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Review: Robyn Crawford’s Book “A Song for You” About Whitney Houston Is The Only Real Account of a Tragic Life

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Robyn Crawford, author of a memoir about her life with Whitney Houston,  has been on Dateline, the Today show, and in People magazine doing press aimed for publication this week. “A Song for You” is the only accurate account of Whitney’s life so far, it’s as true as it could be, from Crawford’s perspective. She’s not doing it for the money. But with Whitney and Bobbi Kristina tragically dead, and Cissy Houston too frail to know what’s going on, Robyn is all we have.

“A Song for You” covers just Robyn’s experiences. It doesn’t go beyond that. Robyn met Whitney when she was 19 and Houston was 17. They had a real love affair that went on for two or three years until 1982, when Robyn says the physical part ended. But the love never stopped. They were still living together when I went to see them in early summer 1990 at Whitney’s gigantic modern house in Mendham, New Jersey. How do we know? Robyn writes about it on page 179-80. It is not a happy recollection for Robyn, although the good news is we remained friendly, and Whitney and I pretty good relationship through good times and bad.

But the gay thing was always a problem for Whitney. Robyn acknowledges this in the book. Tabloids were all over them all the time. If all this happened today, no one would care. But now is a different world. In the 80s, unless you were Elton John, you couldn’t have a career. Or so it was thought. Whitney didn’t date other women after Robyn. She had relationships with men. When I interviewed her that day in 1990, Eddie Murphy, Jermaine Jackson, and Eagles quarterback Randall Cunningham were all in the picture. We discussed them as we walked around Whitney’s Olympic sized pool that had script W painted in black on the bottom.

At the end of the day, as I was walking out, I asked Whitney if she played any instruments. She said, No, but she was thinking of taking up the drums. “If they thought I was gay before, what will they say now?” She laughed uproariously. I can see her so clearly. She was almost 27, and so young and fresh faced. She looked like Bambi with her pert ears pointing out over a short haircut. She had a beautiful smile.

Robyn was there. (So was Whitney’s whole family.) She’d come in from playing basketball, still dribbling in the house. She wore a basketball uniform, had a close cropped haircut. I remember shaking hands with her. It was a vivid picture. Cissy Houston was not happy to see her. And I didn’t completely know what was going on. I was also very thrilled to meet Cissy, an R&B legend who’d sung background and backup for Aretha Franklin.

The quote made it into the piece, more for fun than anything else. Our publisher, Steven Greenberg, insisted the cover line for the story in Fame magazine be “The Secret Life of Whitney Houston.” It was the first time Whitney had been on the cover of a mainstream magazine. It was very rare then for blacks to get that honor. Really. I and the other staff begged for that not to be the cover line. But Greenberg, who was eccentric and difficult, insisted.

In October, when the magazine arrived, Whitney’s team was furious. Arista Records pulled their ads from Fame for about six months. The article was otherwise very favorable, and there was no mention of drugs that I can recall. All of that hadn’t happened yet.

Robyn recalls in her book that she and Whitney were doing coke around the clock long before they met Bobby Brown. They could have been high when I was with them. It took two decades to uncover that Whitney’s brothers turned her on first, and that she took to it like a fish in water. She couldn’t stop. Crawford is nothing if not honest about the progression of drugs in Whitney’s life like a forest fire that could not be put out. Sometimes it seemed under control, but then it roared back to life.

Robyn’s book had to have been difficult for her to write. For one thing, she had to wait until Cissy was out of the picture. Cissy didn’t like her at all. But Cissy didn’t like anyone. She was horrible to Whitney, was very jealous of her overnight success after Cissy had worked so hard, thanklessly, for decades. Robyn stays out of a lot of Houston family politics. She mentions Pat Houston’s name once, in passing. She doesn’t get into how Pat, second of wife brother Gary, a big druggie, took over managing Whitney after her dad, John Houston, passed. It wasn’t pretty.

There might be one other person out there who could write a book about Whitney. I won’t mention his name because he’s managed to stay low profile. Otherwise, it’s all Robyn. She was there (so was I) backstage at the 2000 Grammys when Whitney and Bobby had a knock down, drag out fight. I can’t remember if she was there later at Mel’s Drive-In on Sunset when Bobby stood on a table stop and announced to me that “L.A. Reid is giving me a $100 million contract.” Whitney was horrified. It was she who’d gotten the $100 million contract.

There’s plenty more: ironically, a failed recording with George Michael, who is also dead now thanks to drugs. A re-enactment of Burt Bachrach firing her from the Oscars. Endless stories of Bobby hitting Whitney, very Ike Turner, throwing things at her, etc, and her accepting it. Also failed attempts at rehab or sessions with doctors. It wasn’t for lack of trying. Even I once had the number for Whitney’s drug counselor in California in my Blackberry. Almost everyone who knew her was concerned about her. Robyn was at the top of the list.

Crawford lets Bobby Brown off the hook for the drug addiction. It started way before they met him. But Bobby is culpable for violence, for neglect of his children, for so many things. And it just seemed like Whitney leaned into it. Once she was divorced and away from Bobby, and from Robyn, her life continued spiraling down a self-destructive. But Robyn doesn’t go there. After more than 20 years she went her own way, to a life with a partner (Lisa Hintelmann, a great person) and two adopted children. It was a wise decision.

So read the book. I’ll have a little more on this to come. This may not be the final word for anyone, but it’s the best possible way to frame the rollercoaster short life of Whitney.

Megyn Kelly Internet Comeback Fizzles With Only Six Thousand Instagram Subscribers, 22K on YouTube

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Megyn Kelly’s big comeback on You Tube and Instagram has fizzled. She’s scratched up just 22,000 followers on the latter, and a mere 6 subscribers on the former.

For her big interview with Ashley Bianco, the 25 year old woman who has been accused of leaking Amy Robach’s off air rant during a break on ABC News about the Jeffrey Epstein story, Kelly has garned just 211,000 views over the weekend. The YouTube post also has had a meager 1,564 comments.

Kelly’s homemade video looks cheap, which is odd considering she got a payout of $69 million from NBC News earlier this year after being tossed over her blackface comments. The editing looks like a ping pong game, going back and forth between her and Bianco with every question. There’s no two shot of them to indicate they were even in the same room. Bianco looks like she’s reading off a script. Kelly’s rapid fire questioning isn’t appropriate for this kind of interview, either. It feels like she’s biting Bianco’s head off.

What’s odd about the whole thing is Bianco choosing to do this with Kelly. Kelly is in the journalism doghouse, and even when she had her Today show hour, she would have been the last stop for anyone with a story. If Bianco wanted to seem serious she could have gone to CNN or MSNBC or NBC. Or even PBS. Someone reputable would have taken her story, and she knows it. She’s already worked at two networks. Does she have a publicist or a lawyer? She’s been given terrible advice.

Kelly may have rushed the piece to capitalize on the imminent movie, “Bombshell,” in which she is portrayed in a knockout performance by Charlize Theron. Even though she was the “victim” in the Roger Ailes matter, I wouldn’t say Kelly comes off well. Making lemonade from lemons may not be so easy here.

 

“Apollo 11” Wins 5 Awards from Critics Choice, Tips to Front of Oscar Line, Other Winners Include “Maiden,” “Honeyland, Film About Linda Ronstadt

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“Apollo 11” snatched 5 wins at the Critics Choice Awards in Brooklyn Sunday night. Frederick Wiseman was presented the first ever DA Pennebaker Lifetime Achievement Award, and Michael Apted was saluted for a lifetime of filmmaking including his extraordinary series of films culminating in the new “63 Up.” The former award was presented by filmmaker Chris Hegedus in memory of her late husband. Michael Moore presented to Apted.

The awards ceremony, held at BRIC on the BAM campus, drew an appropriately starry crowd including Zoey Deschanel, who came with the evening’s emcee Jonathan Scott of “Property Brothers.” Other presenters were an eclectic group including Rose McGowan (Citizen Rose), Jim Gaffigan, Dr. Ruth Westheimer, Wyatt Cenac (Wyatt Cenac’s Problem Areas), Lou Diamond Phillips, Gloria Reuben (Mr. Robot), Erich Bergen (Madam Secretary), Nicole J. Butler and Reggie Currelley (She Shed State Farm commercial), Aasif Mandvi (The Daily Show), Ryan Serhant (Million Dollar Listing New York), and Amir Arison (The Blacklist).

Dr. Ruth received a nice standing ovation when she presented the Documentary Short Subject award. “I am short,” she said, “and I will make this short.” She’s 91 years young.

Apollo 11 took home the evening’s most prestigious award for Best Documentary Feature as well as Best Editing for Todd Douglas Miller, Best Score for Matt Morton, Best Archival Documentary, and Best Science/Nature Documentary. This could mean it’s set up nicely for the Oscars. But let’s not forget that last year’s winning doc, the popular “Will You Be My Neighbor?” by Morgan Neville, failed to score an Oscar nomination. It was bewildering. I do think “Apollo 11” will make it, however.

There was a tie for Best Director between Peter Jackson for They Shall Not Grow Old, and Julia Reichert and Steven Bognar for American Factory. They Shall Not Grow Old also brought home the award for Most Innovative Documentary. American Factory also won the award for Best Political Documentary.

Producer James Keach accepted the award for the Linda Ronstadt movie.

“Once again, we are thrilled to celebrate and support the vibrant and groundbreaking work of these talented documentarians. We are proud that our yearly gala event has become an informed and valuable way for people to find the best films out there and for the work of these filmmakers to find their audiences,” said CCA CEO Joey Berlin. “It was a great night of lauding the greats in the documentary field as well as some outstanding newcomers.”

The award for Best Cinematography went to John Chester for The Biggest Little Farm.

Best Narration went to Bruce Springsteen for Western Stars.

Honeyland took home the award for Best First Documentary Feature for directors Tamara Kotevska an Ljubomir Stefanov.

The award for Best Biographical Documentary went to Toni Morrison: The Pieces I Am.

The Best Music Documentary award went to Linda Ronstadt: The Sound of My Voice.

Maiden won the Best Sports Documentary award.

The Best Short Documentary Award was given to Period. End of Sentence.

This year’s honorees for Most Compelling Living Subject of a Documentary are Dr. Amani Ballor (The Cave), David Crosby (David Crosby: Remember My Name), Tracy Edwards (Maiden), Imelda Marcos (The Kingmaker), Hatidze Muratova (Honeyland), Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin (Knock Down the House), Linda Ronstadt (Linda Ronstadt: The Sound of My Voice), and Dr. Ruth Westheimer (Ask Dr. Ruth).

Bruce Willis’s Latest “D” Movie Made for Video, “Breach,” Picked Up Low End Distributor Saban Films

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I seriously don’t know why this is going on and on and no one says anything.

I’ve just received a press release announcing that yet another “D” movie from Bruce Willis, this one called “Breach,” has a distributor. It’s low end Saban Films, which makes movies that you will never see. No one sees them. They fill space on VOD services. You can’t even say they’re DVDs anymore.

I’m worrying about Bruce. He’s in project after project from the bottom of the movie barrel, movies in which his name is used to get publicity, but he’s only in the film for a couple of minutes. In these movies, Bruce’s work is done in one way, two at most. Clever editing cuts around him, sometimes one or two lines are ADR’d in so it sounds like he has dialogue.

In “Breach,” it’s a sci fi thing, and two young guys are the leads. The director, named John Suits, has never made anything we’ve heard of unless you were a fan of “Pandemic” or “The Scribbler.” I mean, this is sad.

Bruce currently appears, briefly, in “Motherless Brooklyn.”

This is Bruce Willis, and he deserves a little better. He also cannot possibly need the money.

Amazon and Woody Allen Settle $68 Million Lawsuit Over Broken Contract to Release Four Movies

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Woody Allen and Amazon have settled their lawsuit to release four movies including “A Rainy Day in New York.” That one has made nearly $12 million in limited release abroad. I saw it last summer and liked it very much. It’s Woody’s best work since “Blue Jasmine.”

But Amazon freaked out two years ago when the #MeToo scandals broke and Woody was in appropriately lopped in with other predators. The accusations against never resulted in a legal situation, he wasn’t arrested or tried for anything. The accusations came in a custody case, were never proven. Unlike other men swept up in that scandal, Woody had one lone accusation, nothing else.

Amazon couldn’t the heat. They were in the midst of releasing his “Wonder Wheel,” which they abandoned, and then reneged on following through with the contract. “Rainy Day” was ready to go and they wouldn’t release it.

Since then, “Rainy Day” has been a success abroad and should be seen here. Woody made a new film this past summer in Spain with Chistoph Waltz and Gina Gershon. I’m sure he’s writing a new screenplay as we speak.

Woody did not marry his daughter or step-daughter. He married his girlfriend’s adopted daughter, who was over 21. They have now been together since 1992 and have two grown daughters. It is important to remember the facts. He’s a great filmmaker, one of America’s finest, and his work, his entire library, speaks for itself. I hope one day everyone in the US can see “Rainy Day” and enjoy it as I did.

New Broadway “West Side Story” to Kick Up a Fuss: No Intermission, Famous Song and Ballet Cut, Video Projections for Sets

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Last year, director Ivo von Hove brought his hit London production of “Network” to New York and caused a lot of talk: his show was full of video projections, people walking around in headsets, and an actual real restaurant on the stage that made absolutely no sense. On top of that, two of the characters went outside the theater and walked around with a cameraman. Oblivious New Yorkers just walked around them. Not realizing what he was doing on West 44th St. one night, I actually tapped on the insideof the window of Cafe Un Deux Trois and waved at Tony Goldwyn out on the sidewalk while he waited for his cue. He motioned to me that he was working!

Now von Hove is coming with the one of the all time great musicals of our time, “West Side Story.” I told you some time ago that his choreographer, Anne Teresa De Keersmaeker, is replacing the famous Jerome Robbins choreography with her own… stuff. It does feel like “West Side Story” is going to be done very “Sprockets”-esque. The difference, of course, was that “Network” was new, and von Hove’s to play with. “West Side Story” is canon on Broadway, never to be trifled with.

So far, tickets are selling very well. But here are some spoilers for people forking over hundreds of dollars.

According Vogue’s eminent theater writer, Adam Green, the show has no intermission. To make that work, von Hove has cut the legendary ballet that accompanies the song “Somewhere” (aka “There’s a place for us”). He’s also entirely cut the song “I Feel Pretty.” And just to make things more confusing, Tony, who is Polish American in the play and film, usually red-headed and freckled, is now played by tousle-haired actor Isaac Powell, who is “the son of an African American and Native American father and ‘über-Caucasian’ mother.”

Plus, there will be lots of video projection. Like “Network,” this suggests a very busy stage, perfect for the ADHD generation. Will the cast go outside, as with “Network”? This “West Side Story” will play in the cavernous Broadway Theater, at 53rd and Broadway. It abuts Hell’s Kitchen, where the show is set. Who knows? Unfortunately, the once menacing Hell’s Kitchen is now filled with sushi bars and large glass condos.

Green writes that Stephen Sondheim has signed off on all of this, and so have the estates of Leonard Bernstein and Jerome Robbins. Of course, they have nothing to lose. If the show’s a success, all the better. And if it’s not, no harm is done. Plus, Steven Spielberg will arrive in one year with his new movie version that will adhere to the traditional version.

 

Box Office: WW2 Throwback “Midway” Bombs, “The Shining” Sequel “Dr. Sleep” Snoozes, “Jojo” Was a Film that Thought It Was Funny

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As predicted, this is not a great box office weekend. It should be, this is counting down six weeks to Christmas. This used to be prime movie releasing time. But with Netflix eating up the quality product, and “The Irishman”– our putative Best Picture– in just a few odd theaters, this is a weird season.

“The Shining” sequel called “Dr. Sleep” is in such deep repose as to almost be dead. Tracking indicated maybe a $25 million opening weekend. But with $5 million Friday night (including $925K on Thursday), the total weekend looks at $15 million maybe. Ouch.

Then there’s “Last Christmas,” which seems so…last Christmas, took in $4 million Friday and will be regifted to airplanes soon.

The WW2 adventure that no one wanted, “Midway,” has bombed and crashed, and will sputter to an ignominious end. A total of $6.4 mil for Friday (including Thursday previews) for a $125 million extravaganza is a major disappointment. Maybe somewhere around the globe it will find an audience of Nick Jonas fans.

I’ve hesitated to look again at “Jojo Rabbit.” But it’s not a popular movie. Last night Fox Searchlight jacked up the number of theaters to 802 and made just $1.13 million. I can’t imagine what the word of mouth is, but this lack of enthusiasm is an indication. “Jojo Rabbit” will not make the Best Picture category, which so far includes “The Irishman,” “Once Upon a Time in Hollywood,” “Two Popes,” “Marriage Story,” “Little Women,” maybe “1917,” possibly “Joker,” with a slot left for an indie film, or possibly, “Dolemite.”

Norman Lloyd Turns 105 Today, Happy Birthday! He’s The Oldest Living Member of the Motion Picture Academy

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Norman Lloyd turns 105 today. Happy Birthday! He’s the oldest living member of the Motion Picture Academy.

Norman who? You know that Norman Lloyd starred in “St. Elsewhere,” the best TV hospital show ever, from 1982-88. He was 74 years old when he wrapped his role as Dr. Daniel Auschlander, the head of that crazy institution. If you’re too young to know what I’m talking about, Howie Mandel was in the cast. Now he hosts game shows.

Norman Lloyd has all his marbles, he’s the 8th wonder of the world. In the 1940s he was a favorite of Alfred Hitchcock. He has dozens and dozens of credits before “St. Elsewhere,” and afterwards he appeared in shows like Night Gallery, Kojak, Quincy, M.E., The Paper Chase, Wiseguy, Murder, She Wrote, The Practice, and even the current hit, Modern Family. A couple of years he did a master class in Cannes.

His most recent appearance was in Amy Schumer’s hit comedy, “Trainwreck.” Back in 2007, he was the subject of his own documentary.

So happy birthday, Norman. Imagine, he was born in 1914.

 

Perennial Soap Days of Our Lives Falls Forward for a Surprise 1 Year Time Jump on its 54th Anniversary on NBC

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NBC’s “Days of our Lives” turned 54 on Friday and did something no soap opera has ever done: they jumped forward by a year.

Using the show’s famous hour glass from its logo, inventive and award winning headwriter Ron Carlivati put together a taut script, a little Hitchockian for s soap, to build up to the show’s final, shocking moment.

I watched it tonight on the NBC website, dodging commercials for various illnesses and their quesitonable cures.

Soap operas are daffy, of course, often running very close to self-parody. One of my favorite all time movies is “SoapDish,” in which Whoopi Goldberg, the fake soap’s headwriter, utters these words more or less about a returning character who was decapitated years earlier: “I cannot write for a man without a head!”

Luckily, Carlivati can, since most of his characters have been killed, and returned, and continue to be reanimated in hilarious ways. The long dead creator of “Days,” Ted Corday, could never have imagined such craziness. Neither could the also deceased creator of so many soaps, Agnes Nixon.

But that’s what it’s like these days. So Jennifer Horton somehow fell and went into a coma. Her husband stood beside vigil. At the end of the hour, Jennifer awoke and asked how long she’d been out. “A year,” her husband said, keeping a straight face. So all the cliffhangers Carlivati stacked up during the preceding hour– lots of baby announcements, etc. One character actually said, “God saved a wretch like me.” I hope she named her baby Grace, because the whole thing was amazing. Tune in on Monday.

PS I am curious if Trump is still president on Monday, November 12, 2020. I guess only Carlivati knows.

Review: Shia LaBeouf’s Autobiographical “Honey Boy” Hits Amazon Today, With Stand Out Performances from Lucas Hedges and Noah Jupe As Well

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Shia LaBeouf’s autobiographical story of his tumultuous childhood, “Honey Boy,” is out today on amazon.com Directed beautifully by the first-time feature director, Alma Har’el, the powerful, moving, brutally honest film  hits you in the gut with humor, pathos and poignancy.

LaBeouf plays his father, James, a Vietnam veteran who is a drug addict and registered sex offender. He is also a manager/chaperone to his son’s acting career, which is his sole source of income. With his PTSD, his resentment towards his son and to the world, yet with a love for his son, the complexity of the performance is astounding. Young Shia, named Otis in the film, is played with an otherworldliness by Noah Jupe (“A Quiet Place”), the older Shia in rehab is played spectacularly by Lucas Hedges. James lives in a crap motel where prostitutes are neighbors, cigarettes are a treat, being a dude instead of a father and being emotionally and at times physically abusive. And yet his son, so much older than his years because of necessity, still loves him.

All the performances ring true to the soul, are raw and 100 percent authentic.  Har’el cinematically nailed it. The fact that LaBeouf wrote it really as a form of therapy and turned it into this painful, at times horrifying, yet loving, connecting film is simply a work of art. This must be seen by everyone. Shia LaBeouf exposes the deepest most vulnerable sides of himself and the riveting “Honey Boy” deserves much awards buzz because of it.