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This Terrible Business Has Been Good to Me: An Autobiography, by Norman Jewison
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For over forty years, Norman Jewison has been one of Hollywood's preeminent storytellers. His films have spanned every genre, from drama to comedy to musical to action, and have been embraced by audiences and critics alike. Throughout his career, Jewison has shown an honesty, humor, and unflappable spirit that have made him one of Hollywood's best-loved and most successful directors, culminating in an Academy Award for Lifetime Achievement in 1999.
In this candid and witty autobiography, Jewison reveals how he went from a quiet childhood in Canada to the heady world of entertainment, working with the biggest stars and winning some of the most sought-after awards. He began his career in television, earning three Emmy Awards for his work with luminaries such as Harry Belafonte, Judy Garland, and Frank Sinatra, but soon made the move to the big screen. In Hollywood, he started out directing romantic comedies with Doris Day and Rock Hudson, but soon proved himself adept as an independent filmmaker with The Cincinnati Kid, starring a young Steve McQueen.
Jewison - or the "Canadian Pinko" as John Wayne called him -- has been a tireless promoter of civil rights around the world in both his films and life. His pre-glasnost comedy The Russians Are Coming! The Russians Are Coming! made him one of the first Western directors to go behind the Iron Curtain. Robert Kennedy became a friend after supplying details of his own experiences in the South for the making of In The Heat of the Night, starring Sidney Poitier. The landmark film went on to win five Academy Awards, including Best Picture, but not before Jewison, Poitier, and the rest of the crew spent a tense, sleepless night in a Southern motel. In the '80s and '90s, his films A Soldier's Story and The Hurricane with Denzel Washington each received worldwide acclaim for their portrayal of some of the most fundamental issues of race in America.
No matter what genre, Jewison's films were career highlights for countless actors, and he offers never before told details of his own working relationships with the stars and studios. How did he, a Canadian - Christian - get to direct the hit musical Fiddler on the Roof? How did the rugged, motorcycle-riding Steve McQueen convince Jewison he could play the sophisticated Thomas Crown? How did Jewison help invent the futuristic sport of Rollerball? How did Moonstruck reverse a box office curse and go on to become a smash success and multiple Oscar-winner?
This Terrible Business Has Been Good to Me reveals the little-known details in these funny, charming stories of life on the other side of the camera.
- Sales Rank: #1924421 in Books
- Published on: 2005-09-01
- Released on: 2005-08-25
- Original language: English
- Number of items: 1
- Dimensions: 9.30" h x 1.24" w x 6.32" l,
- Binding: Hardcover
- 304 pages
From Publishers Weekly
Jewison's movies have received 12 Academy Awards and 46 nominations, a remarkable record for a filmography that numbers only 25 films. His autobiography's unassuming style offers a clear, accessible portrait of the man and overflows with revealing anecdotes about such luminaries as Steve McQueen, Doris Day, Al Pacino, Sidney Poitier and Denzel Washington. After finding success in live television working with Judy Garland, Jackie Gleason and Danny Kaye, Jewison began his motion picture career with 40 Pounds of Trouble (1962); survived a bomb, The Art of Love (1965); and eventually turned out a series of classics: The Cincinnati Kid (1965), The Thomas Crown Affair (1968), Fiddler on the Roof (1971) and Moonstruck (1987). He defines Doris Day (The Thrill of It All, 1963) as a consummate comedian who lacked confidence in her appearance; and Sylvester Stallone (F.I.S.T., 1978) as someone who "behaved like he believed his own publicity." Jewison also describes his approach to filmmaking, explaining his actions at the all-important pitch meeting, and demonstrates how focused a director must be. Honest without becoming a tell-all or an airing of personal problems, the book is a successful study of what it takes to triumph in Hollywood and achieve artistic satisfaction. Photos. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Jewison, a seasoned filmmaker known for hits as diverse as In the Heat of the Night, Moonstruck, and Fiddler on the Roof, focuses on his work rather than his life outside of it, trying to be "truthful and entertaining . . . serious and sometimes funny," and jumping about in time and place as association leads him in an irresistibly elliptical manner. He grew up working in the family dry-goods store in Toronto during the Depression, when Doc Edmunds performed door-to-door bargain tonsillectomies on kitchen tables for $24.95, and where Jewison perfected the art of the sales pitch that has aided him throughout his career. Via agent Larry Auerbach, he developed his resume directing American variety shows, including a Judy Garland comeback special, in the 1950s. The Thrill of It All! an immensely profitable Doris Day romance, followed, along with The Cincinnati Kid, a project taken over from hard-drinking Sam Peckinpah. The behind-the-scenes drama and comedy of his long career, presented with straightforward candor, should delight film mavens and general readers alike. Whitney Scott
Copyright © American Library Association. All rights reserved
Review
PRAISE FOR NORMAN JEWISON:
"Making Moonstruck was so easy and so much fun that nobody thought it
would be anything but this sweet little film... except Norman (my little curmudgeon). Just look at the diversity of his work - In the Heat of the Night, Moonstruck, Fiddler on the Roof -- only the GREAT directors are able to cross those boundaries." - Cher
"Norman Jewison is the sunniest of men, friendly, approachable, filled with boundless optimism. Those qualities not only warm his brilliant comedies, of which Moonstruck is my favorite, but also give him the fortitude to address grave and controversial issues. He is a 'mainstream' director who courageously follows his conscience into projects far from the mainstream. His career reflects a rare combination of popular and artistic success." - Roger Ebert
"Norman's book is like Norman; smart, warm, interesting, and a delight to spend time with." - Sidney Lumet
"A fiercely human and vastly entertaining memoir by a maker of fiercely human and vastly entertaining films. Norman Jewison is a man with a great heart and generosity of spirit." -- Joe Eszterhas, author of Hollywood Animal
"A terrific book about Hollywood...funny, honest, and tough -- like
Jewison." - William Goldman, screenwriter, Butch Cassidy and the Sundance Kid
"If you want to find Norman Jewison, follow the movies. They are not his life. But they are the massive and various evidence that a man of substance and dumbfounding productivity has passed by here. So many genres: social realism, political satire, romance, musicals, issues of race. And so many faces: Steve McQueen, Doris Day, Al Pacino, Sidney Poitier, Sir Michael Caine, Cher, Denzel Washington, Anne Bancroft, Rod Steiger. All these stories and faces and issues and eras of our lives. - Pulitzer Prize-winner John Patrick Shanley, from the Foreword
Most helpful customer reviews
7 of 11 people found the following review helpful.
Director of 'Moonstruck', 'In the Heat of the Night' and other memorable films has written his autobiography
By S. P. Mcclintock
I finished this in three days and found it to be a fine book. Between 1965 and 1968 Norman Jewison directed 'The Cincinnati Kid', 'The Russians are Coming, The Russians are Coming','In the Heat of the Night' and the original 'The Thomas Crown Affair'. The book is at its best covering those years and those films. Chapters on 'Fiddler on the Roof' and 'Moonstruck' were not quite as successful. The most recent films-'Other People's Money','Only You' and 'Hurricane'-were treated rather briskly.
0 of 1 people found the following review helpful.
Five Stars
By Alice M. Elrod
good
5 of 12 people found the following review helpful.
Self-Important Director Uses Autobiography to Praise Himself
By Mediaman
This book's title says it all--for director Norman Jewison it's all about "me." This autobiography goes through his life film-by-film but the author reveals little of himself other than to praise pretty much everything he does. He takes credit for almost any success that occurs in any of his films. Meanwhile, he ignores his major flaws and as a Canadian manages to slam the United States that gave him so much opportunity.
If you are looking for a tell-all about backstage drama or affairs with stars, this isn't it. The director is careful to control all the images in the book so that he never appears to be the bad guy and only rarely makes any kind of bad decision. He spins movies that were not that good into self-perceived classics. He overlooks the fact that he wrecked some films (most notably Fiddler on the Roof and Jesus Christ Superstar--though today people don't recall the original outcry over Jewison's bizarre adaptations) and instead chooses to focus on his own brilliance.
This would have been much better if he would have opened up and revealed more of himself. His lack of vulnerability results in stories that don't reveal much about the films he made. Steve McQueen was standoffish, so the director tells of how he talked McQueen into thinking of him as an "older brother" and suddenly he was in McQueen's "inner circle." Okay--but there's nothing very interesting about that. What about some inside stories about his time with the star instead? He says Doris Day didn't think she was pretty and would refuse to come to the set--so he would go to her trailer and comfort her. Okay--he plays himself off as the hero again, but there isn't anything interesting or insightful about that story either.
The book is page after page of the director giving rather insignificant information about his directing of films and actors, always making himself look good. There is no real perspective or inner revelations. When he fails (such as unable to get Mae West to star in one of his films) he doesn't deal with the failure and instead makes others look bad (slamming Mae West's home or her desire to change the script).
The most interesting part is the fact that he isn't Jewish--though most people assume he is. He doesn't deal with that issue much either and it would have made for some interesting insights into the Hollywood community. He glosses over the chance to deal with his own spirituality and instead does a little political ranting about how terrible America was in the 1960s (he even sent his family's green cards back to the U.S. government in protest and they left the country!). This is a man filled with self-importance, one who lacks humility and doesn't show much appreciation to others for his good fortune.
Fiddler has a line that says something like "the rabbi who praises himself has a congregation of one." In this case Jewison appears to be writing to his audience of one--himself.
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