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The Kid Stays in the Picture, by Robert Evans
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From Publishers Weekly
Major movie producer Evans, self-described "bad boy of Hollywood," sums up his lifelong personal style succinctly in his memoir's last line: "Resolve: Fuck 'em, fuck 'em all..." Chronicling his high-drama life, Evans paints a riveting, self-promoting picture of his 30-year career in the film industry, from his 1956 debut in Man of a Thousand Faces to his lengthy stint, beginning in 1967, as the head of Paramount Pictures, where he oversaw the production of such cinematic hits as Barefoot in the Park; The Odd Couple; Goodbye, Columbus; Harold and Maude; Rosemary's Baby; The Godfather; Love Story; and Chinatown. In a predictably confident, often feisty tone, Evans describes his rise, fall and what he calls his recent return to the upper echelons of Tinseltown power, as he recalls personal encounters with, and memories of, such show-biz brand names as Errol Flynn, James Cagney, Jack Nicolson, Mia Farrow, Mike Todd, Francis Ford Coppola and two of his wives, Ali MacGraw and Phyllis George. Offering a real insider's view of Hollywood, Evans's memoir is easily worth the price of admission. Copyright 1994 Reed Business Information, Inc.
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From the Back Cover
Far more expansive than You'll Never Eat Lunch in This Town Again, The Kid Stays in the Picture by Hollywood giant and legendary "bad boy" Robert Evans is an intimate and fascinating account of his rise, fall, and rise again in show business that makes for a harrowing read. From his early days in radio to popularizing "women in pants" as part of Evan-Picone, to being "discovered" by Norma Shearer and Darryl Zanuck, to, bizarrely enough, becoming the first actor to ever run a motion picture studio, this is a page-turning autobiography more gripping than fiction at its best. Under Evans's aegis, Paramount Pictures went from the cellar to the penthouse, with such movies as The Odd Couple, Rosemary's Baby, Love Story, The Godfather, and Chinatown. An extraordinary raconteur, Evans spares no one, least of all himself. From Errol Flynn, Ava Gardner, and Jimmy Cagney to Jack Nicholson, Warren Beatty, and Sharon Stone, here is Hollywood, revealed as never before. Gambling with Mike Todd; fighting Francis Coppola; cajoling Mia Farrow and Faye Dunaway; on the hot seat with Charles Bluhdorn and Stanley Jaffe, Robert Evans, the producer's producer, has seen and done it all. Laced throughout this roller-coaster read are his fascinating liaisons with some of the world's most beautiful women, including his marriage and divorce to Ali MacGraw and Phyllis George. The Kid Stays in the Picture not only chronicles Hollywood's last half century, but its second golden age as well. This is a man whose life journey unfolds far more adventurously than any of the films he's produced. His candor is shocking: the lurid dark years of the '80s; his cocaine arrest; his implication in what were dubbed the "Cotton ClubMurders"; his thoughts of suicide; his self-committal and escape from a mental institution. And lastly, the impossible! Being back in the catbird seat of power, once again sending shock waves through Hollywood and the world. Already hailed by Variety as "one of the best Hollywood memoirs ever published", The Kid Stays in the Picture is one life story you'll never forget.
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Product details
Hardcover: 412 pages
Publisher: Hachette Books; 1st edition (September 8, 1994)
Language: English
ISBN-10: 0786860596
ISBN-13: 978-0786860593
Product Dimensions:
6.1 x 9.2 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
234 customer reviews
Amazon Best Sellers Rank:
#370,696 in Books (See Top 100 in Books)
This book was clearly written by Joe Ezsterhas for Robert Evans ... It reads very similar to Ezsterhas' own memoir Hollywood Animal which was written years later.It is a very interesting and self excoriating account from Bob Evans' own mouth about how he became one of Hollywood's most influential players ... Ever.Having known many people who worked with Bob Evans during his time at the top of the Hollywood food chain, this book humanizes him and shows a softer side than you will hear from those who were actually in the trenches which Evans commanded. To say that Evans lived a life of decadence is the mildest of understatements. While the book dishes the dirt ... Some of it reads as though a Public Relations firm put it together to soften the edges of one of the most hedonistic 'carnal-vores' ever to roam The Hollywood Hills.For fans of 1960s-1970s film, this tells a lot of the stories behind such pictures as Love Story, The Godfather, Chinatown, etc. It does a good job of showing just how many problems a producer has to deal with and includes a bevy of characters such as Dustin Hoffman, Francis Ford Coppola, Warren Beatty, Jack Nicholson, Sidney Korshak and a ton of executives who were once the kings of Hollywood and household names bigger than Coke or Pepsi but now mean nothing to those who weren't there at the time.Evans may not be as relevant as he was to the scene but the man was responsible for saving Paramount, making some of the best known movies in history and (by his own accounts) bedding some of Tinseltown's top starlets.This is a page turner. While Evans does tend to self depricate ... I am sure there are other sides to every story. The thing that most surprised me about the book is that while Evans is a shamess self promoter and horn blower, the book doesn't seem to brag as much as I thought it would. Instead it tells the tale of Hollywood excess and the often clichéd, 'Be careful what you wish for as you might actually get it' line.I can't say that I'd ever want to be married to or related to Bob Evans after reading the book ... But I wouldn't mind him advising my career if even half of the producing stories he tells are accurate.This is a great read and I'd recommend it toanyone who even has a remote interest in the inner workings of Hollywood.
I almost quit reading this book after about 10% through, as it was all about how Evans was such a handsome Jewish boy at the age of 14, that he conquered countless (although he names more than a few) shiskas. This theme is carried throughout the book, and one learns to just tune it out. He doesn't seem to understand the term "callous", which fits him quite nicely. Even when he disparages about his bad luck, he is bragging about himself. For instance, he dickered down the price of a Monet "Lilly Pond" painting to under 400,000. Then backed out of the deal, lost the money, and bemoans the fact that years later the painting sold for over 30 million dollars. Gee, tough luck kid. If you like reading about someone who flatters himself even while seeming to be self-deprecating, this book is for you. The scandal around the "Cotton Club' murder is still unresolved, although Evans believes the reader will absolve him of any complicity. Good luck with that.
Robert Evans is one of those larger than life characters that the film business produces, a man who insisted upon writing this screenplay in the form of a memoir in which he was the hero of his own life. As you read the text of the scenario, you can't help but wonder how much of this saga is true, half true, or completely invented. I suspect that even the author could not tell you. Nevertheless it makes for a terrific movie. The film's hero, of course,chooses to leave out or minimize some of less sympathetic but well publicized acts of real life, and glamorize others. It is typical of such self-serving stories in which the Hollywood hero admits to being a thoroughly rotten but sexy human being--blame it here on cocaine--that he must also try to convince us that despite his horrendous behavior to everyone around him, he was always the perfect loving father. I wonder what his son thinks.There is no doubt that when Evans first ran Paramount in the early Bludhorn years he took a chance on many scripts and directors that no one else would touch, and he deservedly takes credit for their great success. However, if you look at a lifetime's batting average, the projects that were truly his, the score is very low. In life unlike the movies, Evans was no more or less a hero or genius than so many others whose inflated egos we meet on these pages. If you'd like another view, perhaps a truer one of what it was really like back then, read Peter Biskind's "Raging Bulls," etc. about the same bunch. Not a very likable group of guys, by and large, and surely not as talented as they all thought they were then, as time has shown, but there's no arguing that once upon a time Evans and his pals did make some very good films along with all the messes they made of things ...people as well as films.
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