Showing posts with label silent screen comedians. Show all posts
Showing posts with label silent screen comedians. Show all posts

Thursday, May 2, 2013

The Glass Character: an excerpt (the rainstorm)




I would like to introduce you to my third novel, The Glass Character, a story of obsessive love and ruthless ambition set in the heady days of the Jazz Age in the 1920s.  The story  is a fictional account of a young girl’s experiences in Hollywood from approximately 1921 to 1932, during which she develops an obsessive relationship with silent film comedian Harold Lloyd. In this excerpt, Muriel is working as an extra in a Lloyd film and is unexpectedly caught in a torrential rainstorm. Then comes an encounter she has both dreamed of and dreaded.




On a particularly vile day when we were supposed to be doing outside shots, I got caught in a downpour such as I had never seen before: a California monsoon of sorts. As everyone ran blindly for some kind of cover, I heard an unmistakeable voice under the rolling thunder:

”For God’s sake, Muriel, get in here.”

“Mr. Lloyd – “

”Forget that nonsense, call me by my name.”

He held out his hand and pulled me in next to him, in a tiny dry patch under a doorway. “You’re the girl who mussed my hair,” he said, beaming at me. I wondered once again if stars had electric fixtures installed behind their faces, to give off such incandescence.

This was a small space, very small indeed, and I had conflicted feelings about it. I had never been really intimate with a man, so had no knowledge of being this close to a man’s body, clothed or not. It was not just his heat, but the incredible racehorse energy in him which startled me: held back in the starting gate, he was restless and aching to go. I felt dizzy, swoony almost, with a hammering heaviness below, a warm wetness gathering as I felt him tensely breathe.





At one point he turned and smiled at me, and my heart sank, for this was the antic impersonal smile of the Glass Character, jaunty in the face of any pickle. I remembered being allowed to touch his hair, to tousle it like a little boy’s.  I ached to have him touch me, to want to touch me. I felt ashamed of what was happening in my body, but at the same time I felt a sort of awe, caught up in a powerful force that seemed to be lifting me off my feet. Our bodies were literally pressed together, and when I tried to edge out of the tiny dry strip into the hammering downpour, his hand came out, gently but firmly grasped my shoulder, and pulled me back.

“Now Muriel, there’s no need to get soaked. Let’s wait it out.” He talked as if he had all day. He was using a different sort of voice now, the kind you’d use at Frankie’s to get in. He did not look directly at me; that would have killed me. I was close enough that I could not ignore the smell of his dampened, stunt-dusty clothing; the white greasepaint on his face that rendered him magical; the hot scent of his sweat.







I wasn’t aware of the large drop of rain hanging off the end of my nose, but he saw it and smiled – a real smile this time, with marvelous relaxed eyes – reached out with a forefinger and flicked it off.

And I would have died right then and there, his unnervingly lovely gaze sustaining me for the rest of my life, when I noticed something about him, something (even in my naiveté) I could not quite believe.

Virgin though I was, I had kissed and petted with boys before, and knew what happened to their bodies as a result. Without having to look, I realized with shock (and elation, and shame, and despair) that I was not alone in the feelings I had been struggling with.  Whether he willed it or not, he was responding to me powerfully, the blossomy scent of my hair released by the freshness of the rain.





Then, incredibly, instead of dissipating, the downpour increased in intensity, gushing down with frightening force, almost like a monsoon. There was a terrific, bone-shaking clap of thunder.  Harold let out a mad whoop of laughter, then jumped out into the downpour, throwing his head back, opening his mouth, stretching out his arms like some demented forest creature driven mad by the moon.

“Come on out, Muriel, it’s marvelous!” He spun around and around in mad circles, stirring up a tremendous muck under his feet. I would not have been surprised if he had got down and rolled.

“Muriel, Muriel, come on out!” The man was an absolute infant, a case of arrested development, an embarrassment to the acting profession.  And – I did what he said. I came out into the rain, a steamy, mucky, uncomfortable mess, my hair sodden and my skirt weighed down. Harold’s clothes were glued to him, not just caked but clumped with mud. He was jumping up and down like a toddler, a wild smile on his face, and after a while, reluctantly, I joined him. He grabbed my hands and swung me around and around. I prayed that everyone else had run for cover and would not see us cavorting like naughty babies.





“Muriel, Muriel – “ And he did the thing I had dreaded and prayed for, grabbed my shoulders and pulled me almost violently close. I knew he was in a state of high arousal, any fool could see that, but what worried me was my own arousal, the part of me that wanted to toss caution to the wind.

“Let me kiss you,” he said breathlessly.

“Harold, you can’t.”

“Only once, I promise.”

“Harold.”

“Muriel, mmmmmmmmm.” He grazed my mouth with his lips.  For a long time he just stood there, barely making contact. I wondered if this would be a chaste kiss, the kind you would give your sister.

Then I remembered what the girls had said.  Ladies first. The way he carefully prepared his. . . victims.






I knew I should have pulled away, and I didn’t because I was crazy in the head for him.  I understood at last what being drunk must be like. We swayed slightly, almost as if we were dancing. His mouth pressed gently on mine, then just the tip of his tongue parted my lips.

This is what it should be like. Not having some stupid boy stick his tongue down your throat, with beery breath and fumbling, clumsy fingers. Harold lightly caressed my face while he kissed me, soft as roses. The man is an absolute master, I thought.

By the time his tongue grew a little more bold, I was in such a state that I wondered if I could even remain upright. The rain had just about stopped. The ferocious black sky was breaking up, the clouds dissipating. We were two mud statues embracing, our tongues entwining as everything dripped all around us.  The heady freshness in the air mixed with the smell of sex, a smell that was beginning to be familiar to me. And below and beneath that, the rude smell of mud.

Then, oh horrors, the worst thing possible:  “Harold! Jesus!”

What happened next was a scene straight out of one of his movies: he jerked back from me, looked at me in shock, turned around and looked at Hal, then back at me, as if he had no idea who I was.

“Harold, if  I’ve told you once, I’ve told you a thousand times. Don’t screw
the extras!”


”I’m not! We were just having a little. . . talk.”

“Jesus, right out in the open. Haven’t  I warned you about that?”

“It was raining out. Everybody went inside.”

“You’re an idiot.”

“Yes, I guess I am.” 

“No more ‘little talks’. He talks with his hands, miss. And other parts.” Hal stalked past us, and shocked me by reaching out and slapping the back of Harold’s head, hard.

Harold ducked, winced, looked truly contrite. His little innocent dalliance had turned bad, and he knew it had embarrassed me.

“I’m sorry,” he said, with his sad little-boy face, his eyes.

I didn’t know what to say. To cry would be disaster. It was plain he’d kiss anything with a pulse. It occurred to me that I would be within my rights to slap his face.

Just as I had the thought, as if he’d heard it, he said, “I deserve to be slapped, Muriel.”

“Oh, Harold, don’t be ridiculous.”

”No, I mean it. I broke the code of honour. Slap me.”

”Harold!”

Slap me.” He grabbed my wrist and wrestled with me.  I was dealing with a crazy person. I wrenched away from him.

“You deserve to be slapped, you self-important, ignorant little hick! But  I won’t, because you’d probably enjoy it. That’s how hopelessly immature you are.”




All the air seemed to go out of him. He did not look like a movie star, ankle-deep in mud, his rain-streaked makeup ashy and unnatural. He looked awkward, defeated, a small-town boy out of his depth.

“I don’t know what to say. I really am sorry.” He was back to Harold the human being again, shocked at his own outrageous behaviour.

“Stay away from me from now on.”

”Muriel, I really do like you. I mean it.”

“You like a lot of girls, Harold. I see it going on right under my nose.”

“But wouldn’t it be nice if we could be – “

No, Harold.”

"Muriel, you don't know how lonely. . . I mean, I just don't have time for friends. I think you're special."

Even though my body screamed forgive him, even though another part of me told me to slap him hard, to give him what he (and I) wanted, I had to walk away from him with my head high, and not look back.




After screaming abuse at him, let alone being caught kissing him out in the open, I was sure I would be immediately dismissed. But I was in for yet another surprise. The next morning the wardrobe mistress, the same one with the pins in her mouth, handed me a small folded-up note.

Dear Muriel, I hope you can find it in your heart to forgive me for the way I acted last night becaus I know I insulted your dignity and your womanhood and I would not be surprised if you didn't want to speak to me, ever again, But I hope you will stay with us, we  think you have talent and even the chance for a career someday if you keep out of the way the likes of me,  I am most awfuly sorry and I hope we can still be friends, Id like that very much. In my deepest apology, 

Harold

It was as if a small boy were apologizing for stealing an apple. It did not help that his handwriting looked almost like grade school printing, that his writing style was awkward and unsophisticated (the remnants of going to a dozen different schools). I wanted to tear it up, throw it out, burn it, but I folded it in half and secreted it in my diary, along with a photo of Bea, a copy of the Twenty-third Psalm, and a lock of my mother's hair.

For your copy of The Glass Character, click on the link below.



Thursday, April 4, 2013

The Glass Character: synopsis






THE GLASS CHARACTER  

A novel by Margaret Gunning

Published in April 2014 by Thistledown Press

I would like to introduce you to my third novel, The Glass Character, a story of obsessive love and ruthless ambition set in the heady days of the Jazz Age in the 1920s. This was a time when people went to the movies almost every day, living vicariously through their heroes: Valentino, Garbo, Fairbanks and Pickford. But comedians were the biggest draw, and broad slapstick the order of the day - with one very significant exception.

Standing beside Keaton and Chaplin in popularity and prowess was a slight, diffident man named Harold Lloyd. He hid his leading man good looks under white makeup and his trademark black-framed spectacles. Nearly 100 years later, an iconic image of Lloyd remains in the popular imagination: a tiny figure holding on for dear life to the hands of a huge clock while the Model Ts chuff away 20 stories below.

With his unique combination of brilliant comedy and shy good looks, Lloyd had as many female followers as Gilbert or Barrymore. Sixteen-year-old Muriel Ashford, desperate to escape a suffocating life under her cruel father's thumb, one day hops a bus into the unknown, the Hollywood of her dreams. Though the underside of her idealistic vision is nasty and fiercely competitive, she quickly lands extra work because of her Pickford-esque ability to smile and cry at the same time.





When her idol Harold Lloyd walks on the set, her life falls into a dizzy whirl of confusion, attraction, and furious pursuit. Muriel tries on and sheds one identity after another: bit actress, waitress in a speakeasy, "girl reporter", script writer - while Lloyd almost literally dances in and out of her desperately lonely world, alternately seducing her and pushing her away.

While researching this book, I repeatedly watched every Lloyd movie I could get my hands on. I was astonished at his subtlety, acting prowess and adeptness at the art of the graceful pratfall. His movies are gaining new popularity on DVD (surprisingly, with women sighing over him on message boards everywhere!). The stories wear well and retain their freshness because of the Glass Character's earnest good nature and valiant, sometimes desperate attempts to surmount impossible challenges.




Introduction: Why Harold Lloyd?

The Glass Character is a fictional account of a young girl’s experiences in Hollywood from approximately 1921 to 1962, in which she develops a relationship with silent film comedian Harold Lloyd. Though I did extensive research in exploring the era in general and his life in particular, this story is not intended to be a biography of Lloyd. My main purpose was to communicate atmosphere: the excitement, exuberance and joy of these “high and dizzy” times.



Though I have the greatest respect for the memory of Harold Lloyd, who is in my mind one of the most charismatic performers in screen history, I did not wish to paint him as a two-dimensional figure or a saint. Though his behaviour is not always exemplary in this story, I tried to portray him as I came to believe he was: a human being of enormous complexity, phenomenal talent, and a basic midwestern decency that served him for a lifetime. This is not the Harold Lloyd, but a Harold Lloyd, a personal, fictional portrayal of a supremely gifted artist based on deep research and multiple (and very enjoyable) viewings of his remarkable films.





With his boyish good looks and appealing everyman persona, Lloyd was no less than the inventor of an entire film genre: the romantic comedy. These sample remarks from YouTube (all by women) indicate a charm and magnetism that reaches across generations:

I think he was and still is one of the most attractive men ever to walk the earth. I absolutely love him!

Each time I watch his movies I fall in love a little more.  He is sooooooo funny and the most handsome man ever!

Talented, funny, smart, creative and damn gorgeous!

I find him really attractive with his glasses on, and you can’t beat that half-shy, half-sly smile of his.

I don’t want to say it but he is in my fantasies. . . sigh.

I doubt if George Clooney could inspire such rhapsodic praise.





When I sat down to write, words often tumbled out at a fever pitch. Many of the scenes came to me out of sequence, as if I were shooting a movie. Inspiration had a timetable of its own and sometimes happened on holiday (can you believe I almost missed the Grand Canyon?). This had never happened to me before, and I had to take a few leaps of faith to believe I could ever piece it all together.

Plunging into his pictures to such depth, I experienced an immediacy, even an intimacy I had never known before. I was breathing in the gunpowder and the dust and the sweating horses and the she-loves-me/she-loves-me-not flowers and the white greasepaint. I could hear “roll ‘em” and “cut!” and “damn, we’ll have to do that again.” I was seeing that wonderful “half-shy, half-sly” smile of his in person. 




Though Lloyd’s work has been gloriously reborn through the medium of DVD, he is still too frequently seen as a bronze medallist after those two other legendary figures from the silent age: Charlie Chaplin and Buster Keaton. It’s time to throw away useless comparisons and hierarchies (is Picasso “better” than Van Gogh? And how about Rembrandt – why does the poor fellow always come in third?), and appreciate Lloyd’s movies for what they are. He is so much more than the “everyman” of popular description. His Glass Character is a subtle, slightly surreal, heart-touchingly brave and boyish silent clown, and if you don’t watch out, he will take up residence in your heart, perhaps for good.

This is Harold Lloyd the way I see him. I hope you enjoy this story.


Monday, January 2, 2012

My romance with Harold Lloyd


SYNOPSIS: THE GLASS CHARACTER by Margaret Gunning



Author's note. I have written a novel about Harold Lloyd. I know you're not supposed to say this, but I think it's the best thing I've ever done and am likely to do, and I feel it deserves serious notice from an agent and/or a publisher. I believe this story has potential, not just as a novel but a  major motion picture. Does the name Jake Gyllenhaal mean anything to you?




I would like to introduce you to my third novel, The Glass Character, a story of obsessive love and ruthless ambition set in the heady days of the Jazz Age in the 1920s. This was a time when people went to the movies almost every day, living vicariously through their heroes: Valentino, Garbo, Fairbanks and Pickford. But comedians were the biggest draw, and broad slapstick the order of the day - with one very significant exception.


Standing beside Keaton and Chaplin in popularity and prowess was a slight, diffident man named Harold Lloyd. He hid his leading man good looks under white makeup and his trademark black-framed spectacles. Nearly 100 years later, an iconic image of Lloyd remains in the popular imagination: a tiny figure holding on for dear life to the hands of a huge clock while the Model Ts chuff away 20 stories below.


With his unique combination of brilliant comedy and shy good looks, Lloyd had as many female followers as Gilbert or Barrymore. Sixteen-year-old Muriel Ashford, desperate to escape a suffocating life under her cruel father's thumb, one day hops a bus into the unknown, the Hollywood of her dreams. Though the underside of her idealistic vision is nasty and fiercely competitive, she quickly lands extra work because of her Pickford-esque ability to smile and cry at the same time.




When her idol Harold Lloyd walks on the set, her life falls into a dizzy whirl of confusion, attraction, and furious pursuit.Muriel tries on and sheds one identity after another: bit actress, waitress in a speakeasy, "girl reporter", script writer - while Lloyd almost literally dances in and out of her desperately lonely world, alternately seducing her and pushing her away.



While researching this book, I repeatedly watched every Lloyd movie I could get my hands on. I was astonished at his subtlety, acting prowess and adeptness at the art of the graceful pratfall. His movies are gaining new popularity on DVD (surprisingly, with women sighing over him on message boards everywhere!). The stories wear well and retain their freshness because of the Glass Character's earnest good nature and valiant, sometimes desperate attempts to surmount impossible challenges.


 

Dear Sir or Madam, will you read my book
    It took me years to write, will you take a look



Sunday, January 1, 2012

Love from Daddies Toady boy


























By age 16, "Toady boy" Harold Lloyd was already getting used to a few things: (a) he was not going to excel at everything, especially not English composition, (b) his father wasn't going to be around very much, and (c) he'd spend most of his life trying hard to be liked.

The fact that he mainly was liked didn't seem to stop him. Being an actor was part of that desperate drive for approval, and he pursued it with the same fever that informed all his major life activities (including the pursuit of women).

Lloyd was a fox. He was a doll. It wasn't just his looks, it was something about him, something unattainable. You never truly touched the core of him. He's generally lumped in with Chaplin and Buster Keaton, the Holy Three of silent comedy, but this inclusion goes a lot farther than the fact that all three had problems with the written word (in Lloyd's case, aggravated by the fact that the family moved every three months or so).

 


His intelligence was uneven, typical of the genius who burns fiercely in some areas, but sputters lamentably in others. I love these letters however, with their boyish, Tom Sawyer-ish syntax, blooming gift for storytelling, and endearing spelling errors which you might see in the writing of a nine-year-old.  I also like his reference to the peach of a girl he's "pretty much stuck on", and the reference to the turkey: "mabe you think he wasn't good". This kind of rural idiom is almost Mark Twain-ish, though Lloyd came from Middle America and had a slight cowboy twang rather than a drawl.

A gift can be a burden. Lloyd didn't drink or even smoke, perhaps afraid of what those habits had done to some of his cohorts (not to mention family members, including his wife, former co-star Mildred Davis). Instead he kept a blur of activity going, pursuing multiple hobbies after his screen career ended in the 30s. He took 3D pictures of naked women (no kidding, tens of thousands of them!). He studied micro-organisms in his basement. He painted abstracts, often staying up until 3 in the morning. He bred and showed dogs: not just any dogs, but Great Danes! And by now you're probably getting the picture.

If a man has a Christmas tree with 20,000 expensive Tiffany ornaments (which he kept up all year: imagine taking all that stuff down), if he regularly orders the entire catalogue of a record company and hooks up stereos in every room of the house (read: mansion), if he. . . well. He had to win every card or golf game, or he could be downright surly. He'd demand a rematch and kept playing until he won. He had to win. If you win every game, it isn't a game any more, or certainly not a competition.




He insisted his staff and friends call him Speedy. Kind of a weird nickname: perhaps Daddie gave it to him (he whom the family named Foxy!). I've seen video of his later years, which absolutely fascinates me for some reason, and he doesn't seem wired or pressed or urgent, except that he is. At one tribute, he stands on the stage at the front while people (Jack Lemmon and Steve Allen among them) fire questions at him. He sort of swaggers back and forth in an odd way, and he gestures openly with the hand that had almost been blown in half in a hideous accident in 1919. I think the swagger is disguised nervousness - all that insistence on winning surely must reveal an awful lot of insecurity - and perhaps a desire to bolt out of there. He also looks something like a naughty little kid, the kind who "only" has to go to the Principal's office three times.

It was said Harold Lloyd never grew up. Not completely. He was a boy in a man's body, a Peter Pan. His youthfulness could be delightful, but I'd guess it could also be a pain.

The quote at the beginning of this post is from a book by Tom Dardis called The Man on the Clock. It's one of the better Lloyd bios - not that there is any overabundance of them, and there's a lot I'd still like to know about his private life. But the end of the biography is disturbing.




This is what happened. His wife's brother, a doctor, paid him a visit in 1970. "Davis hadn't seen his brother-in-law for some time. He was shocked by Harold's altered appearance and immediately placed him in a hospital for further tests. His suspicions were correct. Harold's cancer had spread to his legs and chest. Dr. Davis recalls that the cancer raced through Harold's body with ferocious speed."

Further treatment did no good, and Harold was told that he had something like six months  left to live and that he needed to put his affairs in order. He took the news quietly, went upstairs and shut his bedroom door. Three weeks later he was dead.

Even the disease that claimed his life was accelerated, speedy, but then, that was his nature. He  had to win the game, you see, or else he just wouldn't play.



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