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Download A Hundred or More Hidden Things: The Life and Films of by Mark Griffin PDF

By Mark Griffin

He used to be the acclaimed director of such cinematic classics as Meet Me in St. Louis, An American in Paris, and Gigi, and both renowned for his tumultuous marriage to the mythical Judy Garland. yet to assert that Vincente Minnelli's conflicted own lifestyles proficient his motion pictures will be a real understatement. As Mark Griffin persuasively demonstrates during this definitive biography of the Academy Award–winning director, Minnelli was once not just construction a impressive Hollywood legacy, but additionally growing an fascinating autobiography in code.

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 center of Minnelli’s genius.

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Extra resources for A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli

Sample text

After scrutinizing the films, I started reading everything I could about Minnelli. I was interested in what made Vincente tick, not only as an artist but as an individual, though most of the information I could find about him focused almost exclusively on his directorial achievements. Before too long, references to auteur theories, surrealism, and Cahiers du cinéma began creeping into my conversation. I learned that although Minnelli had won an Oscar in 1959 (for his direction of Gigi) and several of his titles invariably turned up on lists of the Best Films Ever Made, he was more acclaimed in Europe than he was in his own country.

So I organized a search party. I knew that it would be necessary to conduct as many interviews as possible and get people talking. As Vincente had been the subject of so much speculation and rumor, hearing directly from those who actually worked with or knew him would be absolutely essential. Only this posed another set of challenges that I had been warned about. When I profiled the late screenwriter Gavin Lambert for a magazine, I mentioned that I was interested in writing about Minnelli and talking to as many of the director’s surviving colleagues as possible.

Some of this may have been attributable to “The Minnelli Gallery” of twitches, facial tics, and lip pursings—nervous habits that would become more pronounced over time—though the taunting young Lester received in school probably had more to do with his effeminacy than anything else. “He was quite flamboyant,” says Delaware historian Brent Carson. “He was very theatrical acting at times—even when he wasn’t acting. ”25 Lester’s preference for playacting and drawing over fishing and football also led neighbors to make certain assumptions.

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