Archive

Archive for the ‘Writing’ Category

‘The Incredible Shrinking Man’ and ‘Downsizing’ speak to each other and to us 60 years apart

February 17, 2017 Leave a comment

Downsizing - coming in 2017

 

 

‘The Incredible Shrinking Man’ and ‘Downsizing’ speak to each other and to us 60 years apart

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

Media wonks like me are always looking for anniversary tie-ins between something from the past and something happening right now. Being a film buff to boot, I like finding movies from, say, Hollywood’s Golden Age, that have some thematic, visual or authorial resonance with contemporary movies. An obvious one that will be even more noticeable later this year has to do with Jack Arnold’s “The Incredible Shrinking Man” from 1957 and Alexander Payne’s “Downsizing” premiering later this year. That makes 60 years between films that have something to say to each other as well as about their respective times through the conceit of human miniaturization.

Making comparisons is always precarious but, as Payne would say, we’re only talking movies here, so relax. Besides, it’s irresistible discussing two films about small human beings even though each project’s storyline, approach, resources and era of filmmaking is radically different from the other.

Another problem with doing a comparison in this case is that “Shrinking Man” is widely available for review while “Downsizing” hasn’t even been completed yet. But I  have the script to go on as well as interviews I’ve done with Payne and a good chunk of his creative team.

In the earlier film the protagonist is miniaturized by accident or fate or phenomenon and his reduction is gradual and out of his control. In the later film the protagonist’s downsizing is a choice that happens immediately upon demand. And where the 1957 film’s hero is the lone person affected by this strange and frightening event, the hero of the 2017 film is one of an entire community or population experiencing miniaturization.

For all the films’ differences, there are also some key similarities. Let’s start with fact that each has an Everyman protagonist who ends up scaled down by mechanisms that speak to the anxieties of their times. “Shrinking Man’s” Scott Carey, played by Grant Williams, is caught in a strange fog and dust out on the ocean. Given that the film is set in and was released in the first full decade of the nuclear age, the inevitable implication is that Scott’s fallen victim to radioactive fallout. Relatively little was known then about the effects of radioactivity and that’s why science fiction stories ran wild with conjectures of mutations that made things grow abnormally large. Well, here, writer Richard Matheson imagines the reverse result.

As Scott’s diminutiveness advances, he is framed against the plastic suburban world of his home that increasingly becomes a foreboding, overwhelming prison of things that heretofore were neutral when he dominated but are now threats in his fragile new state. At one stage in his downsizing the family cat becomes a terrifying predator he must run from to escape. Later, when’s he’s even smaller, he gets stranded in the basement, where everything is an epic, life or death challenge – from navigating steps looming as cliffs he must scale to getting swept away in a water heater spill that for him is the equivalent of being caught in a flood to a spider that’s no longer just a household pest but a frightening monster he must battle for hi slife. In a world where everything has spiraled out of scale, he’s a vulnerable creature subject to objects and forces he once mastered but that are now beyond his control.

 

Grant Williams in The Incredible Shrinking Man

 

Throughout the shrinking phenomenon Scott’s normal sized wife remains faithful until the differential makes things impossible to carry on anything resembling a normal relationship. He loses her and every outward artifice of his life. Stripped of all that he once used to define himself by, Scott is eventually only left with his mind, his heart and his soul. Faced with the inevitability of being reduced to a molecule, then an atom, then an electron and eventually to the smallest life particles, he enters the vast unknown of an infinite universe. It is at once sad, as he is alone, and inspiring, as he’s become fully, intimately integrated with the matter of nature itself. By the conclusion he has moved from fearful, angry, desperate and despairing to surrender. No longer resistant, he gives himself over to a new reality in which he is the first human traveler. It is among the most profound, spiritual endings in cinema history.

Without giving away too much, Payne’s “Downsizing” has its protagonist Paul choose to be miniaturized in a near future world where looming climate change catastrophe has motivated scientists to develop a means by which humans are reduced to four inches. Every day people’s motivation to take this drastic action is variously noble, practical, desperate and exploitive. The environmentally conscious are willing to sacrifice their normal lives and everything in them in order to reduce their carbon and resource footprint and thus help save the planet. On the other end of the spectrum are the hustlers, hucksters, opportunists and traffickers who see a new world of suckers to con or to conduct illegal business with. In between these extremes is Paul, played by Matt Damon, who is convinced to sign up for downsizing transformation by his wife, played by Kristen Wiig. Paul is the classic go along to get along type who doesn’t like making waves or going out on a limb. Yet he agrees to give up everything he knows to be miniaturized because he and his mate will take this leap of faith into the unknown together. Besides, there’ll be doing their part to conserve resources in the hope that enough people will do the same to stem the catastrophic, apocalyptic end of life as we know it. It’s the most dramatic decision and act of his life because once the process is complete, there is no turning or going back. It is irreversible.

Then there is the huge new industry sprung up overnight to support and outfit this pioneering alternative lifestyle. The consumerist culture of escapist cruises and retirement resorts finds new expression in the small world and its geodesic domed communities. The way people live in this manufactured, improvised reality mirrors the normal world and thus there’s a class system of haves and have-nots, desirables and undesirables, predators and preyed upon.

When the couple go in for the procedure, they are led to separate labs. Paul goes through the process only to discover his wife had last minute second-thoughts and opted to not go through with it, after all. Thus, he’s abandoned to face the small world alone. There he falls into something of a shell shock routine until he beings meeting people and seeing things he never would have met or seen before. This includes Euro-trash wheeler-dealer Goran, who can get anything for a price, and Vietnamese-American activist, Gong Jiang, who fights the injustice that confines a marginalized segment of the small world to ghettos. Paul is befriended by Goran, who wants nothing more than to corrupt the circumspect newcomer, but this good-hearted grifter settles for opening his innocent acolyte’s eyes to the illicit commerce and trade this new world order offers. He can also get Paul places he couldn’t get alone. Circumstances bring Paul and Gong together and he is at first put off by her fierce, single-minded focus but grows to admire her passion and to love her not just as a symbol of right but as a fully dimensional woman.

It is through these opposites of Gong and Goran that Paul goes on his greater adventure both within the social-political maelstrom of the downsized community and amidst the end-of-world crisis hanging over everybody, big and small alike. Indeed, he finds himself at the right place and at the right time to witness and participate in an epoch of global dimensions. His diminutive size makes him a candidate to join a group of pioneers whose mission is nothing less than securing the future of human civilization. Thus, by the end, “Downsizing” takes a spiritual turn not unlike “Shrinking” and suggests notions of man’s place in the universe, on Planet Earth and in eternity.

Both films speak eloquently to the nature of man and the nature of existence itself and what it means to be human. At the end of these respective stories, Scott and Paul prepare to embark on journeys that will take them into ever new realms of unknowns. The conclusions suggest that it’s not the end for these characters or for their fellow human beings, but rather the beginning. In the earlier film there is an underlying social consciousness that questions what have we wrought in the nuclear age in terms of our health and future. There’s also the strong suggestion that in smashing the atom and releasing its energy we have reconnected with the very essence of mankind’s beginnings and our elemental lineage with the stars. In the later film the social consciousness stream focuses on what man has done to spoil the Earth and the desperate measures taken to salvage a future for man to continue living on it. In that respect and others, these films speak across generations to each other and to us.

Before I bid peace out, a few notes about the creators of these two films:

The late Richard Matheson wrote the screenplay for “The Incredible Shrinking Man” by adapting  his own novel (called “The Shrinking Man”). Matheson was a prolific and much honored author novels, short stories and screenplays for film and television and much of his best known work is in the horror, fantasy, science fiction categories. Among other things, he wrote several films for Roger Corman, including adaptations of Edgar Allan Poe works, a handful of the best episodes of the original Twilight Zone series (“Nightmare at 20,000 Feet” and my all-time favorite “Little Girl Lost”) and the made for TV movie “Duel” which made its very young director, He adapted his short story “Steel” into a Twilight Zone by the same title and decades later the story was made into the film “Real Steel” starring Hugh Jackman. Omaha’s own Mauro Fiore was the cinematographer on that 2011 adaptation. Steven Speilberg, a hot commodity in Hollywood. He also wrote a well-regarded episode of the original “Star Trek” series – “The Enemy Within.” His novel “I Am Legend” was adapted into the films “The Omega Man” and “I Am Legend.” He also worked closely with director Dan Curtis on some fine TV movies, including “The Night Stalker,” “The Night Strangler,” “Dead of Night” and a great adaptation of Bram Stoker’s “Dracula” starring Jack Palance. He also wrote for Western series and, well, if you look at his IMDB credits or go to his Wikepedia page you will see just what a titan he was among American popular writers.

The director of “The Incredible Shrinking Man,” the late Jack Arnold, was a good not great filmmaker who made some interesting movies in addition to this one, including “It Came from Outer Space,” “Creature from the Black Lagoon,” “Man in the Shadow” and the made for TV “Marilyn: The Untold Story.” Most of his directing credits were for epdisodic TV shows from the 1960s through the mid-1980s.

Alexander Payne and Jim Taylor are one of Hollywood’s great writing teams. “Downsizing” represents their second original script (their first was “Citizen Ruth”) and their adaptations have included “Election,” “About Schmidt” and “Sideways.” Payne directed each of these projects and two more features that Taylor did not contribute to – “The Descendants” and “Nebraska.” “Downsizing” represents their first foray into science fiction but the script doesn’t read so much as a sci-fi picture as it does an epic yet intimate human story that straddles, like all their work, comedy and drama. Lots of big ideas are explored and expressed in the story.

Where Matheson didn’t have the advantage of a director with great sophistication in Arnold, who was a studio journeyman, Payne is a world-class Indiwood filmmaker who has total creative control over his work. And where “Shrinking Man” was limited by a smallish budget and limited visual effects, though the effects are quite good not only for that time but even by today’s standards, “Downsizing” is a big budge project employing state of the art CGI and other technologies that should make human miniaturization look far more real than ever imagined before.

 

“The Incredible Shrinking Man”

1957 film

7.7/10·IMDb

90%·Rotten Tomatoes

“The Incredible Shrinking Man” is a 1957 American black-and-white science fiction film from Universal-International, produced by Albert Zugsmith, directed by Jack Arnold, that starred Grant Williams and Randy Stuart. Wikipedia

Initial release: February 22, 1957

Director: Jack Arnold

Story by: Richard Matheson

Producer: Albert Zugsmith

Screenplay: Richard Matheson, Richard Alan Simmons

_ _ _

“Downsizing”

2017 film

IMDB http://www.imdb.com/title/tt1389072/

First reviews should appear by the end of May 2017

“Downsizing” is a 2017 American comedy from Paramount Pictures, produced by Jim Burke, directed by Alexander Payne, that stars Matt Damon, Kristen Wiig, Christoph Waltz, Hong Chau, Neil Patrick Harris, Jason Sudeikis and Bruce Willis.

https://en.wikipedia.org/wiki/Downsizing_(2017_film)

Initial release: December 23, 2017

Director: Alexander Payne

Story by: Alexander PayneJim Taylor

Producer: Jim BurkeMegan Ellison 

Screenplay: Alexander PayneJim Taylor

Catch me talking ‘Alexander Payne: His Journey in Film’ on the podcast – ‘The Dustin Dales Show’

February 12, 2017 Leave a comment

THANKS, DUSTIN, FOR HAVING ME ON…

HERE’S DUSTIN’S POST ABOUT THE PODCAST EPISODE FEATURING THE SEGMENT WHERE I TALK ABOUT MY BOOK “ALEXANDER PAYNE: HIS JOURNEY IN FILM” (YOU CAN LINK BELOW TO THE BOOK’S AMAZON PAGE AND TO THE SHOW):

I want to send special thanks to Leo Adam Biga for stopping by to chat his book on Alexander Payne!

 

bd1cd-final2bfront2bcover2b6-28-16-1

 

Author & Journalist Leo Adam Biga of My Inside Stories stops by the show to chat film and his book ‘Alexander Payne: His Journey In Film,’ plus my reviews of #ADogsPurpose & #TheComedian

You can check out his book on Amazon here.
https://www.amazon.com/Alexander-Payne-His-Jou…/…/0997266708

 

Download past episodes or subscribe to future episodes of The Dustin Dales Show by Dustin Dales for free.
ITUNES.APPLE.COM

 

Forty-five years later and ‘The Godfather’ still haunts us

February 8, 2017 Leave a comment

Forty-five years later and ‘The Godfather’ still haunts us

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

Forty-five years ago “The Godfather” first hit screens and it immediately became embedded in American pop culture consciousness. Its enduring impact has defined the parameters of an entire genre, the mob movie, with its satisfying blend of old and new filmmaking. It’s also come to be regarded as the apogee of the New Hollywood even though it was very much made in the old studio system manner. The difference being that Coppola was in the vanguard of the brash New Hollywood directors. He would go on to direct in many different styles, but with “The Godfather” he chose a formalistic, though decidely not formulaic, approach in keeping with the work of old masters like William Wyler and Elia Kazan but also reflective of the New Waves in cinema from around the world.

I actually think his “The Conversation” and “Apocalypse Now” are better films than “The Godfather” and “The Godfather II” because he had even more creative control on them and didn’t have the studios breathing down his neck the way he did on the first “Godfather” film.

But there is no doubt that with “The Godfather” and its sequel he and his creative collaborators gave us indelible images. enduring lines, memorable characters, impressive set pieces and total immersion in a shadowy world hitherto unknown to us.

'The Godfather' Trilogy's Greatest Quotes for Entrepreneurs

Image credit: Silver Screen Collection | Getty Images

 

I think it’s safe to say that while any number of filmmakers could have made a passable adaptation of the Maria Puzo novel then, only Francis Ford Coppola could have given it such a rich, deeply textured look and feel. He found a way into telling this intimate exploration of a crime family pursing its own version of the American Dream that was at once completely specific to the characters but also totally universal. Their personal, familial journey as mobsters, though foreign to us, became our shared journey because the layered details of their daily lives, aspirations and struggles mirrored in many ways our own.

In many ways “The Godfather” saga is the classic tale of The Other, in this case an immigrant patriarch who uses his guile and force of personality to find extra legal ways of serving the interests of his people, his family and the public.

Coppola was ideally suited to make the project more than just another genre movie or mere surface depiction of a colorful subculture because he straddled multiple worlds that gave him great insights into theater, literature, cinema, culture, history, this nation and the Italian-American experience. Growing up in 1940s-1950s New York, Coppola was both fully integrated into the mainstream as a second generation Italian-American and apart from it in an era when ethnic identity was a huge thing.

The filmmaker’s most essential skill is as a writer and with “The Godfather” he took material that in lesser hands could have been reduced to stereotypes and elevated it to mythic, Shakespearean dimensions without ever sacrificing reality. That’s a difficult feat. He did the same with “Patton,” the 1970 film he wrote but that Franklin Schaffner helmed.

Of course, what Coppola does in the sequel to “The Godfather” is truly extraordinary because he goes deeper, more epic yet and still never loses the personal stories and characterizations that anchor the whole thing. In “The Godfather II,” which is partly also a prequel, he establishes the incidents, rhythms and motivations that made Don Corleone who he was when we meet him in the first film. Of course, Coppola subsequently reedited “Godfather I and II” to create a seamless, single narrative that covers the genesis and arc of the Corleone empire in America and its roots in Italy.

“Godfather III” does not work nearly as well as the first two films and seems a forced or contrived rather than organic continuation and culmination of the saga.

The best directors will tell you that casting, next to the script and the editing process, is the most important part of filmmaking and with the first two “Godfather” films, which are hard to separate because they are so intertwined, Coppola mixed and matched a great stew of Method and non-Method actors to create a great ensemble.

The depth of acting talent and pitch perfect performances are staggering: Brando, Pacino, Caan, Cazale, Duvall, Conte, Hayden, Keaton, Castellano, Marley, Lettieri, Vigoda, Shire, Spradlin, Rocco, De Niro. Strasberg, Kirby, “Godfather I and II” arguably the best cast films of all time, from top to bottom. One of the best portrayals is by an actor none of us have ever heard of – Gastone Moschin. He memorably plays the infamous Fanucci in Part II. And there are many other Italian and American actors whose names are obscure but whose work in those films is brilliant. Coppola is a great director of actors and he beautifully blends and modulates these performances by very different players.

 

 

   The Godfather - enough said.
<a class="pintag searchlink" data-query="%23Al" data-type="hashtag" href="/search/?q=%23Al&rs=hashtag" rel="nofollow" title="#Al search Pinterest">#Al</a> Pacino <a class="pintag searchlink" data-query="%23The" data-type="hashtag" href="/search/?q=%23The&rs=hashtag" rel="nofollow" title="#The search Pinterest">#The</a> GodfatherThe Godfather, 1972
Al Pacino, The Godfather.  Betrayal hurts
"The Godfather." The movie "views the Mafia from the inside. That is its secret, its charm, its spell; in a way, it has shaped the public perception of the Mafia ever since." (<a href="http://rogerebert.com" rel="nofollow" target="_blank">rogerebert.com</a>)  March 15, 1972: The Godfather opens On this day in 1972, Francis Ford Coppola’s The Godfather — a three-hour epic chronicling the lives of the Corleones, an Italian-American crime family led by the powerful Vito Corleone (Marlon Brando) is released in theaters. Photo: Talia Shire (Talia Rose Coppola) and Marlon Brando dance in the wedding scene. (Mondadori Portfolio by Getty)

Coppola’s great way into the story was making it a dark rumination on the American Dream. He saw the dramatic potential of examining the mafia as a culture and community that can exist outside the law by exploiting the fear, avarice and greed of people and working within the corruption of the system to gain power and influence. Personally, I’ve always thought of the films as variations of vampire tales because these dark, brooding characters operate within a very old, secret, closed society full of ritual. They also prey on the weak and do their most ignominious work at night, under the cover of darkness. drawing the blood of the innocent and not so innocent alike. While these mob creatures do not literally feast on blood, they do extract blood money and they do willfully spill blood, even from colleagues, friends and family. No one is safe while they inhabit the streets. Alongside the danger they present, there is also something seductive, even romantic about mobsters operating outside the law/ And there is also the allure of the power they have and the fear they incite.

“The Godfather” set the standard for crime films from there on out. It’s been imitated but never equaled by those who’ve tried. Sergio Leone took his own singular approach to the subject matter in “Once Upon a Time in America” and may have actually surpassed what Coppola did. Michael Mann came close  in “Heat.” But Coppola got there first and 45 years since the release of “The Godfather” it has not only stood the test of time but perhaps even become more admired than before, if that’s even possible. That film and its sequel continue to haunt us because they speak so truthfully, powerfully and personally to the family-societal-cultural-political dynamics they navigate. For all their venal acts, we care about the characters because they follow a code and we can see ourselves in them. We are equally repelled and attracted to them because they embody the very worst and best in us. And for those reasons these films will always be among the most watched and admired of all time.

Dick Holland remembered for generous giving and warm friendship that improved organizations and lives

February 8, 2017 Leave a comment

Dick Holland remembered for generous giving and warm friendship that improved organizations and lives 

Free-spirited entrepreneur gave with his heart and mind

Philanthropist’s gifts raised Omaha arts, culture, education health and public policy sectors

©by Leo Adam Biga

Originally appeared in the 2017 Metro Magazine Giving Guide & Event Book (https://issuu.com/metmago/docs/thegivingguideandeventbook2017)

 

Entrepreneur and philanthropist Richard D. Holland lived life large. Not in an ostentatious sense. He was too Midwest modest for that. Rather he lived out loud in a make-the-most-of-every-moment way that endeared him to many.

The Omaha native fit loads of living into his 95 years. A Unitarian and a liberal, he wore his beliefs on his sleeve and was unapologetic about it.

This benevolent, bellowing, love-to-laugh and make-you-laugh mover and shaker got much done in his hometown. He was considered a builder who contributed to Omaha’s physical and cultural landscape through the public structures and quality of life enhancements his giving helped build.

The University of Nebraska at Omaha graduate first gained traction as an advertising whiz handling elite accounts through his own agency. He later entered the public sphere as a funder of major health, education and arts projects, public policy initiatives and political campaigns through his Holland Foundation. The art of persuasion he learned as a Mad Man era ad exec helped him coalesce support for things he put his heart and money behind.

 

 

KETV-TV

 

 

 

The making of the man

As a young entrepreneur he sowed his adventurous oats by trying bookmaking, ice house hawking, door-to-door selling and  riding the rails. He served in the U.S. Army chemical corps during World War II. He pitched for the University of Omaha baseball team. The world was his oyster and learning about it became a lifetime passion. The voracious reader accumulated a home library thick with biographies. He subscribed to and absorbed dozens of magazines ranging from science to sports to the arts. He read at least four newspapers daily.

He found an inquisitive soulmate in his wife Mary, with whom he helped raise four children: Dean, Barbara, Nancy and Mary Ann or “Andy” Holland, who said her playful father enjoyed a strong relationship with her mother that stood the test of time.

“Marriages are full of all kinds of things happening,” she said,

“and my parents were very committed to the marriage and very loyal to each other. It was a good marriage.”

The couple were together six decades before Mary preceded Dick in death in 2006. Perhaps their greatest trial came when their son Dean was killed in an auto accident.

“It was horrible,” Andy said. “I think that’s the first time I ever saw my dad cry. It was a terrible loss for my parents. It hit them very hard. It was a very difficult time.”

While no one ever really gets over losing a son or wife, nothing kept Holland down for long. He was too irrepressible for that. Despite tragedies and setbacks, he always rallied. He rarely met a day he didn’t welcome.

“He was always very forward thinking,” Andy said. “He never dwelt on the past. He would have wanted to go on living forever. I don’t know many people that feel that way. He never got tired of living because he was just interested in everything. It wasn’t really until the very end he decided, well, I’ve got to go.”

DickHolland1

Soulmate

He and Mary were a matched set but, Andy said, “they were pretty different.” “My mother was much more outgoing. My dad appeared outgoing but where you’d have to drag my mom out of a party, my dad would have his little social fix and then be ready to go. I think my dad was more the intellectual. My mother went more with her feelings. But they did complement each other in a lot of ways. They made decisions together.”

Former University of Nebraska Medical Center chancellor Harold Maurer feels a portrait of the couple on display at the Holland Performing Arts Center captures their bond. The painting “Opening Night 2005” by Debra Joy Groesser shows the pair seated intimately together at the center’s grand opening.

“The painting depicts the strong interdependence between Mary and Dick,” Maurer said. “She has her head on his shoulder. It’s such a warm, wonderful feeling – which is what they personified in life. They were marvelous together. They seemed to agree on everything they undertook. They completed each other’s sentences they were so close.”

Holland Children’s Movement and Holland Children’s Center director John Cavanaugh said of the couple, “Mary was protective of him. He was so open, you know. Anybody could call him up and ask him for money (his number was publicly listed). Mary was a little more skeptical of the world out there and protected him from his own vulnerabilities. They were a perfect team together and the Holland Center is a perfect memorial to both of them.”

Andy Holland said her mom’s death “was very devastating” for her father. “They were married 58 years and they had a wonderful time together, especially the last 20 years. He missed her very much and he was very sad about it. Somebody told me after my mom’s death he would probably follow her shortly, but he didn’t. My dad was an extremely resilient man. He picked himself up and moved on because that’s just how he lived. He was just always looking forward, acquiring new ideas, doing new things and finding new friends. It wasn’t that he didn’t love her but he wanted to live life – he didn’t want to just exist.”

picture disc.
UNMC Chancellor Harold M. Maurer, M.D., left, and his wife, Beverly, with Richard Holland at a Nebraskans For Research luncheon to honor Holland for his efforts to advance research in the state.

 

A thirst for knowledge and getting things done

Nothing engaged him more than good conversation. He hosted a regular confab known as the Saturday Morning Gang. A faithful participant, author-essayist Rick Dooling, described it as “a cross between a literary salon and five old guys in a booth at the local diner,” adding, “Always fascinating banter with Dick as the maestro.” UNMC physician Dan Schaefer, retired film editor Mike Hill and photographer Pat Drickey completed the group.

Drickey said, “We would discuss the week’s events, including politics, art openings, movies, books we were reading and interesting stories from the New Yorker or the New York Times. Others made an appearance, like John Cavanaugh. Dick was very engaging and had a contagious laugh. Occasionally, he’d break out with his call of the loon. Thinking about it still brings a smile to my face. I think what Dick enjoyed about our company was the fact we were pretty much all down-to-earth native Omahans who’d reached the top of our professions.”

The Gang continues meeting. The group has an urn containing Holland’s ashes as a way of keeping his presence near.

His last few years Holland found a new companion in Marian Leary who gave him added reason to live.

He stayed connected to the people dearest to him, including Cavanaugh, an old friend who worked closely with Holland.

“I really miss the daily conversations I had with him,” Cavanaugh said. “He was just every day an inspiration in terms of things that needed to be done to mainly improve the lives of poor people in our community and across the country. We continue that work of improving early childhood care – a passion of his. Expanding access to quality care is a big part of our commitment. He was just a delight to have as a friend. He was a regular for Sunday dinner at our house. That was something he greatly enjoyed and we miss him tremendously.”

Following Holland’s August death a flood of tributes appeared. Recurring themes referred to his boundless generosity, caring, curiosity, intelligence, sense of humor and penchant for taking stands and speaking his mind.

Telling it like it is

His many admirers included daughter Andy Holland.

“He was courageous about speaking his mind and speaking out against things he thought wrong – no matter what it might have cost him. He was just never afraid to stick his neck out even when there could have been negative consequences to him. I know that’s relatively easy to do when you’ve got millions, but back in the 1950s he began an organization – Omahans for Common Sense – to counter McCarthyism. At the time he was a young man trying to build a business and had a wife and small children, so I think that was a very brave thing to do.”

Early Buffett Childhood Institute executive director Sam Meisels remembers Holland as “utterly unafraid,” adding, “He was such a strong and staunch defender of those things he felt right. He wanted to understand and he had an opinion. Anyone who knew him knew he wanted to share that opinion, and he always did. The critical thing was to hear him out because he did have a lot to say and there was a lot to be learned from him.”

Harold Maurer worked with Holland on several UNMC projects the philanthropist supported. Maurer recalled a particularly controversial area of research that he needed someone to champion and Holland jumped right into the fray.

“We were engaged in embryonic stem cell research early on

and we were getting killed by the press,” Maurer said. “I went to (then-Omaha World-Herald publisher) John Gottschalk and said, ‘John, I’m getting killed in the newspaper, what should I do?’ and he said, ‘Hal, you’ll hemorrhage for awhile but you’ll be okay.’ I spoke with (philanthropist) Mike Yanney and said, ‘I’ve got to know if the community supports what I’m doing or not,’ and he organized a breakfast I’ll never forget in his office with all the community leaders there, including Dick Holland.

“I asked them, ‘What do you think we should do?’ and someone said, ‘I think you should continue because we do not want to be last in Nebraska.’ I said, ‘Great, that’s the point. Now I’d like to ask one of you to head the development of an initiative to advocate this. They asked, ‘Who do you want?’ and I said, ‘Dick Holland.’ And Dick didn’t say not me or this or that, he said, ‘Sure, I’d be glad to take it on.’ That’s typical Dick Holland – willing to go to battle for the right things. He even came up with the name Nebraskans for Life Saving Cures.”

Holland didn’t stop there.

“He showed up at a very tense (University of Nebraska) Board of Regents meeting when that subject came up,” Maurer said. “Those opposed and those for the research were there. Dick came and spoke before the board on behalf of the research and I think that had a major impact on their decision.

“I miss his willingness to speak up about taboo subjects in Nebraska. I miss his advocacy for things that were right.”

Maurer recalled a time when he and John Niemann, senior vice president of the University of Nebraska Foundation, visited Holland at his home.

“We went to ask him for a gift for the cancer center. He knew why we were there, and he got up and said, ‘Excuse me, I’ve got to go to the bathroom.’ He left for the bathroom, came back and without a word from us he said, ‘Okay, I’m going to give you’ his amount of money.’ And that was it – without any kind of instigation from us at all. John Niemann and I looked at each other disbelievingly. He was that kind of person.”

As recipients of Holland’s gifts attest, “he took a personal interest in things and it was important for him to trust you – that was a big factor in his giving,” Maurer said.

Then there was his brazenness. A favorite hangout was the Happy Hollow Club, where Holland delighted enlivening the staid place. Maurer recalled, “Once, the leaders of an effort to recall the mayor were sitting at a table and he went over to them and said in a loud voice, ‘Oh, here’s a table full of fools.’ and walked on. Often, Warren Buffett would be in the corner by himself or with some dignitary. This one time, everybody’s quiet, they don’t want to bother him, so Dick gets up in the middle of the room and hollers, ‘Hey, Warren, how you doing?’ and that got the whole place stirred up.”

“Yeah, that’s the kind of thing he would do – he had a lot of chutzpah,” Andy Holland said of her father.

Not much surprised Andy about her old man but she said the general public probably didn’t know “he loved to cuss.” “He always swore a lot,” she said. “I mean, we all grew up with it, so it was no big deal. The grandkids were all a little shocked by it.

They were like, ‘Hey, Mom, you know what poppa said?'”

 

Image result for dick holland omaha

 

A caring heart for the less fortunate

He could be profane or profound but was above all compassionate. His passing left a gap in the local giving community. Those who benefited from that generosity appreciated how he targeted his wealth to support things he felt would make the greatest impact. He was renowned for getting others to give, too.

“He was so admired in the community that he just had to ask people to participate and they did, at whatever level he wanted them to,” Maurer said.

“He inspired a lot of other people to become more involved in creating a great community,” Andy said.

“He was a great man who was unique in every way. Just an unequaled kind of guy with a marvelous mind and such clarity of purpose,” said Maurer. “He did a lot for the Medical Center in terms of supporting the cancer center, stem cell research and a number of other activities as well. He was a founder of the Nebraska Coalition for Life Saving Cures and its president until he passed away.”

Holland exemplified the work ethic and resilience of the Greatest Generation by becoming a self-made man. Leavened by the Great Depression, he knew the value of a dollar and the gulf between haves and have-nots. Thus, he established the Holland Children’s Movement and Holland Children’s Center to study avenues for alleviating poverty and giving all children a good start in life. For him, the need for universal early childhood education was a social justice issue of utmost importance.

He found a noted ally and kindred spirit in Buffett Early Childhood Institute leader Sam Meisels.

“We talked about children and services to children and what the state and federal government could do to help children and families,” Meisels said. “We were certainly on the same wavelength there. He found it very hard to tolerate that any child’s potential was ignored or lost or not fulfilled. He always wanted to give everybody the best chance possible, and that’s how I feel, too. So we had a lot to talk about on that.”

Meisels recalled an event that highlighted Holland at his best.

“We had a symposium on the UNO campus with the Aspen Institute. On the stage I had three or four billionaires sitting next to me and the former governor of the state of Massachusetts. The moderator was the CEO of the Aspen Institute, who’s the former CEO of Time Magazine. There were questions from the audience and Dick raised his hand and he basically castigated everyone on that stage for not thinking hard enough about the fact children growing up in poverty need more than what we offered and considered. He made it very clear he thought we had missed the boat. He let us all have it. Well, that was a very Dick thing to do. He just never would hide his thoughts or pull his punches – and that was very foreign to people there.”

Holland backed his bluster with facts and action. Meisels admired him for doing his homework.

“He was absolutely very informed and when he didn’t know something he wanted me to send him articles to read. He wanted to know who to talk to in order to get the best information. He recognized when he didn’t understand and needed to know more and he wanted to do something about it.”

Omaha Performing Arts executive director Joan Squires said Holland was generous not only with his money but with his time and expertise.

“Dick was a great resource to go through a plan. He not only wanted to know artistically what we were doing but he knew the financials inside and out and he had a great in-depth working knowledge of how the organization operated. He actively participated in our board meetings, offered really great advice and was committed the entire time I had the opportunity to know him, which was 15 years.

“To be that vibrant and engaged and active was really a gift to all of us.”

Similarly, Meisels believes the totality of Holland’s contributions are what set him apart.

“He made a huge difference,” Meisels said. “You see it all around the city. Then there’s places you don’t know where to look even and if you know what he was committed to, there he is, too. He made a difference to everybody who came in contact with him personally. Not everyone loved him. Not everyone even liked him, I suspect. But those of us who were lucky enough to have a friendship with him, will never forget him.”

A social justice advocate

Just as he fought for children’s rights, Holland worked to repeal the death penalty in Nebraska and to raise the state’s minimum wage. He also backed many Democratic Party candidates.

John Cavanaugh knew his heart and mind as well as anyone.

“In the last 10-12 years we basically talked two or three times a day almost every day,” he said. “We worked very closely on public policy initiatives he was very passionate about. He was a terrific communicator and an inspirational voice and he would just go all out. A real goer and doer. He was still writing op-ed and letters to the editor at over 90 years old and still engaging in the political process, supporting candidates and causes.

“He was very strong in supporting the repeal of the death penalty in Nebraska. Up until his own death that was something he was proud the Nebraska Legislature had done and was supportive of the ballot effort to retain the repeal.”

Nothing though stirred Holland as much as early childhood and Cavanaugh said his friend play a key role in a major victory.

“Four years ago Nebraska reversed its position on providing prenatal care for undocumented pregnant women. Dick took up that cause and I worked with him in the Legislature to get that reinstated. It took the Legislature to pass legislation and then to override Governor Heineman’s veto. Dick was a driving force behind that effort and just felt passionately every child needed a chance to have a healthy start in life that begins with prenatal care. So we’re now one of six states in the country who provide publicly funded prenatal care for every expectant mother.”

Leveling the playing field for jobs and earnings also found Holland leading Nebraska to take progressive action.

“He spearheaded the effort to raise the minimum wage in Nebraska from $7.25 to $9. He did that as the primary funder for a ballot initiative that passed by over 60 percent – projecting Nebraska into one of the highest paying minimum wage states in the country, adding probably more than $250 million to the income of low income Nebraskans ” Cavanaugh said.

“After that passage a number of major national chains raised their own internal wage, so it had a huge ripple effect. He felt very strongly income inequality and the fact people work full-time and aren’t able to support their families was a critical issue of our time. He was very personally committed to addressing that, so we now have in Nebraska the lowest unemployment in the country and among the highest minimum wage.”

 

 

Making a difference

Andy Holland said her father “was very proud of some of the impact he was able to be a part of in education and in helping families and children in poverty.” “He really wanted to make  this a better place because he loved Omaha,” she said. “He lived here his whole life and wanted to make a difference here.”

Even after he found professional success and substantial wealth, Holland never forgot the values of his solid middle class upbringing. He also never lost the common touch with every day folks of whom he considered himself a most fortunate son.

Far from an all work and no play bore, Holland appreciated the finer things, especially the arts, and his giving reflected that. In making the lead gift for the Holland Performing Arts Center and contributing to the Orpheum Theatrer refurbishing he helped expand and enhance Omaha’s live arts scene.

OPA’s Joan Squires said the Holland Center actually fulfilled a long-held dream of the philanthropist’s to gift the city with a special venue.

“He had been committed to helping develop a performing arts center years before and the process never really got started until he and Mary were introduced by John Gottschalk to Sue Morris from Heritage Services. With their lead gift and John’s leadership all of this happened. Dick remained engaged, involved and passionate about our institution and the community from the time I first met him to the end of his life.

“One of the most meaningful things he said was that the Holland Center so far surpassed his expectations, He knew it would be beneficial for Omaha and the region but I think he did not understand the breadth and scope of what we would be able to accomplish. It really transformed the arts community here. He said, ‘I will always love it forever and it can only get better.’ It exemplified who he was – he just wanted to make this place a better community for everybody. And I know he took great pride in that and in how his and Mary’s philanthropic support and leadership encouraged others to join them and all of it came to fruition.”

Squires said both Dick and Mary were “very involved” in the design and construction process and she was “grateful” Mary had a year to enjoy the finished facility before she passed.

Despite their accomplishments, the Hollands remained humble.

“They were low profile, they were not looking for the spotlight, they just felt they were so fortune to have these gifts to share with others,” Squires said. “It really was never about recognition – it was about having a world-class performing arts center for Omaha.”

Andy Holland said her father enjoyed raising the city’s cultural profile.

“He was very proud of the impact he had on the arts in our community because of the tremendous difference it made,”

 

  • Holland is gifted a hockey jersey with his name on it during a parade outside his home, held in appreciation for his donation toward Baxter Arena.

  • Durango greets Holland at the parade.

  • Holland is recognized during Baxter Arena’s dedication ceremony.

  • Holland and Chancellor John Christensen share a moment during an early childhood education event held by the Aspen Institute and the Buffett Early Childhood Institute.

Enriching lives

Squires appreciated Holland the man, not just the philanthropist. “From the day I met Dick Holland I knew he was an extraordinary person,” she said of her dear friend.

She and her late husband Tom were struck, as others were, by his voracious reading habits.

“Tom and I would get him a book for his birthday or the holidays because what else could you get for him. We had to scramble to find something he hadn’t read that might be of interest, and it could be wide-ranging, on so many topics. We would comb the New York Times Best Sellers List to find just the right book. It was usually nonfiction, current events or historical and things he was engaged in. One of the books I gave him was about the Wright brothers and he read it cover to cover and loved it, because he just had to know how things worked.”

Heritage Services president Sue Morris worked with Holland on several brick and mortar projects he contributed to.

“Dick knew that facilities inspire excellence,” Morris said.

Even though he was a UNO alum she was “blown away” when he made the lead gift for the Baxter Arena – a sports facility. “Honestly, I think he got a kick out of doing something “different” and he was especially pleased the community ice rink was named Holland Ice. We didn’t know how to thank Dick for his generosity and he was beginning to be restricted in his trips, so we brought a parade to his home with the UNO marching band, the hockey players, convertibles with pretty ladies. He laughed and laughed and laughed. No plaque or crystal bowl or sign could have meant more to Dick than his very own parade.”

Just as Squires got close to Holland, so did Morris, and like everyone else who knew him, they miss his friendship.

“My life has been enriched in so many ways by Dick Holland. I miss him,” said Morris.

She and Squires said they will remember Holland always looking expectantly to the next step, the next phase, the next project and getting impatient if things didn’t move fast enough.

Following the old lion’s death a private memorial celebrating his life was held at the venue that meant more to him than any other bearing his name, the Holland Performing Arts Center.

Andy Holland said, “The final thing that closed out the memorial service was an opera duet with two sopranos called “The Flower Song” from the opera Lakme. It’s a beautiful song.”

That night she and some close friends of her father’s remembered the man they all loved.

“I was very touched by how many people really loved him. We had an awful lot of grown men crying. There were a few people we asked to say a few words and they just couldn’t.”

Rather than feel she had to share her father with others, Holland said, “I always thought my father enjoyed his life so much that I felt there was plenty of him to go around.”

Of that night, she said, “It was a wonderful tribute to him – I just thought it was perfect. My dad would have loved it.”

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

_________________________________________________

“He was always very forward thinking. He never dwelt on the past.. He would have wanted to go on living forever. I don’t know many people that feel that way. He never got tired of living because he was just interested in everything. It wasn’t really until the very end he decided, well, I’ve got to go.”

“He was courageous about speaking his mind and speaking out against things he thought wrong – no matter what it might have cost him. He was just never afraid to stick his neck out even when there could have been negative consequences to him.”

“He really wanted to make  this a better place because he loved Omaha, He lived here his whole life and wanted to make a difference here.”

“I was very touched by how many people really loved him.”

(Quotes by Andy Holland)

_ _ _

“He was just every day an inspiration in terms of things that needed to be done to mainly improve the lives of poor people in our community and across the country.”

He was a terrific communicator and an inspirational voice and he would just go all out. A real goer and doer. He was still writing op-ed and letters to the editor at over 90 years old and still engaging in the political process, supporting candidates and causes.”

(Quotes by John Cavanaugh)

_ _ _

“He made a huge difference. You see it all around the city. Then there’s places you don’t know where to look even and if you know what he was committed to, there he is, too. He made a difference to everybody who came in contact with him personally. Not everyone loved him. Not everyone even liked him, I suspect. But those of us who were lucky enough to have a friendship with him, will never forget him.”

(Quote by Sam Meisels)

_ _ _

“I miss his willingness to speak up about taboo subjects in Nebraska. I miss his advocacy for things that were right.”

(Quote by Harold Maurer)

” … he just wanted to make this place a better community for everybody. And I know he took great pride in that and in how his and Mary’s philanthropic support and leadership encouraged others to join them and all of it came to fruition.”

(Quote by Joan Squires)

_ _ _

“Dick knew that facilities inspire excellence.”

“We didn’t know how to thank Dick for his generosity (for making the lead gift for the University of Nebraska at Omaha’s Baxter Arena) and he was beginning to be restricted in his trips, so we brought a parade to his home with the UNO marching band, the hockey players, convertibles with pretty ladies. He laughed and laughed and laughed. No plaque or crystal bowl or sign could have meant more to Dick than his very own parade.”

(Quotes by Sue Morris)

What if Creighton’s hoops destiny team is not the men, but the women?

February 8, 2017 Leave a comment

What if Creighton’s hoops destiny team is not the men, but the women?

©by Leo Adam Biga

 

Wouldn’t it be weird if the local college hoops team of destiny this year wasn’t the men’s squad as we all assumed through mid-January, but in fact their female counterparts on campus? Maybe, just maybe, we got this narrative wrong. No worry, there’s still time to jump on the bandwagon and rewrite history. Sound crazy? Not so fast. The Bluejay men are not the same since losing Maurice Watson and even though the Jays are still a quaity team and even still control their own fate, each loss from here on out during the remainder of the regular season and on through the Big East tournament will only further hurt their standing in the eyes of the national pollsters and NCAA selection committee. Unless CU can play very strong the rest of the way, its once realistic if not probable shot at a No. 2 seeding will be long gone and the Jays could very well end up in their customary No. 8 or 9 spot. The once 17-0 Jays have come back down to earth and are not 3-4 in their last seven games. More importantly. they are now exceedingly fragile bunch mentally speaking. Meanwhile, the women’s team, which traditionally gets off to slow starts, once again struggled mightly early in the year, opening at 1-3. They entered the 2016-2017 campaign with a deep, talented and experienced roster, but injuries hurt them early on. Since getting healthier and adjusting to the loss of one of their own top players, they have gelled to go 16-3. The team gets steady contributions from nine, even ten players. At 17-6 and 11-2 the Lady Jays sit just outside the Top 25 and are poised to enter the Big East Tournament in great shape and further enhance their chances for a decent NCAA seed that could help them advance to the second weekend of March Madness. Steady at the helm is veteran head coach Jim Flanery, who has established himself as one of the state’s better college hoops coaches, men’s or women’s side, in the last quarter century. He seems to get the most ouf of his players year in and year out.

 

Bluejays Bytes Podcast: Episode 15, Sponsored by Lawlor’s Custom Sportswear

 

 

The great thing about the CU women’s program is that it’s heavily built on Midwest student-athletes. Almost all the players come from within an 8-hour driving radius. There are three Nebraska kids on the roster and the rest come from Kansas, Iowa, Minnesota and Illinois. The lone outlier is from Oklahoma. The Jays doesn’t do any one thing particularly well but they do most everything pretty well and their balance and depth is hard for other teams to match even though CU is often overmatched athletically at certain spots. Being fundamentally sound and hard-nosed can make up for a lot of deficiencies, especially against teams that are about even in terms of overall talent. I’m not saying the Hilltop women’s team will go farther than the men’s team, but they do have the advantage of being on a roll that is weeks long in process and showing no signs of slowing down whereas the guys are still in herky jerk mode trying to adapt to the loss of their indisputable leader on and off the court. Even though his career was prematurely cut short and he only played one and a half seasons in a CU uniform, Watson will go down as one of the school’s all-time top talents in the same category as Silas, Portman, Harmon, Apke, Johnson, McKenna, Benjamin, Gallagher, Harstad, Buford, Sears, Walker, Korver, Tolliver, Funk, McDermott. The same is true of Justin Patton, who may be off to the NBA as soon as next year, and Khryi Thomas, who before all is said and done may be the best of the lot. Marcus Foster has the potential to be in this conversation, too, but he needs to be better than he has been since Watson went out or else he will be remembered as no more than a pretty good scorer and super athlete but certainly not a great or even a difference-maker of a player. I mention all this because by contrast the Creighton women don’t have any one player who can be considered a certifiable star compared to all-time program greats like Halligan, Gradoville, Yori, Nenman, Janis. They are all about team and the whole being greater than the parts. Audrey Faber, Marissa Janning, Brianna Rollerson, Sydney Lamberty. Jaylyn Agnew. Laura Works and Baily Norby are the interchangable heart and soul cogs of the team and have had to be since M.C. McGrory was lost for the season after only nine games. Because the Lady Jays lost one of their best players so early compared to the men losing their best player mid-season the women have had the advantage of more time adjusting to her absence and they’ve compensated well enough that they’re in contention for the Big East title and a nice NCAA tourney seeding.

 

Creighton locks down Villanova in the second half to remain unbeaten at D.J. Sokol Arena

 

 

To be fair, the women losing McGrory was not nearly the blow the men endured when Watson went down, but what the Lady Jays have done since is not only comendable but darn impressive. And coach Jim Flanery deserves much credit for the job he’s done in taking over for school legend Connie Yori and turning out competitive teams year after year with less than eye-popping talent. What he’s done compares favorably with what CU volleyball coach Kirsten Bernthal Booth – reigning National Coach of the Year – has done. Bernthal Booth led CU to the Elite Eight this past season and I would love to see Flanery get his hoops program there one of these years. It would be a long shot, for sure, but, hey, it was a longshot for the volleyball team to get there, too. But they did it. Maybe this is the year he makes it happen. Wouldn’t it be amazing if the women’s basketball team does it the same season the volleyball team did? Why stop there? How about both the men’s and women’s teams advancing to the Sweet Sixteen? Neither program has ever done it. Why not this year? Why not do it when both team

‘The Graduate’ revisited

February 6, 2017 Leave a comment

‘The Graduate’ revisited

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

This is the 50th anniversary for a much beloved yet peculiar film,“The Graduate” (1967), that landed as a sensation in its time, became an adored artifact of the 1960s but has steadily lost some of its stature and allure over the proceeding half-century. I watched it again the other night and while it’s a film I’ve always admired and I still enjoy I can see now that it’s a strange thing to have resonated so deeply in any era, even in its own breaking-the-rules time.

I mean, the new college graduate protagonist Benjamin Braddock sleeps with the mother of a childhood friend and then falls in love with the daughter and interrupts her marriage to run off with her. It’s a preposterous plot line but it works, which is to say we go along with it, because the film is basically a farcical, satirical indictment of the establishment and an embrace of youthful rebellion and following your heart. The performances by a very fine cast mostly hold up. the writing perhaps less so and the direction is, well, needlessly showy. Mike Nichols was a Broadway wunderkind and a fresh force in cinema who helped push American filmmaking more in the direction of the various European New Wave movements with rapid cutting, restless camera, nonlinear structure and frank exposition. He veered dangerously close to going over the top with it all in his first three features – “Who’s Afraid of Virginia Wolf?,” “The Graduate” and “Catch 22” – I suspect because he was enthralled with the new freedom cinema offered and was just insecure enough not to trust the material to hold our attention without using various tricks. His much later work (“Working Girl,” “Charlie Wilson’s War”) is far more traditional, visually and technically speaking, but far more satisfying, too.

The best thing about the movie is Dustin Hoffman’s performance. It’s a tour de force that sneaks up on you. He is so present and in the moment in every shot and scene and so real and truthful to the buttoned-down character he plays that it seems like he’s doing nothing when in fact he’s doing everything an actor’s called to do. Much of his characterization is done without words. Indeed, his performance reminds me of those of the great silent film comedians like Chaplin and Keaton, only he’s less busy and big.

 

9shot - the graduate

 

photobooth the graduate

 

My take on “The Graduate” today is that if not for Simon and Garfunkel’s music, the film wouldn’t work nearly as well as a ’60s counterculture piece. Indeed, other than the music there’s virtually nothing in the film that either overtly or even obliquely refers to the very decade it purportedly speaks to. There’s no mention of civil rights or the war in Vietnam or the burgeoning feminist movement or the end of Camelot or the culture wars ushered in by rock ‘n’ roll, drugs and free love. There’s no reference to politics either. Admittedly, Ben is from a privileged white suburbia world where some of those currents and issues would not be discussed or experienced. But even in those circles things would not have been so sterile or blind or one-dimensional that some of these things didn’t come up or resonate or cause a conflict. The generation gap the film depicts is so generic that it would be easy to forget what decade the film is set in except for that music.

On the other hand, the film is far superior to the vast majority of comedies made in that era, especially the lame youth films of that decade. Even though the men who wrote (Buck Henry and Calder Wilingham) and directed (Nichols) “The Graduate” were much older than the generation they were obviously siding with – even Hoffman was far older than the character he played – they managed to catch a certain ironical spirit of the time that really was a carryover from the 1950s as much as it was a purely ’60s sensibility.

Where the film is perhaps most interesting is in striking an odd but somehow effective balance of the romanticism, even idealism and anger of the ’60s tinged with the cynicism that the ’70s would more fully usher in. The end of the film echoes the beginning in that Ben is searching for his path in life. At the start, he’s alone as he tries finding his way. At the end, he’s with a girl, but still very much alone and adrift. Sure, he’s defied the cookie-cutter, plastic life of his parents and their friends but at a price. He’s lost his naiveté but gained a heavy does of reality that will, as we’ve come to know, likely find him following many of the very Establishment precepts he rejected as a young man.

Looked at today, the movie seems to have some mixed or superficial messages: the hot passions of life are all very ephemeral but desirable; going after what you want is a messy buisness but it’s worth it; conformity equals comfort if not contentment so why settle for less? It kind of sounds like the very things “The Graduate” supposedly rejected. Ben, in middle age, probably ended up in a similar circusmstace as his parents and their freinds, not that you could have convinced him of it at the time. And so it goes…

Glen Campbell’s sweet goodbye

February 6, 2017 Leave a comment

Glen Campbell’s sweet goodbye

©by Leo Adam Biga

 

When pop-country crossover music legend Glen Campbell announced that he has Alzheimer’s disease a few years ago, he could have retreated into the shadows but instead he made some courageous decisions that put him and the disease quarely in the public eye. First, he went public about his diagnosis. Then he went on an extensive national tour to give himself, his family, his friends and his fans one last chance to savor his talents before the ravages to his mind and body made it too late. This was a farewell tour unlike any other. Start with the fact that audiences knew up front that this Glen Campbell was already damaged goods and so any idea of flawless performances went out the window. This was all about him expressing love to his fans and the fans in turn giving their love right back. Making it all the more poignant was that Campbell’s back up band consisted of some of his adult children and longtime cronies. His wife Kim Wollen was along for the entire 100-plus cities tour.

Campbell also allowed a documentary film crew to accompany him on and off tour as his disease progressed and his faculties diminished. I recently saw that film, “I’ll Be Me,” directed by James Keach on Netflix. It is as intimate and vulnerable a portrait of an artist as I’ve ever seen. The challenges of the disease to the aflicted and to those around him are seen up close and personal but it never seems intrusive or exploitive. It’s all done out of love and public service.

The tributes to Campbell and his artisty in that film put in perspective just how respected he is by his peers, past and present, who recognize his greatness.

The film led me to search online for more things featuring Campbell and through all of it I’ve come away with a much deeper appreciation for the gifts he gave us as a singer, songwriter, guitarist and performer. He’s a consummate entertainer whose like is rarely seen. He conquered every medium open to pop-country musicians and erased boundaries between styles, genres and categories.

He’s recorded many tunes that became and remain standards in the Great American  Songbook. But there’s a particular song, “Gentle On My Mind,” whose lyrics have poignant resonance with his affliction. I have copied and pasted the lyrics below. That song, of course, originated during the peak of Campbell’s career and it’s only now, in light of his condition, that it has this other, deeper meaning.

Not long before Campbell’s mind and motor skills left him, he and producer Julian Raymond co-wrote an original song, “I’m Not Gonna Miss You,” for the documentary and this much acclaimed song, which I only now became aware of, is one of the simplest yet most profound meditations on memory loss to be found anywhere. It is a beautiful heartbreaking ballad that stacks up with the best work this artist ever did. That he had the presence of mind to make this his final message to the world is an act of radical grace. I don’t know of another example of a recording artist who spoke so directly to the very thing that was stealing his mind andvery being even while writing and recording the piece and giving it as a gift to the world. He recorded the tune with some of his old session musician mates from The Wrecking Crew.

The words and music remind me, and I’m sure many others, of some tracks on “Pet Sounds,” the brilliant Beach Boys album he played on during his session or studio musician days.

Just as “I’m Not Gonna Miss You” fearlessly and frankly addresses his disease, his final album,”Ghost on the Canvas” does the same in exploring the ups and downs of a life that’s straight out of a Hollywood move. He went from rural poverty in Arkansas to smallt-time band work and recordings to becoming a session king to breaking big as a solo artist who won Grammys, co-starred in movies, headlined his own prime time TV show, went through four marriages, battled alcohol and drug addiction and then, when he finally got it all together, found his memory going.

The video to “I’m Not Gonna Miss You” is breathtakingly moving. Enjoy it here–

Here are the lyrics to “I’m Not Gonna Miss You”:

I’m still here, but yet I’m gone

I don’t play guitar or sing my songs

They never defined who I am

The man that loves you ’til the end

You’re the last person I will love

You’re the last face I will recall

And best of all, I’m not gonna miss you

Not gonna miss you

I’m never gonna hold you like I did

Or say I love you to the kids

You’re never gonna see it in my eyes

It’s not gonna hurt me when you cry

I’m never gonna know what you go through

All the things I say or do

All the hurt and all the pain

One thing selfishly remains

Songwriters
GLEN CAMPBELL, JULIAN RAYMOND

Published by
Lyrics © Warner/Chappell Music, Inc.

Song Discussions is protected by U.S. Patent 9401941. Other patents pending.

 

And here are the lyrics to “Gentle On My Mind”:

It’s knowin’ that your door is always open
And your path is free to walk
That makes me tend to leave my sleepin’ bag
Rolled up and stashed behind your couch
And it’s knowin’ I’m not shackled
By forgotten words and bonds
And the ink stains that have dried upon some line
That keeps you in the back roads
By the rivers of my memory
That keeps you ever gentle on my mind

It’s not clingin’ to the rocks and ivy
Planted on their columns now that bind me
Or something that somebody said because
They thought we fit together walkin’
It’s just knowing that the world
Will not be cursing or forgiving
When I walk along some railroad track and find
That you’re movin’ on the back roads
By the rivers of my memory
And for hours you’re just gentle on my mind

Though the wheat fields and the clothes lines
And the junkyards and the highways come between us
And some other woman’s cryin’ to her mother
‘Cause she turned and I was gone
I still might run in silence
Tears of joy might stain my face
And the summer sun might burn me till I’m blind
But not to where I cannot see
You walkin’ on the back roads
By the rivers flowin’ gentle on my mind

I dip my cup of soup back from a gurglin’ cracklin’ cauldron
In some train yard
My beard a rustlin’ coal pile
And a dirty hat pulled low across my face
Through cupped hands ’round a tin can
I pretend to hold you to my breast and find
That you’re waitin’ from the back roads
By the rivers of my memory
Ever smilin’, ever gentle on my mind

Written by John Hartford • Copyright © Sony/ATV Music Publishing LLC

And here is Glen performing it–

 

%d bloggers like this: