By Mark Griffin
Drawing on greater than a hundred interviews with such icons as Kirk Douglas, Angela Lansbury, Lauren Bacall, Tony Curtis, and George Hamilton, Griffin turns the highlight at the enigmatic “elegant director,” revealing long-kept secrets and techniques on the middle of Minnelli’s genius.
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Extra info for A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli
In Minnelli’s critically hailed 1956 biopic, Anthony Quinn’s Paul Gauguin lashes out at Kirk Douglas’s Vincent van Gogh. ” Quinn’s fiery postimpressionist tells the mad genius. ” is van Gogh’s unforgettable reply. As the director’s most fervent followers have always maintained, it would appear that we’ve been looking too fast at the work of Vincente Minnelli. For many Minnelliphiles, part of the mystique and fascination with his work is that it is so richly layered that a single film can be appreciated on many different levels.
I’d like to believe that in seeking the truth about my subject and attempting to present him as a complete person, that I’m belatedly returning the favor. For as I had been told many years ago, to see yourself is to see forever. Lester Minnelli’s yearbook photo, Willis High School, 1921. PHOTO COURTESY OF BRENT CARSON (PHOTOGRAPHER UNKNOWN) 1 Delaware Days THERE WAS SOMETHING ABOUT THAT YEAR … 1903. It seemed too turn-of-the-century and antiquated, so later on, he would tell people that he was born in 1907, which sounded more modern and Jazz Age.
As Paul turned three and a half and his disabilities were becoming more apparent, Mina discovered that she was expecting again. The baby would arrive in February. In the theater, the winter months were known as the “lean season,” as engagements were harder to come by, especially for traveling players. C. found themselves engaged by different theater companies. Mina continued performing—as a visibly pregnant ingénue—until the latest possible moment. When she could hold out no longer, she retreated to her mother’s house.