Thursday, July 31, 2014

BetteBack March 1, 1986: Will Bette Play In “Down And Out” Series?

Winnipeg Free Press
March 1, 1986

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Ingenuity, as well you know, never lets up in Hollywood or its environs.

Down and Out in Beverly Hills — about a wealthy hanger-maker with a wife, a daughter, a son, a dog and a free-loading bum — has done well in moviehouses since it opened a few weeks ago. Already, the three U.S. networks are fighting to acquire the rights for a sitcom.

We doubt very much that Bette Midler or Mike The Dog would want to do a series but money does talk.

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Wednesday, July 30, 2014

Bette Midler Visits Her Former Harlette Linda Hart & the Cast of Piece of My Heart

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Bette Midler took a field trip to the Pershing Square Signature Center to catch Piece of My Heart and visit a dear friend—Linda Hart, who appeared in Midler’s trio of backup singers, the Harlettes, in the ‘70s and ’80s. Composers Marc Shaiman and Scott Wittman were also on hand to catch the new musical and reunite with Hairspray alum Leslie Kritzer. Click to see the stars’ visit on July 29, 2014!

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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BetteBack January 31, 1986: Roger Ebert Reviews “Down And Out”

Roger Ebert
January 31, 1986

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Buddy Hackett once said that the problem with Beverly Hills is, you go to sleep beside your pool one day and when you wake up you’re 75 years old. “Down and Out in Beverly Hills” understands that statement inside-out.

It tells the story of a rich family that lives in the timeless comfort of a Beverly Hills mansion – in the kind of house where they use Architectural Digest for pornography. One day a bum wanders down the alley and into their backyard and tries to drown himself in their swimming pool. After he is saved, he changes their lives forever.

In its broad outlines, this story is borrowed from Jean Renoir‘s classic film “Boudo Saved from Drowning.” But this isn’t just a remake.

The director, Paul Mazursky, makes his whole film depend on the very close observation of his characters. Mazursky knows Beverly Hills (he lives there, on the quiet cloistered flatlands below Sunset Boulevard), and he knows the deceptions and compromises of upper-middle-class life (his credits include “An Unmarried Woman” and “Bob and Carol and Ted and Alice“). With great attention and affection, he shows us the lives that are disrupted by the arrival of the derelict – this seedy failure whose whole life is an affront to the consumer society.

The film’s heroes are the Whitemans, Dave and Barbara (Richard Dreyfuss and Bette Midler), and the bum, Jerry Baskin. He is played by Nick Nolte as the kind of guy who didn’t set out in life to be a failure, but just sort of drifted from one plateau down to the next one, until finally he was spending most of his time talking to his dog.

It is, indeed, the dog’s disappearance that inspires Nolte’s suicide attempt, and it will be the Whitemans’ own amazing dog, named Matisse, that gets some of the loudest laughs in the movie. Maybe Mazursky is trying to tell us something about the quality of human relationships in Beverly Hills.

The Dreyfuss character is a coat-hanger manufacturer. He didn’t set out in life to be rich (one of his favorite conversational gambits involves his own good luck and assurances that it could have happened to you as easily as to him – nice if you are him, but not if you are you). Here he is, living in a manicured mansion, exploiting wetback labor, sleeping with the Mexican maid, driving a Rolls convertible, selling 900 million coat hangers to the Chinese, and yet, somehow, something is missing. And almost from the first moment he sets eyes on the Nolte character, he realizes what it is: the authenticity of poverty.

The movie has a quiet, offhand way of introducing us to the rich man’s milieu. We meet his wife, whose life involves long sessions with masseurs, yogis and shrinks (even her dog has a doggie psychiatrist).

We meet his daughter (Tracy Nelson), a sunny-faced, milk-fed child of prosperity. We meet the Whiteman’s neighbor, played by Little Richard with an incongruous mixture of anger and affluence (he complains that he doesn’t get full service from the police; when he reports prowlers, they don’t send helicopters and attack dogs).

We meet Carmen (Elizabeth Pena), the maid, who greets her employer lustily in her servant’s quarters but who grows, during the movie, from a soap opera addict into a political radical. We also meet the extended family and friends of the Whitemans, each one a perfectly written vignette, right down to the dog’s analyst.

“Down and Out in Beverly Hills” revolves around the fascination that Dreyfuss feels for Nolte’s life of dissipation and idleness. He is drawn to the shiftless sloth like a moth to a flame. A bum’s life seems to have more authenticity than his own pampered existence.

And, indeed, perhaps the last unreachable frontier of the very rich, the one last thing they cannot buy, is poverty. Dreyfuss spends a night down on the beach with Nolte and his bum friends, and there is a breathtaking moment at sundown when Nolte (who claims to be a failed actor) recites Shakespeare’s lines beginning “What a piece of work is a man!” Certain predictable things happen. Nolte not only becomes Dreyfuss’ good buddy, but is enlisted by all of the women in the household – the wife, the daughter and the maid – as a sex therapist.

Dreyfuss will put up with almost anything, because he really likes this guy, and Nolte’s best hold on them is the threat to leave. Mazursky makes the most of that paradox, and gradually we see the buried theme of the movie emerging, and it is the power of friendship. What these people all really lacked, rich and poor, sane and crazy alike, was the power to really like other people.

The movie should get some kind of award for its casting. Dreyfuss, who has been so good in the past as a hyperactive overachiever, succeeds here in slightly deflecting that energy. He has the success, but is bedazzled by it, as if not quite trusting why great wealth should come to him for doing so little. He channels his energy, not into work, but into enthusiasms – and Nolte becomes his greatest enthusiasm.

For Bette Midler, Barbara Whiteman is the perfect character, all filled with the distractions of living up to her level of consumption.

Nolte in some ways has the subtlest role to play, although when we first see it, it seems the broadest. His shiftless drifter has to metamorphize into a man who understands his hosts so deeply that he can play them like a piano.

The supporting roles are so well filled, one after another, that we almost feel we recognize the characters before they’re introduced.

And Mike, the dog, should get an honorary walk-on at the Oscars.

Perhaps I have made the movie sound too serious. Mazursky has a way of making comedies that are more intelligent and relevant than most of the serious films around; his last credit, for example, was the challenging “Moscow on the Hudson.” So let me just say that “Down and Out in Beverly Hills” made me laugh longer and louder than any film I’ve seen in a long time.

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Tuesday, July 29, 2014

Today Is The Re-Release Of “Songs For The New Depression”

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Watch “Beaches” Performed By This Gay Comic In Less Than Four Minutes (Thanks Andy!)

Some queens will look for any reason to show off their Bette Midler impersonations. Add out comic performer Micah McCain to the list. The triple-threat entertainer takes aim at the gay-worshipped 1988 Midler-Barbara Hershey tearjerker Beaches and offers his singular take on the film’s highlights — except, oddly, it’s famous theme song “The Wind Beneath My Wings” — in less than four minutes. Brava!

Check it out below.

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Monday, July 28, 2014

Help Bette Reach Her Goal!

 

Whew!

We’ve passed the  $30,000.00 mark on our Stages For Success fundraiser and I’m absolutely thrilled with the response we have gotten so far! Matthew McConaughey, Gwenyth Paltrow, Blythe Danner, Gloria Estefan, and so many others from the entertainment community have remembered how important their own arts education was to their careers and stepped up to help our kids. I’m ferklempt!

A diva’s work, however, is never done: we’re in the final week of our CrowdRise campaign, and we have to raise a total of  $50,000.00 order to complete our Far Rockaway, Queens project in time for the 2014-2015 school year. I’m just itching to give away these ukeleles!

Please, help our kids to sing out and pass this on to your friends: I’m counting – and matching – every dollar raised!

Love,
Bette Midler

Our mailing address is:

The Jeckyl Foundation

700 12th Avenue South

suite 201

Nashville, TN 37203.

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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**~BetteUcation~** ~ Rocky

**~BetteUcation~**

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Bette was offered the role of Adrian in Rocky.

“One supporting role I should have taken, if my then-manager hadn’t turned it down, was the Talia Shire role in Rocky. I’d still like to work with Sylvester Stallone. There’s something about those beefy Italians that turns me on. But when he sent over the Rocky screenplay, my manager told me it was a nice role, a nice movie, but not for me. When I saw Rocky, I was really sad that I’d lost the chance to play that girl.”

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Sunday, July 27, 2014

BetteBack February 14, 1986: Comedy is down but not out in new film

Joplin Globe
Comedy is down but not out in new film
February 14, 1986

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Dave Whiteman made a fortune
manufacturing clothes hangers for
hotels and motels. Jerry Baskin
spent his time on the streets, scavenging
for food and surviving the
best he could.

Director Paul Mazursky took
those two characters and, throwing
in a few cheap but delightful shots at
the bourgeoisie, made a motion picture
that is as varied as the main
characters’ lifestyles.

Throughout most of the film,
Down and Out in Beverly Hills has
all the class and style of Whiteman’s
autos (a Mercedes and a Rolls
Royce), sleek and fast with a touch
of elegance.

But, alas, there are too many instances
where the film drags or
questions remain unanswered, much
like Baskin’s past. Those cases keep
this from being a truly exceptional
film. As it is, it must settle for good.

The film opens with audiences
meeting Baskin, played by Nick
Nolte. Streetwise and complacent
with his existence in Beverly Hills,
Baskin does just fine until his dog,
Kerouac, decides to run away with
someone who can offer more food.

Depressed, he stuffs his pockets
with rocks and jumps into the
Whitemans’ swimming pool. Richard
Dreyfuss, playing Whiteman,
saves the bum and, intrigued by his
lifestyle, invites him to stay a few
weeks.

It’s here that Mazursky does some
of his best work, and some of his
worst.

Dreyfuss’ character is weak and
shallow, someone doing the same
thing day in and day out. It is a
credit to Dreyfuss that he could
make someone look so incredibly
bland.

Nolte’s character, on the other
hand, appears to have all the intelligence,
sophistication and education
to belong on the upper social
levels. In each encounter between
bum and millionaire, the bum comes
out looking a winner — being better
adjusted not only for his lifestyle,
but for Whiteman’s as well.

But things are not always as they
seem, and Baskin keeps throwing in
questions about his background,
clouding the difference between the
truth and a lie.

While the encounters are humorous
at first, Mazursky doesn’t
seem to know when to quit. The
magic between Dreyfuss and Nolte
doesn’t exist when Baskin encounters
the other members of the Whiteman
family, each with their own peculiar
problems.

Indeed, looking beyond the two
male leads, the best performance
comes not from any of the co-stars,
but from a shaggy extra named
Mike. Mike plays the part of Matisse,
a neurotic pooch that takes up
with the Whiteman’s houseguest.

If nothing else in the film seems
amusing, watching Matisse roll his
eyes or chase down a cheating master
is sure to bring a few laughs.

For her part, Bette Midler is the
Divine Miss Average. Nothing in
her performance fails miserably, but
nothing stands out. That in itself is a
shame considering the role she takes
on as Mrs. Whiteman. Screenwriters
Mazursky and Leon Capetanos
have given her a variety of idiosyncrasies,
most based in upper-middle
class stereotypes.

Little Richard, who provides some
of the music for the soundtrack,
makes a few brief appearances for
his film debut. After his first, overworked
scene, he proves that he can
play well in a comedy.

Evan Richards, who plays Max,
the Whiteman’s androgynous son,
contributes a few good moments on
the screen as does Elizabeth Pena who plays Carmen, the Whiteman’s
housekeeper. Tracy Nelson, as their
daughter, spends most of the screen
time away at college. She should
have spent even more time there, as
she adds nothing when she is in the
storyline.

One thing the storyline did not
need was more characters dragging
it to a stop. Too much of the first
half of the film is spent away from
the Dreyfuss-Nolte confrontations,
lulling audiences to sleep.

And some of the sexual situations
appear to have been placed in the
film only to help secure an R rating,
and hence an adult audience, for
Touchstone, the Disney Studio’s
adult line. This is, after all, Disney’s
first ever R-rated film.

For those who can make it to the
end, the penultimate scene, the New
Year’s party, can almost make the
whole film worthwhile as Mazursky
finally lets the comedy flow non- .
stop through the scene.

It is enough, coming at the end of ;
the film, to shake the audience out of
its doldrums to leave the theater
laughing, with a good feeling about
the picture in general.

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Friday, July 25, 2014

BetteBack January 28, 1986: ‘You mean I won’t live forever?’

Bette Midler in the fast track
Bette Midler interviews are funny, witty, stimulating.
By David Hinckley
New York Daily News
January 28, 1986

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It is suggested to Bette Midler
she will run out of time before she
runs out of ideas. Her reply is swift,
without trace of a smile.

“Oh no, don’t SAY that,” she
says. “You mean I won’t live forever?”
Trying to pin Bette Midler down
in a phrase or two is like trying to
play Name That Tune with the
motorman on a moving subway
train. Under anything resembling
normal circumstances, it cannot be
done.

Take, for instance, the present.
Atlantic has just released her latest
album, a live comedy session with a
d u s t i n g of song and t h e
honest-enough title Mud Will Be
Flung Tonight. Bette flinging mud
at Madonna: “Touched for the very
first time? . . . Ha! . . . Today,
maybe.” At the French: “The nation
that gave us Renoir thinks
Jerry Lewis is a genius.” At Bruce
Springsteen: “I knew him when his
arms were as skimpy as his chord
changes.”

R-rated Disney

Meanwhile, she is also starring in
the movie Down and Out in Beverly
Hills, the first R-rated film from
a Disney studio. Midler isn’t the
specific reason for the R, though
she does her part with a howling orgasm
scene unavoidably reminiscent
of a similar moment in
Porky’s. Otherwise, she plays what
seems at first to be a walking
California joke, a bored, newly
monied housewife with tacky home
furnishings and a weakness for any
charlatan who promises eternal enlightenment
and thin thighs in more
than two syllables. Actually, it
tunis out, she doesn’t like the joke;
she’s just trapped in it. But let s not
get ahead of ourselves.

She will also begin filming, any
minute now, her next movie: Ruthless
People with Danny DeVito.
After that, she’s planning to star in
the Ina Ray Hutton story, a musical
about a woman bandleader of the
’30s. In between she may squeeze in
a Broadway revue, perhaps along
the lines of her 1975 Clams on the
Half Shell.

If that happens, it might answer
the question of whether she can go
home again. In the Clams days
she was still Hot Young Star of Chic
New York, Queen of Flash and
Trash, Most Bizarre Success Story
of the ’70s. Here was a Jewish girl
from Hawaii who looked like six
feet of body scrunched into a fivefoot
frame, who got her first notice
in the Continental Baths with Barry
Manilow as her musical arranger,
who had a wonderful voice she often
seemed not to take seriously, who
could do nothing too outrageous.

Soon after Clams she thanked the
Harvard Hasty Pudding Club for its
“woman of the year” award by
shooting the audience a moon.
“I’m an entertainer,” she reflected
years later, with a strong trace
of a smile and no visible hint of
regret. “I’ve built my own house.”
That house has included two
movies: The Rose, for which she
won an Oscar nomination, and
Jinxed, for which she won a nervous
breakdown. It’s also included
albums, tours, books and TV specials,
which have told both lots and
little about the compulsive woman
behind them.

Exhausted

At the end of her long 1983 tour,
she mused about being exhausted
(“You pour everything into it for
six months and it never turns out
quite the way you envisioned . . .
a l t h o u g h certain nights are
magic”), but doomed never to
rest.

“One of my favorite songs is Marshall
Crenshaw’s You’re My Favorite
Waste of Time. To me, just
spending time with friends is like a
vacation. You don’t make any
money doing it, but it’s refreshing.”

Which is as specific as she gets
about her life. An interview with
Midler is funny, witty, stimulating,
even chatty; you just don’t end up
painting toenails and telling secrets.

She doesn’t mind providing a
cheerful “None of your business” to
requests for names, places or
dates, and she once mused, “I can’t
believe people really care what I
have for breakfast or who I sleep
with.

Even if we forget the personal
side, however, some professional
questions remain. Is she a rock ‘n’
roll singer? Actress? Cabaret singer?
Comedienne? Performance artist,
whatever that means? Even
when she seems to be singing, is she
sometimes putting us on? The only
recent career even remotely comparable
to hers in scope, success
and style is Eddie Murphy‘s. So is
that it? Is she a short Eddie
Murphy with a large chest?

Yes, well, we had to get to the
chest, if only because Midler has
gotten more mileage out of that
subject than Dirty Harry gets from
a .44 Magnum. On Mud, after telling
a few hundred chest jokes, she
remarks, “Does anyone knock the
pope because all he talks about
is God?”

As it happens, the chest jokes
probably provide a good clue to the
whole question of who this woman
is, since they comprise perhaps the
best example of her major weapon:
pre-emptive strikes. She dodges
scrutiny the way she dodges insults,
by raising the subject so loudly
herself that the question fogs over.

If you sometimes sing parodies,
then maybe that’s what a bad tune
was supposed to be. If your stated
wardrobe goal is to look tacky, how
can you fail as long as you don’t
wear a business suit?

On Mud, she does a routine on
her 1984 marriage to Martin von
Haselberg, previously described
only as a “commodities dealer and
performance artist.” “He’s a German,”
she says on the record. “A
Kraut. Every night 1 dress up like
Poland and he invades me.” And
everyone laughs and the fact remains Midler has guarded this
marriage the way IBM guards microchip
research.

Now, it’s no crime not to invite
People magazine on the honeymoon.

The mildly ironic part is that
someone who prefers to dodge insults
makes money by handing
them out.

But then, that’s show biz. As opposed
to life.

Best deal

“The questions you hear in the
entertainment business these days
are all ‘How can we make the best
deal?’ or ‘How can we sell it?’ Not
‘ Is it any good?’ And that’s a
change over just the past 10
years.”

But is the business part at least
sometimes stimulating?

“It would be,” she says, quite
serious, “if it weren’t a matter of
life and death.”

What she’s more sure about is her
fans. “They’re great. They let me
try so much. Some of the ones I see
now I knew 10 years ago in the
Village, when I was shooing them
off my doorstep. It’s fascinating to
see how they’ve grown up. They
have jobs, they’ve lost weight. They
don’t call themselves Mother Teresa
any more.

“Of course, I don’t call myself
Mother Teresa any more, either. So
maybe I’ve grown up, too!

Certainly possible, although the
continuing shroud around her private
life makes the theory difficult
for an outsider to confirm. Which
doesn’t matter a whit, of course; if
she’s happy, what difference
whether we have the details? Her
former manager Aaron Russo once
said she had Y’a lot of love to give
and a fiery temper,” a combination
that suggests her conservative approach
is wise.

“I like to shop alone,” she said in
1983. “And I’m fortunate that I can.
I remember Marilyn Monroe saying
once that she could turn it on
and off —by certain gestures she
could become Marilyn or not. I feel
a little bit the same way. Like when
I wash this face off, there’s no face
there.”

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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Thursday, July 24, 2014

Don’t forget to check out July’s Bette Midler Jukebox

BathsBette

Don’t forget to check out July’s Bette Midler Jukebox before I change it out in August:

http://www.bootlegbetty.com/blb-player/#.U9F_X-NdXsY

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"Find your Light; They can't love you if they can't see you" ~ Bette Midler

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