THE KID STAYS IN THE PICTURE

“There are three sides to every story: my side, your side, and the truth. And no one is lying.” – Robert Evans.

Hollywood readers liked this guided tour through one of the most central careers in the Hollywood history, but the movie adaptation, narrated by the man himself, only suggests the depths to which he could crash. A masterful collage in chronological order, over-voiced with the wit and brashness of the head of Paramount Pictures, the film entertains the cinephile and inspires the would-be Hollywood mogul. Historians will enjoy the treatment of a life in full-color, albeit without critical perspective. Even the nostalgia lover will savor the memories provoked.

Born to a Jewish New York family that changed its name to Evans and started a ladies slack business with a tailor named Picone, young Robert had already launched a career in radio, when he was discovered by Hollywood. In 1956, while in Beverly Hills for Evans-Picone, the young millionaire was approached by Norma Shearer to play her late husband, Irving Thalberg (legendary head of MGM), in a movie opposite James Cagney. The success of the film led to another in which he had to play a bull-fighter. Despite Evans’s months of studying bull-fighting, Ernest Hemingway did not want him to have the part. Arranging a display of his new skills in the arena, Evans played to the admiring crowd and the visiting studio head. The next day Darryl Zanuch announced his choice, “The kid stays in the picture!” From that day in 1957, Bob Evans has stayed in the picture, successfully leading one of the biggest studios and bringing to film many outstanding smash-hits.

After a couple of disappointing roles, Evans jumped to production at a very opportune time. His work on 20th Century Fox’s THE DETECTIVE which was praised by a New York Times reporter brought him to the attention of Charles Bludhorn. Gulf and Western, developed by Bludhorn through acquisitions to a conglomerate giant, had purchased the #9 studio, the aging Paramount Pictures, for little more than diversification needs. Through a shakeup at the studio, Bludhorn made Evans the chief of production in 1966, a position he recklessly enjoyed until 1977. His list of pacesetting cinemas includes THE ODD COUPLE (1966), ROSEMARY’S BABY (1968), TRUE GRIT (1969), LOVE STORY (1970) and THE GODFATHER (1972). When Evans moved on to producing in his own right on the Paramount lot, the studio had arrived at the top of the studios. His independent work then included the Godfather sequels, CHINATOWN (1974), URBAN COWBOY (1980), and POPEYE (1980). However, his pre- and post-productions problems on THE COTTON CLUB (1984) joined with demons in his personal life to bring down Hollywood’s “Golden Boy.” He had fallen for Ali Mac Graw, his female lead in LOVE STORY, and married her quickly, producing a son who now produces. His neglect of family love and his love for drugs ended his marriage and his career. He would be married and divorced four more times.

Few people have risen so fast and produced so much success in moviedom as Bob Evans. His friends and girls include the most renowned names in the industry. His life-style and Beverly Hills mansion were the envy of millions, but his obsessions with production and pleasure brought him down. Implicated in a cocaine bust and suspected of complicity in the Cotton Club murder, Evans became a leper at the gate.

Overcoming his demons, with some spiritual assistance — not mentioned in the movie — Evans would begin a comeback in 1991. Aided by another shakeup at Paramount, he would regain his individual production rights at Paramount and start work on SLIVER (1993) and THE SAINT (1997). Meanwhile Evans was working on recording this auto-biography that is now coming to screen. So at this time “the Kid stays in the Picture”!

In their movie of Evans life, producer-directors Brett Morgen and Nanette Burstein have been aided by numerous clips and stills from the archives of Hollywood, plus the handsome appearance and witty commentary of the main character. What’s not to like? The American Dream comes true, only to be ruined by personal pride and pleasure-seeking to a fault.

Although the movie has a fatalistic, humanist worldview, it contains some clear moral themes. Regrettably, however, there are scenes of sex, violence and nudity from some of Evans’s movies, as well as many obscenities.