Feldman Biography is Best showbiz Bio of the Year by Don Stradley
If your only memory of Marty Feldman is his hilarious turn in Mel Brooks' Young Frankenstein, his life and career are illuminated in Robert Ross' Marty Feldman, The Biography of a Comedy Legend. Ross' book, a product of painstaking research, is as good as any showbiz biography you will ever read.
Before Feldman’s bulging eyes and wild hair became part of the
American consciousness, he was well-known in England as one of the top television
comedy writers of the 1960s. After years of writing scripts, he was finally coaxed into
performing. Although he preferred working behind the scenes, Feldman’s acting style was a
revelation. By mixing the deadpan humor of Buster Keaton with a bit of “Swinging
‘60s London,” Feldman not only connected
with British TV audiences, but provided a link between post war British humor
and the 1970's style of Monty Python's
Flying Circus. In fact, many members of the Python crew worked with Feldman
and considered him a comedy sage.
Feldman’s humor may have been developed to deal with a problematic
early life. Constantly punished at school for misbehaving, he left home at 15
to pursue a career as a jazz trumpeter.
Even though he scratched out a living, Feldman was often destitute,
scrambling around in the company of drug dealers, third-rate musicians, and
gangsters. He was even homeless for a
time, “sleeping rough” as the British say, before he began selling jokes to
music hall comedians.
Once he’d found
success in England, Feldman craved recognition in America. A syndicated British series called The Marty Feldman Comedy Machine began
appearing on American networks, which lead to Feldman performing on such U.S.
staples as The Tonight Show, and Hollywood Squares. At age 40 he struck gold
as Igor in Young Frankenstein. But soon after Feldman's world conquering
year of 1974, his fortunes changed. A
chain smoker and drug user, Feldman worked himself to a nub until a lonely
death in a hotel room in 1982. Ross’ description of the dying Feldman trying to
reach his beloved wife on the phone for a last goodbye is heartbreaking.
As Ross tells it, two things prevented Feldman from
capitalizing on his Young Frankenstein
success. One was America's tendency to marginalize British actors; the other
was Feldman's own disenchantment with fame. At the time of his death he was planning a
return to England, where he hoped to get back on British TV.
The book also explores Feldman's Jewish upbringing. Growing
up in London’s East End as the son of Russian Jews, Feldman described himself
as an outcast, although he said in a 1980
interview that he admired all things Hasidic, and had been quite devout as
a young boy. He also believed his love
of the performing arts was probably linked to his respect for Jewish
storytellers.
Ross presents Feldman as a brilliant but unhappy fellow. It was
as if the trauma of sleeping under bridges and being penniless haunted him,
even as he walked where very few British comedians had ever walked before.
Starting with the opening pastiche of Parisian sights (obviously recalling the opening of Manhattan Paris
Lacking Allen’s acid tongue and paranoia, Wilson
STRAW DOGS *
Sam Peckinpah’s violent 1971 study of pacifists finding their survival instinct is given a teeth whitening treatment in this remake by writer/director Rod Lurie. The action has been moved from England to Louisiana , the couple under siege is recast as a vapid Hollywood pair, and the bad guys are now belly-scratching hicks. James Marsden, in the role once played by Dustin Hoffman, is too self-assured to earn our sympathy. Hoffman was better, scampering like a cockroach to protect his home from invaders. The original also benefited from social tensions created by the Viet Nam Hollywood
