Lillian Ross (1918–2017)

The author was a staff writer for the New Yorker and was invited in 1950 to shadow John Huston and his colleagues while they made the movie version of the Red Badge of Courage. Either she had a photographic memory or she made constant notes, since she seems to have heard everything everybody said to each other in person, on the phone, by mail or telegram. We learn how a picture is made and more about the conflict between the movies as a business and as an art. Reading John Huston's comments was especially fun, since I could hear him saying them.… (mais)

Regarding:
Kim Stanley --
Cedric Hardwicke --
Melvyn Douglas --
Ingrid Bergman --
Brandon De Wilde --
Sophia Loren --
Hume Cronyn --
Zero Mostel --
Joan Crawford --
Alexander Davion --
Henry Fonda --
Jane Fonda --
Sidney Poitier --
Juliet Mills --
William Holden --
Burgess Meredith --
Eileen Heckart --
Robert Shaw --
Patty Duke --
Eli Wallach --
Anne Jackson --
Paul Scofield --
Warren Beatty --
Katharine Cornell --
Eddie Albert --
Francoise Rosay --
Andy Griffith --
Maria Schell. Maximilian Schell --
Paul Newman --
Lee Remick --
Donald Plasence --
Carol Lynley --
Rod Steiger --
Claire Bloom --
Dana Andrews --
Maureen Stapleton --
Richard Widmark --
Vladimir Sokoloff --
Kim Hunter --
Harold Scott --
Michael Redgrave --
Ben Gazzara --
Janice Rule --
Fredric March --
Angela Lansbury --
Anthony Quinn --
Jason Robards, Sr. --
Margaret Leighton --
Anthony Perkins --
Simone Signoret --
Robert Preston --
Walter Matthau --
Geraldine Page --
John Gielgud.… (mais)

Lillian Ross delivers detailed coverage of many personalities, with an emphasis on both settings and clothing.
Unlike reporter Mary McGrory, she offers almost no personal commentary, leaving conclusions up to the reader.

Unfortunately, this approach can become repetitive and dry, to the point of superfluidity.
Yes, we feel like we're right there with the people and their conversations, but what if most are awful?

My least favorites were:
"Dames," tediously repeating that word, the insufferable "Papa" Hemingway,
John McEnroe, the drudgery of the class trip to NYC in "The Yellow School Bus,"
more awful rich women in "Money Honey," more awful rich men in "The Big Stone,"
and the horrific animal abuse one I skipped = El Unico Matador."

My favorites were:
"Come In, Lassie," detailing Hollywood's refusal to stand up to HUAC
and to back the actors that HUAC blacklisted,
Robin Williams' "Workouts,"
The Miss America Pageant saga, "Symbol of All We Possess,"
and Edward Albee - "Artistic flashes take place in your head, sometimes."

From David Remick -
"She is just that - a hell of a reporter."

And, this from Lillian Ross -
"What makes the writing emerge from a writer is mostly a mystery."… (mais)

Reporting Always: Writings from The New Yorker by Lillian Ross is a very highly recommended collection of 32 selected works from the author's seven decade career at the New Yorker.
The pieces are organized into five categories rather than chronologically and cover a wide range of Ross's career. These are all intelligent looks at the individuals or subjects Ross is covering, full of details and keen observations without any hyperbole. Ross's reporting is commendable and presents quintessential examples of excellence in journalism.

Ross is the journalist who originated the entertainment profile, but followed the credo to "write only about people who want to be written about," a practice that would avoid much of the sensationalism that is often present today. Most importantly, Ross is a writer and covers her subjects in such a way to bring the subjects of her articles to life. She adds details that allow the reader to visualize the setting. Her humor and wit is clearly present in these selected pieces. As it is mentioned in the foreword: "Her hallmarks are her keen eyes and ears and an austere, straightforward style... As a storyteller, she has an abiding faith in the magical properties of facts."

Contents include:
Foreword
Introduction
Section I Players
Young and Happy (Julie Andrews); Come In, Lassie! (during the time of the Committee on Un-American activities); Sgt. Pepper the Beatles); Workouts (Robin Williams); Mr. and Mrs. Williams (Marcia Garces Williams); Auteur! Auteur! (Al Pacino); Two Dames (Maggie Smith and Judi Dench)
Section II Writers
How Do You Like It Now, Gentlemen? (Ernest Hemingway); Movement (the Beat writers); Life Line (writers and coffee houses); Theatre (Edward Albee); Oprah’s Understudy (Gayle King)
Section III Youngsters
Symbol of All We Possess (Miss America Pageant); The Yellow Bus (students from Indiana visiting NYC); Dancers in May (excerpt, maypoles dances); Mays at St. Bernard’s (Willie Mays); The Shit-Kickers of Madison Avenue (private school 10th grade students in NYC)
Section IV New Yorkers
El Único Matador Sidney Franklin, bullfighter); Terrific (1954 Junior League ball in NYC); The Big Stone (Harry Winston); The Sporting Scene (John McEnroe); Camaraderie (Ralph Kiner); Ellen Barkin at Home
Section V Big Cheeses
Feeling Lost (Charlie Chaplin); Picture, Part I: Throw the Little Old Lady down the Stairs! (John Huston); Coco Chanel; With Fellini; Rag Trade (Mario Testino); Wes Anderson in Hamilton Heights; Lunch with Agnes (Agnes Martin); Nothing Fancy (Clint Eastwood); Money Honeys (big Republican political donors)
Photo Credits

Disclosure: My Kindle edition was courtesy of Scribner for review purposes.
… (mais)