|
12 of 13 people found the following review helpful:
2.0 out of 5 stars
Richard Widmark A Bio-Bibliography by Kim Holston, April 11, 2002
By A Customer
No Surprises Here From Kim HolstonRichard Widmark has kept a low profile throughout his career and has kept a real lock on the details of his private life. Beyond what were most likely contractual obligations for publicity in his early film career, and some thoughtful writing that he himself has done on the nature of actors, acting and films, he has not shared much more of himself with the public. A quick scan of his current interviews available on the Internet runs true to form: he is described as affable, warm, courteous and modest. All these traits are doubtless applicable, and all are doubtless employed by this masterful actor to create an implacable public persona that is as bland as a glass of milk. Someone should have told Kim Holston that since he styled his work a "bio"-bibliography, he had some responsibility to flesh out the biography aspect. He has certainly done exhaustive work documenting Mr. Widmark's career, from his earliest days in radio to just prior to the release of Cold Sassy Tree in 1989, and he has added just enough chatter from early publications to pique the reader's interest in Widmark the man, but then he leaves the reader cold by going on to the next paragraph of dry statistics. Mr. Widmark reportedly enjoyed a long and happy marriage with his first wife and the details of that relationship and the like is precisely the sort of information that should remain private; however, he also had a reputation for a temper on the set, was occasionally impatient with other performers, under some circumstances had a low opinion of actresses, was very vocal in the expression of his liberal politics, and had a certain degree of intellectual snobbery. Plus, for anyone who cares to check, he was a pretty good businessman as well (not cutthroat, but he certainly made money, and in fields far more diverse than just films). None of these aspects of his life were conducted in secret; they were very much a part of his career. None of these qualities are particularly prurient; added to his known traits of a loving family man, loyal friend, fine artist, quiet philanthropist, and dedicated environmentalist they would portray Richard Widmark as a total human being, rather than the myth that is starting to take shape.(Read some of Widmark's recent interviews, particularly those done around the time of the retrospective of his films at the Walter Reade Theater. Normal sturdy upright entertainment reporters dissolve into gushers and goo when they interview him.) In selecting the material for his book, Mr. Holston chose what I am sure he perceived as the high road; he did not delve far below Mr. Widmark's surface; or he did not delve and tell. As I said, he lifts a few quotes from publications of the 1940s and 1950s and occasionally he lets Richard Widmark speak for himself, but mostly the book misses some great opportunities to figure out who Richard Widmark is. The possibility for questions is endless (although Mr. Widmark's direct cooperation would have been debatable): What did he see and hear on his trip to Nazi Germany? What did he think of Hitler? Where are those movies? (Robert Osborne isn't the only one who wants to know!) What was it like being 4-F during World War II, aside from the obvious advantage of available roles? What was it like working with George Abbott? How did Widmark feel, given his only brother had been a prisoner of war during World War II and had been irreparably damaged by his physical wounds, when he was asked to do a movie like The Halls of Montezuma? Given what had to be an emotional connection to his brother's circumstances, how did Widmark feel when his own image from that film showed up on, I believe it was a V-8 ad, at the time (maybe it was a Van Huesen shirt ad, but I think it was V-8)? How did it feel to profit from that, overall? All in a day's work, incongruous, utterly ridiculous, it was just part of the contract, people didn't think like that then, none of the above? Would he feel differently now? What were the repercussions of befriending Sidney Poitier? What does he think of child actors? What were things like on the set of The Alamo? That was a long, dry, dusty shoot and John Wayne was pushed to the point of bankruptcy and exhaustion by the film. Given the situation and their strongly divergent points of view on other matters, something interesting MUST have happened. What about the whole Alan Smithee/Don Siegel thing on Death a Gunfighter? Richard Widmark was smack dab in the middle of that, but never a blip is heard. That could have been a book in itself, but not if Kim Holston was left to write it. Going on is not necessary; you get my point. This book reveals nothing about what makes Mr. Widmark tick. Mr. Holston's book is a wealth of statistics, truncated quotes and missed opportunities. I don't doubt that Mr. Widmark was pleased with the results here; the image presented by this book is the carefully guarded public image he has cultivated himself. Mr. Holston, regardless of how many copies of this book he does not sell, I am sure is happy to be considered the closest thing to a biographer Mr. Widmark has. Sexy, with an acting technique so seamless it is all but invisible, a riveting screen presence, and a voice to die for still at age 87, Richard Widmark, man and career, deserves far better than this book, even though I am sure he would disagree with me, modestly.
|
