Tomorrow, TCM devotes its daytime programming to biopics, or biographical pictures. Fans of this genre know not to expect an accurate chronicle of the life of a famous person; instead, biopics (or, “bi-opics” as a former coworker used to insist on calling them) offer the mythic version of that life. In other words, biopics use the lives of the famous to depict a universal truth, to offer a life lesson, or to represent a value we can all relate to. TCM has selected several film biographies that focus on prominent leaders throughout history, including Alexander the Great, Marie Antoinette, and Gandhi. Expect stirring stories of individual self-sacrifice for the greater good of the people.
Personally, my favorite biopics are those about show business figures, especially movie stars. Biopics are almost as old as the medium of cinema itself (The Life of Abraham Lincoln, 1908), but star-pics did not emerge until the postwar era. By that time, the first generation of popular movie stars had evolved into legendary icons as reflected in The Jolson Story (1946) and Jolson Sings Again (1949), Valentino (1951), and The Story of Will Rogers (1952). Also during the postwar era, the studios lost vertical control of the industry, meaning they were forced to loosen that vice-like grip on production, distribution, and exhibition. The systems and practices that had led Hollywood to become the most successful film industry in the world began to break down. Not coincidentally, the industry released a spate of movies that looked back on its history, warts and all (Sunset Blvd., The Bad and the Beautiful). In contrast, the star-pics of the 1950s are affectionate re-creations of early Hollywood—nostalgic valentines to past legends and industry high points.
FRANCO NERO AS VALENTINO WITH SUZANNE PLESHETTE AS SCREENWRITER JUNE MATHIS
However, the biggest wave of star-pics was not produced in the postwar era but during the late 1970s and early 1980s. And, they were not released on the big screen but broadcast on television. Between 1975 and 1987, almost two dozen star-pics were released as made-for-tv movies on the major television networks. In revisiting the titles, I discovered that I had seen almost every one, which does not surprise me considering my life-long love of everything related to show biz. What I find interesting about these films now are the casts and the writers/directors. The writers and directors were often film industry personnel who had been successful making movies during the Golden Age. They ensured that the made-for-tv films had a kind-of cinematic gloss, but more specifically, some of them had worked with the subjects of the star-pics during the Golden Age. On the other hand, the casts consisted of contemporary tv actors, including those whose celebrity would not be not long-lived. The small screen was re-imagining the big screen to suit the conventions of network television.
The Legend of Valentino, starring Italian actor Franco Nero in the title role, kicked off the small-screen’s fascination with big-screen stars in 1975. Nero may have been a leading man in international cinema, but his costar, Suzanne Pleshette, was likely a bigger draw because she played Bob Newhart’s wife on his enormously popular sitcom. Milton Berle, whose nickname was Mr. Television, played Paramount pioneer Jesse Lasky. Not surprisingly, the character was more Berle than Lasky, but that was the appeal.
McCARDLE AS JUDY GARLAND
Casting is always important, but it was the main event for the made-for-tv star-pics. In 1978, Andrea McCardle, the big-voiced child star who made the original stage production of Annie a smash hit, starred in Rainbow, the story of another singing child star, Judy Garland. McCardle was popular on the talk-show circuit and comparisons to Garland were made in the entertainment press—making her casting as young Judy inevitable. Michael Parks, who played the title role in the series Then Came Bronson, costarred as Roger Edens, an MGM music arranger and associate producer who was instrumental in honing Garland’s style. Gruff-voiced comedian Jack Carter played gruff-voiced entertainer Georgie Jessel. Child actor Moosie Drier played the young Mickey Rooney. You have to be a real tv fan to recognize Drier. The freckled-face boy became a celebrity and tv actor after appearing as a regular on Laugh-In, headlining the Kid News for Kids segment. Jackie Cooper, a former child star from the Golden Age who had actually dated Garland, directed Rainbow.
HARVEY AND BUDDY ARE BUD AND LOU
Some star-pics left such an impression on me that I can recall specific scenes. Bud & Lou, also broadcast in 1978, starred comics Harvey Korman and Buddy Hackett, respectively. Korman had won four Emmys as Carol Burnett’s second banana on her critically acclaimed variety series. And, though Hackett had appeared in secondary roles in film comedies during the 1950s and 1960s, he was better known as a fixture on talk shows and game shows. Korman and Hackett were so familiar that it was difficult to suspend belief to accept them as Bud and Lou rather than Harvey and Buddy. But, I remember that their version of “Who’s on first?” was genuinely good, while Hackett seemed determined to depict Costello as more than just a funny fat man.
KATHRYN HARROLD AND KEVIN O’CONNOR AS BACALL AND BOGIE
The casting of small or secondary roles could also be fun, especially those involving famous movie stars or infamous studio heads. Kevin O’Connor and Kathryn Harrold starred as Bogie and Bacall in the star-pic Bogie in 1980. But, more memorable to me was Richard Dysart as cantankerous Jack Warner and character actress Ann Wedgeworth as Bogie’s third wife, the alcoholic, self-destructive, and highly volatile Mayo Methot. Bogie was written by journalist and biographer Joe Hyams and directed by Vincent Sherman, who had directed the real Bogart in All Through the Night.
Later that year, Michael Lerner played Jack Warner in This Year’s Blonde, one of the many star-pics about the life and career Marilyn Monroe. Lerner’s interpretation of Warner brought out a slimy, underhanded connotation, while five years later, Hal Linden played up Warner’s handsome features in My Wicked, Wicked Ways, based on Errol Flynn’s dubious autobiography. This Year’s Blonde gets the award for including the most studio heads as characters. In addition to Warner, Vic Taybac (Mel, the owner of the diner in the long-running sitcom Alice) played crusty Harry Cohn, John Marley was lecherous Joe Schenck, Lee Wallace played Samuel Goldwyn, and Peter Maloney was Monroe’s nemesis, Darryl F. Zanuck.
DUNCAN REGEHR MAKES A HANDSOME ERROL FLYNN. BARBARA HERSHEY WAS LILI DAMITA, AND LEE PURCELL PLAYED OLIVIA DE HAVILLAND.
BOSTWICK AND WAYBORN AS GILBERT AND GARBO
No matter how interesting a star’s life story can be, poor casting can turn that star’s biopic into a boring dud. Errol Flynn’s biography My Wicked, Wicked Ways is one of the most entertaining life stories I have ever read, but actor-artist Duncan Regehr lacked the commanding presence of Flynn. I simply did not believe that. . .well. . .his ways were all that wicked. The Silent Lovers, which is the story of Greta Garbo and John Gilbert’s tempestuous love affair, suffered the most because of debatable casting. Written by Golden Age screenwriter Garson Kanin, this star-pic had great potential as an expose of two romantic icons from another era. But, Barry Bostwick, who is best known for comedy, lacked Gilbert’s smoldering sensuality, while unknown Swedish actress Kristina Wayborn was out of her league as Garbo. The strange casting was not limited to the principles, however. A very American Brian Keith costarred as Swedish director Mauritz Stiller; a tall, lanky Harold Gould played chunky Louis B. Mayer; fresh-faced, curly-haired John Rubenstein was MGM mastermind Irving Thalberg; and Mackenzie Phillips (one of the teenagers on the sitcom One Day at a Time) was the legendary Lillian Gish.
LONI AND ARNOLD AS MANSFIELD AND HARGITAY
Other examples of casting are memorable for different reasons. The title Sophia Loren: Her Own Story is accurate in more ways than one, because Loren played herself in this star-pic. I guess she wanted to make sure the casting didn’t ruin her life story. Loren’s decision was not unique, because Shirley MacLaine played herself in Out on a Limb two years later as did Ann Jillian in her eponymous star-pic in 1988. Loren’s star-pic stands out because she also played her own mother. The stars of The Jayne Mansfield Story were cast for reasons so obvious they don’t need explanation. Blonde sex symbol Loni Anderson of the tv series WKRP starred in the title role, while bodybuilder-turned actor-turned politician-turned actor Arnold Schwarzenneger costarred as bodybuilder-turned actor Mickey Hargitay. It’s a wonder Loni and Arnold could fit together in the same medium shot.
Sadly, few of these star-pics are readily available for home viewing. While most were issued on VHS, only Bud & Lou, Marilyn: The Untold Story, and Grace Kelly (starring Cheryl Ladd) were released on DVD.