Rebel filmmaker returns with The Human Factor
1-26-80
On the cover of his 1977 autobiography1 Preminger, he is described as "Hollywood's most tempestuous2 director" and "the screen's stormiest rebel." But today, at 73, the years appear to have caught up with Otto Preminger, the Austrian-born director and actor who came to the U.S. in 1935 and met success after success, both in movies and on Broadway.
He became the first producer/director to make major motion pictures independently of the giant studios, and with such films as Forever Amber3, The Moon is Blue and The Man with the Golden Arm, won precedent-settling battles with censorship boards that established new artistic4 freedom for filmmakers.
Between 1959 and 1963 he produced and directed, in succession, Porgy and Bess, Anatomy5 of a Murder, Exodus6, Advice and Consent, and The Cardinal7. After that his career took a dip, and since 1971 he has released but a single movie, Rosebud8 (1975), which marked the screenwriting debut9 of his son Erik Lee Preminger and the acting10 debut of a New Yorker named John Lindsay, the city's former mayor.
In February, Preminger's 33rd film, The Human Factor, is scheduled to open in New York and across the country. Based on a best-selling novel by Graham Greene, The Human Factor is the suspenseful11 story of a black South African woman (played by fashion model Iman) who marries a white secret agent (Nicol Williamson). Filmed mainly in the English countryside, the movie deals with the agent's allegiance to the man who helps his wife to escape from South Africa. Persuaded to become a double agent, he ends up in Moscow, separated from the one person he loves. The novel's title underlines the fact that bureaucracy can never be all-powerful: there is always the human factor.
Preminger, seated at his huge palette-shaped desk of white marble in the lavishly12 furnished projection13 room on the uppermost floor of his Eastside town house, admits that he sank over $2 million of his own money into the picture when his signed backers failed to come through. "Everybody in Europe lies about money," says Preminger in his deep, German accented voice. "I originally wanted to sue them, but suing doesn't make sense unless you are sure they have money. So I inquired from my Swiss lawyer, and they didn't have money in Switzerland. You see, in Switzerland, the advantage of the Swiss law is that is you sue somebody, all his assets are frozen immediately. … Luckily enough, I had two houses that I wanted to sell in the south of France. … At least I own the whole film. The question is now only: Will the picture be a big success as I hope, or not? That is always the main thing."
The nattily14 dressed Preminger, a tall, large man whose distinguished15 features and totally bald head give the opposite impression of his slow movement and somewhat frail16 appearance, revealed that the film's African scenes had to be shot in Kenya rather than South Africa "because they said they must see what I am shooting, and if they don't like it, they will confiscate17 it. They said, 'People in bed you can't shoot.' Then I went to Kenya, where there is a black government, and they didn't even ask for the script. They said I could have anything I want."
Asked whether any memorable18 events took place during the filming, Preminger snaps, "Even if there were, I don't remember. After I have made a picture and I have seen it maybe two, three times with an audience, I deliberately19 detach myself, because I don't want it to influence my next picture. As a matter of fact, a few months ago, my wife was dressing20 to go out, and I turned on the television and saw one of my old pictures. I recognized it, but we had to leave before it was finished. I still don't know how it ends."
As for Preminger's love life, he writes in his autobiography: "I have a reputation with women which is not entirely21 deserved, though it is true that I had my share of them, some of them stars."
In 1944 he had a three-week love affair with Gypsy Rose Lee that resulted in the birth of his son Erik Lee Preminger. The boy didn't find out the identity of his real father until the age of 18. They were reunited four years later, and liked each other immediately. Preminger legally adopted Erik, who is currently in Los Angeles writing a biography of his late mother.
Preminger and his third wife, a former costume designer named Hope Bryce, to whom he has been married since 1959, are the parents of 19 year-old twins, Victoria and Mark. An Upper Eastsider for two decades, Preminger includes among his favorite restaurants Caravelle, Le Cirque and 21, where agent Irving "Swifty" Lazar once broke a glass over his head that took 51 stitches to close.
An unabashed admirer of luxury, Preminger remains22 unruffled when questioned about how his fancy Eastside pad is in line with the philosophy stated in his autobiography that "my real reward is my work itself. Success matters only because without it, one cannot continue to work."
"I could live without it," he says with a shrug23. "I like to give my family luxuries, but I could easily live in one furnished room and be also happy."
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1 autobiography | |
n.自传 | |
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2 tempestuous | |
adj.狂暴的 | |
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3 amber | |
n.琥珀;琥珀色;adj.琥珀制的 | |
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4 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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5 anatomy | |
n.解剖学,解剖;功能,结构,组织 | |
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6 exodus | |
v.大批离去,成群外出 | |
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7 cardinal | |
n.(天主教的)红衣主教;adj.首要的,基本的 | |
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8 rosebud | |
n.蔷薇花蕾,妙龄少女 | |
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9 debut | |
n.首次演出,初次露面 | |
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10 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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11 suspenseful | |
adj.悬疑的,令人紧张的 | |
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12 lavishly | |
adv.慷慨地,大方地 | |
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13 projection | |
n.发射,计划,突出部分 | |
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14 nattily | |
adv.整洁地,帅地 | |
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15 distinguished | |
adj.卓越的,杰出的,著名的 | |
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16 frail | |
adj.身体虚弱的;易损坏的 | |
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17 confiscate | |
v.没收(私人财产),把…充公 | |
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18 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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19 deliberately | |
adv.审慎地;蓄意地;故意地 | |
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20 dressing | |
n.(食物)调料;包扎伤口的用品,敷料 | |
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21 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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22 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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23 shrug | |
v.耸肩(表示怀疑、冷漠、不知等) | |
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