was installed in California. Throughout his life, turbulence, difficulty trusting others or their motives was telling of a hard life upbringing. Steve was born in Beech Grove, Indiana on March 24, 1930 His childhood was grueling. His parents split up, and with his father gone (he died before Steve and wife Neile could locate him) his mother (who died of a cerebral hemorrhage in 1965) felt too young and unsuited to take care of Steve. He was placed on a train to live with his great uncle on a farm in Missouri. After he turned nine, McQueen's mother had married again, and he was sent to California to join her. However, after displaying a rebellious streak, McQueen's mother tragically sent him to the notorious Boys' Republic, a California reform school. After the ninth grade, McQueen left formal education behind, and joined the Marine Corps in 1947. After leaving the Marines in 1950, McQueen moved to New York City, where he and Martin Landauwere accepted into Lee Strasberg'sprestigious Actor's Studio (Martin and Steve were the only two among 2,000 applicants to be accepted)! In 1956, McQueen made his Broadway debut and won rave reviews when he replaced Ben Gazzara in the lead of the acclaimed drama "A Hatful of Rain". The same year, McQueen made his film debut, playing a bit part in "Somebody Up There Likes Me" alongside Paul Newman, and he married dancer Neile Adams. In 1958, after two years of stage work and television appearances, McQueen scored his first leading role in the intense teenager sci-fi cult film, "The Blob". Later that same year he scored another lead, in the television series "Wanted: Dead or Alive". McQueen's moody performances as bounty hunter Josh Randall elevated him to stardom, and in 1960, he appeared in the big-budget Western The Magnificent Seven (to be featured) confirming that his new stardom shone just as brightly on the big screen. In 1961, McQueen completed his run on "Wanted: Dead or Alive" and concentrated on film roles, appearing in comedies "The Honeymoon Machine", "Love with a Proper Stranger" (Co-Starring NatalieWood) as well as action roles in: "Hell Is for Heroes" and "The War Lover". In 1963, McQueen starred in "The Great Escape", whose blockbuster success confirmed his status as one of Hollywood's most bankable leading men. This was really Steve's "breakthrough" role! His off screen passion for motorcycle and auto racing developed. (McQueen would also display his enthusiasm for bikes as narrator of a documentary on dirt-bike racing, On Any Sunday).Through the end of the 1960s, McQueen starred in a long string of box-office successes, but in the early '70s, he appeared in two unexpected disappointments -- 1971's "Le Mans" (to be featured) and 1972's "Junior Bonner" (featured in 2006 here on The Festival). This was actually a fine film. It was called my many "an unusually good-natured Sam Peckinpah movie" that earned enthusiastic reviews. But it failed at the box office, largely due to the film distribution company's failure to market and promote the film properly. This caused considerable frustration for McQueen. Later that year, McQueen would team up again with Peckinpah for the action film,"The Getaway" which co-starred Ali MacGraw.McQueen and Neile Adams divorced in 1971, and while shooting "TheGetaway", he and MacGraw (who was then married to producer Robert Evans) became romantically involved. In 1973, MacGraw divorced Evans and married McQueen; the marriage would last until 1977. (MacGraw's book "Moving Pictures" covers their lives together). After two more big-budget blockbusters, "Papillon" and "The Towering Inferno", McQueen took his $14 million payroll check (from "The Towering Inferno"---then a record) and decided to just enjoy life away from the movie lot. In 1977, he served as both leading man and executive producer for a screen adaptation of Ibsen's "An Enemy of the People", which fared poorly with both critics and audiences--many of whom felt Steve showed tremendous courage in taking on the film, but that he was terribly miscast. In 1980, it seemed that McQueen was poised for a comeback when he appeared in two films -- an ambitious Western drama, "Tom Horn", (Co-Starring Linda Evans) which McQueen co-directed without credit, and his last film---"The Hunter", an action picture in which he played a modern-day bounty hunter. Steve wed for a third time, marrying model Barbara Minty in January of that year. Just as McQueen was rediscovering his life and was feeling true happiness, he was diagnosed with Mesothelioma, an aggressive form of lung cancer brought on by exposure to asbestos. After conventional treatment failed to stem the spread of the disease, McQueen traveled to Juarez, Mexico, where he underwent therapy at an experimental cancer clinic. The treatments were harsh and included coffee enemas, intra-muscular injections of Laetrile and animal proteins. Despite these valiant efforts of McQueen and his doctors, the actor died on November 7, 1980 of a massive heart attack following surgery to remove a large tumor. He left behind two children, son Chad McQueen, who went on to his own career as an actor, and daughter Terry McQueen, who died in 1998. Today, more than 27 years later, Steve McQueen is dearly missed. However, he is now being rediscovered by yet another generation of young fans and fellow actors who have come to appreciate his gifts! In his Last Will & Testament, Steve left a significant donation to The Boys Republic reformatory, where he would visit the children annually to give them encouragement. First wife Neille and last wife Barbara have since remarried. Neile was widowed in 2005. Ali MacGraw, returned to her career after a long absence on Broadway in April, 2006 in "Festen". Both Neile and Barbara recently released books, respectively, about their lives with Steve. Neile's is an updated book re-release called "My Husband, My Best Friend". Barbara's book is entitled "Steve McQueen: The Last Mile".
BARBARA MINTY: " I first met Steve when I went to Los Angeles and I got a call from my agent that Steve McQueen wanted to see me for a part in his movie as his Indian Guide---which I've never acted before in my life. So, It was kind of goofy. The way I got it, he saw a picture of me and it was for a Bahamas ad or something and he called to find out who I was and how to get me there. And it was just---instant attraction. We went to dinner that night, and took a road trip! So, that was the beginning of it. I knew him more as a person than an actor. And when he acted and he'd read his lines, I'd laugh and have to go into the other room. Cause I thought, "This guy gets paid how much to do that?"
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"When we got married, you could tell that he wasn't feeling well. But, I mean everyone gets the Flu. So, we found this beautiful, beautiful little house in the country, planted a bunch of trees and bred horses. I loved living in the (airplane) hangar. (Steve had an airplane hangar where he stored all of his antique motorcycles, and toys along with his plane). That was so wonderful. You'd lay in bed and click a button and the front of the hangar would open up. And you could watch the planes come in and out with your coffee, go fly a plane. Steve liked to hold court. He'd have his chair. And everybody just come around. But I think he just really wanted to experience life and I think he knew that there was something going wrong. So, he was going to take as much advantage of his life as he could.
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"He was acting very strangely and he went for a really long motorcycle ride. AndI found him on a hill, thinking. And I said, "Honey, you have got to go in (to the hospital). Let's just go in and you know, just get it checked and X-rayed" . They did the biopsy and they found that it was Mesothelioma Cancer and they didn't give him very long to live. He said to me, "Well, you want to go live in the desert and spend it, or do ya want to get better?" I said, "Try to get better". So, he tried. He tried really, really hard. He really did.
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"We went to the alternative medicine clinic. It was in Rosa Rita Beach. They did all sorts of weird things to him. In hindsight, I wouldn't have done it again with him, but he just went through it and he did really well. It just didn't work. He was very positive, very strong. And I think he had a visitor one night who sat on his shoulder and talked to him and said, "You have this way, or this way off the fence". One day he just said, "That's it. That's it". And it just broke my heart.
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"For me, the whole four years was just the most beautiful learning experience. And it was a gift. He was a great teacher and a beautiful man. And I loved him very much".
Mario Iscovich was Steve McQueen's personal assistant on film shoots and off-duty, as well. Here, Mario recalls the changes Neile, Steve's first wife began to notice during the filming of "Bullitt" in Steve's personality and how Steve's life became more troubling up to the divorce from Neile. After Steve's marriage to Actress Ali MacGraw, Mario describes how Steve finally found peace with God at the end of his life re-married to Model Barbara Minty.
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MARIO ISCOVICH: "He liked to watch and see if he could fall off the edge. He liked that. And that made him cool too. (During the filming of "Bullitt") I used to say to Steve, "Why are you doing this? (cheating) You've got this wonderful wife. You're gonna wreck your marriage". I mean, he was caught up in 'I'm the biggest star in the world. I can do anything I want". And I don't know? That part of him just came out that just took over. (On Le Mans--to be featured): I think it was a project that probably meant more to him than anything. He loved car racing. He lived it everyday. I lived it with him! We went to the Sebring race in preparation for the 24 hours of Le Mans. That was one of the most exciting times of my life. Steve partnered up to drive the race with Peter Revson and Steve had broken his foot in a motorcycle race prior. I never saw him more electrified.
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"What was beginning to make more problems was Steve's own personal problems, and his craziness and his involvement with women---which sort of started to derail his focus. So, Steve became another person. He really wasn't paying attention to the film. He became combative about things. There were always the girls. I knew Neile was upset. I think she was really trying to keep the marriage together. But he kept going down that ugly, dark road. He lost a wonderful marriage. He lost a lot. He lost himself is what he did.
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(At the end of Steve's life): "He called one day and he said, "I need you to come up. Can you come to Santa Paula". And he didn't look too good. And he said to me he had made peace with God. I think when he really got sick, he was trying to find spiritual solace. Because he felt that he had hurt a lot of people. He lived life every day on that edge.
Character Actor Don Gordon was a close friend of Steve McQueen. Don transitioned from the stage to the big screen during his middle life. Among the films he co-starred with McQueen were: "Wanted Dead or Alive", the 1950's television series where McQueen achieved his first fame as bounty hunter Josh Randal. Then came "The Magnificent Seven", "Bullitt", "Papillon" and "The Towering Inferno". His filmography begins in 1939 and extends through to films such as "Lethal Weapon". He's a wonderful Actor and here are some of Don's recollections.
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DON GORDON: "There was a very different McQueen on the set than when you said, "Cut"! Steve would only show that side of him that he figured somebody could handle. When he corrected scripts, and directors would get a little crazy and say, "What's a matter with this guy? What does he think he is? He's just a television actor." But he knew he was more than that. So, he worked hard at it. And when he worked hard, he wanted you to work hard. What's a matter with that? We'd be doing a scene and Steve would say "You're doing too much, let the camera do it all". And he was right.
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"Steve used to change his phone number like once a week--once every two weeks. You could never get a hold of him. But then he would come by my house on his bike. And he'd begin some elaborate, crazy, wild story about the fight he got into and the fact he thinks he killed this guy. But straight! You know? Then he would read the newspapers to see if there were any stories. Because he would tell only me that story. And of course, I wouldn't say anything. It's none of my business. And he'd say, "Oh, by the way, I'm changing my phone number". And he'd give me the number. He wanted to see if people were trustworthy---and for good reason. When you're a big movie star, people tend to use you. Because if he liked you, he liked you! If he didn't like you, he didn't hide it. You can't get much straighter than that. He didn't like a lot of dialogue. He liked it when someone else talked and he would nod. (Laughing) There would be four paragraphs of dialogue and he'd say, "Let Don do it". And I said, "McQueen, what is this?" (Impersonates Steve) And he'd say, "Whadya gonna do? I'm the star!"
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"We had a great time with "Papillon" because Dustin (Hoffman) would show up on the set and you never knew what he was going to be wearing. McQueen said to me, "What's he doin?" I said, "He's wearing glasses". And (begins laughing) Steve saw those glasses. Now he had to think, 'What am I going to do?' Dustin kept him on his toes. They really brought out the best in one another. He was honest. He was pure. There was no bullshit. He was right there---and he never betrayed a friend---ever!"
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Tomorrow: Steve's Personal Assistant, Mario Iscovich!
Most of you know Norman Jewison's many movies perhaps without realizing it! So, I'll name some memorable ones: With Steve McQueen there was "The Cincinnati Kid" and "The Thomas CrownAffair". Others included "In the Heat of the Night" with Rod Steiger and Sydney Poitier, "Fiddler on the Roof" with Topol, "And Justice for All" with Al Pacino, "Moonstruck" with Cher and Nicolas Cage, and "Agnes of God" with Anne Bancroft. A brilliant Director, I chose to feature Norman's comments for this BLOG because, Norman worked very closely with and became friends with Steve McQueen.
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NORMAN JEWISON: "I think Steve was perfectly cast in "The Cincinnati Kid" (which we'll feature). I mean he was playing the part of a loner; he was playing the part of a guy who was exceptionally gifted with gambling. I remember meeting Steve. He was kind of cool, kind of testing me. I said "Tell me a little about yourself". So, Steve started telling me about his childhood. He was looking for a father. But he was a loner, and he was troubled and he was looking for a father. So, I said, "I can't be your father. But I can be your older brother, and I'll look out for ya. I'll always look out for ya". I think he bought that!
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"There was a wonderful chemistry between Tuesday Weld and Steve. They were both kind of loners and both kind of lost, and both very vulnerable. I loved his vulnerability on camera. He's what we call a shit-kicking actor. He's looking down at his foot all the time and Edward G. Robinson (in one of his final film appearances) didn't like that. He says (Norman impersonating Robinson): "I know something about acting, kid. He never looks me in the eye". It was interesting--that relationship because Eddie Robinson--in my opinion--was a 'star', a cultured man who spoke four languages. And here was Steve McQueen, the young rebel, the motorcycle rider. So that dramatic confrontation between Edward G. Robinson and Steve McQueen is wonderful!
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(On "The Thomas Crown Affair", which we'll feature): I was actually casting someone else and I said, "Steve. this guy is elegant, he plays Polo". And I said, "This is going to be very hard for you". And he said this is exactly why he wanted to do it. So, I gave in" (laughter).
The reason I selected Lawrence Kasdan's commentary is two-fold. As an objective observer, he approaches McQueen's films as a student. Secondly, he covers the depth and breadth of Steve's career with some very good commentary that I felt was necessary for anyone reading about our "Virtual Festival" and checking out the films whether from Netflix, or from the Library or a movie rental store as we went along---for the very first time. Steve has been gone 27 years and many people are too young to recall Steve McQueen. So, Larry's comments are very accurate. And I hope they are helpful and lend insight. This was of major importance to me, such that I chose to forgo a movie suggestion for today in place of Kasdan's observations. First a small introduction:
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Writer and Director Lawrence Kasdan began as a commercial copywriter before transitioning into the film industry. Following are some of his projects: The Risk Pool (2007) (writer, director) (pre-production); Dreamcatcher (2003), (writer, director); Mumford, (1999), (writer, director); French Kiss (1995) ,(director & featured on "Friday Movie Suggestion Night"); Wyatt Earp (1994), (director, writer and producer) ; The Bodyguard (1992), (writer and producer); Grand Canyon (1991), (writer, director, and producer); I Love You to Death (1990), (director) The Accidental Tourist (1988), (writer, director, and producer); Silverado (1985), (writer, director, and producer) ; The Big Chill (1983),writer, director, and executive producer & featured on "Friday Movie Suggestion Night") ; Return of the Jedi (1983), (writer); Continental Divide (1981), (writer); Continental Divide (1981), (writer); Body Heat (1981), (director and writer); Raiders of the Lost Ark (1981), writer) and The Empire Strikes Back (1980), (writer).
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LAWRENCE KASDAN: "I saw "The Magnificent Seven" when I was ten years old and it really changed my life. There was the one guy who was the most cool and the best model of being a man that I'd ever seen. Right from the opening sequence (of "Never So Few" that we will feature), people look at that part and they say: "That's the kind of part I want to play when I'm first starting out". But it was nothing until he did it! He would take a small part like "Never So Few" and turn it into this quintessential loner, dependable side kick. Even with that tiny, little part he starts stealing the movie from Frank Sinatra. That was his genius. He was always very calculated. He was always doing some sort of business in the corner of the frame. He was playing with his hat, he was re-loading his gun, he was adjusting his holster. During those few minutes, and with very few words, McQueen steals the movie away from Yul Brynner and yet, he plays with him brilliantly. And he is a model of every brave guy who takes on a job for no reason except he thinks that it's right.
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"In "The Great Escape", there's enormous soul and feeling throughout the movie. And at the center is this absolutely electrifying character who is a loner, and yet gives himself to the group cause. He then gets on this motorcycle---which you feel he's been waiting the entire movie to get onto this motorcycle---and you're on the motorcycle with him! You say, 'Okay, now this wild animal is free and on the run from an overwhelming force' (the Nazi's). And when he gets cornered, this is his signature action which is to to assess the immediate situation very quickly, take some radical physical action. (Note: The motorcycle jump was not in the original script; that was Steve's idea. Stunt double Bud Ekins performed the actual jump. Five years later it was Ekins who lays down the motorcycle in "Bullitt" and as Steve mentioned on an appearance on "The Tonight Show", Ekins drove the Mustang GT airborne off of hills on in the "Bullitt" San Francisco car chase that has not been equalled since).
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"In "The Sand Pebbles", you can see why he responded instantly to that character. because it's about a love story between a guy and a machine. It has everything to do with the engine in the boat. McQueen was great about the moral decision, because there is no 'goody-goody' about McQueen. Every character he ever played came from a dark side. You know, he would resist doing the right thing. There's nothing more appealing than a hero with that rough edge to him.
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"I don't know a young actor who wanted to be a star who hasn't studied "Bullitt" again and again and again. And from the way he gets into a car and gets out of a car, this is a complete performance where every single bit of physical action has its unique power. It was an instinct from what the camera picked up. He had the coolest way of doing the most mundane things.
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"In "Papillon", Dustin Hoffman's wonderful in the movie. But he's doing something bigger than McQueen. But you can't beat McQueen, because McQueen is always McQueen. He has a way of always undercutting everybody around him and being the one you look at. (After "The Towering Inferno"): He became more difficult to get to. He wouldn't even read a script unless you paid him a fee. And what it indicated was a kind of cynicism about the work, the lack of joy in it."
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Tomorrow: Steve's friend and Director Norman Jewison!
Robert Vaughn was born in 1932 and is an actor noted for his stage, film and television work. He's best-known as the always suave spy "Napoleon Solo" with Co-Star David McCallum as "Elya Kuryakin" in the popular 1960s TV series "The Man from U.N.C.L.E." although he continues to be a popular television actor into the 21st century. He acted with McQueen in such films as "The Magnificent Seven", and "Bullit".
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ROBERT VAUGHN: "He was the ultimate movie star. He had what we refer to as "The X-Factor", that's what it is. He had enormous sex appeal on-screen. Well, Steve and Yul (Brynner) had a much-publicized feud. It was definitely a sense of 'the old champ' and this was 'the newcomer' coming up to get a crack at 'the old champ'. With Steve, I'd get a knock on the door at 6 o'clock. "What is it?" He'd say, "Did you see how big Brynner's gun is?" "No, I didn't notice it". (Another knock on the door...) "What!" He's say, "Did you see that horsethat he got?They changed the horses on him, you know. He's got a bigger horse than anybody. Everbody's going to be looking at that bald-headed bastard".
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"Steve did talk during that picture--"Magnificent Seven"-- quite a bit about his childhood and certainly thought he had gone to the 'school of hard knocks' before he got into the acting business. Neile, his wife really had an enormous amount to do with his selection of making Steve McQueen---Steve McQueen the Star. And she really guided his career.
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"Steve sent me the movie "Bullitt" in its original draft form and I sent it back to him three or four times saying, "This movie doesn't make any sense; I don't understand the plot. Why are you doing this? You're producing the movie. You've got a long-term deal with Warner Brothers to produce seven pictures under your banner (Solar Productions). So, why are you producing this one?" I noticed the script got clearer and clearer, the more money they offered!
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"By the time The "Towering Inferno" came around (1974) he was, I think, planning on not working much anymore, lying back and enjoying the money from "Towering Inferno"---the profit from the gross, I believe it was--which is a very hard deal to get in Hollywood".
Lord Richard Attenborough played the role of "Big X" in 1963's blockbuster film, "The Great Escape" starring Steve McQueen, James Garner, and James Coburn. An Actor, Director and Producer, Lord Attenborough was born in 1923, in Cambridge, England. He started acting at the age of 12 and attended the Royal Academy of Dramatic Art. He made his stage debut at 18. A legendary scholar of the Academy, he reflects here on the wonderful friendship and insights into his late friend Steve McQueen that I felt was very appropriate as we build up to the fun of the virtual Film Festival. Among the memorable films he appeared in with Steve were "The Great Escape" (1963) and "The Sand Pebbles" (1966).
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LORD RICHARD ATTENBOROUGH: "His whole being is so alive and vibrant! You really did feel that he might burst out and walk up the aisle, you know, at any point and walk off the screen. The wonderful thing about "The Great Escape" ( to be featured) in my opinion--was that it was unbelievably simple. The plot was escaping. And I was there one particular day, and Steve got his bike out and he said, "Hey Dick! Like a ride?" And I tried not to look how absolutely terrified I was. Now, if I didn't accept it, that would have been the end of any possible prestige the British might have had for the rest of the movie! And so I---"Of course, Steve! Absolutely love to"-- shaking inside. I got on this terrifying bike and off we went. I've never been more delighted and thrilled to get off any vehicle of any kind! But it resulted---as far as I was concerned---in a relationship with Steve which I've treasured all my life.
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"Being with Steve was not peaceful. He was combative, but you felt that if things were not as he wished for them to be or believe that they ought to be, then he would let you know. He was not a 'pussycat' by any means.
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"The Sand Pebbles"was based on fact, with Steve as the leader in terms of the players. It was a question of bravery, of sacrifice, of loyalty. He knew where everything was. He could move around that ship up and down the deck. You wound up knowing that Steve actually could run that wretched boat if necessary. And that lends a wonderful credibility to an actor's performance. We were in Taiwan, I remember, for five months. So he and I and our children spent a lot of time together. And my wife and children came over part of the time and Neile and Steve's kids---they were obviously very precious to him, and he was very proud of them.
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"What he was after, which was truth and reality is something that's appreciated these days along with honesty. And he was a very honest actor! He knew what was right. He had a wonderful instinct for truth in everything Steve did. And that's what made him a great screen actor. He wasn't a good actor---he was a great screen actor. He was a remarkable figure. I loved him so much and I miss him. I really miss Steve."
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Tomorrow: A visit with Steve's friend and veteran Actor Robert Vaughn
NEILE:"Steve's mother was a young girl living in Beech Grove, Indiana and she got pregnant, got married real fast and then he vanished (Steve's father). He just left her there. (Steve as an infant was taken to St. Louis and dropped off at her parents). She left him with Uncle Claude and that was the one person he really idolized in a sort of hands-off way. And he lived there and he went to school there and he worked on the farm. (Steve's mother later sent for him but soon he ran afoul of the law and his mother had him placed in The Chino, California Boy's Republic--a sort of boot camp of the West). And she said. "What was I supposed to do? I didn't have a job. I didn't know how to handle him. I had a husband who was abusive. And I thought it was safer for him to be at The Boys Republic".
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"John Sturges (the Director) said, "I have this new movie I want to shoot about World War II and a bunch of escapees". So, off we went to Germany. Behind all that (success) too, he said he always felt everything was going to be taken away from him. As soon as we came out West, the first thing we did was start looking for his father; he tried to trace him. He just wanted to tell him what a shit he was more than anything. But by the time we found him, he was already dead. We found a woman who was living with him and she said he always used to--when he would see you on the show (Television's "Wanted Dead or Alive") and he would watch it every week and say, "I wonder if that's my boy?" But they never got together, unfortunately.
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"He really was crazy about the kids. He had a big time with them because he always saw the world through the eyes of a child anyway. Steve was now one of the top box office stars, and he got an Oscar nomination for "The Sand Pebbles" (to be featured during our virtual festival) . He was just boppin' along, just really doing great.
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"On "Bullitt" (also to be featured) was when I noticed the most change as it occurred in him. He always wanted me on location. Now, it was 'he was so busy', well--I found out later he was having some flings here and again. It was disturbing, to say the least. But it didn't make me say, 'I want to leave this marriage'. I wasn't made that way. Steve was now 37--38 years old and he was coming into his mid-life. Suddenly sex, drugs and rock and roll were on the scene. And everything was free and everything was abundant. And of course, Steve was the first one to jump on the bandwagon. That's when the new motto came in: "I'm going to live life the way I see it, the way I want it, the way I like it". Well, he told me once, 'You know, I have a feeling that I'm not going to be around too long. Not in my old age.
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"He started "Le Mans" (also to be featured) cause that had been a dream of his since the Taiwan days (during filming of "The Sand Pebbles"). It was a horror from beginning to end. Nothing was right. And finally (Director) John Sturges said: "I'm too old and too rich for this shit", and he threw the script and he was gone.
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"You know, for the first fourteen years of our lives together, he never layed a hand on me. And then, during this period, he became violent. I knew it was just a matter of time before my turn would be next. Everybody was disappearing from his life. And sure enough it was. So, I filed for divorce and he was stunned that I did that. He just couldn't believe that I had the nerve to do it first and I said, 'Well, it's time'.
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1972: "Then he told me, "I think I'm going to marry Ali" (MacGraw). I said, "Well, good luck". And he told me she was willing to give up work. I said: "You;re going to make her stop working? She's a big movie star". He said "She wants to stop". I said "Well, have a good time. Good luck to you guys".
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1980:"When he did "Tom Horn" (also to be featured), he was not feeling well. He kept having some lung problems. They thought it was some kind of desert disease, you know. And I went to visit him one day at the beach and he came up the drive with a cane and my heart just broke and I said "Oh my God, what's the matter with him?" And then he told me that the doctors told him to move out of Malibu. So, he found this place in Santa Palo and he moved there.
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"When we were young and we were together, we used to say, "Now look. If we should ever have anything terminal, I'll give you some pills and you'll give me some pills". I said "Okay". That was out little pact. But when the time came, of course, he fought like a demon. And Steve wanted some of the tumors removed (Steve had Mesothelioma). Well, you know I spoke to my doctor and he said, 'He'll not survive that operation'. So, it just became a waiting game. So, it was November 6th and he died that night."
As we approach the 2nd Annual Steve McQueen Film Festival (see "NEWS" at http://www.michaelmanning.tv/) I'll be sharing a carefully selected, thoughtful recollections from the people "Up Close and Personal" in Steve's Life. Neile Adams is an acclaimed actress, dancer, singer and author who was married to Steve for 16 years. Her children with Steve are daughter Terry (deceased, 1998) and son Chad. Quotations are from public domain.
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NEILE ADAMS: "Well, he had a violent temper and he was just wild to handle, and you just never knew what would trigger him off. He was the most maddening and the sweetest--I mean he was just everything. He was crazy! I kept seeing him everywhere. He would be on my street, everywhere. I'd see him on his motorbike with no shirt. In those days, that was very riske'. People around Greenwich Village called him "The Bandito", because he was so great at scamming food and beer from diners and bars.
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"I had just come out out of dance class and I had on this red dress--which is my lucky dress (laughter). And I was feeling really good because I had just started rehearsals for "Pajama Game" . Anyway, I came out of Carnegie Hall, I turned left and there he was. I said "Hi!" And he said "Hi!". He said 'You're pretty'. And I said 'You are too!'"Mark Rydell and I were having dinner and he came right over to the table and said "Hi", and I said "Hi!" So, Mark had to introduce us. And then the very next night, he was at the theatre to pick me up. He was with me the whole week. And at the end of it he moved in with me. He brought his one suitcase, his riding gear and a big Bus Stop sign and he used to work out with that.
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"On our first night together, he told me he had been in the Marine Corp. He loved the Marine Corp. When his stint was over, he came to New York looking for some sort of education or vocation with the G.I. Bill. Instead of going to tile-setting school, he would up at the neighborhood playhouse, because the girls---the girls were there. He was so raw as far as acting technique was concerned. He was put on stage with a girl in some improvisation--and I don't know what it was about, but the girl slapped him and he was so stunned that he socked her and she went out cold! But he really, really liked what he was doing and applied himself and started getting work in the theatre. And eventually, he did some extra work in movies and you always noticed him even when he was in the background. But as soon as he found The Actors Studio, life began for him--as far as he was concerned.
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"His first movie was "Somebody Up There Likes Me" and of course, Paul Newman was the star. He was just terrible in it, by the way (laughter). He was still looking for his personality. I was going into a movie called "This Could Be the Night". So, when I went to California to do the movie, he called me up and said, "I'm coming out there to make an honest woman out of you!"
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"His agent came to us and said, 'Steve, there's a movie here. It's a mom and pop operation. It was being shot in Philadelphia by a minister ("The Blob"). He said, 'We can give you ten percent of the profits or $2,500'. And he said 'I want the money in my hot little hand'. I said, 'Do it! Nobody will ever see it'. Well, (laughing) then it became a cult film. It made, I think ten million dollars which was a huge amount of money for that time and he said, "Well, I'm sorry I didn't get a piece of that".
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"(In 'Never So Few'): He had not the biggest part---but it was a bad ass good soldier type. After the movie, Frank (Sinatra) was so enamored with Steve, he took us to New York. That was our first look at what a star of Frank's magnitude could have. And Steve Said, "Oh, yes, I'm, gonna have that". All the reviews went for him (in 'The Magnificent Seven'). They said he's going to be the next Gary Cooper--and so it went".
A confession is in order. Mine! I was in a Bose store in Southern Florida last summer, and I accepted a free offer to sit inside their 14 seat "Theater" to watch a movie extolling the very real virtues of the amazing Bose sound system technology. Suddenly, 19 bars into a Motown song, I found myself blown away by an assemblage of musicians on the screen that seemed to resonate in my memory but I recognized no one. The performances were so exacting and well performed that common sense told me there was something more to this concert. So, I contacted Bud Buckley to see if he knew anything about this (Bud performs his gigs with a Bose P.A. System). Bud replied that he too had heard of this concert event and intended to track it down. Fortunately, I have a less demanding schedule than Bud's at the moment, and I'm pleased to share with you that I found the film! The result is this week's "Friday Movie Suggestion Night" pick: "STANDING IN THE SHADOWS OF MOTOWN"! This concert will blow you away with sheer JOY!
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Paul Justman's documentary pays tribute to one of the most influential and yes, unrecognized collection of musicians that has ever been assembled called "The Funk Brothers". These musicians played the background music on every Motown classic in the 1960s and 1970s, resulting in a non-stop roller-coaster resume that boasts more number one hits than The Beatles, The Beach Boys, The Rolling Stones, and Elvis Presley combined! This film was shot on location in Detroit, Michigan after Justman actually managed to locate and reunite the surviving members as they share stories of the groups' glorious past. A celebration of the late Bassist James Jamerson, whose fiery showmanship (and technical virtuosity) was largely responsible for shaping The Funk Brothers' supremely distinct sound much in the same way Brian Wilson's brilliant stewardship of The Beach Boys string of hits beginning in the early 1960's, through the 70's and 80's is even reflected in his own solo efforts. There's that unmistakable thread you can;'t help but identify! The Reunion Concert will leave you with an unforgettable experience with some incredible archival footage, and a collection of vocal support of several contemporary artists, including Joan Osborne, Ben Harper, Chaka Kahn, Gerald Levert, and Bootsy Collins. I want to take great care here to state that Berry Gordy, Marvin Gaye and Diana Ross' involvement remains legendary. But history must be set straight. And previous television programs I have seen have tended to support the legend that Gordy did it all. Not so. I have said this before in this BLOG: "Nobody ever does it all by themselves".The Funk Brothers prove that they haven't lost a beat. Based on the book by Allan "Dr. Licks" Slutsky, STANDING IN THE SHADOWS OF MOTOWN gives long-overdue credit to a group of unassuming musicians who quietly created one of popular music's most enduring and spectacular musical legacies. If you play music or just plain love music, don't miss this feature! And by all means, feel free to "crank it up".
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The Cast: Director: Paul Justman; Music: The Funk Brothers; Narrator: Andre Braugher; The Musical Artists: Joan Osbourne, Gerald Levert, Meshell Ndegéocello, Bootsy Collins, BenHarper, Chaka Kahn, Montell Jordan, Tom Scott, Jack Ashford, Bob Babbitt, JohnnyGriffith, Joe Hunter, Uriel Jones, Joe Messina, Eddie "Chank" Willis, Source Writer: Allan "Dr. Licks" Slutsky; Producers: Sandy Passman, Allan "Dr. Licks" Slutsky, Paul Justman; Director of Photography: Douglas Milsome; Director of Photography: Lon Stratton.
Mark Knopfler's sound with his band's debut album "Dire Straights" (and the single "Sultans of Swing") admittedly caught on very slowly with me. His distinctive Dylan-esque voice and admittedly tasteful guitar playing on a Fender Stratocaster was also influenced by J.J. Cale. Born in England in 1949, Knoffler's band followed up with "Communique", "Making Movies" (with the hits 'Romeo and Juliet' and 'Tunnel of Love'), then the LP "Love Over Gold" and the Live "Alchemy" was followed by a few more albums before the group ceased. Knopfler wrote 'Private Dancer' (a hit for Tina Turner's Lp of the same name in 1984). Mark moved from his Strat to a Pensa-Suhr guitar and plucks his strings to create his unique sound. A current CD that I brought along on my trip is his fine effort with the always amazing Emmylou Harris (a tour de force in progressive country) called "All the Roadrunning". It's worth a listen for this imaginative artist combination. They have a "Live" CD out and hopefully we can catch them in concert. Quite enjoyable!
I am pleased to announce the 2nd Annual Steve McQueen Film Festival beginning in March commemorating Steve's birthday month here on my BLOG! This year, we have expanded the offerings and the films with a radically overhauled festival tribute. More than 40 of your E-mails in 2006 convinced me to make it an Annual Event that is sure to please. The "King of Cool" returns here soon! This is my tribute to one of the greatest actors who ever lived. We will launch an Introduction on February 28th, commence the launch of The Festival on March 1st and conclude in a very big way on April 7th!
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I remain in Nevada this week, but send each of you my very best for a great week. "Friday Movie Suggestion Night" later this week will deliver a phenomenal concert film you won't want to miss! Stick around!
For "Friday Movie Suggestion Night", we are taking in a foreign film by Lina Wertmuller called "Swept Away" (not to be confused by Guy Ritchie's 2002 film of the same title with Madonna). The plot of this film revolves around an insensitive, if not brutal woman who probably hasn't stopped to think of the plight of those who suffer around her abuse for more than five minutes. This movie was filmed just ahead of the Glasnost period in Europe, and centers on two principal characters: a spoiled woman of riches (but no real power without her rich husband) together with a servant who has spent an eternity under her degrading iron-fisted rule. While taking out a private boat for a trip in the Meditteranean with the servant serving as the ship crewman, a violent storm strands the two on a deserted island. The worker physically and mentally brutalizes the woman in retribution for years of her abusive treatment. Incidentally, this movie was shown on my Southwest college campus ("Movie Night" was free and a convenient fall-back when one was dateless)! Lina Wertmuller’s film--by it's full name is entitled, "SWEPT AWAY BY AN UNUSUAL DESTINY IN THE BLUE SEA OF AUGUST". Gennarino is the working class hero and crewman on the yacht and Rafella—is the spoiled woman of leisure. Gradually, the woman begins to understand what it feels like to be looked down upon and considered a second-class human being for the first time in her life. But will love be enough to change her? Watch and see. Here's The Cast:Gennarino:Giancarlo Giannini; Raffaella:Mariangela Melato;Written and Directed by:Lina Wertmuller; and Produced by:Romano Cardarelli.Photographed by Giulio Battiferri, Giuseppe Fornari and Stefano Ricciotti;Music by Piero Piccioni (with a motif adapted from Henry Purcell). This is a bit of a different foray for us, but then, Variety and Fun is the point of FMSN! Oh, before I forget, this film was shot in Italy so be advised of the English subtitles--which adds an interesting flavor to the film. This is definitely a good "curl up on the couch" movie with hot tea and and blanket for those braving the harsh, cold temps in the MId-West and Northeast!
I'm adding this "Friday Movie Suggestion Night" feature from the road, so bear with me for posting later than usual.
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While wrenching, Dustin Hoffman and Meryl Streep give outstanding performances here in a movie based on the novel by Avery Corman about an advertising executive husband (Hoffman) whose wife (Streep) is slipping deeper and deeper into feeling emotionally insignificant. Blind to her need to find her identity and gain some stability, the wife leaves behind her husband and son (Justin Henry) and disappears to get some professional help, while the husband is suddenly dealing with multiple shock waves of not seeing this crisis coming, the intense demands of his career and finding himself in unfamiliar territory--caring for a son alone. A subsequent courtroom battle ensues when the wife returns after 18 months seeking custody. Here's an Excellent Cast:Dustin Hoffman as Ted Kramer; Meryl Streep as Joanna Kramer; Jane Alexander as Margaret Phleps; Justin Henry as Billy Kramer; Howard Duff as John Shaunessy; JoBeth Williams as Phyllis Bernard; DIRECTED AND WRITTEN BY: Robert Benton (who offered Hoffman a shared screenplay credit, as Hoffman was newly divorced and brought forward the emotional authenticity to this film, but Hoffman declined); CINEMATOGRAPHY: Nestor Almendros; EDITING: Gerald B. Greenberg.PRODUCER: Stanley Jaffe. Jane Alexander as Streep's neighbor and gal-pal, Jo Beth Williams' cameo scene will bring a smile! Also we have the late Character Actor Howard Duff as Hoffman's defense attorney whose mere presence reminds me what a real actor is--quite apart from much of today's fare. This is a story of one man dealing with his world coming apart at the seems while trying to desperately hold it all together. Anyone who has ever found themselves looking for work will relate to Hoffman's desperate job hunt during the Christmas Holidays forcing a brutal industry to recognize his abilities. A damn good film that still holds up.
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Academy Awards, 1979: BEST ACTOR: (Dustin Hoffman), BEST ADAPTATION TO A SCREENPLAY: BEST DIRECTOR: (Robert Benton), BEST PICTURE,BEST SUPPORTING ACTRESS (Meryl Streep).
Basically, I'm a Public Relations Consultant with a background in Broadcast News. I've worked as a Reporter and Anchor with PBS, ABC, CBS & NBC affiliates and in Cable Television. I'm active in Radio & Television Commercials, Guest Speaking engagements and I enjoy writing, music and sports.
