Eli Wallach was outstanding in a couple of roles in western movies. I will probably return to this book again sometime. My main interest was to read his recollections about working on several spaghetti westerns which is discussed in several chapters, but I read the book from start to finish. Though, i wish there was much more recorded of Wallach's life after the mid-60s, what is in the book as a whole is a delightful story of an accomplished actor's life. The first half of Wallach's life, is well covered, with lot's of very good stories and insights. A string of often funny and charming memories of his interactions with fellow actors and eclectic directors in particular, spaghetti Western director Sergio Leone , his book is engagingly frank and personable.
Reading about his life, his era and the intertwining he had with some of Hollywood's biggest stars was special. Eli has been a favorite of mine for years and has always completely fascinated me. For more than fifty years Eli Wallach has held a special place in film and theater, and in a tale rich with anecdotes, wit, and remarkable insight he recounts his magical life in a world unlike any other. All pages are intact, and the cover is intact. Of the recent run of legendary celebrity biographies I've read, this is one of the more thorough and better written.
Eli Wallach played my favorite character in one of my favorite movies, so I used that as an excuse to read his autobiography, and found his life's story a truly interesting and fun read as a kid from Brooklyn who worked his way to success un the acting world. My tasks included emptying the water out of the basin underneath the iceboxes, taking out the garbage, sweeping up the shells from the Indian nuts, and walking my little four-wheeled wagon to the newspaper dealer on Harrison Street and piling it up with Sunday papers for the store. This is a truly wonderful read. At one time or another, everyone in our family worked in the store. Two overweight ladies who looked like they had mustaches stood waiting, with their skirts rolled up above their knees. This is a chronologically presented memoir of Wallach's life, but unlike some, he doesn't dwell on any particular aspect longer than is engaging. The dust jacket for hard covers may not be included.
Reading about his life, his era and the intertwining he had with some of Hollywood's biggest stars was special. The reason I chose to read this memoir should be obvious to anyone familiar with my preferred entertainment. I lived in the rear of the store with my parents, Abe and Bertha, my older brother and sister, Sam and Sylvia, and my younger sister, Shirley. Because Wallach, known for his work in Tennessee Williams's Broadway productions as well as for his roles as Wallach has the right and the title to discourse at length on method acting and the Actor's Studio, where he was a charter member, but instead hews tightly to his book's subtitle. The sparkling memoir of a movie icon's life in the footlights and on camera, The Good, the Bad, and Me tells the extraordinary story of Eli Wallach's many years dedicated to his craft. A little man with a thick black mustache, he carried a long stick with a flint on the end of it. He'd push the stick into an opening of a glass bowl at the top of a lamppost, and a blue-green flame would light up the gas and throw big circles of light down on the street.
His insights and recollections of the acting life outweigh the book's pat and perfunctory conclusion. He even tells us how he learned about the birds and the bees in the most frank yet lovable way. Because Wallach, known for his work in Tennessee Williams's Broadway productions as well as for his roles as memorably suspicious rascals, was taught by such cultural icons as Martha Graham and Lee Strasberg, his memoir is also a valuable source on 20th-century American culture. Beginning with his early days in Brooklyn and his college years in Texas, where he dreamed of becoming an actor, this book follows his career as one of the earliest members of the famed Actors Studio and as a Tony Award winner for his work on Broadway. Beginning with his early days in Brooklyn and his college years in Texas, where he dreamed of becoming an actor, this book follows his career as one of the earliest members of the famed Acto The sparkling memoir of a movie icon's life in the footlights and on camera, The Good, the Bad, and Me tells the extraordinary story of Eli Wallach's many years dedicated to his craft. Right in front of our store, a streetcar ran down the center of Union Street powered by an electric wire overhead. The Good, The Bad, and the Ugly; The Misfits will not be able to comprehend Wallach's story as a whole.
Wallach's love of theater drove him to Kazan, despite the director's having recently named names to the House Un-American Activities Committee. I read this in a rush, hating to put it down. And they often left their calling card on the street-big clumps of horse shit. You can almost see the twinkle in his eye as you listen to his words. Did you know Wallach was lovable and charming even when he so effortlessly played villains on screen.
There is much here about his training as a method actor as well as the differences between acting for theater and acting for film. Wallach has worked with such stars as Marlon Brando, Paul Newman, Marilyn Monroe, Gregory Peck, and Henry Fonda, and his many movies include The Magnificent Seven, How the West Was Won, the iconic T he Good, the Bad and the Ugly, and, most recently, Mystic River. But I was surprised to find myself interested in the theater work and Wallach's growing up. Wallach got to drink with Gable and dance with Monroe, travelled the world and did his bit. Number 166 housed Bertha's, a small toy, candy, and stationery store named for my mother. He was a wonderful storyteller, but he also had a volatile temper and suffered from severe headaches. I think Eli was a special person, actor and truly one of the last great actors of the time.
The wagon had elegantly painted side panels depicting churches, mountains, and trees. Besides the many stories about his film work, I was particularly taken with his reflections on his home life. In a straightforward and witty style, he tells his story, from a Brooklyn childhood as the only Jew in an Italian neighborhood, through Actors Studio days with Brando and others, and on to his long and illustrious career on both stage and screen. Dante turned on his phonograph, and the women began stomping the grapes to the rhythm of a tarantella. He'd deposit the manure and move on.
All of it is true! Wallach has worked with such stars as Marlon Brando, Paul Newman, Marilyn Monroe, Gregory Peck, and Henry Fonda, and his many movies include The Magnificent Seven, How the West Was Won, the iconic T he Good, the Bad and the Ugly, and, most recently, Mystic River. It seems to be the only place online where you can find it. Contents: An actor grows in Brooklyn -- The college years -- Before the war -- The war years -- Broadway, here I come -- A life in the theater -- My method -- Husband and actor and director and father -- The first taste of Hollywood -- From New York to London and back -- The dirtiest American film ever made -- An actor's dilemma -- My brief atonement -- The misfits -- Rhinoceros -- The good, the bad, and me -- Schisgal, Gielgud, Sharif, and me -- Reflections on a golden career. The store was always busy in the late afternoons, when longshoremen would drop in after a day of unloading ships' cargo. On the back wall of the store were shelves, which held toys, big jars of Indian nuts, and cigarettes. For more than fifty years Eli Wallach has held a special place in film and theater, and in a tale rich with anecdotes, wit, and remarkable insight he recounts his magical life in a world unlike any other.
At a bit over 200 pages and with a large typeface, I was through this in a matter of days. I wanted this book to continue and never end. Now James Garner has died and I'm going to 'The Garner Files' next. Very minimal damage to the cover including scuff marks, but no holes or tears. It's the rest of Wallach's life that gets truncated to a short 30 odd pages, or the last 6th of the book. The writing is very much in Wallach's voice and seems to be nearly a transcript of an oral history at times.