WESTSIDER JULES FEIFFER

WESTSIDER JULES FEIFFER
Screenwriter for Popeye the Sailor

11-5-77

Imagine a movie starring Dustin Hoffman as Popeye the Sailor and Lily
Tomlin as his girlfriend Olive Oyl.

Anyone who has seen the old Popeye cartoons, or the new computer animated¹ ones, might think that the fighting mariner² does not have the dramatic qualities needed for a full-length film. But according to Westsider Jules Feiffer, who is now writing the script for Popeye the Sailor, the original comic strip in the daily newspapers was the work of "an unrecognized genius." E.C. Segar created Popeye and drew him from 1924 to 1938. After that the character changed. Feiffer finds the original strip to be his biggest source of inspiration.

"The cartoons," says Feiffer, sitting on one arm of a chair in his Riverside Drive apartment, "exploit the violence between Popeye and Bluto. That was never part of the strip. It's more along the lines of the traditional cartoon of the 1940s, which could find nothing more interesting than one character dismembering another. I didn't find that funny when I was a kid and I don't now."

Feiffer developed his unique style of humor long before he sold his first cartoon. Today, though still perhaps best known as a cartoonist, he has gained a reputation as a playwright³ for both the stage (Knock, Knock and Little Murders) and the screen (Carnal Knowledge). He is also a respected prose writer, having recently published his second novel, Ackroyd.

A product of the Bronx, Feiffer recalls that after graduating from high school he went through "a series of schlock jobs to buy food and drawing materials. And long periods of unemployment." He planned all along to become a cartoonist. "I was prepared," he says, "for the eventual⁴ success which I was certain was going to happen if my work remained true to myself."

Feiffer spent several years as an assistant to other cartoonists and attended two art schools. Still, no one would publish his work until a day in 1956 when Feiffer, age 27, took a batch⁵ of his best 'toons to the office of a new, relatively⁶ unknown weekly called The Village Voice. They loved his work, and he became a regular contributor.

"All other publications at that time had their own idea of their readership. And editors insisted on tailoring stories to their own taste. The Voice," says Feiffer, "existed for the artist's taste and the writer's taste. It was a time when McCarthyism and the blacklist were rampant⁷ through every strata⁸ of society."

The Voice was then the only publication of its kind. It wrote about dissent⁹; it was considered revolutionary, and Feiffer's weekly cartoons helped it to maintain that image.

Success came quickly to Feiffer after he joined the Village Voice: "It happened faster than I thought. It was only about three months or so before my work came to be talked about, and publishers began to offer book contracts." Syndication took place a few years later. Now the cartoon is carried by somewhat over 100 publications in every country of the western world and several in the Far East.

Feiffer's cartoon takes him one day a week to conceive and draw. During the other six days he works on his latest writing project. For three years — until it was published this past summer — that project was Ackroyd, an unconventional detective-type novel in which the characters are too human to keep their traditional roles as props¹⁰ for the detective's cleverness. The book is less suspenseful¹¹ than a standard detective novel, but more revealing of human nature.

One of the things that has been in my work for many years," says Feiffer, "is people's need to communicate with each other not directly, but in code. … Coded language is used to guide our lives, to frame our relationships with people." Feiffer's main character takes the name Roger Ackroyd and tries to become a private detective. Instead he gets "so intertwined with the coded life of his clients that he works on that for the rest of his career."

Ackroyd got extremely mixed reviews. "It's what I'm used to," notes the author. "Some reviews have been glowing. Others wondered what the hell the book was about and why I bothered to write it." Feiffer takes the good and the bad in stride, remembering what happened when his first play, Little Murders, opened on Broadway in 1967.

"It got all negative reviews and closed in a week," he recalls. "It was immediately done in London after that, which started the revival¹², because it was done very successfully. Then it was brought back to New York the following year and it won all the awards." In 1971 it was made into a successful film starring Elliott Gould and Marcia Rodd.

An occasional theatregoer, Feiffer ends the interview on a customary depressing note, saying that he is generally disappointed by even the biggest hits in town.

"I don't think of myself as a Broadway playwright," he says. "I'd be ashamed of that title. I don't think the Broadway theatre is very interesting or has been for the last 20 years."

1 animated   

adj.生气勃勃的，活跃的，愉快的

参考例句：

• His observations gave rise to an animated and lively discussion.他的言论引起了一场气氛热烈而活跃的讨论。
• We had an animated discussion over current events last evening.昨天晚上我们热烈地讨论时事。

2 mariner   

n.水手号不载人航天探测器，海员，航海者

参考例句：

• A smooth sea never made a skillful mariner.平静的大海决不能造就熟练的水手。
• A mariner must have his eye upon rocks and sands as well as upon the North Star.海员不仅要盯着北极星，还要注意暗礁和险滩。

3 playwright   

n.剧作家，编写剧本的人

参考例句：

• Gwyn Thomas was a famous playwright.格温·托马斯是著名的剧作家。
• The playwright was slaughtered by the press.这位剧作家受到新闻界的无情批判。

4 eventual   

adj.最后的，结局的，最终的

参考例句：

• Several schools face eventual closure.几所学校面临最终关闭。
• Both parties expressed optimism about an eventual solution.双方对问题的最终解决都表示乐观。

5 batch   

n.一批(组，群)；一批生产量

参考例句：

• The first batch of cakes was burnt.第一炉蛋糕烤焦了。
• I have a batch of letters to answer.我有一批信要回复。

6 relatively   

adv.比较...地，相对地

参考例句：

• The rabbit is a relatively recent introduction in Australia.兔子是相对较新引入澳大利亚的物种。
• The operation was relatively painless.手术相对来说不痛。

7 rampant   

adj.(植物)蔓生的；狂暴的，无约束的

参考例句：

• Sickness was rampant in the area.该地区疾病蔓延。
• You cannot allow children to rampant through the museum.你不能任由小孩子在博物馆里乱跑。

8 strata   

n.地层（复数）；社会阶层

参考例句：

• The older strata gradually disintegrate.较老的岩层渐渐风化。
• They represent all social strata.他们代表各个社会阶层。

9 dissent   

n./v.不同意，持异议

参考例句：

• It is too late now to make any dissent.现在提出异议太晚了。
• He felt her shoulders gave a wriggle of dissent.他感到她的肩膀因为不同意而动了一下。

10 props   

小道具； 支柱( prop的名词复数 )； 支持者； 道具； （橄榄球中的）支柱前锋

参考例句：

• Rescuers used props to stop the roof of the tunnel collapsing. 救援人员用支柱防止隧道顶塌陷。
• The government props up the prices of farm products to support farmers' incomes. 政府保持农产品价格不变以保障农民们的收入。

11 suspenseful   

adj.悬疑的，令人紧张的

参考例句：

• If his experiences then had been carefully recorded, it would undoubtedly have made a suspenseful and moving book. 若是把他所经历的事实记录下来，那就是一部充满着大智大勇，惊心动魄的小说。 来自《现代汉英综合大词典》
• Lily is an atmospheric and suspenseful tale of love, loss and obsession. 这是一个关于爱情、失落与迷恋的故事，充满情调与悬疑色彩。 来自互联网

12 revival   

n.复兴，复苏，（精力、活力等的）重振

参考例句：

• The period saw a great revival in the wine trade.这一时期葡萄酒业出现了很大的复苏。
• He claimed the housing market was showing signs of a revival.他指出房地产市场正出现复苏的迹象。