Drugs
Pick of the week: An early-’60s hipster time capsule
Pick of the week: Shirley Clarke's once-banned "The Connection" is a lean, mean saga of jazz, junk and rebellion
A time capsule loaded with smack from the bohemian underbelly of JFK-era America, Shirley Clarke’s 1961 film “The Connection” is an illustration of how much things change, and how much they stay the same. I’d be stretching to call “The Connection” a great film — it’s mannered and edgy, in a way that’s partly deliberate but also distinctive to its period — but it’s an important one in cultural and historic terms, despite being largely unknown. Watching this ensemble drama about a multiracial group of New York jazz musicians and beat philosophers in a run-down apartment, waiting for their drug dealer to show up, is like traveling back 50 years in time, only to encounter the same people you might meet on the street today (at least, in certain neighborhoods of Brooklyn, San Francisco, Austin and so on). At one point, the characters even debate the illusory distinctions between “hipsters” and “squares.”
A Park Avenue society girl turned Greenwich Village beatnik, Clarke was the pioneering female director in the early history of American independent film, good friends with John Cassavetes, Frederick Wiseman, Jonas Mekas and other downtown legends of the period. If her name and her films have virtually disappeared from history, that’s partly due to institutional sexism, no doubt, and partly to bad luck and bad timing. Milestone Films, which is releasing this version of “The Connection” restored by the UCLA Film & Television Archive, will go on to release Clarke’s 1960s documentaries “Robert Frost: A Quarrel With the World” and “Portrait of Jason,” an interview with a black gay street hustler, along with her 1985 comeback film “Ornette: Made in America,” about jazz legend Ornette Coleman. (Clarke died in 1997.)
“The Connection,” Clarke’s first feature, was a high-profile project, the screen adaptation of a 1959 Living Theater play by Jack Gelber that had become a cause célèbre despite scathing reviews, attracting uptown artistic types like Leonard Bernstein, Salvador Dalì and Lillian Hellman to take a walk on the wild side. Clarke and her producer, Lewis Allen, funded the film’s $177,000 budget — not so meager, at the time — through the then-unknown tactic of collecting small sums from a large number of investors, establishing a model that endures in micro-budget and mid-budget filmmaking to this day. (Weirdly enough, as Manohla Dargis has reported in the New York Times, former Republican presidential candidate Rick Santorum’s parents were among the investors, along with Norman Mailer and architect Philip Johnson.)
But once completed, “The Connection” only screened twice at a single theater on Manhattan’s 45th Street before being closed by New York State’s censorship board. I’m not sure which is more amazing: the fact that New York had a censorship board in the early ’60s that could control what movies the public saw, or the reason for the seizure of “The Connection,” which was two or three uses of the word “shit” (as a synonym for drugs). By the time some edits were made and the ban lifted, public interest had faded, largely because of a swath of unrebutted hostile reviews. Bosley Crowther of the Times, a noted get-off-my-lawn crank of the time, wrote an especially peculiar one in which he praised the actors, the live jazz soundtrack and Clarke’s “bold direction,” but described the film overall as “deadly monotonous, in addition to being sordid and disagreeable.”
I won’t pretend not to understand what Crowther was talking about. “The Connection” remains much better known among jazz fans for its soundtrack album featuring pianist Freddie Redd and saxophonist Jackie McLean (who play live in the film, as they did onstage), than it is among movie buffs as, you know, a film. Clarke should certainly get credit for exploring the faux-documentary format decades before it became a film-school gimmick (the story-within-a-story premise was already present in Gelber’s play), but the first 10 minutes or so of “The Connection” are decidedly awkward. Squaresville white filmmaker Jim Dunn (William Redfield) wanders around in his high-waisted chinos, trying to convince the group of crashed-out junkie hipsters to “act natural” and “be themselves,” and assuring them that he’s studied the documentaries of Robert Flaherty and knows what he’s doing. (A dig at the old-school variety of documentary film, before cinéma-vérité, I guess.) It’s clear that the addicts would rather relate to Dunn’s hipper African-American cameraman, J.J. Burden (an early role for future Hollywood character actor Roscoe Lee Browne), who is rarely seen but makes occasional oracular pronouncements.
In the interests of art, Dunn has apparently agreed to finance a major purchase from a smack dealer named Cowboy, but for most of the movie we are obviously encouraged to ponder the similarities between drug culture and Beckett’s “Waiting for Godot,” and to wonder whether Cowboy will ever show up at all. Prowling the dingy, open flat restlessly — it looks disconcertingly like a group household I actually lived in, 20-odd years ago — Clarke’s camera introduces us to the all-male assemblage, in fragmentary interviews. Leach (Warren Finnerty), a wiry, whiny fellow who looks and acts alarmingly like the young Steve Buscemi, is the official tenant. He is troubled by a painful boil on his neck, which may symbolize the fact that the other denizens suspect him of being gay. As his black friend Sam (Jim Anderson) will tell him later, he’d be more relaxed if he could “get with the whole homosexual scene.”
There’s also Ernie (Garry Goodrow), an embittered-genius West Coast white jazzman who has hocked his horn to buy junk, and Solly (Jerome Raphael), an educated, middle-class Jewish guy who has thrown it all away for philosophical reasons, or none at all. McLean, Redd, bass player Michael Mattos and drummer Larry Richie get fewer lines, but every so often pick up their instruments to deliver angled, edgy blasts of early-’60s hard bop. Today these characters would presumably be obsessed by some other cultural form — hip-hop or Scandinavian black metal or YouTube clips or hockey fights or something else I’ve never even heard of — and they’d be able to badger Cowboy with illiterate texts every few minutes. But they’d basically be the same guys; Gelber’s characters are drawn so sharply that many 21st-century viewers will identify people they know or used to know (perhaps even people they used to be).
When Cowboy finally arrives (played by Carl Lee, who would become Clarke’s longtime partner), he turns out to be the archetypal “hip Negro” in Ray-Ban shades, sporting a blazing white outfit and a messianic mien, and bringing with him an old-lady evangelist, as comic relief and cover story. He brings other kinds of blessings too, the kind that allow this cast of semi-lovable, self-destructive losers to get through another day. The central conflict faced by the characters in “The Connection” doesn’t have much to do with heroin, though — that too is a symbol or synecdoche. It goes way back before Clarke’s time, not to mention ours. If this film has something to say to us now — and I emphatically think it does — it’s about the costs and opportunities that come with “dropping out” of mainstream society, in the name of political-cultural-aesthetic rebellion. It asks a question that has no answer, one that every disgruntled young dreamer — every potential Shirley Clarke, of every generation — must face on her own.
“The Connection” is now playing at the IFC Center in New York, with other cities and DVD release to follow.
Drug-personality misconceptions
Alcoholic writers? Coke-head stockbrokers? The links between personality type and addiction are largely overblown
Ernest Hemingway (Credit: John F. Kennedy Presidential Library & Museum) Here’s Ernest Hemingway, dead drunk on a stool in Cuba with his face on his hand and his hand on an ever-present mojito. He’s the tormented writer, hard at work at the daily scrubbing of his sins. Like the Hard-Drinking Writer, we’ve come to expect certain personality types to have certain habits: The Morose Musician with Keith Richards’ appetite for heroin; the Insecure Starlet with Marilyn’s taste for pills; the Monomaniacal Money Manager with a nose for cocaine. They are generalizations that have been imprinted by generations of popular culture. But the types don’t necessarily line up.
Continue Reading CloseFormer neuroscientist Jacqueline Detwiler edits a travel magazine by day, but moonlights as a science writer. Her work has appeared in Wired, Men's Health, Fitness and Forbes. More Jacqueline Detwiler.
My suburban pot secret
I thought starting my own medical marijuana operation would be easy and safe. Then the DEA crackdown started VIDEO
(Credit: Yellowj via Shutterstock) It was sometime around 2 a.m. when I heard the car doors slam. I live on a very quiet street in Fort Collins, Colo., surrounded by working families who are usually falling asleep under the blue glow of their TVs by 10 p.m., and any noise in the night usually means that something is about to happen. And on that night I was certain it was about to happen to me.
Six marijuana plants were growing in my basement and because of shortsighted planning on my part, their odor had gotten completely out of control. Having never grown pot before, I foolishly overlooked the prominent admonitions printed in every growing guide I relied upon to help me with my harvest, that odor control was of the utmost importance. But equipment designed to mask the smell (ozone generators, activated carbon filters) is expensive. How much stench could six little plants really produce? I remember thinking. Well, a lot.
Continue Reading CloseGreg Campbell's new book is called "Pot, Inc.: Inside Medical Marijuana, America's Most Outlaw Industry." He is the author of "Flawless: Inside the Largest Diamond Heist in History," "Blood Diamonds: Tracing the Deadly Path of the World's Most Precious Stones" (the source material for the Leonardo DiCaprio movie of the same name) and "The Road to Kosovo: A Balkan Diary." Campbell is also an award-winning journalist whose his writing has appeared in The Wall Street Journal Magazine, The Economist, The San Francisco Times, Paris Match, and The Christian Science Monitor, among others. He lives in Fort Collins, CO. More Greg Campbell.
America’s pill-popping capital
Welcome to Kermit, W.Va. -- ground zero of the prescription drug epidemic
(Credit: iStockphoto/Salon) KERMIT, W.Va. — It takes less than a minute to drive past Kermit, five to tour the place entirely. An old coal mining town with barely 300 residents and one blinking light between the train tracks, Kermit has no supermarket, no clothing store, no main drag. Main Street is really a side street with rows of cottages, its biggest building, the Kermit community center, empty and boarded.
Yet in this tiny town, the Kermit Sav-Rite Pharmacy used to be as busy as a New York deli. Six employees worked the counter, lines at the drive-through window snaked around the square cinder-block building, and the parking lot was full day and night.
Continue Reading CloseEvelyn Nieves, former staff writer and columnist for the New York Times, is working on a book. More Evelyn Nieves.
Recovery’s new poster boy
Bill Clegg's first addiction memoir shocked readers. We talk to him about his follow-up -- and his newfound fame
Bill Clegg (Credit: Brigitte Lacombe/Little, Brown & Co.) Two years ago, Bill Clegg’s first memoir dropped like a bombshell on the New York media world. “Portrait of an Addict as a Young Man” chronicled the handsome and hugely successful book agent’s descent into a harrowing crack addiction that cost him his career, his boyfriend and his savings — and left him broke and in rehab. In one harrowing part of the book (excerpted in New York magazine) Clegg decides to blow off a first-class flight to Berlin after a week without sleep for a crack binge and sex with the cabbie driving him to his airport hotel. Staring at his pile of drugs, he wrote, “I wonder if somewhere in that pile is the crumb that will bring on a heart attack or stroke or seizure. The cardiac event that will deliver all this to an abrupt and welcome halt.”
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Thomas Rogers is Salon's Arts Editor. More Thomas Rogers.
Growing up drugged
For the first time ever, millions of today's adults were raised on psychotropic medications. What does that mean?
(Credit: Boris Ryaposov via Shutterstock) I fall hard for coming-of-age stories, and my list of favorite books and movies contains many in this genre, from “Pride and Prejudice” to “The Catcher in the Rye.” The movie “Garden State,” which starred Zach Braff and Natalie Portman, also struck a chord with me when it came out in 2004. It dramatizes a few days in the life of Andrew Largeman, a twenty-six-year-old struggling actor in Los Angeles who returns to his native New Jersey for his mother’s funeral. Andrew is nothing if not alienated: he feels disconnected from celebrity-studded Hollywood as well as from his old hometown, which he hasn’t visited since leaving for boarding school nearly a decade earlier.
Continue Reading CloseKaitlin Bell Barnett is a freelance writer whose articles have appeared in numerous national and regional newspapers and magazines, including the Boston Globe, New York Observer, Atlanta-Journal Constitution and Prevention. She lives in Brooklyn with her husband. More Kaitlin Bell Barnett.
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