by Mario Puzo
When we got back home, there was an even greater surprise waiting for me. A movie studio, Malomar Films, had spent a hundred thousand dollars for the film rights to my book and another fifty thousand dollars plus expenses for me to go out to Hollywood to write the screenplay.
I talked it over with Valerie. I really didn’t want to write movie scripts. I told her I would sell the book but turn down the screen-writing contract. I thought she would be pleased, but instead, she said, “I think it would be good for you to go out there. I think it would be good for you to meet more people, to know more people. You know I worry about you sometimes because you’re so solitary.”
“We could all go out,” I said.
“No,” Valerie said. “I’m really happy here with my family and we can’t take the children out of school and I wouldn’t want them to grow up in California.”
Like everybody else in New York, Valerie regarded California as an exotic outpost of the United States filled with drug addicts, murderers and mad preachers who would shoot a Catholic on sight.
“The contract is for six months,” I said, “but I could work for a month and then go back and forth.”
“That sounds perfect,” Valerie said, “and besides, to tell you the truth we could use a rest from each other.”
That surprised me. “I don’t need a rest from you,” I said.
“But I need a rest from you,” Valerie said. “It’s nerve-racking to have a man working at home. Ask any woman. It just upsets the whole routine of my keeping house. I never could say anything before because you couldn’t afford an outside studio to work in, but now that you can, I wish you wouldn’t work at home anymore. You can rent a place and leave in the morning and come home at night. I’m sure you’d work better.”
I don’t know even now why her saying this offended me so much. I had been happy staying and working at home, and I was really hurt that she didn’t feel the same way, and I think it was this that made me decide to do the screenplay of my novel. It was a childish reaction. If she didn’t want me home, I’d leave and see how she liked it. At that time I swear that Hollywood was a nice place to read about, but I didn’t even want to visit it.
I realized a part of my life was over. In his review Osano had written, “All novelists, bad and good, are heroes. They fight alone, they must have the faith of saints. They are more often defeated than victorious and they are shown no mercy by a villainous world. Their strength fails (that’s why most novels have weak spots, are an easy target for attack); the troubles of the real world, the illness of children, the betrayal by friends, the treacheries of wives must all be brushed aside. They ignore their wounds and fight on, calling on miracles for fresh energy.”
I disapproved of his melodramatics, but it was true that I felt as if I were deserting the company of heroes. I didn’t give a damn if that was a typical writer’s sentimentality.
Book V
Chapter 27
Malomar Films, though a subsidiary of Moses Wartberg’s Tri-Culture Studios, operated on a completely independent basis, creatively, and had its own small lot. And so Bernard Malomar had free rein for his planned picture of the John Merlyn novel.
All Malomar wanted to do was make good movies, and that was never easy, not with Wartberg’s Tri-Culture Studios hovering over his every move. He hated Wartberg. They were acknowledged enemies, but Wartberg, as an enemy, was interesting, fun to deal with. Also, Malomar respected Wartberg’s financial and management genius. He knew that moviemakers like himself could not exist without it.
Malomar in his plush suite of offices nestled in a corner of his own lot had to put up with a bigger pain in the ass than Wartberg, though a less deadly one. If Wartberg was cancer of the rectum, as Malomar jokingly said, Jack Houlinan was hemorrhoids and, on a day-to-day basis, far more irritating.
Jack Houlinan, vice-president in charge of creative public relations, played his role of the number one PR genius with a killing sincerity. When he asked you to do something outrageous and was refused, he acknowledged with violent enthusiasm your right to refuse. His favorite line was: “Anything you say is OK with me. I would never, never try to persuade you to do anything you don’t want to do. I only asked.” This would be after an hour’s pitch of why you had to jump off the Empire State Building to make sure your new picture got some space in the Times.
But with his bosses, like the VP in charge of production at Wartberg’s Tri-Culture International Studios, with this Merlyn picture for Malomar Films and his own personal client, Ugo Kellino, he was much more frank, more human. And now he was talking frankly to Bernard Malomar, who really didn’t have time for bullshit.
“We’re in trouble,” Houlinan said. “I think this fucking picture can be the biggest bomb since Nagasaki.”
Malomar was the youngest studio chief since Thalberg and liked to play a dumb genius role. With a straight face he said, “I don’t know that picture, and I think you’re full of shit. I think you’re worried about Kellino. You want us to spend a fortune just because that prick decided to direct himself and you want to get him insurance.”
Houlinan was Ugo Kellino’s personal PR rep with a retainer of fifty grand a year. Kellino was a great actor but almost certifiably insane with ego, a not uncommon disease in top actors, actresses, directors and even script girls who fancied themselves screenplay writers. Ego in movie land was like TB in a mining town. Endemic and ravaging but not necessarily fatal.
In fact, their egos made many of them more interesting than they would otherwise be. This was true of Kellino. His dynamism on screen was such that he had been included in a list of the fifty most famous men in the world. The laminated news story hung in his den and his own legend in red crayon that said, “For fucking.” Houlinan always said, his voice emphatic, admiring, “Kellino would fuck a snake.” Accenting the word as if the phrase were not an old macho cliche but coined now especially for his client.
A year ago Kellino had insisted on directing his next picture. He was one of the few stars who could get away with such a demand. But he had been put on a strict budget, his upfront money and percentages pledged for a completion bond. Malomar Films was in for a top two million and then off the hook. Just in case Kellino went crazy and started shooting a hundred takes of each scene with his latest girlfriend opposite him or his latest boyfriend under him. Both of which he had proceeded to do with no visible harm to the picture. But then he had fucked around with the script. Long monologues, the lights soft and shadowy on his despairing face, he had told the story of his tragic boyhood in excruciating flashbacks. To explain why he was fucking boys and girls on the screen. The implication was that if he had had a decent childhood, he would never have fucked anybody. And he had final cut, the studio couldn’t doctor up the picture in the editing room legally. Except that they would anyway if necessary. Malomar wasn’t too worried. A Kellino starter would get the studio’s two million back. That was certain. Everything else was gravy. And if worse came to worst, he could bury the picture in distribution; nobody would see it. And he had come out of the deal with his main objective. That Kellino would star in John Merlyn’s blockbuster best-selling novel that Malomar felt in his bones would make the studio a fortune.
Houlinan said, “We have to get a special campaign. We have to spend a lot of money. We have to sell it on its class.”
“Jesus Christ,” Malomar said. He was usually more polite. But he was tired of Kellino, he was tired of Houlinan and he was tired of motion pictures. Which didn’t mean anything. He was tired of beautiful women and charming men. He was tired of California weather. To divert himself he studied Houlinan. He had a long-standing grudge against him and Kellino.
Houlinan was beautifully dressed. Silk suit, silk tie, Italian shoes, Piaget watch. His eyeglass frames were specially made, black and gold-flecked. He had the benign sweet Irish face of the leprechaun preachers that filled the California TV screens on Sunday mornings. It was hard to believe he was a black-hearted son of a bitch and pro
ud of it.
Years ago Kellino and Malomar had quarreled in a public restaurant, a vulgar shouting match that had become a humiliating story in the columns and trades. And Houlinan had masterminded a campaign to make Kellino come out of the argument as the hero and Malomar the craven villain, the weakling studio chief bending to the heroic movie star. Houlinan was a genius all right. But a little shortsighted. Malomar had made him pay ever since.
For the last five years not a month had gone by that the papers had not carried a story about Kellino’s helping somebody less fortunate than himself. Did a poor girl with leukemia need a special blood transfusion from a donor who lived in Siberia? Page five of any newspaper would tell you Kellino had sent his private jet to Siberia. Did a black go to a Southern jail for protesting? Kellino posted bail. When an Italian policeman with seven kids got chopped down by a Black Panther ambush in Harlem, did not Kellino send a check for ten thousand dollars to the widow and set up a scholarship for all seven children? When a Black Panther was accused of murdering a cop, Kellino sent ten thousand dollars to his defense fund. Whenever a famous old-time movie star became ill, the papers noted that Kellino picked up his hospital tab and assured him of a cameo role in his next film so that the old codger would have something to live for. One of the old codgers with ten million stashed and a hatred for his profession gave an interview insulting Kellino’s generosity, spitting on it in fact, and it was so funny that even the great Houlinan couldn’t get it squashed.
And Houlinan had more hidden talents. He was a pimp whose fine nose for new fresh starlets made him the Daniel Boone of Hollywood’s celluloid wilderness. Houlinan often boasted of his technique. “Tell any actress she was great in her bit part. Tell her that three times in one evening and she pulls down your pants and tears your cock off by the roots.” He was Kellino’s advance scout, many times testing the girl’s talents in bed before passing her on. Those who were too neurotic, even by the lenient industry standards, never got past him to Kellino. But as Houlinan often said, “Kellino’s rejects are worth picking up options on.”
Malomar said with the first pleasure he had felt that day, “Forget about any big advertising budgets. It’s not that kind of picture.”
Houlinan looked at him thoughtfully. “How about doing a little private promoting with some of the more important critics? You have a couple of big ones that owe you a favor.”
Malomar said dryly, “I’m not wasting it on this.” He didn’t say that he was going to call in all his IOU’s on the big picture next year. He already had that one mapped out, and Houlinan was not going to run that show. He wanted the next picture to be the star, not Kellino.
Houlinan looked at him thoughtfully. Then said, “I guess I’ll have to build my own campaign.”
Malomar said wearily, “Just remember it’s still a Malomar Films’ production. Clear everything with me. OK?”
“Of course,” Houlinan said with his special emphasis as if it had never occurred to him to do anything else.
Malomar said evenly, “Jack, remember there’s a line you don’t go over with me. No matter who you are.”
Houlinan said with his dazzling smile, “I never forget that. Have I ever forgotten that? Listen, there’s a great looking broad from Belgium. I got her stashed in the Beverly Hills Hotel bungalow. Shall we have a breakfast conference tomorrow?”
“Another time,” Malomar said. He was tired of women flying in from all over the world to be fucked. He was tired of all the slender, beautiful, chiseled faces, the thin, elegant bodies perfectly dressed, the beauties he was constantly photographed with at parties and restaurants and premieres. He was famous not only as the most talented producer in Hollywood, but as the one who had the most beautiful women. Only his closest friends knew he preferred sex with plump Mexican maids who worked in his mansion. When they kidded him about his perverseness, Malomar always told them that his favorite relaxation was going down on a woman and that those beautiful women in the magazines had nothing to go down on but bone and hair. The Mexican maid had meat and juice. Not that all this was always true; it was just that Malomar, knowing how elegant he looked, wanted to show his distaste for that elegance.
At this time in his life all Malomar wanted to do was make a good movie. The happiest hours for him were after dinner when he went into the cutting room and worked until the early-morning hours editing a new film.
As Malomar ushered Houlinan out of the door, his secretary murmured that the writer of the novel was waiting with his agent, Doran Rudd. Malomar told her to bring them in. He introduced them to Houlinan.
Houlinan gave both men a quick appraisal. Rudd he knew. Sincere, charming, in short a hustler. He was a type. The writer also was a type. The naive novelist who comes out to work on his film script, gets dazzled by Hollywood, faked out of his shoes by producers, directors and studio heads and then falls for a starlet and wrecks his life by divorcing his wife of twenty years for a broad who had screwed every casting director in town just for openers. And then gets indignant at the way his half-assed novel gets mutilated on the screen. This one was no different. He was quiet and obviously shy and dressed like a slob. Not fashionable slob, which was the new fad even among producers like Malomar and stars who sought specially patched and faded blue jeans that were exquisitely fitted by top tailors-but real slob. And ugly to boot like that fucking French actor who grossed so high in Europe. Well, he, Houlinan, would do his little bit to grind this guy into sausage right now.
Houlinan gave the writer, John Merlyn, a big hello and told him that his book was the very best book he had ever read in his life. He hadn’t read it.
Then he stopped at the door and turned around and said to the writer, “Listen, Kellino would love to have his picture taken with you this afternoon. We have a conference with Malomar later, and it would be great publicity for the movie. OK for about three o’clock? You should be through here, right?”
Merlyn said OK. Malomar grimaced. FTC knew Kellino wasn’t even in town, that he was sunning himself in Palm Springs and wouldn’t arrive until six. Houlinan was going to make Merlyn hang around for a no-show just to teach him where the muscle was in Hollywood. Well, he might as well learn.
Malomar, Doran Rudd and Merlyn had a long session on the writing of the movie. Malomar noted that Merlyn seemed reasonable and cooperative rather than the usual pain in the ass. He gave the agent the usual bullshit about bringing in the picture for a million when everybody knew that eventually they’d have to spend five. It was only when they left that Malomar got his surprise. He mentioned to Merlyn that he could wait for Kellino in the library. Merlyn looked at his watch and said mildly, “It’s ten after three. I never wait more than ten minutes for anybody, not even my kids.” Then he walked out.
Malomar smiled at the agent. “Writers,” he said. But he often said, “Actors.” in the same tone of voice. And “Directors” and “Producers.” He never said it about actresses because you couldn’t put down a human being who had to contend with a menstrual cycle and wanting to be an actress both. That made them fucking crazy just for openers.
Doran Rudd shrugged. “He doesn’t even wait for doctors. We both had to take a physical together, and we had ten A.M. appointments. You know doctor’s offices. You gotta wait a few minutes. He told the receptionist, ‘I’m on time, why isn’t the doctor on time?’ Then he walked out.
“Jesus,” Malomar said.
He was getting pains in his chest. He went into the bathroom and swallowed an angina pill and then went to take a nap on the couch as his doctor had ordered. One of his secretaries would wake him up when Houlinan and Kellino arrived.
“The Stone Woman is Kellino’s debut as director. As an actor he is always marvelous; as a director he is less than competent; as a philosopher he is pretentious and despicable. This is not to say that Stone Woman is a bad film. It isn’t really trashy, merely hollow.
“Kellino dominates the screen, we always believe the character he plays, but here the character h
e plays is a man we do not care about. How can we care about a man who throws away his life for an empty-headed doll like Selina Denton whose personality appeals to men satisfied with women whose breasts and rear are extravagantly rounded in the cliche style of male chauvinistic fantasy? Selina Denton’s acting, her usual wooden-Indian style, insipid face contorted in grimaces of ecstasy, is just plain embarrassing. When will Hollywood casting directors learn that the audience is interested in seeing real women on the screen? An actress like Billie Stroud with her commanding presence, her intelligent and forceful technique, her striking appearance (she is truly beautiful if one can forget all the deodorant commercial stereotypes the American male has idolized since the invention of television) might have salvaged the film, and it is surprising that Kellino, whose acting is so intelligent and intuitive, did not realize this when he was casting. Presumably he has enough clout as star and director and co-producer to call this shot, at least.
“The script by Hascom Watts is one of those pseudoliterary exercises that read well on paper but don’t make any sense at all on film. We are expected to feel a sense of tragedy for a man to whom nothing tragic happens, a man who finally commits suicide because his comeback as an actor fails (everyone fails) and because an empty-headed, selfish woman uses her beauty (all in the eyes of the beholder) to betray him in the most banal fashion since the heroines of Dumas the Younger.
“The counterpoint of Kellino trying to save the world by being on the right side of every social question is goodhearted but essentially fascist in concept. The embattled liberal hero evolves into the fascist dictator, as Mussolini did.
