Mario Puzo - Fools die

Now Kellino dictated a letter to Clara Ford. Malomar admired his style. And knew what he was getting to. He didn’t bother to tell Kellino that there was no chance.

“Dear Miss Ford,” Kellino dictated. “Only my admiration for your work impels me to write this letter and point out a few areas where I disagree with you in your review of my new film. Please don’t think this is a complaint of any kind. I respect your integrity enough and revere your intelligence too much to voice an idle complaint. I just want to state that the failure of the film, if indeed it is a failure, is entirely due to my inexperience as a director. I still think it was a beautifully written script. I think the people who worked with me in the film were very good and handicapped by me as a director. That is all I have to say except that I am still one of your fans and maybe someday we can get together for lunch and a drink and really talk about film and art. I feel that I have a great deal to learn before I direct my next film (which won’t be for quite a long time, I assure you) and what better person to learn from than you? Sincerely, Kellino.”

“It won’t work,” Malomar said.

“Maybe,” Houlinan said.

“You’ll have to go after her and fuck her brains out,” Malomar said. “And she’s too smart a broad to fall for your line of bullshit.”

Kellino said, “I really admire her. I really want to learn from her.”

“Never mind that,” Houlinan almost yelled. “Fuck her. Jesus. That’s the answer. Fuck her brains out.”

Malomar suddenly found them both unbearable. “Don’t do it in my office,” he said. “Get out of here and let me work.”

They left. He didn’t bother to walk them to the door.

– -

The next morning in his special suite of offices in Tri-Culture Studios, Houlinan was doing what he liked to do best. He was preparing press releases that would make one of his clients look like God. He had consulted Kellino’s contract to make sure that he had the legal authority to do what he had to do, and then he wrote:

TRI-CULTURE STUDIOS MALOMAR FILMS

PRESENT

A MALOMAR-KELLINO PRODUCTION

STARRING

UGO KELLINO

FAY MEADOWS

IN A UGO KELLINO FILM

“JOYRIDE”

DIRECTED BY BERNARD MALOMAR

… also starring, and then he scribbled a few names very small to indicate the small type. Then he put: “Executive Producers Ugo Kellino and Hagan Cord.” Then: “Produced by Malomar and Kellino.” And then he indicated much smaller type: “Screenplay by John Merlyn from the novel by John Merlyn.” He leaned back in his chair and admired his work. He buzzed his secretary to type it up and then asked his secretary to bring in the Kellino obituary file.

He loved to look at that file. It was thick with the operations that would be put into effect on Kellino’s death. He and Kellino had worked for a month up in Palm Springs perfecting the plan. Not that Kellino expected to die, but he wanted to make sure that when he did, everybody would know what a great man he had been. There was a thick folder which contained all the names of everybody he knew in show business who would be called for quotes upon his death. There was a complete outline on a television tribute. A two-hour special.

All his movie star friends would be asked to appear. There were specific clips of film in another folder of Kellino in his best roles to be shown on that special. There was a film clip of him accepting his two Academy Awards as best actor. There was a fully written comedy sketch in which friends of his would poke fun at his aspirations to be a director.

There was a list of everybody Kellino had helped so that some of them could tell little anecdotes about how Kellino had rescued them from the depths of despair on condition they never let anyone know.

There was a note on those ex-wives who would be approached for a quote and those who would not be. There were plans for one wife in particular: to fly her out of the country to a safari in Africa on the day Kellino died so no one in the media could get in touch with her. There was an ex-President of the United States who had already given his quote.

In the file was a recent letter to Clara Ford asking for a contribution to Kellino’s obituary. It was written on the letterhead of the Los Angeles Times and was legitimate but inspired by Houlinan. He had gotten his copy of Clara Ford’s reply but never showed it to Kellino. He read it again. “Kellino is a gifted actor who has done some marvelous work in films, and it’s a pity that he passed away too soon to achieve the greatness that might have been in store for him with the proper role and the proper direction.”

Every time that Houlinan read that letter he had to have another drink. He didn’t know whom he hated more, Clara Ford or John Merlyn. Houlinan hated snotty writers on sight, and Merlyn was one of them. Who the fuck was that son of a bitch he couldn’t wait to have his picture taken with Kellino? But at least he could fix Merlyn’s wagon, Ford was beyond his reach. He tried getting her fired by organizing a campaign of hate mail from fans, by using all the pressure of Tri-Culture Studios, but she was simply too powerful. He hoped Kellino was having better luck but he would soon know. Kellino had been on a date with her. He’d taken her to dinner the night before and was sure to call him and report everything that happened.

In my first weeks in Hollywood I began to think of it as the Land of Empidae. An amusing conceit, at least to me, even if a bit condescending.

The empid is an insect. The female is cannibalistic, and the act of sex whets her appetite so that in the last moment of the male’s ecstasy he finds himself without a head.

But in one of those marvelous evolutionary processes the male empid learned to bring a tiny bit of food wrapped in a web spun from his own body. While the murderous female peels away the web, he mounts her, copulates and makes his getaway.

A more highly developed male empid figured out that all he had to do was spin a web around a tiny stone or pebble, any little bit of junk. In a great evolutionary jump the male empid fly became a Hollywood producer. When I mentioned this to Malomar, he grimaced and gave me a dirty look; then he laughed.

“OK,” he said, “do you want to get your fucking head bit off for a piece of ass?”

At first nearly everyone I met struck me as a person who would eat off somebody’s foot to become successful. And yet, as I stayed on, I was struck by the passion of people involved in filmmaking. They really loved it. Script girls, secretaries, studio accountants, cameramen, propmen, the technical crews, the actors and actresses, the directors and even the producers. They all said, “the movie I made.” They all considered themselves artists. I noticed that the only ones concerned with films that did not speak this way were usually screenwriters. Maybe that was because everyone rewrote their scripts. Everybody put his fucking two cents in. Even the script girl would change a line or two, or a character actor’s wife would rewrite her husband’s part, and he’d bring it in the next day and say that was the way he thought it should be played. Naturally the rewrite showed off his talents rather than forwarded the movie’s purpose. It was an irritating business for a writer. Everyone wanted his job.

It occurred to me that moviemaking is a dilettante art form to an extreme degree and this innocently enough because the medium itself is so powerful. By using a combination of photographs, costumes, music and a simple story line, people with absolutely no talent could actually create works of art. But maybe that was going too far. They could at least produce something good enough to give themselves a sense of importance, some value.