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Posts Tagged ‘movie stars’

Nancy Drew in Starlight

October 14, 2015 | by

Who is Nancy Drew, really? The instability of the girl detective.


An illustration from The Mystery at Lilac Inn.

The writer Bobbie Ann Mason once described the Nancy Drew novels as sonnets, or “endless variations on an inflexible form.” The same could be said of Nancy herself: though outfitted with a few baseline characteristics—her freedom, her wile, her supreme politesse—she’s perpetually shape-shifting throughout the series. Alternately sixteen and eighteen, Nancy Drew is a scholar of ancient languages and an amateur archaeologist; a flawless cook, an expressive painter, and a dynamite prom date. She can dance in a corps de ballet and scuba dive fathomless depths. On separate occasions, her friends have walked in on her tap dancing, learning Morse code, and tap dancing in Morse code. Even her hair color is famously inconstant—from book to book, it flickers from blonde to strawberry blonde to her most distinctive shade, Titian, so named for the rosy apricot color used in many of the sixteenth-century Italian’s paintings.

And yet, there are some things Nancy Drew simply does not do. In her decades-long original run of more than fifty books, she never once goes to the movies or mentions an actor by name. Her only brush with Hollywood comes in 1931’s The Mystery at Lilac Inn, where she meets the diabolical Gay Moreau, a washed-up actress who’s also a Nancy Drew impersonator, committing petty crimes to defame the detective. Nancy approaches the case with some amusement at her resemblance to a “blonde actress,” but things take a turn for the weird when the starlet kidnaps Nancy, binds and gags her, and, to Nancy’s horror, begins to actRead More »

Andrew O’Hagan on Maf the Dog

January 24, 2011 | by

The Life and Opinions of Maf the Dog, and of His Friend Marilyn Monroe is Andrew O’Hagan’s fourth novel. It details the star’s final years in New York and L.A. as seen through the eyes of her frighteningly learned Maltese terrier, who was born on a Scottish tenant farm. Reporting from the intellectual, artistic, and political epicenters of America in the ’60s, Maf is uniquely positioned to chaperone us not only through Monroe’s private decline but also through the romance and turmoil of her era. On the phone, O’Hagan is soft-spoken and gallant, his Glasgow lilt similar (one imagines) to Maf’s.

You were born in Scotland and spent much of your life in London. What drew you to Marilyn Monroe and this particular scene in America?

I grew up on the West Coast of Scotland. We looked across the sea to Ireland, where my ancestors had come from, and beyond that, to the bigger-seeming civilization that was America. We always felt that we somehow had a strong relationship with the United States. We were very ready to accept American culture. There was, for instance, a great love of movies in my family. And the women all sang songs, not folk songs or Scottish ballads, but the songs of Frank Sinatra and Sarah Vaughan. You might not immediately think of Glasgow as a world propagation center for glamour, but it is, and it was, and I feel the benefit.

Photograph by Eric Skipsey.

I realized a few years ago that I wanted to write about some of the less obvious ghosts of my childhood. I knew Marilyn Monroe had been given a dog by Frank Sinatra, and I started to look for evidence of this dog, feeling that, if I found him, he would prove a very reliable and possibly diverting witness to a culture that had influenced our lives. When I went to New York in 1999, I attended a sale of Marilyn Monroe’s personal belongings at Christie’s. I was writing a piece at the time for The London Review of Books and intended a second piece for Barbara Epstein at The New York Review of Books, so I went to the auction and waited and waited and then my waiting was rewarded when six little Polaroids of Maf the dog were auctioned for $222,000. As I was watching all the people frantically waving their paddles and trying to get a hold of this seemingly crucial piece of art from the twentieth century—that’s how they behaved—I felt I could hear the dog’s voice. I went back to my hotel that night thinking, If I can capture this dog, I’ll have accessed something special, something that really matters to me—and, hopefully, to my readers.

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Sex, Lies, and Hemingway

November 22, 2010 | by

Jack Huston and Mena Suvari star in Hemingway's Garden of Eden.

On a late night last week, I slipped out of the Paris Review offices, and into a more glamorous setting across the street. On lower level of the Tribeca Grand Hotel, movie stars were posing with practiced ease in front of a cluster of photographers. The occasion was a preview screening of the film Garden of Eden, which will be released on December 10. Among the celebrities there were Mena Suvari—who oozed classic Hollywood glamour in an all-black ensemble, bright red lipstick, and soft, blond, Veronica Lake waves—and Matthew Modine, tan, rugged, and sporting a jaunty blue scarf. Both star in the new film, based on the Ernest Hemingway novel of the same name. It’s an autobiographical tale set in Europe between the wars that chronicles a love triangle between Hemingway stand-in David Bourne (Jack Huston), his wife, Catherine (Suvari), and the stunning Italian heiress Marita (Caterina Murino), whom Catherine introduces into the relationship during the couple’s seaside honeymoon—a decision she will later come to regret.

The novel, unfinished at the time of Hemingway’s death and published—amid editing controversies—in 1986, was recently adapted for the screen by James Linville, former managing editor of The Paris Review. “My experience in the film industry has been very good so far,” he told me. “And much less rough and tumble than the New York poetry world. I’m being fun,” he hastened to add, though it's easy to see why one would want to trade the world of rejection slips for the chance to mingle with beautiful people.

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