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January 27, 2003 4:25 PM | | Comments (4)

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Hi Jan,

My name is Jay Glennie and I launch my project chronicling British Oscar Awardees next year, named Britannium. I have the full permission of A.M.P.A.S and have interviewed many Oscar recipients and their colleagues and family.
Your biography of William Wyler is a wonderful read and has been of great help within my research. To name but a few of William Wyler’s film that have contained British personal, The Letter, Mrs. Miniver, Ben-Hur, Roman Holiday, The Collector, The Heiress and Wuthering Heights.

Would it be at all possible if I could either chat with you regarding these films or use quotations from the book, with of course full credits for you?

I would be delighted to discuss further - Warmest regards Jay

You are fabulous. I love what you wrote about Shay's Rebellion. Too true. United States of Amnesia, as Gore Vidal once noted. Been meaning to send this for awhile. Regina Hackett

Dear Regina -- Awww gee, thnx. -- Jan

It was an ad hominem attack. That's how I mean it. And that's objectionable. Nader didn't have to call him an "Uncle Tom" to make his point. I'm willing to believe he got carried away with the cute sound of it: Uncle Sam vs. Uncle Tom. But given the opportunity to take back his remark, Nader refused. Criticism of Obama policy is not racist. But calling him an "Uncle Tom" is. The term is an insult reserved for an African American. That's not ambiguous. That's self-evident. Have you ever heard a white person called an Uncle Tom? If Obama were not black, Nader would not have used the term. That makes it racist.

You wrote “[Nader] should have offered some kind of apology for the personal nature of his attack on Obama, or at least said something to clarify what could be heard -- and doubtless was heard not just by Smith -- as a racist remark.”

What does “personal nature” mean as you used it? Why is “personal” criticism objectionable? How might Nader or anyone express that Obama is too beholden to corporate paymasters and insensitive to the plight of the oppressed (including blacks), in a manner that you would deem appropriate?

In what sense is the explanation Nader gave to Smith a failure to make it clear the criticism of Obama is not racist? Where exactly is the ambiguity concerning racism? In other words, what part of Nader’s explanation suggests racism?

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'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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