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The Poetry of John Berryman (1970)
I ripped this straight from the only existing videotape copy of this astonishing and historically crucial interview. It needs to be shared with the world, not only those with high-end WorldCat accounts. Let the chips fall where they may.
This interview took place on October 8, 1970. Fifteen months later, on January 7, 1972, John Berryman committed suicide by jumping from the Washington Avenue Bridge in Minneapolis, Minnesota. He was 57.
In this interview, as on the page, Berryman is bristling with life.
.................................................................................
THE POETRY OF JOHN BERRYMAN (1970)
Brockport Writers Forum (State University of New York College at Brockport)
Interviewers: William Heyen & Jerome Mazzaro
Produced & Directed for Television by Francis R. Filardo
................................................................................
From John Haffenden's THE LIFE OF JOHN BERRYMAN (1982):
"In October, shortly after beginning another slip [from sobriety], Berryman flew to give a reading and be interviewed on videotape at the State University of New York at Brockport. William Heyen, director of the Brockport Writers Forum, who was his host for a visit lasting two days, found himself awed and agitated by Berryman, whose arrival late on Wednesday 7 October had been preceded by erratic and inconsequential phone calls and travel delays. Immediately after the visit, Heyen took copious notes from having 'felt a sense of history in his presence':
**Beard trimmed, hair not as wild, or high....Charming, disputatious, dominating,
brilliant....'I won that round' after destroying someone trying to be friendly. He had a bad
foot, pinched or displaced nerve. Went shoeless....In my easy chair Friday morning,
stretched out straight, he seemed unreal, his clothes much too big for him, or so it seemed,
as though there were nothing under his clothes. And before the reading he came out of the
bathroom shirtless, all bone....We did get him to eat: a cup of chicken soup Wed. night; a
ham & cheese sandwich Th. noon; a decent dinner Thurs. night. Constant bourbon, water, no
ice. 'Mr. Heyen, I'm an alcoholic. I'd like another drink.' I'd say sure. Betrayer, I suppose. He wrote my wife a poem out, which we'll frame: 'After you went to bed, / Your tall
sweet husband and I talked all night, / until there was no more to be said' ["John Berryman:
A Memoir and an Interview," Ohio Review, Winter 1974].**
"On Thursday morning they conducted the television interview, though Berryman followed his
own train of talk rather than oblige Heyen's formal questions. Towards the end, Heyen
observed that mental illness seemed to have afflicted Berryman's generation.
**Yes, that's so. To find anything resembling it, you have to look at two generations, at
least that I think of offhand: the English poets of the nineteenth century -- Beddoes,
Darley, and so on -- and the Soviet poets just after the Revolution -- Mayakovsky and
Yessenin. And now! Well, I don't know. I don't know. Some people certainly feel that it's
the price you pay for an overdeveloped sensibility. Namely, you know, the door sticks, as I
try to open it, it sticks. Okay, so I have a nervous breakdown. The guy at the corner of
Fifth and Hennepin, the door sticks, shit, he fixes it and he opens it. No sweat! I've been
in hospital for six months! There is an over-development of sensibility, okay, otherwise we
couldn't draw; just as a really good carpenter or cabinet maker has a sensitivity, feels
differently about wood from the rest of us. It's the price we pay. So every now and then we
wind up in hospital, where they find us completely untreatable, and pretty soon they let us
go. And we're loose on the body of society again.**
"The deluded and saddening complacency he expressed was soon to be punctured. After another
sleepless night, Heyen delivered Berryman to his plane for New York on the Friday morning.
After an hour with Robert Giroux and another editor, Michael De Capua, at El Quixote by the
Chelsea Hotel, Berryman took the plane back to Minneapolis that night. In a state of acute
alcoholic exhaustion, he went 'out of contact' (to use his own phrase) for some hours and
turned up only on the Sunday morning; it is impossible to reconstruct his movements in the
interim. Confronted in his living-room by his [A.A.] sponsor and by Kate and others, he was admitted once again for treatment at St. Mary's Hospital, where he later reproached himself for being unable to cope with the genuine solicitude of his wife and friends."
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This interview took place on October 8, 1970. Fifteen months later, on January 7, 1972, John Berryman committed suicide by jumping from the Washington Avenue Bridge in Minneapolis, Minnesota. He was 57.
In this interview, as on the page, Berryman is bristling with life.
............................................................
THE POETRY OF JOHN BERRYMAN (1970)
Brockport Writers Forum (State University of New York College at Brockport)
Interviewers: William Heyen & Jerome Mazzaro
Produced & Directed for Television by Francis R. Filardo
............................................................
From John Haffenden's THE LIFE OF JOHN BERRYMAN (1982):
"In October, shortly after beginning another slip [from sobriety], Berryman flew to give a reading and be interviewed on videotape at the State University of New York at Brockport. William Heyen, director of the Brockport Writers Forum, who was his host for a visit lasting two days, found himself awed and agitated by Berryman, whose arrival late on Wednesday 7 October had been preceded by erratic and inconsequential phone calls and travel delays. Immediately after the visit, Heyen took copious notes from having 'felt a sense of history in his presence':
**Beard trimmed, hair not as wild, or high....Charming, disputatious, dominating,
brilliant....'I won that round' after destroying someone trying to be friendly. He had a bad
foot, pinched or displaced nerve. Went shoeless....In my easy chair Friday morning,
stretched out straight, he seemed unreal, his clothes much too big for him, or so it seemed,
as though there were nothing under his clothes. And before the reading he came out of the
bathroom shirtless, all bone....We did get him to eat: a cup of chicken soup Wed. night; a
ham & cheese sandwich Th. noon; a decent dinner Thurs. night. Constant bourbon, water, no
ice. 'Mr. Heyen, I'm an alcoholic. I'd like another drink.' I'd say sure. Betrayer, I suppose. He wrote my wife a poem out, which we'll frame: 'After you went to bed, / Your tall
sweet husband and I talked all night, / until there was no more to be said' ["John Berryman:
A Memoir and an Interview," Ohio Review, Winter 1974].**
"On Thursday morning they conducted the television interview, though Berryman followed his
own train of talk rather than oblige Heyen's formal questions. Towards the end, Heyen
observed that mental illness seemed to have afflicted Berryman's generation.
**Yes, that's so. To find anything resembling it, you have to look at two generations, at
least that I think of offhand: the English poets of the nineteenth century -- Beddoes,
Darley, and so on -- and the Soviet poets just after the Revolution -- Mayakovsky and
Yessenin. And now! Well, I don't know. I don't know. Some people certainly feel that it's
the price you pay for an overdeveloped sensibility. Namely, you know, the door sticks, as I
try to open it, it sticks. Okay, so I have a nervous breakdown. The guy at the corner of
Fifth and Hennepin, the door sticks, shit, he fixes it and he opens it. No sweat! I've been
in hospital for six months! There is an over-development of sensibility, okay, otherwise we
couldn't draw; just as a really good carpenter or cabinet maker has a sensitivity, feels
differently about wood from the rest of us. It's the price we pay. So every now and then we
wind up in hospital, where they find us completely untreatable, and pretty soon they let us
go. And we're loose on the body of society again.**
"The deluded and saddening complacency he expressed was soon to be punctured. After another
sleepless night, Heyen delivered Berryman to his plane for New York on the Friday morning.
After an hour with Robert Giroux and another editor, Michael De Capua, at El Quixote by the
Chelsea Hotel, Berryman took the plane back to Minneapolis that night. In a state of acute
alcoholic exhaustion, he went 'out of contact' (to use his own phrase) for some hours and
turned up only on the Sunday morning; it is impossible to reconstruct his movements in the
interim. Confronted in his living-room by his [A.A.] sponsor and by Kate and others, he was admitted once again for treatment at St. Mary's Hospital, where he later reproached himself for being unable to cope with the genuine solicitude of his wife and friends."
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Truman Capote's "A Christmas Memory" (1966)
Narrated by Truman Capote himself, this Emmy award-winning television version of Capote's "A Christmas Memory" is a faithful recreation of his wonderful short story (first published in Mademoiselle in 1956, later published in book form).
It appeared on ABC Stage 67 in December of 1966. Starring Geraldine Page as Sook and Donnie Melvin as Buddy. Adapted for television by Capote and Eleanor Perry. Directed by Frank Perry.
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It appeared on ABC Stage 67 in December of 1966. Starring Geraldine Page as Sook and Donnie Melvin as Buddy. Adapted for television by Capote and Eleanor Perry. Directed by Frank Perry.
6 videos
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Glenn Gould: A Portrait (1985)
Of all the films, documentaries and retrospectives I've seen on Glenn Gould, this one is my favorite. It was written, directed, and narrated by Vincent Tovell and Eric Till.
That this documentary is out-of-print is a crime. (Anyone from the CBC listening?) As far as I know, this film is unavailable for viewing anywhere online (except here).
One of the things that makes this documentary so wonderful is that it was made only three short years after Glenn's untimely death in 1982 at age 50. The love and the pain on the faces and in the voices of all the interviewees, especially his dear cousin, Jesse Greig, is palpable.
If you've seen "32 Short Films on Glenn Gould," you'll notice that it "borrowed" heavily from this documentary. (It seems to me that François Girard lifted entire segments.) I enjoyed the film; I prefer the documentary.
I apologize for the crappy video and audio quality. I ripped this straight from an old VHS tape, using One Touch Video Capture. It's the best I could do. I guess sometimes you just can't keep that creaky chair from creaking.
May Glenn Gould forgive me.
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That this documentary is out-of-print is a crime. (Anyone from the CBC listening?) As far as I know, this film is unavailable for viewing anywhere online (except here).
One of the things that makes this documentary so wonderful is that it was made only three short years after Glenn's untimely death in 1982 at age 50. The love and the pain on the faces and in the voices of all the interviewees, especially his dear cousin, Jesse Greig, is palpable.
If you've seen "32 Short Films on Glenn Gould," you'll notice that it "borrowed" heavily from this documentary. (It seems to me that François Girard lifted entire segments.) I enjoyed the film; I prefer the documentary.
I apologize for the crappy video and audio quality. I ripped this straight from an old VHS tape, using One Touch Video Capture. It's the best I could do. I guess sometimes you just can't keep that creaky chair from creaking.
May Glenn Gould forgive me.
12 videos
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Glenn Gould's Toronto - The Complete Film (1979)
Here it is -- the complete film. All 48 minutes of it. I said I would make it my mission to find it, bracing for a years-long, nationwide search through labyrinthian WorldCats & expensive 16mm-to-DVD transfers. So desperate, I offered to trade my 2nd favorite Zippo for it.
In the end, the film was unceremoniously dumped in my lap by two fellow Gouldian YouTubers a native Torontonian & an expat living in Sweden both of whom saw my original upload of the stunted 25-minute version, went through the time & expense to make me copies of the full version & to mail them to the States. All thanks go to them, who by request shall remain nameless. These Patron Saints of Buried Gould refused renumeration, so in their honor (& in Glenns memory) I made a donation to the Humane Society.
Glenn Goulds Toronto can now be seen as it was meant to be seen. For many people (including myself) this is the first time theyve seen the entire film since it was first screened on the CBC in 1979. Let me assure you, the missing bits are true gems.
To any Gouldian, this film needs no introduction. "Glenn Goulds Toronto" is the Holy Grail of Gould films. The first (and last) time I saw it was when I rented it from the Toledo Public Library in 1994. Ive been looking for the film ever since; it is long out-of-print, and nowhere to be found (except for brief excerpts) anywhere online...until now.
I will dispense with any witty descriptions so as not to ruin the astonishment you will experience upon seeing the film for the first time. Suffice it to say, you have never seen -this- Glenn Gould doing -those- things, nor would you ever have imagined it.
Written by Glenn Gould. Directed by John McGreevy. Part of the Cities series of films. Nominated for three Genie Awards (the Canadian Oscars): Outstanding Documentary (McGreevy), Outstanding Independent Film (McGreevy), Outstanding Non-Dramatic Script (Glenn Gould). (Apparently, some piece of shit film nobody cares about beat it in all three categories. Of course, losing a "Genie" seems to be a badge of honor. Kate Lynch won the "Genie" for Best Actress that year for her masterful performance in..."Meatballs." I kid you not.)
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In the end, the film was unceremoniously dumped in my lap by two fellow Gouldian YouTubers a native Torontonian & an expat living in Sweden both of whom saw my original upload of the stunted 25-minute version, went through the time & expense to make me copies of the full version & to mail them to the States. All thanks go to them, who by request shall remain nameless. These Patron Saints of Buried Gould refused renumeration, so in their honor (& in Glenns memory) I made a donation to the Humane Society.
Glenn Goulds Toronto can now be seen as it was meant to be seen. For many people (including myself) this is the first time theyve seen the entire film since it was first screened on the CBC in 1979. Let me assure you, the missing bits are true gems.
To any Gouldian, this film needs no introduction. "Glenn Goulds Toronto" is the Holy Grail of Gould films. The first (and last) time I saw it was when I rented it from the Toledo Public Library in 1994. Ive been looking for the film ever since; it is long out-of-print, and nowhere to be found (except for brief excerpts) anywhere online...until now.
I will dispense with any witty descriptions so as not to ruin the astonishment you will experience upon seeing the film for the first time. Suffice it to say, you have never seen -this- Glenn Gould doing -those- things, nor would you ever have imagined it.
Written by Glenn Gould. Directed by John McGreevy. Part of the Cities series of films. Nominated for three Genie Awards (the Canadian Oscars): Outstanding Documentary (McGreevy), Outstanding Independent Film (McGreevy), Outstanding Non-Dramatic Script (Glenn Gould). (Apparently, some piece of shit film nobody cares about beat it in all three categories. Of course, losing a "Genie" seems to be a badge of honor. Kate Lynch won the "Genie" for Best Actress that year for her masterful performance in..."Meatballs." I kid you not.)
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At Home with Glenn Gould (1959)
A stunningly intimate conversation between a world-weary Glenn Gould and the CBC's Vincent Tovell, conducted on 4 December 1959, two years after Gould's triumphant tour of the Soviet Union, five years prior to his final concert.
Who do we have to thank for this treasure? A native Torontonian, fellow Gouldian YouTuber who answered my call for the full version of Glenn Gould's Toronto and who threw this interview in as a bonus! We are forever in his debt.
Pencil sketch of Glenn Gould by the amazing yuzu1009. Please check out her channel for other works of true artistic wonder:
http://www.youtube.com/user/yuzu1009
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Who do we have to thank for this treasure? A native Torontonian, fellow Gouldian YouTuber who answered my call for the full version of Glenn Gould's Toronto and who threw this interview in as a bonus! We are forever in his debt.
Pencil sketch of Glenn Gould by the amazing yuzu1009. Please check out her channel for other works of true artistic wonder:
http://www.youtube.com/user/yuzu1009
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Glenn Gould: Concert Dropout (1968)
I stumbled upon this astonishing 1968 conversation between Glenn Gould and John McClure about ten years ago at the Village Discount thrift store here in Chicago (the one on Clark north of Lawrence).
"Why the hell am I leafing through this stack of LPs?" I would've thought, if my thoughts came in annoyingly self-reflective & grammatically correct sentences. "It's the same shit every time I come here."
The same "Sing Along with Mitch" with the Hitler mustache scribbled on the little blonde kid belting out (no doubt) "On Top of Old Smoky" behind Mitch's eerily large & floating head.
The same Tennessee Ernie Ford record stuffed into the "Jim Nabors Sings the Lord's Prayer and Other Sacred Songs."
The same "Glenn Gould: Concert Dropout."
WTF!?
I slowly lifted the album out of the stacks. I glanced furtively around me. Who will I have to kill? Whose family will I have to kill? Do they have record players in prison?
And then the most terrifying thought I have ever had: Tennessee Ernie Ford. Tennessee Fucking Ernie Ford.
Or worse. Jim. Fucking. Nabors.
I held my breath. I parted the covers. I parted the record sleeve (good sign). I slipped the vinyl toward the light of day.
Glenn. Fucking. Gould!!!
I learned two things that day.
Lesson #1: WTF!? costs the same as Tennessee Ernie Ford, the same as Jim Fucking Nabors, the same as Bread: 79 cents (plus tax).
Lesson #2: The bus trip home is longer when you are clutching WTF!? to your beating heart.
It was a long walk from the bus to home. It was a long walk up the stairs. It was a long walk to the record player.
The needle took forever to hit the groove.
It was worth it.
........................
McClure: Glenn, right here in New York, where we're talking, I know, personally, half a dozen impresarios dying to present you in concerts all across the country, your pick of locations, they offer to pay you any fee that you name....Why do you deny them all?
GG: Because it's not a very enticing prospect, John. It's a very flattering one, I suppose, but it's not an enticing prospect...
McClure: The life of a glamorous concert artist --
GG: -- is hideous, is dead, is part of the past. I think that that has no relevance to the contemporary musical scene. I don't think it even has very much relevance to the contemporary scene as regards performing music. I couldn't conceive of going back to that life I was part of it for...eight or nine, whatever it was, rather unpleasant years, rather traumatic years, years which I did it because I thought it was very good experience and, perhaps, necessary in the sense of creating an audience which might, perhaps, buy my recordings. But it was an experience that I wanted to be rid of and to shuck off as quickly as I could, and when that moment came, I did it, and I think it would be a terribly retrogressive step to retreat back into the embrace of the concert.
......................
A terribly retrogressive step to retreat back.
Reader, let me assure you: words can change a life. Those words began to change my life. My life changed.
Not bad for 79 cents (plus tax).
........................
Conducted only four years out from Gould's "retirement" from the concert stage, this is the freshest, least "scripted" Gould interview I've ever heard. (Yes, in later years, Gould actually scripted his interviews -- both the questions & the answers!) In fact, interview is the wrong word. This is a colloquy in the truest sense.
As the title suggests, much of the discussion focuses on Gould's decision to "dropout" of the concert world & to devote his energies to recording. At one point, Gould, at the piano, demonstrates how his playing was corrupted by the demands of the concert performance and the "accrued bad habits" he picked up that "destroyed the fabric of the music."
One gets the feeling that Gould is being confronted with genuinely thought-provoking questions from the superbly attentive John McClure, and Gould's ruminations are suffused with his typically joyous, iconoclastic, elegant & impish intelligence and humanity.
Pencil sketch of the two Glenn Goulds by the amazing yuzu1009. Please check out her channel for other works of true artistic wonder: http://www.youtube.com/user/yuzu1009
A special hat-tip to Ricky Lee, of Iliad Bookshop fame (http://www.iliadbookshop.com), who turned the old LP into a shiny MP3. Thanks, Sir Richard!
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"Why the hell am I leafing through this stack of LPs?" I would've thought, if my thoughts came in annoyingly self-reflective & grammatically correct sentences. "It's the same shit every time I come here."
The same "Sing Along with Mitch" with the Hitler mustache scribbled on the little blonde kid belting out (no doubt) "On Top of Old Smoky" behind Mitch's eerily large & floating head.
The same Tennessee Ernie Ford record stuffed into the "Jim Nabors Sings the Lord's Prayer and Other Sacred Songs."
The same "Glenn Gould: Concert Dropout."
WTF!?
I slowly lifted the album out of the stacks. I glanced furtively around me. Who will I have to kill? Whose family will I have to kill? Do they have record players in prison?
And then the most terrifying thought I have ever had: Tennessee Ernie Ford. Tennessee Fucking Ernie Ford.
Or worse. Jim. Fucking. Nabors.
I held my breath. I parted the covers. I parted the record sleeve (good sign). I slipped the vinyl toward the light of day.
Glenn. Fucking. Gould!!!
I learned two things that day.
Lesson #1: WTF!? costs the same as Tennessee Ernie Ford, the same as Jim Fucking Nabors, the same as Bread: 79 cents (plus tax).
Lesson #2: The bus trip home is longer when you are clutching WTF!? to your beating heart.
It was a long walk from the bus to home. It was a long walk up the stairs. It was a long walk to the record player.
The needle took forever to hit the groove.
It was worth it.
........................
McClure: Glenn, right here in New York, where we're talking, I know, personally, half a dozen impresarios dying to present you in concerts all across the country, your pick of locations, they offer to pay you any fee that you name....Why do you deny them all?
GG: Because it's not a very enticing prospect, John. It's a very flattering one, I suppose, but it's not an enticing prospect...
McClure: The life of a glamorous concert artist --
GG: -- is hideous, is dead, is part of the past. I think that that has no relevance to the contemporary musical scene. I don't think it even has very much relevance to the contemporary scene as regards performing music. I couldn't conceive of going back to that life I was part of it for...eight or nine, whatever it was, rather unpleasant years, rather traumatic years, years which I did it because I thought it was very good experience and, perhaps, necessary in the sense of creating an audience which might, perhaps, buy my recordings. But it was an experience that I wanted to be rid of and to shuck off as quickly as I could, and when that moment came, I did it, and I think it would be a terribly retrogressive step to retreat back into the embrace of the concert.
......................
A terribly retrogressive step to retreat back.
Reader, let me assure you: words can change a life. Those words began to change my life. My life changed.
Not bad for 79 cents (plus tax).
........................
Conducted only four years out from Gould's "retirement" from the concert stage, this is the freshest, least "scripted" Gould interview I've ever heard. (Yes, in later years, Gould actually scripted his interviews -- both the questions & the answers!) In fact, interview is the wrong word. This is a colloquy in the truest sense.
As the title suggests, much of the discussion focuses on Gould's decision to "dropout" of the concert world & to devote his energies to recording. At one point, Gould, at the piano, demonstrates how his playing was corrupted by the demands of the concert performance and the "accrued bad habits" he picked up that "destroyed the fabric of the music."
One gets the feeling that Gould is being confronted with genuinely thought-provoking questions from the superbly attentive John McClure, and Gould's ruminations are suffused with his typically joyous, iconoclastic, elegant & impish intelligence and humanity.
Pencil sketch of the two Glenn Goulds by the amazing yuzu1009. Please check out her channel for other works of true artistic wonder: http://www.youtube.com/user/yuzu1009
A special hat-tip to Ricky Lee, of Iliad Bookshop fame (http://www.iliadbookshop.com), who turned the old LP into a shiny MP3. Thanks, Sir Richard!
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John Berryman reads from the Dream Songs (1968)
This is an extremely rare recording -- as far as I know the only recording in existence of John Berryman reading at the University of Iowa in 1968. I ripped this directly from the master cassette.
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Tru (1992)
From IMDB:
***A recording of a live performance of the Broadway play about two days in the life of Truman Capote during the time of the publication of his controversial story "Answered Prayers" in Esquire magazine in 1975. The one-man show takes place entirely in Capote's condominium in the United Nations Plaza in New York City.
Set during Christmas, Capote talks on the phone to various friends, associates and businesses throughout the play. For the duration of the piece, however, he is speaking directly to the audience, breaking "the third wall," regarding his life, loves, friends, career [...]
Actor Robert Morse, best known for originating the role of J. Pierrepont Finch in the Broadway musical How To Succeed In Business Without Really Trying for which he won the 1962 Tony Award for Best Actor in a Musical, portrays Truman Capote, and won his second Tony (Best Actor in a Play) in 1990 for his performance in TRU.***
I should add that Morse also won an Emmy for Outstanding Lead Actor in a Miniseries or Special for this filmed production.
The play was written by Jay Presson Allen (utilizing much of Capote's own words). Directed by Kirk Browning.
**My apologies for the video/audio quality. This was originally recorded in 1992 using a two-head VCR from a rabbit-eared TV (in Toledo, Ohio, no less!). The VHS I ripped this from is 17 years old! It is what it is. Hope you enjoy it, just the same.**
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***A recording of a live performance of the Broadway play about two days in the life of Truman Capote during the time of the publication of his controversial story "Answered Prayers" in Esquire magazine in 1975. The one-man show takes place entirely in Capote's condominium in the United Nations Plaza in New York City.
Set during Christmas, Capote talks on the phone to various friends, associates and businesses throughout the play. For the duration of the piece, however, he is speaking directly to the audience, breaking "the third wall," regarding his life, loves, friends, career [...]
Actor Robert Morse, best known for originating the role of J. Pierrepont Finch in the Broadway musical How To Succeed In Business Without Really Trying for which he won the 1962 Tony Award for Best Actor in a Musical, portrays Truman Capote, and won his second Tony (Best Actor in a Play) in 1990 for his performance in TRU.***
I should add that Morse also won an Emmy for Outstanding Lead Actor in a Miniseries or Special for this filmed production.
The play was written by Jay Presson Allen (utilizing much of Capote's own words). Directed by Kirk Browning.
**My apologies for the video/audio quality. This was originally recorded in 1992 using a two-head VCR from a rabbit-eared TV (in Toledo, Ohio, no less!). The VHS I ripped this from is 17 years old! It is what it is. Hope you enjoy it, just the same.**
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Down and Out in America (1986)
Poverty, foreclosure, homelessness, circa 1986. Directed by Lee Grant. Winner of the 1986 Academy Award for Documentary Film.
I ripped this straight from the original VHS. The film is currently out-of-print and, as far as I know, unavailable for viewing anywhere online (except here).
Twenty-three years after it was made, the depictions of lives on the edge could hardly be more relevant.
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I ripped this straight from the original VHS. The film is currently out-of-print and, as far as I know, unavailable for viewing anywhere online (except here).
Twenty-three years after it was made, the depictions of lives on the edge could hardly be more relevant.
7 videos
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Truman Capote's "The Thanksgiving Visitor" (1967)
Truman Capote's "The Thanksgiving Visitor" was originally published in the November 1967 issue of McCall's, then in book form, then produced for television -- all within the same month. (How'd he manage that?)
Written 11 years after "A Christmas Memory," Capote returns to the Monroeville of his childhood. Like "A Christmas Memory," we see Buddy's deeply intimate relationship with his dear Sook. Unlike "A Christmas Memory," we see the dark torment of Capote's youth.
Starring Geraldine Page as Sook (she won an Emmy for her performance) and Michael Kearney as Buddy. Adapted for television by Capote (who also narrates) and Eleanor Perry. Directed by Frank Perry.
Here's a link to some user reviews on IMDB:
http://www.imdb.com/title/tt0324218/usercomments
**Any & all blame for the imperfect video/audio quality lies at the feet of the person who ripped it from the original VHS (i.e., not me). My apologies, just the same.**
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Written 11 years after "A Christmas Memory," Capote returns to the Monroeville of his childhood. Like "A Christmas Memory," we see Buddy's deeply intimate relationship with his dear Sook. Unlike "A Christmas Memory," we see the dark torment of Capote's youth.
Starring Geraldine Page as Sook (she won an Emmy for her performance) and Michael Kearney as Buddy. Adapted for television by Capote (who also narrates) and Eleanor Perry. Directed by Frank Perry.
Here's a link to some user reviews on IMDB:
http://www.imdb.com/title/tt0324218/usercomments
**Any & all blame for the imperfect video/audio quality lies at the feet of the person who ripped it from the original VHS (i.e., not me). My apologies, just the same.**
5 videos
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