PADDY CHAYEFSKY: COLLECTOR OF WORDS: “X-raying us all the time”

Photo caption: Paddy Chayefsky in PADDY CHAYEFSKY: COLLECTOR OF WORDS. Courtesy of HBO Max.

Paddy Chayefsky: Collector of Words brings thought-provoking insights into the life and work of the great screenwriter Paddy Chayefsky. Chayefsky is the only person to win three solo Oscars for Best Original Screenplay, for Marty, The Hospital and Network.

Those three films, along with the grievously overlooked The Americanization of Emily, the biting satire Wall Street (“Greed is good“) and the very trippy Altered States make up an essential body of work.

It’s hard to think of a film with more aching humanity than Marty. The titular character in Marty is a guy who no one notices, but Chayefsky shows us his yearnings, disappointments and inner pain in a searing and heartbreaking portrait. To bring that empathy to Marty and to spotlight the human foibles satirized in The Americanization of Emily, The Hospital, Network and Wall Street, Chayefsky had to be an uncommonly penetrating observer of human behavior. In Paddy Chayefsky: Collector of Words, one of Chayefsky’s colleagues says that he was “X-raying us all the time.”

Most folks see Network as Chayefsky’s masterpiece. Paddy Chayefsky: Collector of Words reminds that, as well as poking at the greed and cowardice of TV networks and the slide of television journalism into infotainment, Network probed the midlife crisis rocking the character played by William Holden and the impact on his wife, played by the Oscar-winning Beatrice Straight.

And, most of all, Paddy Chayefsky: Collector of Words shows us Network as a work of prophecy. The cynical executive played by Faye Dunaway directs her team to chase demographic research thusly:

Well, in a nutshell, it said: “The American people are turning sullen. They’ve been clobbered on all sides by Vietnam, Watergate, the inflation, the depression; they’ve turned off, shot up, and they’ve fucked themselves limp, and nothing helps.” So, this concept analysis report concludes, “The American people want somebody to articulate their rage for them.” I’ve been telling you people since I took this job six months ago that I want angry shows.

Guess who comes to mind? And when the exec makes a pitch to the network CEO (Robert Duvall), he responds with:

For God’s sake Diana, we’re talking about putting a manifest irresponsible man on national television.

Paddy Chayefsky: Collector of Words also brings us some nuggets: how the son of Russian Jews got and adopted the nickname Paddy, about his longstanding lunches with Bob Fosse at the Carnegie Deli, and about a mistaken line reading of one of the most iconic lines of dialogue in cinema history,

The director of Paddy Chayefsky: Collector of Words is Michael Miele, who also directed this year’s Bob Mackie: Naked Illusion. Miele lets us know in the opening titles that he agreed not to include discussion of Chayefsky’s family and personal life. No matter – it what Chayefsky put on the screen that counts.

Paddy Chayefsky: Collector of Words is streaming on HBO Max and on the HBO Max YouTube channel.

Coming up on TV: An Anti-war Masterpiece

James Coburn and James Garner in THE AMERICANIZATION OF EMILY

Turner Classic Movies is broadcasting the 1964 The Americanization of Emily on November 11.    Set in England just before the D-Day invasion, The Americanization of Emily is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass.  Julie Andrews plays an English driver who has lost her husband and other male family members in the War.  She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.

Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy.   Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it.  Fellow officer James Coburn must guarantee Garner’s martyrdom.

It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.

Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.

Reportedly, both Andrews and Garner have tagged this as their favorite film.

One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.

Coming up on TV: An Anti-war Masterpiece

James Coburn and James Garner in The Americanization of Emily

Turner Classic Movies is broadcasting the 1964 The Americanization of Emily on April 7.    Set in England just before the D-Day invasion, The Americanization of Emily is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass.  Julie Andrews plays an English driver who has lost her husband and other male family members in the War.  She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.

Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy.   Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it.  Fellow officer James Coburn must guarantee Garner’s martyrdom.

It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.

Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.

Reportedly, both Andrews and Garner have tagged this as their favorite film.

One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.

Coming up on TV: The Americanization of Emily

 

Julie Andrews and James Garner in The Americanization of Emily

 

One  of my Overlooked Masterworks plays on TCM on October 25th.  Set in England just before the D-Day invasion, The Americanization of Emily (1964) is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass.  Julie Andrews plays an English driver who has lost her husband and other male family members in the War.  She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.

Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy.   Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it.  Fellow officer James Coburn must guarantee Garner’s martyrdom.

It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.

Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.

Reportedly, both Andrews and Garner have tagged this as their favorite film.

One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.