I first read John Gregory Dunne's shrewd and amusing perspectives on the "Biz" in 1969s The Studio, his second book, but his first excellent exegesis of the film industry and its executors written before he became a player in the business, recounting the remarkable year he spent in 1967 as an astute, everyday observer of Twentieth Century Fox: On their lot, their sets, in their dressing rooms, board rooms, random offices, during take-fives, lunchtimes, late night overtimes, watching Hollywood hard at work (and, occasionally, harder at play) behind the scenes, interviewing anybody and everybody who'd talk to him, from the headiest of producer honchos to the lowliest gofers on the ladder (and every union scale grip or assistant director's assistant in between), writing it all down all the while, compiling notebook stacks of it, chronicling the comings and goings of those employed by the studio, having been granted an unprecedented all-access pass to it by its usually private and overprotective gatekeepers -- an amazing feat in and of itself for which Dunne probably should have been awarded a special Oscar in 1968!
"I forbid you to go," Otto demanded, when "Didion and Dunne" (as they were known among friends) dared defy him. "If you worked for a studio, Misss-isss Dunne" (never mind her name was Didion, Stupid!), "This behavior would not be tolerated". Otto Preminger, having his pride apparently wounded by a woman, of all things -- and a petite, fragile appearing woman at that -- sued them for two million dollars.
Whereas The Studio went for the big picture (if you'll pardon my pun); went for the widescreen vantage of an historic Hollywood corporation and its mostly benign artistic foibles day-in and day-out on the set; Monster: Living Off the Big Screen zoomed in, went "up close and personal," you could say, on Dunne's and Didion's unsatisfying and redundant eight years of coerced script revisions on a screenplay that as originally envisioned should've been great; a movie made from it that should've become a gritty biographical docudrama masterpiece about the sordid life and tragic death of TV news anchor, Jessica Savitch; and a movie, moreover, that somehow, after a protracted and vindictive labor strike in Hollywood and a multitude of firings, rehiring, and bastardized (the before mentioned absurd script rewrites to the nth degree), metamorphosed into a didactic, artless, allegedly "feel good" flick (though it sure didn't feel good to the screenwriters!) with its contrived happy ending -- defects which were not Dunne's or Didion's original ideas or doing at all -- this piece of forgettable celluloid dreck starring Robert Redford and Michelle Pfeiffer. . .
|John Gregory Dunne & Joan Didion|
For a much deeper and more personal look at the life and times of John Gregory Dunne, I recommend reading A Death in the Family -- the poignant elegy written by his brother, Dominick, shortly after John's death in 2003.