Salinger - Official Trailer (HD)
- Thread starter Steve Williams
- Start date
World weary ennui of genius, chain smoking kids. Precocity doesn't have quite the same ring it used to, but the movie looks interesting.
Myles, Myles, Myles,
Why on earth are you reading anything in the Huffington Post? Isn't that tabloid already banned in 4 states?
Marty
Why on earth are you reading anything in the Huffington Post? Isn't that tabloid already banned in 4 states?
Marty
Myles, Myles, Myles,
Why on earth are you reading anything in the Huffington Post? Isn't that tabloid already banned in 4 states?
Marty
Yes, Texas, Florida, Louisiana and Oklahoma
Film on Salinger Claims More Books Are Coming
By MICHAEL CIEPLY and JULIE BOSMAN, NY Times
LOS ANGELES — J. D. Salinger may not be done publishing after all, according to claims in a new film and book set for release next week.
But a forthcoming documentary and related book, both titled “Salinger,” include detailed assertions that Mr. Salinger instructed his estate to publish at least five additional books — some of them entirely new, some extending past work — in a sequence that he intended to begin as early as 2015.
The new books and stories were largely written before Mr. Salinger assigned his output to a trust in 2008, and would greatly expand the Salinger legacy.
One collection, to be called “The Family Glass,” would add five new stories to an assembly of previously published stories about the fictional Glass family, which figured in Mr. Salinger’s “Franny and Zooey” and elsewhere, according to the claims, which surfaced in interviews and previews of the documentary and book last week.
Another would include a retooled version of a publicly known but unpublished tale, “The Last and Best of the Peter Pans,” which is to be collected with new stories and existing work about the fictional Caulfields, including “Catcher in the Rye.” The new works are said to include a story-filled “manual” of the Vedanta religious philosophy, with which Mr. Salinger was deeply involved; a novel set during World War II and based on his first marriage; and a novella modeled on his own war experiences.
For decades, those in touch with Mr. Salinger have said that he had continued to write assiduously, though he stopped publishing after a long story, “Hapworth 16, 1924,” appeared in The New Yorker. But no one had made so detailed a public claim that Mr. Salinger had left extensive posthumous publishing plans.
Matthew Salinger, who is Mr. Salinger’s son, and shares responsibility for the Salinger estate with Colleen O’Neill, the author’s widow, declined to discuss plans or the book and film. He said Ms. O’Neill, who did not respond directly to a separate query, would also decline to comment.
In an interview earlier this year, Matthew Salinger said he was skeptical that the planned book and documentary would deepen public understanding of his father, who, he said, for decades had confined his intimate dealings to a small circle of seven or eight people.
The documentary is directed by Shane Salerno, a filmmaker who spent nine years researching and filming the movie that is set for release by the Weinstein Company on Sept. 6, and will air later on PBS in the American Masters series. The companion book, co-written by David Shields, is to be published by Simon & Schuster on Sept. 3.
Speaking in his Los Angeles office on Saturday, Mr. Salerno pointed to tables and shelves filled with previously unpublished photographs, hundreds of letters and even a handwritten World War II diary that belonged to one of Mr. Salinger’s lifelong friends, a now-deceased fellow soldier named Paul Fitzgerald.
“If that’s not the inner circle, I don’t know what is the inner circle,” Mr. Salerno said.
His understanding of the publishing plans, Mr. Salerno said, took shape “fairly late” in his research.
The book and film attribute the detailed account of the plans to two anonymous sources, both of whom are described in the book as being “independent and separate.” Mr. Salerno declined to elaborate, other than to describe them as people who had not spoken to each other, but knew of the plans.
“The credibility of the last chapter,” Mr. Salerno said of a final summary of publishing prospects, entitled “Secrets,” “is in the 571 pages that preceded it.” Mr. Salerno noted that he initially had some cooperation from members of the Salinger family, but they later withdrew support.
The book and film have been marketed with the promise of revelations about Mr. Salinger, whose penchant for privacy became a hallmark. Last week, Weinstein and Simon & Schuster began a promotional campaign that includes a poster image of Mr. Salinger with a finger to his lips, beneath an admonition: “Uncover the Mystery but Don’t Spoil the Secrets!” The book, a 698-page companion to the film, is written in an oral history style with snippets of text from dozens of people who were interviewed for the project.
Jonathan Karp, the publisher of Simon & Schuster, said in an interview on Saturday that the book was “a major journalistic feat.”
“He did rely on some anonymous sources, and I’ve talked to him about that,” said Mr. Karp. “I believe that his sourcing is strong on the basis of all of the on-the-record sourcing that is unimpeachable.”
Mr. Karp said of the “big reveal” of the unpublished manuscripts, “if and when this happens, I would expect it to be one of the biggest publishing events of the year, if not the decade.”
Together, the film and book provide a highly detailed, if somewhat unconventional, tour through the life of an author who landed with the Allied invasion of Normandy in World War II, was among the first to enter the Kaufering IV death camp during his service with counterintelligence troops, suffered mental collapse, then returned to the United States — with a German wife, Sylvia Welter — where he found literary fame.
Among their more tantalizing revelations, Mr. Salerno and Mr. Shields provide little-known details and photographs of Mr. Salinger’s first wife, Ms. Welter, a German citizen who married him after World War II. At the time, in 1945, Mr. Salinger was working as a counterintelligence agent investigating Nazis who were in hiding.
But the book notes suspicious elements of Ms. Welter’s life that suggest she may have been an informant for the Gestapo, a possibility that surfaced among Mr. Salinger’s friends in the post-War era. The marriage would not last. Weeks after the newlyweds returned to the Salinger home in New York, “she found an airline ticket to Germany on her breakfast plate.”
Another relationship described in the book and film will provide plenty of intrigue to Salingerologists: after the war, Mr. Salinger met a 14-year-old girl, Jean Miller, at a beach resort in Florida. For years, they exchanged letters, spent time together in New York and eventually had a brief physical relationship. (She said, in an interview in the film and book, that Mr. Salinger dumped her the day after their first sexual encounter.) Ms. Miller said in the book that Mr. Salinger once saw her stifle a yawn while talking to an older woman and borrowed the gesture for one of his short stories, “For Esmé — With Love and Squalor.”
“He told me he could not have written ‘Esmé’ had he not met me,” Ms. Miller said in an interview in the book.
For Mr. Salerno, the near-simultaneous release of both film and book culminate a quest that took him far from his occupation as a Hollywood screenwriter of films like “Savages” and the upcoming set of sequels to “Avatar.”
Mr. Salerno said he did not expect Little, Brown and Company, which published “Catcher,” would necessarily be the publisher of future works. (The publisher declined to comment.) He said he believed Mr. Salinger’s estate has the right to place them with another publishing house.
“He’s going to have a second act unlike any writer in history,” said Mr. Salerno. “There’s no precedent for this.”
By MICHAEL CIEPLY and JULIE BOSMAN, NY Times
LOS ANGELES — J. D. Salinger may not be done publishing after all, according to claims in a new film and book set for release next week.
But a forthcoming documentary and related book, both titled “Salinger,” include detailed assertions that Mr. Salinger instructed his estate to publish at least five additional books — some of them entirely new, some extending past work — in a sequence that he intended to begin as early as 2015.
The new books and stories were largely written before Mr. Salinger assigned his output to a trust in 2008, and would greatly expand the Salinger legacy.
One collection, to be called “The Family Glass,” would add five new stories to an assembly of previously published stories about the fictional Glass family, which figured in Mr. Salinger’s “Franny and Zooey” and elsewhere, according to the claims, which surfaced in interviews and previews of the documentary and book last week.
Another would include a retooled version of a publicly known but unpublished tale, “The Last and Best of the Peter Pans,” which is to be collected with new stories and existing work about the fictional Caulfields, including “Catcher in the Rye.” The new works are said to include a story-filled “manual” of the Vedanta religious philosophy, with which Mr. Salinger was deeply involved; a novel set during World War II and based on his first marriage; and a novella modeled on his own war experiences.
For decades, those in touch with Mr. Salinger have said that he had continued to write assiduously, though he stopped publishing after a long story, “Hapworth 16, 1924,” appeared in The New Yorker. But no one had made so detailed a public claim that Mr. Salinger had left extensive posthumous publishing plans.
Matthew Salinger, who is Mr. Salinger’s son, and shares responsibility for the Salinger estate with Colleen O’Neill, the author’s widow, declined to discuss plans or the book and film. He said Ms. O’Neill, who did not respond directly to a separate query, would also decline to comment.
In an interview earlier this year, Matthew Salinger said he was skeptical that the planned book and documentary would deepen public understanding of his father, who, he said, for decades had confined his intimate dealings to a small circle of seven or eight people.
The documentary is directed by Shane Salerno, a filmmaker who spent nine years researching and filming the movie that is set for release by the Weinstein Company on Sept. 6, and will air later on PBS in the American Masters series. The companion book, co-written by David Shields, is to be published by Simon & Schuster on Sept. 3.
Speaking in his Los Angeles office on Saturday, Mr. Salerno pointed to tables and shelves filled with previously unpublished photographs, hundreds of letters and even a handwritten World War II diary that belonged to one of Mr. Salinger’s lifelong friends, a now-deceased fellow soldier named Paul Fitzgerald.
“If that’s not the inner circle, I don’t know what is the inner circle,” Mr. Salerno said.
His understanding of the publishing plans, Mr. Salerno said, took shape “fairly late” in his research.
The book and film attribute the detailed account of the plans to two anonymous sources, both of whom are described in the book as being “independent and separate.” Mr. Salerno declined to elaborate, other than to describe them as people who had not spoken to each other, but knew of the plans.
“The credibility of the last chapter,” Mr. Salerno said of a final summary of publishing prospects, entitled “Secrets,” “is in the 571 pages that preceded it.” Mr. Salerno noted that he initially had some cooperation from members of the Salinger family, but they later withdrew support.
The book and film have been marketed with the promise of revelations about Mr. Salinger, whose penchant for privacy became a hallmark. Last week, Weinstein and Simon & Schuster began a promotional campaign that includes a poster image of Mr. Salinger with a finger to his lips, beneath an admonition: “Uncover the Mystery but Don’t Spoil the Secrets!” The book, a 698-page companion to the film, is written in an oral history style with snippets of text from dozens of people who were interviewed for the project.
Jonathan Karp, the publisher of Simon & Schuster, said in an interview on Saturday that the book was “a major journalistic feat.”
“He did rely on some anonymous sources, and I’ve talked to him about that,” said Mr. Karp. “I believe that his sourcing is strong on the basis of all of the on-the-record sourcing that is unimpeachable.”
Mr. Karp said of the “big reveal” of the unpublished manuscripts, “if and when this happens, I would expect it to be one of the biggest publishing events of the year, if not the decade.”
Together, the film and book provide a highly detailed, if somewhat unconventional, tour through the life of an author who landed with the Allied invasion of Normandy in World War II, was among the first to enter the Kaufering IV death camp during his service with counterintelligence troops, suffered mental collapse, then returned to the United States — with a German wife, Sylvia Welter — where he found literary fame.
Among their more tantalizing revelations, Mr. Salerno and Mr. Shields provide little-known details and photographs of Mr. Salinger’s first wife, Ms. Welter, a German citizen who married him after World War II. At the time, in 1945, Mr. Salinger was working as a counterintelligence agent investigating Nazis who were in hiding.
But the book notes suspicious elements of Ms. Welter’s life that suggest she may have been an informant for the Gestapo, a possibility that surfaced among Mr. Salinger’s friends in the post-War era. The marriage would not last. Weeks after the newlyweds returned to the Salinger home in New York, “she found an airline ticket to Germany on her breakfast plate.”
Another relationship described in the book and film will provide plenty of intrigue to Salingerologists: after the war, Mr. Salinger met a 14-year-old girl, Jean Miller, at a beach resort in Florida. For years, they exchanged letters, spent time together in New York and eventually had a brief physical relationship. (She said, in an interview in the film and book, that Mr. Salinger dumped her the day after their first sexual encounter.) Ms. Miller said in the book that Mr. Salinger once saw her stifle a yawn while talking to an older woman and borrowed the gesture for one of his short stories, “For Esmé — With Love and Squalor.”
“He told me he could not have written ‘Esmé’ had he not met me,” Ms. Miller said in an interview in the book.
For Mr. Salerno, the near-simultaneous release of both film and book culminate a quest that took him far from his occupation as a Hollywood screenwriter of films like “Savages” and the upcoming set of sequels to “Avatar.”
Mr. Salerno said he did not expect Little, Brown and Company, which published “Catcher,” would necessarily be the publisher of future works. (The publisher declined to comment.) He said he believed Mr. Salinger’s estate has the right to place them with another publishing house.
“He’s going to have a second act unlike any writer in history,” said Mr. Salerno. “There’s no precedent for this.”
Greetings from Telluride. Today was the last day of the Telluride Film Festival and true to form, the festival surprised us with some great sneak previews. If you know the TFF, you know that many of the "TBA" showings are not revealed until 3 am the day before. We woke up this morning to see that a sneak preview of Salinger was going to be shown today.
I am not a rabid documentarian, but this was an extraordinary, engaging, gripping, fascinating and entertaining masterpiece that was 9 years in the making. The story holds your attention from the beginning to the end. My only regret is not re-reading Catcher in the Rye before watching the film. And that was only because I wasn't fortunate enough to have anyone tell me to do that in advance. However, that is my suggestion to prospective viewers as I am sure you would get a great deal more out of the film if you did. It was also a great pleasure to see this in a theater that was tailored to the Hollywood crowd. By that I mean the digital print and the sound system was simply A+ and exceeded anything I am used to seeing in my local AMC theater. Oh, I should also mention that tomorrow and for the next 361 days, the theater reverts to what it is normally, a gymnasium. That's right, the theater (and I mean soup to nuts from projection and sound to seating and lighting and wall treatments, are put away in storage for a year, and re-assembled next year at the same venue for the next TFF. The same is true of the new Herzog theater which reverts back to the Town Park skating rink tomorrow, although that gear is also shared by the Sundance Festival. Extraordinary alchemy to say the least.
I am not a rabid documentarian, but this was an extraordinary, engaging, gripping, fascinating and entertaining masterpiece that was 9 years in the making. The story holds your attention from the beginning to the end. My only regret is not re-reading Catcher in the Rye before watching the film. And that was only because I wasn't fortunate enough to have anyone tell me to do that in advance. However, that is my suggestion to prospective viewers as I am sure you would get a great deal more out of the film if you did. It was also a great pleasure to see this in a theater that was tailored to the Hollywood crowd. By that I mean the digital print and the sound system was simply A+ and exceeded anything I am used to seeing in my local AMC theater. Oh, I should also mention that tomorrow and for the next 361 days, the theater reverts to what it is normally, a gymnasium. That's right, the theater (and I mean soup to nuts from projection and sound to seating and lighting and wall treatments, are put away in storage for a year, and re-assembled next year at the same venue for the next TFF. The same is true of the new Herzog theater which reverts back to the Town Park skating rink tomorrow, although that gear is also shared by the Sundance Festival. Extraordinary alchemy to say the least.
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