Friday, March 17, 2017

Elvis Presley: 1968 Comeback Special. “I have no need for all this.”

It’s true, Elvis was never the same after he came back from the Army in 1960. There was a knowing in the famous lopsided smile, a restlessness fueled by something other than youth.
The Final Performance

The songs came and were forgettable; the films even worse. The hippies didn’t even wears shoes, let alone blue suedes.

Eight years passed by. He dyed his hair blue/black and became an eccentric relic, more a novelty than an entertainer.

For reasons known only to a Robert-Johnson-Cross-Roads shaman, the gods handed Elvis one last chance and he didn’t even know it.

A television special would have been unthinkable before. But this was not ‘before’. The producer noticed that Elvis liked to sit with his buddies and just play the old songs. So why not do some of that?

And it became the first unplugged segment in pop music.

It didn’t take long for Elvis to go off script. In a way, he was always off script, something all the others (Bobby This or Frankie That) never really got.

Off the grid. No auto-tune. Full bore.
Watch him. He slides off the grid and swings a trapeze up to his long dormant talent. Suddenly he has hold of an electric guitar with no strap. Doesn't stop him. Deep in his Memphis soul he must know this could be it, the Final Performance, no matter how long he lives.

Clad in black leather, with no vocal overdubbing and no auto-tune and no reverb and no backup singers, he becomes what he always was - among the best rock singers of the twentieth century, and one of a few genuine pop culture icons.

Today, it is impossible to hear him sing ‘Trying to Get to You’ and not notice how careful superbowl-style pop music has become. This is the mother-lode. The high-water mark. Pre-punk. The gold standard. 

Whatever rock was supposed to be, it doesn't get better. Rock critic Greil Marcus watched the show that night with a friend, who at one point turned to him and said, shocked, "He's doing all this with just three chords? Impossible."

And then, he leaves the stage forever. Just like that. Resigned to bedazzled white jumpsuits and ill-health, going through karate-kid motions and praying for an early release.
Savage. Mindless. Real.

Later, he writes a note to himself (to what he was, what he is to become) not to be shared, but discovered after his death:

-          “I feel so alone sometimes. The night is quiet for me. I'd love to be able to sleep. I'll probably not rest. I have no need for all this. Help me, Lord.”

Friday, March 3, 2017

William F. Buckley Jr.: Strategically Disheveled

Buckley. Vidal. Let's get it on.
He enjoyed being hated by liberals. They served to validate his beliefs. “There is an inverse relationship between reliance on the state and self-reliance,” he suggested.

William F. Buckley Jr. was often the smartest guy in the room, but he usually chose the room.

Bill was the go-to telegenic conservative public intellectual for much of the 60s. He was everywhere. Even ran for mayor of New York City – likely for the platform, not the position.

They called his accent ‘mid-Atlantic’. It gave him a natural, privileged aura. He often appeared strategically disheveled.

Of the Vietnam War he said, “The pity is that we are saving our tactical nuclear weapons for melodramatic use.” Near the end of his life, looking back, he surmised Vietnam was a mistake. Also reversed himself on Civil Rights. Flip-flops…but he had the guts to flop.

His TV show, Firing Line, was on the air for thirty-three years. He met his match with guest Noam Chomsky and purposely avoided him from thereon.

The writer Gore Vidal believed “[Buckley] was a very stupid guy, who never read any of those books he referred to, and Americans, being such hicks, thought he was a great nobleman and a real gentleman.”
Bardot. Buckley. Let's get it on.

He wrote a series of spy novels.

Buckley wasn’t really an intellectual, academic, capitalist or provocateur. He was an entertainer/entrepreneur. He once said it was a tough way to make a buck.

Someone with his learning, brains, and vocabulary wouldn’t last thirty minutes on today’s airwaves.

His career? ...Commenting on his beliefs.

William Buckley had a very rare talent. He made people think.

Tuesday, February 7, 2017

Jean de Breiteuil: The Jet-Setting Angel of Death

“Jean wаѕ a horrible guy, ѕоmеоnе who had crawled out from under a stone. Sоmеhоw I ended uр with him…it wаѕ аll аbоut drugs аnd sex.” – Marianne Faithful

“The devil hath power to assume a pleasing shape.” - Shakespeare

Jean de Breiteuil. As a drug dealer/addict, he was in the right business. He just wasn’t good at it. Jim Morrison. Jimi Hendrix. Brian Jones. Janis Joplin. Talitha Getty. Pam Courson. Keith Richards. All clients, all dead – except for Keith Richards – for as we all know, what doesn’t destroy Keith only makes him
Jean de Breiteuil: Jet-setting

Maybe along the way, Jean’s self-loathing somehow metastasized into homicidal fantasies. Likely he didn’t care. Perhaps his spirit was cast at Altamont. He himself overdosed at the age of twenty-two. 1972.

Devil assumes a pleasing shape

The devil hath power to assume a pleasing shape.One could argue that taking out Morrison and Joplin changed the course of rock music, however subtlety. His involvement with Hendrix and Jones was more tangential.
His family owned French-language newspapers in North Africa. On the death of his father, he inherited the title of 'Count de Breteuil'. A debauched aristocrat if ever there was. Became a Eurotrash, drug-addled playboy. A rock n’ roll celebrity  drug enabler.

A few of his customers
What to make of it? ‘Heroin Dealer to the Stars’ isn’t a typical career choice. Who knows his passions. But when so many of your customers become young corpses, one may question a professional aptitude.

Jean de Breiteuil. The soundtrack of his life should include The Pusher, People Are Strange, and for this jet-setting junkie, Hank Williams’ Angel of Death. “The Angel of Death/ Will come from the sky/ And claim up your soul/ When the time comes to die.”

Wednesday, August 10, 2016

Keith Moon: Little Drummer Boy as Charlie Chaplin

‘...that still higher perch
where Beauty stands and waits
with gravity
to start her death-defying leap
And he
a little charleychaplin man
who may or may not catch
her fair eternal form
spread-eagled in the empty air
of existence’
-          Lawrence Ferlinghetti 

If you look closely, the jester is always sad, even when setting the table on a roar. Maybe it’s the quizzical eyebrows, or the saucer eyes themselves that speak beyond the trashed hotels and Berserker pandemonium.

The eternal boy, the jeering Trickster.

In full flight
The laugh was spring-loaded and greased with alcohol and a sparkling menagerie of drugs. Somehow the pain was transmuted into his hands and feet and out across taught drum skins, right into radios of the nation. Nobody had ever heard anything like Keith Moon. They never would again. He was a one-off.

To estimate his importance to one of the most successful rock acts in history, look at what The Who accomplished after Moon’s vanishing act. Enough said.

Rarely does a drummer have such influence. If ever a man was born to an extremely specific profession – in this case a drummer for a world-famous rock band – it was Keith Moon. It’s not possible to envisage him selling shoes or anything else.

“I love to see people laugh, “he said, “and I love it more if I can make them laugh.”
He loved his work

The 24/7 performer. An Emmet Kelly sprinkling cymbals crashes like pixie dust across the swaying heads of a whole generation. “I’ve always enjoyed myself,” he stated. “Unhappy periods for me last about twenty minutes.” (Until the drugs kicked in).

The Little Drummer Boy as Charley Chaplin. He left us but remains – because he never drummed from his heart – it had an off-beat… He drummed from somewhere else, very private and alone.

Friday, July 29, 2016

Edie Sedgwick: Holly Golightly Becomes a Superstar

“Loneliness is such a sad affair
And I can hardly wait
Andy lights Edie
To sleep with you again”

-           - ‘Superstar’ (Leon Russell/ Bonnie Bramlett)

It’s been said that Andy Warhol attracted damaged people – those who drifted into his orbit had shredded their own spiritual gravity - and so there they floated, like silver clouds, through his warehouse, termed – for good reason – ‘The Factory’.

The Youthquaker
Edie Sedgwick came from a family in which the veins of lineage coursed with blue blood, and bank accounts sagged under bullion. That gave her entre but not character – and mascara, thinness, long legs and a wide smile could never make her more than a cultural oddity, never a star.

Ciao Edie
Try watching her in Poor Little Rich Girl. The silence is noisy with ennui, and the deep loneliness of privilege is captured like a breathless, beautiful moth.

On being told by a palm reader that she had a very short life line, Edie replied, “It's okay — I know.” (She managed to avoid The 27 Club by a year).

Maybe fatalism is just predestination with a bad attitude, but Edie, often said to be so fragile, got tough and danced over with lipstick in hand, holly-go-lightlying across a Manhattan skyline to say a final “Ciao”, becoming - that which she was once so flippantly promised and so strangely desired - a Superstar.

No heavy makeup. No need.
"Long ago and oh so far away
I fell in love with you before the second show
Your guitar, it sounds so sweet and clear
But you're not really here
It's just the radio"

        - Superstar

Tuesday, July 5, 2016

Brian Wilson: Tin Pan Became Beach Sand

In the beginning...
Given the phosphoric nature of his creativity, it couldn’t last beyond the next riptide.

He had no John Paul George or Ringo for that matter. Not even a George Martin.

In the middle...
So he lived without irony, which is to live unprotected, and alone offered up lazy-daisy melodies, two-minute paens of teenage angst, deep from within dark studios and collapsed dungeons of an exhausted mind.

Somehow the California sky birthed those sounds, glazed in light beams and downy floss. Tin Pan became beach sand. And the warm blue Pacific curled down the coast and sailed him in a glass-bottom dream.

So it was that ironic and that irony shoved him from a wave’s crest and he fell like an Icarus into the arms of startled sea nymphs. Then Charles Manson came around for coffee. Bad vibrations. Flat harmony.

In the end...
He remains a frozen-faced sentinel, Buddha in exile, now resting on a piano stool, the center of attention, while dancers shimmy and shake to those long-ago melodies raised by a young man (a nod to Yeats) tossing on his bed, rhyming in love’s despair.

Brian never made it out, but his songs race with summer children, forever kicking the sunset waves at Malibu, cheering storm clouds, knowing you can only see real fun fun fun in the rear-view mirror, hanging off the cracked windshield of a Little GTO.

Friday, February 19, 2016

Owsley Stanley: The Acid King, The Blood Bedazzler

A typical LSD-related scenario
He was there, you just couldn’t see him. They felt him in their heads, behind their eyes, how you saw the face of God on a grapefruit, the way her hair became a whirling rainbow as you ran together on MountTamalpais...

Owsley Stanley (born Augustus Owsley Stanley III) was a magician of sorts, part alchemist, an enabler, proffering the keys to the Kingdom of Psychedelia.

Sometime around 1965, within the walls of his own San Franciscan lab, he began producing LSD (Lysergic acid diethylamide). It didn’t take long for Owsley Acid to be extolled as the gold standard among the West Coast counter culture

Pals: Owsley and Jerry
He wasn’t a one-hit wonder. In fact, Owsley supported brand extension, developing hallucinogens with names like STP, White Lightning, Monterey Purple and Blue Cheer.

It is estimated that he produced one-million doses of LSD between 1965 and 1967.

He became a sound engineer with the Grateful Dead and, likely, their embedded pharmacist.
The Acid King in His Prime

His lab was raided and he spent a few years in jail. Then it was off to Australia to avoid the coming Ice Age – which he did by dying in a car accident.

A Merlin figure, watching the newly crowned Kings and Queens dance the Fug at the Court of Fillmore West, bedazzling their blood with cosmic karma.

Thursday, January 7, 2016

Pauline Boty: Blonde on Blonde

“'Friendly, glowing, bronzed, curious, eager, impulsive: the world was all before her, and she knew it” – Margaret Drabble

Boty in motion
She looked the part. Resembled Brigitte Bardot.  A beauty. Was in the film Alfie. Flew above the great unwashed through an exertion of willpower and talent.

Pauline Boty brought Bob Dylan to England. Picked him up at Heathrow and he crashed at her pad.(That alone should get you into Wikipedia).

She looked the part. The mother lode.
Painted Marilyn Monroe, Elvis and Jean-Paul Belmondo. Did collages of magazine cut-ups. Was in a Ken Russell film. Acted on the stage.

Died young so that her unborn baby would live. A dyed-blond hero.

Forgotten, hibernating, then rediscovered.

The Only Blonde in the World. 1963
A cranked-up combustion furnace of 60s pop culture who could do the Mashed Potato 'til dawn and have enough left over to mix the paint. The pure strain. The Mother Lode.

And for a brief, brush stroke of time, she really was the Only Blonde in the World.

Tuesday, December 22, 2015

Bob Dylan: The Bard of Branding

“Bob is not authentic at all. He’s a plagiarist, and his name and voice are fake. Everything about Bob is a deception.”

-         -  Joni Mitchell

Bob...before he became 'Dylan', man
The irony was apparent to those who chose to see the rickety, stove-piped legs that supported the façade. Here was a middle-class mid-western Baby Boomer folky transmuting Woody Guthrie Depression-era socialism into 1960s societal angst. Anti-government. Anti-corporation. Anti-status quo.

However, few entertainers ever had such an intuitive gasp of personal branding as Bob Dylan. In this pursuit, he is a genius. The untamed hair, the defiantly off-key singing, the poison pen lyrics, the confrontational attitude, the up-all-night pallor – Dylan created a powerful, pliable persona that was as original as Old Glory itself, and just as American.

He made it ok for teenagers to be thoughtful, intellectual, and skeptical. Goodbye Frankie and Annette, hello Mr. Jones and our Sad-Eyed Lady of the Lowlands.
Pre-lingerie commercial

When he tried to shift his brand - he lost exposure. Finally, he stopped trying. If he couldn’t grow outward, then inward it would be. The angry teen became a millionaire hobo, the squatter’s camp fire now a cluster of stage lights, the rail car a stretch limo with women he would immortalize and forget.

He did a lingerie commercial as it would strengthen, with back-handed condescension, his personal brand. He was right.

We never knew Bob because Bob  didn't exist. The most talented poseur of them all – laconic, jaded, detached, trailing in the wake of his own myth with no direction home, like a rolling stone.
The Bard of Branding

In the end a beautiful trickster, the Tambourine Man, one who sang the spell as a generation danced around him thrice and drank the milk of paradise.

Wednesday, December 16, 2015

Richard Burton: The Voice cleaved from a coal face

Buffalo Bill’s
Chronicles of wasted time
he was a handsome man
and what i want to know is
how do you like your blue-eyed boy
Mister Death
-              - e.e. cummings

“I was merely the medium through which the words went.”Richard Burton

Listen Yorick: The love, beauty, fame. and death
The Voice was cleaved from a coal face deep beneath Welsh meadows always rich as the grass is green. It was born to be heard, that played language as an errant storm god racing the wind in pursuit of love, beauty, fame and death.

Richard Burton
The Voice....the voice
Absolve him of the drinking, the carousing, the nightclubs, the women, the reckless embrace of a mythic gift, and listen just as Shakespeare completes Hamlet’s soliloquy and hands the paper, still wet with ink, to Burton, to the one who can force the green fuse of life up through the roiling blood of his lungs and out into the world forever breathing.

Tuesday, December 8, 2015

Marcello Mastroianni and energetic ennui

"In the name of the Father, the Son..."
In his best roles, Marcello Mastroianni offered us a unique kind of detachment, call it energetic ennui. It's a tricky combination, light but brooding, gothic but with an appetite for fresh pasta.

An acceptance in the eyes
He was an actor unafraid of emotional extremes. Indeed, in La Dolce Vita, he is slapped about by existential ghosts, neutered in his quest for meaning, never knowing where to even begin the search. He plays a writer named Marcello (ah Fellini and his scattershot against the fourth wall) who must choose between evil (journalism) and good (fiction). The fact that this film gave us the term ‘paparazzi’ is a rather powerful clue of Fellini’s mind.

A unique kind of detachment
Marcello’s erotic baptism in the Trevi Fountain, with high priestess Anita Ekberg, is iconic, speaking a truth we are sadly too sophisticated to believe.

There was a resigned acceptance in his eyes that blessed humanity on its own terms, forever rendering him an ineffective villain. A love of life, and a playful, droll, gentle frolic with death. A leader who only wanted to follow. A passionate man who couldn’t stay mad. A devoted lover who left at dawn.

When he died the Trevi Fountain was turned off and draped in black. That says something. A baptismal font rarely offers an exit. 

Wednesday, October 21, 2015

Jean Seberg and what's hidden in her face

“On every subsequent anniversary of her daughter Nina's death, Jean Seberg attempted suicide. In 1978, she somehow survived an attempt, throwing herself under a train on the Paris Metro.” – imdb

The eyes belonged to somebody else
The face was wholesome and healthy and feminine, the haircut boyish. Maybe that's what pulled you in. This seductive contrast. Not for her an Audrey Hepburn-type gamin. She didn’t eat breakfast, let alone at Tiffany’s. You sensed something darker, less playful than she herself suggested. 

There was intelligence in the eyes yet they often seemed distracted, in dispute with the face. The two were inharmonious. But that was her odd appeal. At those moments she has you.

To play Saint Joan, it helps to have resolve. And ambiguity. She set the tone for female roles in the la nouvelle vague. They are slim and smart and quote Camus and know all the answers but can’t tolerate questions.

All that's hidden behind her face
If she'd had a cinematic soul mate, it might have been Greta Garbo, emanating the inexplicable cool that comes from those who overheat. Too clever for their own good. (Small wonder she worshipped Brando). But Garbo knew to cut out before the Big Fear set in. And Marlon grew corpulent with rage. Jean Seberg never made it.

“It's sad to fall asleep. It separates people. Even when you're sleeping together, you're all alone.” She spoke that line in À bout de souffle, her most famous role, with such benign conviction that you sense she'd already made a final decision about life, though it was to be hidden behind her strange eyes and in her beautiful face, right to the end

Friday, August 21, 2015

Ted Kennedy Part II: Pale, Slim Hands

A Political Par-tee!
He was called the last and the least, an attitude firmly grounded on the morbid deification of his brothers. Perhaps it’s hard to appraise his value. Few people have had to perform publicly with as many ghosts as Ted Kennedy.

Ted never really escaped
The White House was his, until he abandoned a young girl to drown in his overturned, submerged car.  And then OJ'd his way out of it. After that, the only thing they would trust him with was an incumbent-for-life senatorial position. Massachusetts loved him.  Everyone felt so lousy about his murdered brothers, what else could you do?

Surprisingly, he performed well – which is either a testament to Kennedy’s innate political savoir faire, or evidence of what kind of job it really is.

O them ghosts
Ted had a hard-earned reputation for womanizing and boozing – not exactly a career-killer, but one that keeps you off Pennsylvania Avenue. It was impossible to tell whether he cared, or was just going through the motions ... Something, unprincipled and painful, kept pushing him on.

He had everything and, in a way, very little, choke-collared by historical expectations, and perhaps, when alone, subject to late-night Deliverance-type  nightmares of slim, pale hands rising from the deep.

‘In our sleep, pain that cannot forget' - Aeschylus


Friday, July 31, 2015

Get Ourselves Back to the Garden: Marilyn Monroe plays Woodstock

Marilyn Monroe at Woodstock
Among the strangest, most informative on-stage appearance of all time would have been Marilyn Monroe at the Woodstock music festival.

Few imaginations can deep-dive to such dark, intriguing fathoms.

She doesn't belong on that stage. She doesn't belong to the 1960s. But why? Your responses are keys to the Kingdom of appraising popular culture.

But there she is, 1950s America’s undulating, glittering gift to 1960s America’s mud-and drug-soaked denizens of the forests and trees.

Maybe she’d begin her set with ‘Diamonds Are a Girl’s Best Friend’, because the song’s playful mockery of materialism would hang well with anti-establishment hippies. Or perhaps she’d just kick it with ‘Heatwave’, as the raw, unbridled sensuality of the lyrics could only lubricate the gears of sexual revolution.

Who knows. A monologue would have been appropriate, in which she discussed her foster homes, sexual abuse and mental illness – issues sure to rile a socially sensitive crowd.

Marilyn would have been okay. Unaccompanied and alone, she’d appear petite on Woodstock’s massive stage, ghost-like in the spotlight, swaying on heels, already beginning to blur at the edges, losing her grip. 

The crowd would grow quiet, straining to hear her whisper, witnessing the moment when the torch-bearer of one generation, exhausted and lost, releases the thin green Gatsby light to the next. And it can only happen with a torch song. So she remembers ‘After You Get What You Want, You Don’t Want It’  to say au revoir.

“And tho' I sit upon your knee
You'll grow tired of me
'Cause after you get what you want
You don't want what you wanted at all”

More a confession than a song, less an epilogue than an epitaph. She would look up, confused to hear an owl in Westwood Village Memorial Park gardens.

Joni Mitchell, watching from the other side of the room, would try to make sense of a different garden:

“Well maybe it is just the time of year
Or maybe it's the time of man
I don't know who l am
But you know life is for learning
We are stardust
We are golden
And we've got to get ourselves
Back to the garden”

"Walk toward the Green Light"

Thursday, May 28, 2015

1164 Morning Glory Circle: Bewitched, Bothered and Bewildered

I'm wild again
Beguiled again
A simpering, whimpering child again
Bewitched, bothered and bewildered am I...

 Lorenz Hart

1164 Morning Glory Circle
Bewitched. 1164 Morning Glory Circle... It was Darrin and Samantha Stevens' pad. Their crib. Love den. The central set and you never saw the ceiling because there were no clouds so they didn't need a sky.

A shelter/suburb against the storm though Darrin, stressed to the point of perforated ulcers, rarely smiled. He was the 'square', neutered, non-threatening, shivering with tension. Samantha, protected from mortality, had an existential marriage at best.

"Hi'ya neighbor"
Set in 1960s Westport, Connecticut but looking a whole lot like Peter Fonda-ing through here on a chopper with Huey Newton on the back.
southern California. A successful – if not harried – ad executive and his blonde, button-nose wife. Lots of space. Variety of high-performance North American cars in the driveway. Beautiful lawn. Everything clean, protected, bright and very White. No

They were Peter Lawford-esque Swingers. Some booze, some magic, some love. Sports jackets and slacks. No drugs or disease. No funerals. Possibly no gravity. There was never a reference to the outside.

Bewitched. 1964-72. Eight seasons. A childlike world full of grown-ups behaving like neurotic children. Every night TV news told us about Vietnam — so who the hell needed grown-ups?

Sam getting mail at 1164
It’s still there. 1164 Morning Glory Circle. Half façade. Empty. Samantha and Darrin? Long gone baby gone. 
Darrin, always a Mad Mad Man

And even when 1164 Morning Glory Circle itself heaves to the ground, choking under Warner's back-lot sand and pounded to dust by a million lost acolytes, it will still be around, kind of.

Because Samantha knew all about nose candy. The magic was bleached in her eyes, her smiles, and in her hair.

1164—deceptive and alluring with no need of time or place, but like Tinkerbell, shows up when called, sprinkling pixie dust in your eyes.

"Hey, we know the score at 1164"

Thursday, May 14, 2015

Hey Hey The Monkees and the Unbearable Lightness of Being

“The Monkees really becoming a band was like the equivalent of Leonard Nimoy really becoming a Vulcan.” – Mickey Dolenz

Mike Nesmith. Mickey Dolenz. Davy Jones. Peter Tork. 

The Monkees took a lot of heat.

Just crazy kids
The hippies’ blissed-out quest for authenticity was itself muddled with conflicting definitions of ‘authenticity’. The Monkees bugged them because the group was assembled by TV producers, not tie-dyed, flower-slinging record producers or concert/nightclub promoters or other really authentic types. 

(Elvis was promoted by a former carnival barker and the Beatles achieved planetary grooviness through the tireless dedication of a troubled furniturestore salesman. But man, keep it on the low).

They were entertainers, not rock guys. They mostly  sang songs written by professional songwriters, not by singer-songwriters (Which makes James Taylor a lot more authentic than Frank Sinatra). But other musicians didn’t seem to mind. Ask Stephen Stills, Peter Tork’s buddy. Or ask Jimi Hendrix, Mickey Dolenz’ pal. Go ahead. Ask.

The 1960s had a tough time dealing with big bad commercialism. The Establishment was commercial. Those who worked the land or sold sea-shell trinkets were uncommercial. The intent was well intended though the logic was weak.

They called them ‘The Pre-Fab Four’. Their music was ‘bubblegum’. They were an insubstantial
The Monkees find a litterbox
vapor given form by klieg lights and back-lot set designers. Ah, the unbearable lightness of being.

So now, 50 years later, with the hippies long buried under Altamont Speedway, the Monkees continue to sing unauthentic music for monopoly money to phony people who deliver insincere applause and fake smiles. Crazy world, eh?

What? No concert t-shirts? Sell outs!
The charm of entertainment is that it is as unauthentic and manipulative as the Beatles’ matching Pierre Cardin suits. But don’t be too harsh on the hippies. They sometimes died in taking action against what they saw to be corrupt and toxic. We don’t do that much anymore. There’s no money in it. Gotta stay authentic baby.

Tuesday, April 21, 2015

Laurence Harvey and the Art of Ennui

"Someone once asked me, 'Why is it so many people hate you?' and I said, 'Do they? How super! I'm really quite pleased about it."
-           Laurence Harvey

Laurence gives a neck rub
He was born in Lithuania but everybody thought him British. At birth his name was Laruschka Mischa Skikne. His Hebrew names were Zvi Mosheh. In South Africia, where he moved as a young boy, he was called Harry Skikne. ‘Laurence Harvey’ was just made up. He was married a few times but rumored to have other inclinations.

See the pattern? The swirling brocade he dutifully followed from cradle to grave? And so perfect with the 1960s demimonde passion for detachment and ennui.

Laurence Harvey was posh and pedestrian at exactly the same time. He was equally at home in Room at the Top as in Of Human Bondage. In fact, regardless of the part he played, his hair rarely changed. Always parted and combed, longish in a 60s mod way. And his face rarely changed too. Wooden, flat, ideal for the hypnotized zombie of The Manchurian Candidate, his most famous role.

And a lot of people did hate Harvey. Some actors and directors refused to work with him, even though he was popular and had box office appeal.
The Sound of Silencer

Laurence Harvey didn’t seem to like anyone or anything, even himself. His deep-rooted misanthropy empowered his performances with mystery and violence, an existential angst that was never supposed to be there but somehow worked. You got the feeling that Harvey couldn't be trusted by anyone, not even himself…and he was okay with that.

Playing the character Miles Brand in Darling (1965), Harvey has this exchange:

Diana Scott: I asked you to go. Why haven't you?

Miles Brand: Because I've stayed.

People don't like me?

More Beckett than Pinter? Few could speak a Waiting-for-Godot haiku with such conviction as Laurence Harvey.

He once said, “To bare your soul to the world, I find unutterably boring.”

So goodbye Zvi Mosheh and all others who know the fleeting power of not belonging.