"The entry is dated June 1981, and while I have no memory of writing it, the penmanship is unmistakably my own. There, between accounts of my grandfather dying and a game-winning double I hit in Little League, is an account of my being raped three years before. I concluded the entry by wondering what I would do if I ever met the man who'd raped me on the street once I myself was a grown man."
I've been a fan of Lem Dobbs since around 1987 or '88, back when he was known throughout Hollywood for writing Edward Ford, which many consider to be the greatest unproduced screenplay of all time. That script is one of the first things I sought when I got on the internet in the early 90s.
Today, Dobbs is likely best known as the writer of The Limey. Steven Soderbergh directed the film and Terance Stamp starred in it. I believe it's not only a great "gangster picture," it's also Soderbergh's best and one of the most accurate film portrayals of memory.
If you have the chance to listen to Dobbs' commentary on The Limey DVD, I highly recommend it.
There's a notorious 90 second scene in The Limey, which you can watch here:
In the commentary, Dobbs uses this scene to highlight a problem with film critics — and perhaps the public's understanding of filmmaking in general.
Dobbs notes that the film's negative press often referred to it as "underwritten," while the positive press praised Soderbergh's "brilliant direction." Many of them cited this scene and how the camera waits outside, forcing the viewer to imagine what's happening inside while increasing the menace as Stamp's character approaches after exiting.
The irony is that the script was not underwritten. Soderbergh cut out much of what the critics wanted. Furthermore, in the screenplay, which Dobbs wrote years before Soderbergh was involved, Dobbs instructed the camera to remain outside:
Wilson is taken outside and dumped. After a moment, het gets to his feet. Dusting himself. Reaches for ANOTHER GUN tucked in his lower back. He re-enters the building.
A beat. We hear several SHOTS.
Seconds later, one of the Meat Puppets comes stumbling out of the door, terrified. He runs past us, fast.
A moment later, Wilson emerges, gun in hand.
WILSON: You tell him. You tell him I'm coming!
Dobbs took the blame for what Soderbergh changed and Soderbergh received credit for what Dobbs envisioned.
Such is the life of a Hollywood Screenwriter.
All this to alert you to this lengthy interview with Dobbs. Admittedly, not the prettiest website, but an interesting read nonetheless.
Anecdote Alert
For years, I used the name Dobbs as one of my heteronyms. Both Lem and I took the name from the same source: Humphrey Bogart's character in Treasure of the Sierra Madre. (Lem's birth name is Anton Kitaj. He is the son of painter, R. B. Kitaj.)
I have another very odd connection here. The scene in the clip above was filmed at the far end of this street in downtown Los Angeles:
To get to it (just prior to the clip), Wilson walks past the building on the left, which happens to be owned by a friend of mine. I've spent a great number of American Thanksgivings there over the years — the best dinner parties I've been to in my life have all been in that building.
On one of the first trips I took after my stroke, I ended up crashed here while my friend was out of town filming the devastation of the Camp Fire in Paradise, California. Another friend of his, filmmaker Noaz Deshe, was also staying there at the same time. I have fond memories of deep discussions of film history with Noaz. What was particularly delightful is that they were the first signs that my memory wasn't completely shorted-out from the stroke — something that had been deeply troubling me. In particular, we had a mutual fondness for Miklós Jancsó's films, The Red and the Black, and Round Up (posters below). Good times.
Footnotes
If you want to read the screenplay for The Limey, you can find a PDF here.
You can also get a PDF of Lem Dobbs' celebrated, unproduced script, Edward Ford.
If you're a fan of Terance Stamp, I recommend the audiobook for one of his memoirs: The Ocean Fell Into the Drop, which is unfortunately an Audible Exclusive.
Today I learned that in 1983, there was a Casablanca television show starring David Soul as Rick and Scatman Crothers as Sam. The cast also included Ray Liotta as Sasha, the bartender, and Hector Elizondo as Renault.
I couldn't find original episodes of it, but here's a Video Essay about it, from The Seventh Art.
Bloom is a literary site devoted to highlighting, profiling, reviewing, and interviewing authors whose first major work was published when they were age 40 or older. Great idea for a website.
The Japanese have a word for severe social withdrawal: hikikomori.
It refers to people, usually men aged 18 to 35, who refuse to leave their homes, and often won't even leave their bedrooms. They do not socialize and they do not work or attend school. For an "official" diagnosis, the Hikikomori must do this consecutively for at least six months. However, many spend decades alone in their bedrooms, some even dying there, having isolated themselves until they're without friend or family.
One researcher compared its growing prevalence in Japan to homelessness in the US — Americans have millions of homeless, whereas Japan only has about ten thousand homeless. Yet, an estimated 500,000 to 1 million Japanese Hikikomori exist — and those are 2010 numbers.
France 24 English did a segment on it:
Rent-A-Sister
The phenomena has given birth to an industry of women for hire, known as Rent-a-Sisters. They are not social workers, nor are they professionally trained. They're paid (usually by the victim's parents) to visit the Hikikomori and talk with them. At the start, it's usually through the bedroom door, and over months or years becomes a face-to-face relationship. Eventually, it can lead to outdoor accompaniment, and, hopefully, cause the afflicted to move out on their own and start a normal life.
I found the topic rather interesting and it checked my Unorthodox Work box.
Amelia Hemphill has a BBC short on the Hikikomori and the Rent-A-Sisters program:
For an even deeper dive, there's Saito Tamaki's book, Hikikomori: Adolescence Without End, which was the publication to first bring the phenomena to a wider audience within Japan.
"Taking the Highest Average score from each year (with over 1k reviews) let's see how different the Academy Awards canon would look if Letterboxd chose the Oscars' winners for best film. This list excludes Documentaries, Shorts , Concert films and Limited Series."
I agree with much of this.
I disagree most with 2007. There's no question in my mind that No Country For Old Men is a better film than There Will Be Blood.
Got taken to Donna's for a birthday dinner and these photos and more were what was up on the wall. Visit that fantastic restaurant to check them out, or if you're too late, they're on photographer Finn O'Hara's website:
