Gossip Central

On the Road with Jeremy Thomas

The glorious conceit of Mark Cousins’ documentary about British producer Jeremy Thomas is filming him from the passenger seat of a posh car on the way from London to Cannes, for the yearly film festival of festivals. A man of routines, Thomas followed the family business of filmmaking, always having a film to promote, but more, to schmooze with directors and distributors from a balcony overlooking the sea. The festival is after all, a work place. This is his 45^th year, seeing beautiful countryside as it whizzes by on the highway, and discussing life and filmmaker along the route. Some of his films, The Last Emperor, Only Lover Left Alive, Sexy Beast among them, are screening at the Quad Cinema for a retrospective, as is Cousins’ documentary, The Storms of Jeremy Thomas, a glimpse of the man behind the wheel.

This week, a special viewing of Cousins’ documentary drew many guests from his distinctive career including Debra Winger, who starred as Kit in Bernardo Bertolucci’s The Sheltering Sky. Interviewed in the documentary, she speaks about Thomas’ humor and taste. A clip from the film shows her emerging in North Africa with John Malkovich and dozens of suitcases as they are travelers, not tourists, taking everything with them as if they will never return, in author Paul Bowles’ defining distinction. Interviewed in person by Sony Picture Classics’ Michael Barker, Thomas spoke about filming in the desert, taking liberties in the vast expanse of sand that makes this film so unique. Another clip shows Winger as Kit returning to a crowded café, just short of the author’s cameo, as he asks, how many times do we return to the same place in one’s life. It’s a question that works well pondering Thomas’ career as production auteur.

Rufus Wainwright Celebrates 50 at Montauk's Historic Lighthouse

On the brink of 50, legendary Rufus Wainwright’s music genre is hard to pin down. But one thing’s certain: he’s got lots of friends, family, and fans, all in full display at his birthday concert bash to benefit Montauk’s historic lighthouse, now turned 227 years old. Maintaining this edifice takes more than a village, and from the looks of the slopy grounds outside, everyone was pitching in. The same could be said of the performances, featuring Tig Notaro, Katie Couric, Jimmy Fallon, Jenni Muldaur, Laurie Anderson, Chris Stills, Chaim Tannenbaum, G. E. Smith, Rufus’ sisters Martha Wainwright and Lucy Wainwright-Roche, daughter Viva Wainwright, and more. Hosting or just hanging around for the first-rate music were Liev Schreiber, Ross Blechner, Bruce Weber and Nan Bush, Christy Brinkley and Cynthia Nixon. Many spirits hung around too: many of Rufus’ mom Kate McGarrigle’s songs were sung, Laurie Anderson performed a song by Lou Reed about how to see in the dark.

Wainwright started off the generous three-hour concert with Irving Berlin’s “How Much Do I Love You?” Who knew that Berlin actually spent time in Montauk? Wainwright does the American songbook, folk, jazz, rock with ease. Everyone waits to hear Rufus’ cover of Leonard Cohen’s “Halleluliah,” which he dedicated to the artist Eric Freeman who recently died and who is scheduled to have an exhibition at Guild Hall in the coming year. After a duet on Neil Young’s “Harvest Moon,” Rufus congratulated Chris Stills on his marriage to Stacy. They had just flown in from the Vineyard for the occasion. I am still not over G. E. Smith’s guitar solo on “Memory Motel.” And Amber Martin led everyone in a rousing “Higher.”

Patricia Field Inspires Happy Clothes at Tribeca

Invited to a party to celebrate designer/ costumer Patricia Field and the fine documentary about her life and career premiering at Tribeca, one ponders the question: what to wear? After the Tribeca screening of Happy Clothes: A Film About Patricia Field directed by Michael Selditch, a colorful romp through her decades-long career in the business of fashion: the 8^th Street retail shop, her genius pattern combinations (plaids with florals that work) and accessories for the cultural icons starring in Sex & the City and The Devil Wore Prada, the better question is, is my outfit happy enough?

We all accepted Sarah Jessica Parker’s Carrie Bradshaw in a tutu, making it New York street attire no less, awkwardly avoiding a splashing puddle; that image adorned the sides of buses for years, and the tasteful matching of Anne Hathaway’s dressy shirts with giant cuffs and mini-pleated skirts, curated by Stanley Tucci for the pleasure of a white haired Miranda Priestly—that is, Meryl Streep styled to look like the supermodel Carmen dell Orifice, not Vogue editor Anna Wintour. Even the detail-oriented Darren Star capitulated to Field’s eye, her unique combos and stylings—for the diva and Everywoman, trans or not.

Guild Hall Celebrates Peter Marino: Renaissance Man

“I hate it,” architect Peter Marino exclaimed surprising even himself, as he noted Gotham Hall, a cavernous former bank on Broadway, decorated for the 350 guests arriving for a tribute to him, and to art collectors Tom Roush and LaVon Kellner. This was Guild Hall’s winter gala, celebrating too the venerated East Hampton art institution’s emergence from a long renovation. Can it be that Peter Marino, clad in his hard-to-miss signature head-to-toe leathers and silver rings, all his own designs, is oddly demure? A video featured his many achievements and talents: architect, painter, sculptor, potter, gardener, collector with an impeccable eye. It finally took the Israeli artist Michal Rovner, a longtime friend, to underscore his bold innovations with a telling anecdote: In Tokyo, at the opening of a Chanel store he designed, he found the perfect use for the building’s façade, projecting her art on it.

This was not a boast. An internationally renowned multimedia artist, Rovner will be featured at Peter Marino’s art foundation housed in Southampton, as part of a series, “Brunches with Bob,” the Bob being writer Bob Colacello who was part of Marino’s entourage, with his daughter Isabelle Trapnell Marino, who, despite her valuable input quips, she’s the “Vanna White” of the conversation series. The culture-packed room also included Michael Halsband, just back from his opening of his iconic sparring Basquiat/ Warhol photos at the Fondation Louis Vuitton, April Gornik, Blythe Danner, Lisa Perry, Iris Smyles, Alice Aycock, and many more to honor their East End neighbors, Tom Roush and LaVon Kellner. A retired doctor, he used to treat many artists when they occupied lofts in Soho, before they became big names.

Bruce Weber’s Homage to Paolo di Paolo, Italian Master Photographer

If you think scenic Sicily is having a moment in this season’s White Lotus, check out the Italy of Bruce Weber’s ravishing The Treasure of his Youth: The Photographs of Paolo di Paolo. Opening with archival shots of children on the street, a girl on communion day, Anna Magnani with her dog, Marcello Mastroanni, Pier Paolo Pasolini, the documentary arrives at a provocative and hilarious clip of Sophia Loren in a striptease from Vittorio de Sica’s Yesterday, Today, and Tomorrow. Marcello howls with desire.

Illustrating his childhood love affair with Italy through Italian cinema, Weber in voiceover reveals a happy discovery: At a gallery in Rome, he and his wife Nan Bush were struck seeing prints from a prominent photojournalist of the late 1950’s, who, at the height of fame, after the breakup of a love affair in the ‘60’s, retired to the countryside. Signed Paolo di Paolo, the photos became the inspiration for this film.

When Weber called, Paolo’s daughter Silvia had to explain who this American photographer was. It was she who, rummaging through the basement looking for skis one day, found a chest full of negatives and pushed her father to tell his story. Charming and dapper, di Paolo at 94, recounts his life, living under fascism, leaving his home to find the world, his first commission photographing a debutante ball with 2,000 guests, and a welter of celebrity artists including Tennessee Williams, Ezra Pound, Elizabeth Taylor; Weber’s film was set to wrap after covering Paolo’s first ever photography retrospective, “Mondo Perduto,” when di Paolo was commissioned to shoot the Valentino couture fashion show in Paris. He speaks humbly of his art, “I did it as an amateur, because I loved it. My luck was to know important people.”

Hamptons Journal: Bay Street’s Camelot, Robert Longo at Guild Hall, Diana Frank at Tripoli Gallery

Legends of King Arthur and his court are having a moment: The Green Knight in theaters, and out east, Bay Street Theater’s production of Lerner & Loewe’s Camelot --under the stars! Now a classic, its signature song “If Ever I Would Leave You” sends a particular nostalgic chill—ah love—especially for the musical theater genre that Bay Street does so well! Remember the glorious revival of Annie Get Your Gun, Bay Street’s very last production before the COVID shut down? Or the intimate production of Evita a year before? With Camelot--outdoors—BayStreet’s setting conveys less castle and more country as Camelot wields its special charms.

King Arthur in this imagining is a fair and just ruler, looking for equal representation in his governance, hence the knights’ round table. His liberal ideas come after he meets and weds Guenevere; at first, a dated gender bias marks the musical’s first act, especially brow-raising in our current discourse on the roles of men and women. The king’s attitudes progress when Sir Lancelot enters the story, as Arthur (Jeremy Kushnier), “Jen” (Britney Coleman), and “Lance” (Deven Kolluri) sing about good leadership, marriage, and loyalty, all performances solid and square. But, in this three-way expression of courtly love, a stylized representation of king and his knight/ knight and the queen --where the younger pair fall in love at their own peril, heat would be good. But that does not come till the second act.

Hamptons Journal: Graham Nash in Montauk/ Longhouse/ Chuck Manion’s Paintings at Duck Creek

OM—though that’s not my mantra. Dan and Maureen Cahill hosted an event for the David Lynch foundation to support veterans by providing them with TM—transcendental meditation-- life changing according to most practitioners, some of whom attended the concert and sit-down dinner on a gorgeous property between the old and new highways leading into the town of Montauk, with an ocean view, a large vegetable garden, and a chicken coop. 

Milling about on the manicured lawn, drinking wine, munching on canapes, attendees—among them Drew Barrymoore in an oversized hat pulled down (I took her for Julianne Moore at first, who really does live in Montauk) and Paul Jarrod Frank, MD, author of The Pro-Aging Playbook—(can’t miss the irony of that)--the night recalled Edenic times. Bob Roth led a meditation.

Remembering Photographer Elsa Dorfman

A longtime collaborator with Allen Ginsberg, Robert Creeley, and other literary figures, photographer Elsa Dorfman was a true American original. A portrait artist often associated with her main instrument, the large format 20" x 24" inch Polaroid camera, Dorfman, an influence to poets, and, from all reports, a great friend, died this week at 83.

In 2017, I met her when her pal Errol Morris made a film about her, The B-Side: Elsa Dorfman’s Portrait Photography, his most intimate documentary. Usually working with out-sized personalities, McNamara to Rumsfeld, the murderous gasman of Zyklon B, to name a few, documentarian Errol Morris has the further distinction with his 1985 The Thin Blue Line, of having changed the course of one man’s destiny with his investigative work, unearthing evidence that showed he was innocent of murder.

Elsa Dorfman, a neighborhood friend seems a smaller portrait indeed, but the filmmaker caught up with this mild-mannered photographer just as the Gentle Giant movers were removing some large-scale Polaroids for storage, so his picture of her surprises as it covers the technical aspect of Polaroid photography, and perhaps, the end of an era. This conversation from that time, as the film was about to open after a distinguished festival run including the New York Film Festival, reveals something of Dorfman’s charm. Errol and Elsa complete one another’s sentences.

Mystery in Montauk: The Untoward End of Peter Beard’s Wild Ride

The story of Peter Beard has a grim end: some 19 days after he disappeared, after search parties including helicopters had given up their trawling the rocky coast, the erstwhile adventurer has just turned up. Some thought he went into the sea, lunch meat for sharks, if there are such fish at these shores, but no: maybe he’d gone into some secret corner of the woods, and like beat poetry catalyst Neal Cassady, another legend, died of exposure. No body, no news. But now all that may change.

The Times retold an anecdote about Beard, that while working in the city, when he was told his house had gone up in flames, he just continued his work. What the Times failed to say, and what might merely be Montauk rumor, was that the house had been burnt down by workers, locals disgruntled that they had not been paid. Legends abound about such adventurers: some saw the house lifted off the nearest cliff by Sikorsky helicopter, moved to the most remote point, a piece of property jutting farther into the sea than the lighthouse. Montauk residents gathered outside the church in the early ‘80’s, when Beard married Cheryl Tiegs.

The Times of Bill Cunningham: “We all get dressed for Bill”

Mark Bozek’s documentary, The Times of Bill Cunningham, features a fresh look at his subject from a 1994 taped interview: Hard working and uniquely talented, Bill Cunningham eschewed the limelight yet pursued and promoted style, at celebrity functions and on the street, often perched on his bike on the corner of Fifth Avenue and 59^th Street where Bergdorf Goodman sits majestically. Ah, the department store. It’s a dying breed, just like the self-effacing Cunningham himself. Anna Wintour famously quipped, “We all get dressed for Bill,” extolling the special fame of fashion and street photographer Bill Cunningham. When he died in 2016, Wintour wondered if there’d ever be another like him.