Midlife Crisis Month: Best of the Beards #1: Kristofferson

Do they still do that thing of growing mustached for prostate cancer awareness in November? My sober anniversary month, November 17th, is always stained with the rainy teardrops of shaking and quaking; it's the usual marker between my manic and depressive phases, such as they are. Rough times, man. October is my favorite month, November my least. But what is Heaven if not Hell finally accepted? The flaming beard of the sage is as a nest for the bird of wisdom. Rant against cigarettes and condomless sex still the cows come home, o Safety-First Clydes. Gives a flying fuck doth the sage? No sir. He accepts his pile of Hell fully it so it morphs into a slice of heaven. Or as Kristofferson put it:

"I ain't sayin' I beat the devil, but I drank his beer for nothing.Then I stole his song." 

In November all I do is sit around and watch World War Two documentaries and Vin Diesel (he's our century's John Wayne and don't make me prove it), Tennessee Williams movies, James Coburn, John Huston, Voight, Reynolds and the man with the best beard of all, Kris Kristofferson. (1) See, the man Kristofferson is from a different time. His beard is a different breed from the quirky hipster's. It's all there in the movies of the 70s when country songwriters could still be men. In the movies today the good old boys can only play extremes of the type, so they're either twitchy meth dealers who abuse their wives and children or serious, hard working sober Christians in flannel who just want to teach the son of the hot single mom how to fish, whittle, and tune a guitar before he has to ride into the sunset or take one last shady job to pay for the boy's operation. There is no middle ground today. There is no man who is both reveler and decent guy, spiritual seeker and hedonist, not a cliche'd everyman but a dude who's genuinely free, able to drink and smoke without the score or subtext condemning him. That's why LEBOWSKI would be nowhere without Sam Elliot to supply the narration and Saspirilla drinkin'. The sanctification of the country hombre, old Sam's the link we need. We'd never see the straight line woven along from Bogart's Marlowe to Gould's Marlowe to Bridges' dude to Phoenix's Doc. All we got now is Adam goddamn Sandler and his saintly manchild contingents.

Back before that manchild thing, back in the 70s, if you wanted to tell a story about a raunchy team in the flyovers you could make them hard drinking, brawling, smoking ten year-olds or coaches who'd just as soon call the game off and pass out than snatch victory from the jaws of defeat. Those were real men! Even the twelve year-olds. I blame insurance companies, nanny state hyper-parenting, and academic overreach. It takes longer than ever to grow up.

And so it makes sense, it being November, to honor the facial hair not of the co-op hipsters that haunt the coffee houses of Williamsburg, for they'll never be a step away from dyin', or as Kristofferson says in the great and underseen Alan Rudolph film SONGWRITER:

"Do you suppose a man has to be a miserable son of a bitch all the time just to write a good song now and then?"

The hipsters today don't need to be miserable anymore, they got antidepressants and Cialis. They'd never be sons of bitches for the hell of it and they'll never get the nicotine and cyprine stained beards of the 70s dads and groovy football-when-it-was-cool older brothers, the beard that cares without being a pussy about it, the beard of a man had 'passed' his acid test and who was no longer that into looking young and gorgeous. He's above all, too lazy to shave.

So who gives a fuck about that little pisher Jesse Eisenberg throwing his lot in with the UWS bourgeoisie and their smug piddly ass New Yorker subscriptions and their tired tweed jacket self-importance and knowing chortles? Soon my kind will drop 'em down before we too drop, and the new generation of ten thousand talkin' and nobody listenin' will swallow them like the tide swallows the drunken bather. Kristofferson is still the coolest man on TV. And all you have to do is watch THE VOICE and how regularly lanky Blake Shelton wins against the crushingly insecure and narcissistic manchild Adam Levine. I'm no country music fan in general but between who I'd both pick to drink with and have as an AA sponosr, it's old Shelton. You just know he'd be able to talk about more than how you like his hair and what people are tweeting about him.
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(From SEMI-TOUGH): 

"The "loving fight" concept was huge in the 1970s, especially, as I've noted before, in Burt Reynolds movies like SEMI-TOUGH. This was the age of bloodless bar fights, where chairs break easy over heads, and people fly through storefront windows with the carefree abandon of a kid jumping into a summer lake. Everyone makes up outside in the parking lot, their macho fury soothed with some good old fisticuffs in the grand drunken John Ford tradition. And SEMI-TOUGH has the coolest two guys and a girl group bond since DESIGN FOR LIVING. It's a trick that we've forgotten in the manchild 80s thanks to George Lucas, who's jedi Luke refuses to fight his father, even though fighting with fathers is a great way to train and get in shape. Didn't Lucas ever see SWORD OF DOOM? Killing can be an art devoid of passion or hate. John Ford knew it, and Reynolds and Kristofferson know it. Because they're perfect.

The 1970s dad was peaceful enough to understand the need for these sorts of outlets for his children and friends. In our more "enlightened" times no one is allowed to fight or have raunchy sex without consensual agreement in writing beforehand, and gloves on all contacting parts, or even the compulsive need to boast, overthink, drain the spontaneous joy out of it, and feel guilty afterwards, second-guessing and self sabotage all because we drank the nonsmoking manchild/perfect man dichotomy rom-com Kool Aid, which is exactly how European men describe the American woman's attitude towards sex. For all it's tossed-off clumsiness and Burt's intentionally shocking freedom with vulgarity and the N-word, SEMI-TOUGH is a rare document revealing that if only for a decade, we had sex like the French and fought like Americans instead of the sad reverse." (MORE)

COOLEST COUPLES: DINA SHORE and BURT REYNOLDS

We can see dim shades of it in Demi Moore and Ashton, but that's far more about, or seems about, two insecure narcissists desperate to connect. Modern Ashton and Burt in 1974 share a certain immature rawness, where you could understand an older woman going for it, because she knows she has something worthwhile to give them in return for suckling on their youth, more than money or maternal support they offer a kind of knowing sexual and professional wisdom. But there's no comparison beyond that because unlike Ashton, Burt was/is a real man. And here on Larry King he's being more emotional than Shore was, and that's why it's so brave, why it brings me almost to my knees to read that interview above because it reminds me of something our 21st century man has yet to find. Male sensitivity now is inescapable, and therefore worthless. What once was manly grace is now just passive-aggressive snickering boy nonsense wrapped in high-voiced ectomorphic pretentiousness. Dinah would bitch slap the lot of them, while Burt cracked up in the background, and because she's not here to do it, we all mourn. (more)

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1. I should add I'm very unnerved by Kristofferson when he's clean shaven. I know laudable critics from Kim Morgan to David Thomson love the naked faced KK in films like PAT GARRETT AND BILLY THE KID and CISCO PIKE... maybe I will too, one day.

Coolest Couples #4: Burt Reynolds and Dinah Shore

Couples are, let's face it, rarely cool.  Am I right? Come on, ladies, raise your hands. Even if the two of you are cool to begin with, and promise yourselves not to make all the same mistakes and become your own father or mother, things can quickly turn uncool. You must be firm as Cialis and yet supple as a cedar riding crop otherwise you will surely weaken and crack under the lashing magnetic polarity of the other. So the couples stay at home more, raise each other's kids, and, the next time we see them, they've gone cheerful on us.

But when a couple really clicks in the right way--as two cool people making each other cooler--then they're more than the sum of their parts; they shine forth and make the world a better place. Acidemic is proud to present a new series "Coolest Couples" - focusing on the few awesome Hollywood matches. We'll start with one of my very favorites, from my childhood:

He was the 1970s embodied: an archetype of mustached, swaggering, Trans-Am driving, curse word-using, raunchy good old boy with a heroic heart when push comes to shove. She was an afternoon TV show host, former radio star and sweet-natured blonde singer from the 1950s-60s. Two less likely candidates for a genuine bona fide no-nonsense "til the wheels come off" love affair you'd never find, but don't doubt their love wasn't real and heartfelt. Read this from PEOPLE magazine:

Burt Reynolds is the star you hate to love. Artistically, he is the male Raquel Welch. His only innovative breakthrough has been as Cosmo's first centerfold, stripped to his hairpiece. His lifestyle and costuming are studiously vulgar. When a visitor is startled to silence by the overpowering tastelessness of his Sunset Strip pad, Burt agrees cheerily, "It looks like a bullfighter threw up in here, doesn't it?"

That sense of self-parody makes the rest of Reynolds' macho malarky bearable, if not ingratiating. And he does have a certain redeeming social value. Stardom, for example, never interrupted his friendship with the old Southern buddies he keeps casting in his TV shows and pictures. He just staged a fund-raising benefit and personally kicked in $50,000 to alma mater Florida State U. (where he dropped out in his sophomore year). He has set up his parents in his lush 180-acre Florida ranch that once belonged to Al Capone. He is on best of terms with his ex-wife, Judy (Laugh-In) Carne. And finally, Burt is, in his fashion, affectingly loyal to his new old lady—19 years older—Dinah Shore. (People 10/28/74)

 I've been looking all over youtube for the footage of their graceful reunion on the Dinah Shore Show a few years after they'd split up. I remember seeing it on TV with my mom one afternoon after school and being moved by the sincerity with which Burt--the alleged womanizing macho brawler--professed not only love and loyalty but admiration, trust, and everlasting friendship to this woman who then and now looked a lot like my mom. Both Burt and Dinah are professional enough that they don't actually cry on the show, they just talk openly, hesitantly but proudly, and hold hands, and it's so intimate and nice and slightly tacky in the 70s tradition, right there on live television, with other guests gathered around on both sides of them, that it's one of the truest moments ever I witnessed. Even then, as a child, from the TV distance, I felt connected to their love and its loss, concerned for all the strikes against them: their age and differing fan bases, the fickleness of changing styles and how relentlessly each had to adapt to keep their finger on the pulse public, and seeing them pull it off with such grace my faith in love as a uniting force in a fractured world was renewed. After it was over, I resumed trying to throw myself downstairs to get out of soccer practice with renewed vigor.

Let me just close with this bit of an interview Reynolds did with Larry King in 2000 on CNN. With his usual direct poetic-realist elegance, Reynolds sums up a beautiful and courageous women with a few touching, but unsentimental words:

KING: Then "Deliverance" of course made you, right?

REYNOLDS: "Deliverance" changed -- totally changed my life. And I met a person, a woman, a love, friend that -- who is crazy for you, and I know you were -- Dinah.
KING: You met her during the filming of that? Or...
REYNOLDS: Right after that. And she was such an inspiration in terms of making me believe that this sheriff's son could understand that -- about art and maybe do some art and maybe understood a little bit about me, introduced me to Chet Baker and jazz and Chagall.

KING: (...)The thing with Dinah Shore, was it -- was that -- you know, people would read about the age difference. Was that love from the start? Was that romance?
REYNOLDS: Yes.
KING: It was?
REYNOLDS: But I swear to you, I never -- and I don't right now, if I was under oath. I never knew her age, never cared about that. It never entered my mind. She was just this extraordinary person. And you know, you'd say, "Well, what about Hitler?" And she'd say, you know, "very good house painter." I mean, she had nothing unkind to say about anybody. I mean, you -- and I'm sure there were rough, rough times for her. I never heard about them. All I heard about was -- there was an interesting story. You may know this story. But it's a great story about when she kissed Nat King Cole on "The Show of Shows."
KING: Never been done.
REYNOLDS: Never been done.

KING: Black and white kissing on television.
REYNOLDS: African-American never white person kissing: 28 affiliate stations in the South dropped her show. And they said, well, what are you going to do? And she said: "Well, next week I'll just (UNINTELLIGIBLE). And the following week I'll kiss Sidney Poitier." And then the following week -- and she did! And you know what? They all came back. That was her way of doing it. And it was right for her and it worked.
KING: Why didn't you get married?
REYNOLDS: I wanted to marry her; I really did. That was her.
KING: And she didn't want to?
REYNOLDS: No, I think she kind of thought that, and rightly so, that I hadn't, you know, done all the crazy things that I was about to do in my life.
KING: Sowed all of your oats?
REYNOLDS: Yes, I suppose that's the saying we would say. I don't know how they would express that in -- yes, I hadn't -- I hadn't sowed them. I hadn't even found them. But I did.
KING: Do you think she was right?
REYNOLDS: I suppose. I suppose she was.
KING: Were you close at the end of her life?
REYNOLDS: Yes, very, very.
KING: Did you know she was ill?
REYNOLDS: Yes, yes. She didn't -- not because she said anything, but she asked me to come over, and when I saw her, I knew something was very wrong. Never talked about it, never discussed it. We just talked about a million laughs that we had.
KING: How did you find out she died?
REYNOLDS: I think I got a phone call -- I know I got a phone call from someone, and I just -- it just put me right on my knees, still does. I mean, I think of her all the time, in terms of truly a great friend. I could talk to her about anything...

 

 (read the rest of the interview here)

See, that's the thing. We can see dim shades of it in Demi Moore and Ashton, but with them it's far more about, or seems about, two insecure narcissists desperate to connect. Ashton now and Burt in 1974 have a certain immature rawness in common where you could understand an older woman going for it, because she knows she has something worthwhile to give them back, more than money or maternal support, a kind of medium heat that will harden and shape that raw material into something. But there's no comparison beyond that because unlike Ashton, Burt was/is a real man. And here on Larry King he's being more emotional than Shore was on her show, and that's why it's so brave, why it brings me almost to my knees to read that interview above, incoherent as Burt may be, because it reminds me there's something missing, something our 21st century man has yet to find. Male sensitivity now is inescapable, so it's become worthless. Once it was the gentle cracking of a hard macho shell due to a bursting heart full of a love beyond mere sentiment and gushing mawkery. Today sensitivity comes wrapped not in macho hardness butt passive-aggressive snickering boy nonsense or high-voiced ectomorphic pretentiousness. Dinah would bitch slap the lot of them, while Burt cracked up in the background, and because she's not here to do it, we all mourn.

Semi-Great Dads of the 1970s #2: Kris Kristofferson in SEMI-TOUGH (1977)

Dad in this case can loosely encompass older brother and Cool Drunken Friend of Your Father (CDFYF) figures... for Kris Kristofferson is not exactly in responsible father mode as Burt Reynold's football teammate, recently EST-enlightened quarterback and DESIGN FOR LIVING-style menage-a-trois member in SEMI-TOUGH. But, he's still warm, tough and dependable.

I recently re-watched the film (after 20 years) and was shocked at how badly its blocked and paced. Sloppy stuff these redneckish Reynolds vehicles, the 1970s equivalent of our Adam Sandler/Judd Apatow "crank 'em while they're hot" sports/sex satires. The cool thing about SEMI-TOUGH is that it's made in 1977, so unlike the Apatow/Sandler age of Puritan inhibitions masked by potty talk bravado, people do actually have sex, lots of it, with no guilt or pregnancies. Hell, we even see Reynolds--then "the world's sexiest man"-- resign himself to the "large fan," (Mary Jo Catlett), by virtue of default. Burt's characters horny, used to bedding a random fan at hotel bars after games, and she's the only one left. Hell, he still gives her the full measure of his charm, and even some warmth.

Most dudes would just call it quits; Burt's ability to even want to keep the lights on while getting busy with her in his hotel room shows he's no diva; his sexual appetites have turned him more into a European style swinger, where they enjoy having sex more than bragging about it. Imagine if Adam Sandler ever shagged a girl less attractive than he was! Horrifying, but deserved; yet even as a monosyllabic glassy-eyed idiot manchild he scores off babes like Winona Ryder and Christina Applegate.

But mainly, sloppy sex comedy chaos or no, Kristofferson shines, allowed to radiate all his Christlike calm and country rock mellow. A beacon of 1970s suave, his character's been converted to a new age path shortly before the film begins; one of the largely forgotten 'encounter group' weekend intensive workshop fads of the 1970s-- EST. As a result, everything he does is... "perfect."

Which brings me to the key scene that gets Kristofferson the Semi-Great Dad #2 nomination: The party scene where T.J. Lambert (Brian Dennehy), the misogynistic creep linebacker has gone nuts and is holding some bikini-clad chick from the party over the second story balcony, threatening to drop her on the concrete below, no doubt for rebuffing his date rape advances. No one knows how to talk him down and get him to pull the girl back up, but Kristofferson does; he calmly climbs up onto the roof and goes to stand next to Dennehy and just looks at him with love shining in his Kristofferson-blue eyes. "If you want to drop her, if that's right for you, go ahead," he tells Dennehy. "Because you're perfect." Dennehy's oaf--so used to abuse and ugliness--is so moved, realizing someone finally thinks he's perfect, he pulls the girl up and is all friendly and apologetic to her --his first step free of the trap of misogyny/self-hatred, all just because of Kristofferson's perfect faith.

I can't imagine any actor of the era pulling this hat trick off as well as Kristofferson. In fact, I've talked more than one person off a ledge of one sort or another (in my LSD guru days) by imitating Kristofferson in this scene. He's just mellow and laconic enough to be able to say that sort of stuff without having to put hipster italics on it to keep from sounding corny or square.

But how can we condone a man who condones violence in others just because it's "their trip?" Well, see, a great dad has faith in his kid, and in his own ability as a father. He assumes the role of a benevolent authority figure, which is such a rarity these days we may even have forgotten what that means. It means "through me, thou art good." This is, ultimately, the true meaning of non-violent resistance, or "turning the other cheek." Even in the sense of actively engaging in combat this can still be practiced. One can bestow blessings on one's enemy even as one twists the knife into their heart (i.e. the German killing Adam Goldberg with a gentle shhhh in SAVING PRIVATE RYAN).

The "loving" violence concept was huge in the 1970s, especially, as I've noted before, in Burt Reynolds movies like SEMI-TOUGH, SMOKEY AND THE BANDIT, HOOPER, great shit like SLAPSHOT, BAD NEWS BEARS, etc. This was the age when Monday Night Football became bigger than any televised sport ever and the media was shocked by its Roman barbarity. The screens were alight with bloodless bar fights, where chairs break easy over heads, and people fly through storefront windows with the carefree abandon of a kid jumping into a summer lake. Everyone makes up outside in the parking lot, their macho fury soothed by the high only a mix of alcohol and sharp hits to the head can provide.

The 1970s dad was peaceful enough to understand the need for these sorts of outlets for his children and friends. In our more "enlightened" times kids aren't allowed to have realistic looking toy guns; no one is allowed to fight or have raunchy sex without the compulsive need to boast, overthink, drain the spontaneous joy out of it, and feel guilty afterwards. For all it's tossed-off clumsiness, SEMI-TOUGH is a rare document revealing that if only for a decade, Americans lived like Europeans do now.

So here's to Kristofferson, the mighty. Hell, he is such the man that he even manages to make his biker rapist character in BRING ME THE HEAD OF ALFREDO GARCIA sympathetic. God DAMN. His is the mix of charisma and humility that tempers all judgment against him. Here's the kind of a man that you could get in a knockdown fight with but then you'd go get a beer together afterwards and know he was your friend for life. Kristofferson, in short, is the ideal 1970s older brother, which is why he's only a "Semi-Great" 70s dad, but still...by any stretch of the cinematic imagination... perfect.