Coming Up In This Column: American Reunion; Salmon Fishing in the Yemen; Mirror, Mirror; Damsels in Distress; Act of Valor; Titanic; A Bad Spring for American Television 2012, but first…
Fan Mail: A short note before we get into the mail. A day or so after I sent US#93 off to Keith, I read in the paper that Ernest Callenbach, whom I mentioned in the review of the Pauline Kael biography, had passed away. He was the long-time editor of Film Quarterly, starting in the early days when there were not a thousand film journals around. He ran my first published piece, a 1977 book review of two biographies of screenwriters. He was supportive of many young critics, including the redoubtable Stephan Farber.
David Ehrenstein has his usual entertaining comments, especially about Pauline Kael. He thought her essay on Kane made it sound as though Welles had “scarcely anything to do with it at all” with Kane. Like David, I had read her earlier reviews, especially of Chimes at Midnight (1966), and I thought in “Kane” she was not trying to tear Welles down, just promoting what Mank had done.
“IA” took me to task for thinking Kael was a coward for not writing more on screenwriters. He may be right, but given the dealings Howard Suber and I had with her, I’ll stick to my opinion. IA did point out that Kael never wrote anything, about screenwriters or otherwise, on the scale of “Raising Kane” again, which is what I tried to suggest in my comments about her not have the capabilities to do a much longer piece. As to how serious Kael was on doing a Johnson biography, I would assume that if she and her agent were trying to get my research and spreading the word that she was doing a bio of him, then she was pretty serious, at least for a time. Kellow’s book is already long, and I am sure that if he came across the Johnson business he probably felt it was not that important in the full scope of her life. As to her writing about screenwriters in her later reviews, she may well have, but not with the enthusiasm she showed earlier.
American Reunion (2012. Screenplay by Jon Hurwitz & Hayden Schlossberg, based on characters created by Adam Herz. 113 minutes.)
Not as good as #1, better than #2, and way better than #3: In my book Understanding Screenwriting: Learning From Good, Not-Quite-So-Good, and Bad Screenplays, I had a chapter on the first three American Pie movies, since I wanted to discuss writing raunchy comedies. I put the chapter in the Not-Quite-So-Good section of the book, since that would have been my average grade for the three. The first was a very good script, the second not-quite-so good, and the third one was truly awful, with only one laugh in the entire film. I have not seen the four direct-to-DVD sequels and even a gun to my head would not make me. But since I had invested so much time in thinking and writing about the first three, I thought I would give the new theatrical film a shot. It turns out to be pretty good, and corrects several of the mistakes #2 and #3 made.