I don’t have a particular fondness for Michael Douglas. Yet, he’s been in my life as far as I can remember, beginning with THE STREETS OF SAN FRANCISCO on TV. He was a key star in my formative early film-going years and I saw all his hits (ROMANCING THE STONE, THE WAR OF THE ROSES etc). Is there an actor who’s starred in more zeitgeist water-cooler movies that sparked national conversations (THE CHINA SYNDROME, FATAL ATTRACTION, BASIC INSTINCTS, WALL STREET, FALLING DOWN, DISCLOSURE, TRAFFIC? He’s a notable producer as well (ONE FLEW OVER THE CUKOO’S NEST, THE RAINMAKER, FACE/OFF). He embodies a particular type of masculinity iin the 80s and nineties: a combination of Gordon Gekko –cut-throat successful – and its opposite – D-Fense in FALLING DOWN – embattled, put-upon, privileged white masculinity under siege – from women or the system itself, symbolising both its apex and its undertow, its fragility, its posturings. He became a good actor too (BEHIND THE CANDELABRA). Whatever one feels about him, he is one of the most significant star/producers of the late twentieth century.

All of this to say I very much enjoyed reading his biography, ONE HELLUVA RIDE, his relationship with his parents, his siblings, his wives, his children, all get touched upon. But perhaps the most interesting element is that the memoir is organised around the movies and tv he thinks central to his life (THE STREETS OF SAN FRANCISCO, ONE FLEW OVER THE CUKOO’S NEST, THE CHINA SYNDROME, ROMANCING THE STONE, THE JEWEL OF THE NILE, FATAL ATTRACTION, WAR STREET, THE WAR OF THE ROSES, BASIC INSTINCT, FALLING DOWN, THE AMERICAN PRESIDENT, TRAFFIC, BEHIND THE CANDELABRA). He gives context and background to their development from the page to their release and sometimes even to their after-life, demonstrating the collaborative aspect of filmmaking but also how power operates in getting films made and on what ends up on the screen. Those interested in star as auteur arguments will find a lot of interest here.

One can’t help but admire his taste and his skill in choosing good scripts and directors. So many hits, so many interesting films, many of which he barely touches upon (BLACK RAIN, A PERFECT MURDER, THE GAME, WONDER BOYS. Interesting also because of the way it recounts the particular dynamics of being a big star child of a big star. Depending on how you define stardom, there are really only a handful (Jane Fonda, Liza Minnelli, Angelina Jolie…I’m sure I could think of a few more with time. But not many.

He’s never been a favourite but he’s always been interesting. And he becomes even more so after reading his book. I also found his writing on his son’s drug addiction deeply moving. A movie star memoir worth reading.

José Arroyo