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Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow ); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).

Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.

Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.

On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.”

On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ”

Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”

John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”

These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.

From the Hardcover edition.

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如果亨利方达竞选总统或州长，完全可以肯定他将胜利，而且不会有人对此不满。银幕上还有哪个总统比《奇幻核子战》中的方达更令人放心？他是最权威的林肯（《青年林肯》）、最讨人喜欢的候选人（《华府风云》）和最有说服力的国务卿（《华府千秋》），他拥有大多数政客所缺乏的品质——真正的坚定。无论亨利方达说些什么你都会相信——不管是作为一个乡村男孩或是花花公子，大学教授或是罪犯、警长、法外之徒、建筑师、渔夫，又或者乡巴佬——无论他是怀亚特厄普、弗兰克詹姆斯，或是小泰迪罗斯福。

Believability is a special quality of real stars and no one had it more than Fonda; see him, for example, in some potboiler like Battle of the Bulge (which he wins single-handedly) and note how scene after scene is made convincing by his presence, his subtle playing. He was, in fact, a consummate actor who was able to project facets of his own unique personality into an amazing variety of characters. Too many of his good movie performances over the years were wasted on bad projects—first, from his home studio, 20th Century-Fox—later, from a great deal of bread-and-butter work. Having started acting in the theater, first in Nebraska (where he was born), later on Broadway, Fonda returned to the New York stage with noteworthy results (first with more than 1,700 performances of Mister Roberts)...

Yet his Lincoln, his Mister Roberts (though he didn’t like the movie version of it), his Earp (in My Darling Clementine), his Tom Joad (in The Grapes of Wrath), have immortalized him—with such few others as James Stewart, Gary Cooper and John Wayne—as a somehow more learned, yet equally individual aspect of The American. Because it was the Nebraska upbringing that kept him accessible to the heartland of the country, right from his first movie (in a part he originated on the stage), the title role in The Farmer Takes a Wife (1935). This one picture made him a star. His second film was the first shot outdoors in Technicolor, The Trail of the Lonesome Pine (1936), and Fonda’s personification in it of a young mountaineer gave syndicated cartoonist Al Capp the inspiration for his popular, now i...

It was this country boy–city boy duality that was perhaps Fonda’s most tantalizing and ambiguous aspect. He could effortlessly switch from simple rural to civilized urban or some enormously attractive combination of the two, and did throughout his career, from his first great film performance as Lincoln in one of John Ford’s finest, most inspiring pieces of Americana, Young Mr. Lincoln, to the illiterate ex-con Okie, Tom Joad, in Ford’s version of John Steinbeck’s The Grapes of Wrath, and on. Indeed, Tom Joad (and therefore Bruce Springsteen’s song “Ghost of Tom Joad”) became synonymous with Hank Fonda as the great outlaw Spirit of America, yet the following year the same actor could play a hapless, bookish scientist in a wild screwball comedy, The Lady Eve. In 1942’s The Male Animal (base...

PB: You went with Ford quite often down to Mazatlán on his yacht—[Jimmy] Stewart told me something about a boa constrictor …

HF: ...I'm getting a little ahead of my story because what had happened was that I was getting drunk—we’d been drinking for three or four days—and Duke, as you know by now, is a very forceful, dynamic guy. Dirty words, “shit” and “fuck” would come out of him, and now we’ve got this young married couple with us, and he’s telling a story of some kind and he said "fuck" or something, and he heard himself say it and he said,"Oh, shit, I’m sorry." Well, that was too much for me. I just collapsed laughing and I was close enough to being ready to pass out—or at least so tired or drunk—that I laughed myself, not sick, but into like a pass-out. There was another empty chair t...

那时，我和白兰度已经到了第六大道和第五十五街的拐角处。那儿有个绿灯，于是白兰度继续往前走了。当他离开时我再一次感谢了他，他瞥了我一眼说：“再见，孩子。”与此同时我注意到他的一只脚刚踏过一坨狗屎。我想告诉他发生了什么，但他告别时是如此坚定，双手还插回了夹克的口袋里，我突然想起父亲曾说过，踩到狗屎象征着交好运。当然，在我考虑好怎样告诉他“你刚刚踩到狗屎了”之前，他就已经在路的另一头，消失在黑暗之中了。

书籍介绍

Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow ); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).

Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.

Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.

On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.”

On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ”

Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”

John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”

These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.

From the Hardcover edition.

• 作者：折翼的蝴蝶 发布时间：2016-06-24 00:36:16

  只是理论，没有方法。

• 作者：☜ Q ☞ 发布时间：2011-09-16 23:08:10

  2011.9.12-9.16 值得看，不值得买。

• 作者：走路微笑 发布时间：2016-09-20 18:12:30

  9.21。一个能喝一斤的重庆女人与一帮藏文化大咖的故事

• 作者：最美的你 发布时间：2018-11-28 09:29:17

  不建议浪费时间

• 作者：可以证明 发布时间：2018-12-15 20:51:44

  从ggad的同人文里知道了这本书。真是个奇特的女人。

• 作者：呼啦圈小野马 发布时间：2020-02-25 15:56:23

  当作作品画册看就是了。

• 待到山花烂漫时，她在丛中笑。

  作者：螺尔丝 发布时间：2010-03-30 12:00:45

  关于痞子，却也没什么要多说的。只因鲸鱼女孩是痞子的十年后的作品。

  先说书名吧。还是觉得“鲸鱼女孩池塘男孩”这个名字起的不太好。

  痞子本来想起“鲸鱼与池塘”的吧。出版社却偏执地认为这个名字好听。

  起码有点那么给人存留想象的缝隙。套上男孩女孩，有点俗气的名字。

  之前说过将痞子的作品和安妮宝贝的作品作对比。

  一个豆友说过一句话：痞子的作品温暖，安妮宝贝的压抑。痞子是在创造爱情，而安妮宝贝是在剖析爱情。

  这句话一直很难忘。其实我也不喜欢安妮宝贝的东西。好多喜欢痞子的人都不喜欢吧。喜欢安妮宝贝的人可能也不大喜欢痞子的东西。都是反方向的人和事。

  痞子却是在一如既往地给人制造温暖和美好。

  正如书中的凤凰花，即使是在台风天，仍旧依然很烂漫。

  全书就是在台风天引起的倒叙，引起了下文长达好几年的时光叙述。

  因为一颗绣球引来的一段缘分。中间因为读书学习工作的关系。在岛内的南北走走停停，分分合合。但最后还是走到了一块。

  至于情节我也不用多说，看过的人大都知道个脉络。

  小说的最后两章写得很好，的确还是像以前的一样很感人。仿佛有看到了菜虫，看似幽默，其实还是挺书呆子，重重的眼镜下依旧架着个傻傻的绣球。

  从他的几部小说看来，痞子的叙述都习惯了“一元论”，即一部小说里面只有一对主角，只有《檞寄生》是个例外。其他的大部分作品都是如此。

  也正因为如此，才是我们喜欢他的原因。

  简简单单，平平淡淡。这样未尝不好。也许我们的生活中现在的这样美好的情感正在慢慢流逝，痞子所能做的就是在帮我们追溯寻找。

  那天有人又说，痞子的作品男女主人公都貌似是在神交。这句话让我感到挺悲哀的。这个社会已经习惯了男男女女就一定要灯红酒绿了么？虽然包括我自己在内，也很难有小说里主人公那般。但这不正是我们潜意识所追求的情感的一部分么？

  没有历经艰难困苦，只是生活里的学习工作的小原因分分合合，到了最后克服了这些困难，男女主人公就一直坚守着自己，守护着对方，最后走到了一起。虽然情节没有什么大波折，也不够引人入胜，但这样平平淡淡未尝也不是一种美，而且也是痞子作品特有的。

  字里行间的文字很朴素，夹杂着淡淡的幽默和淡淡的哀伤。这一直是我的感受，《洛神花茶》、《回眸》等都是这样一种感觉。暖暖的，仿佛回忆带着我回到了过去，知道现实是没有时光机，所以这个任务就交给了痞子。

  感谢痞子，让我经历有一次的心灵暖流的洗礼。

  关于全书，没什么多说的。只是那段在山上敲门的桥段，让我想到了明菁。好像很相似的桥段，6号美女也跟明菁有点相似，都是不错的人，只是绣球选择了6号美女，菜虫没有选择明菁。为何不选明菁呢？这也是我一直在想的地方。

  也许。爱就是爱，不爱就是不爱。根本就没有答案也说不定。

  台风过后，待到山花烂漫时，她便会在丛中笑。

  要时时刻刻怀着一颗守候的心。她终究会出现的。

• 本书部分内容翻译完成

  作者：糖醋小熊 发布时间：2014-08-06 22:28:11