Blondie, Parallel Lives by Dick Porter & Kris Needs

Author:Dick Porter & Kris Needs [Porter, Dick & Needs, Kris]
Language: eng
Format: epub
Tags: Entertainment & Performing Arts, Composers & Musicians, Punk, Biography & Autobiography, Music, Genres & Styles, Individual Composer & Musician
ISBN: 9780857127808
Publisher: Omnibus Press
Published: 2017-02-12T13:00:00+00:00

Even before ‘Heart Of Glass’ went global, topping the charts in eight countries and making the Top 10 in several more, Debbie’s profile had risen sufficiently for her to receive film scripts from directors and producers keen to capitalise on her evident cinematic potential. One of these was Union City, a psychological thriller set in the thirties, based on a story by mystery writer Cornell Woolrich and directed by New York filmmaker Marcus Reichert.

“Edward Lachman, who was the director of photography, met Debbie at a party and she said, ‘I’d like to do a film sometime and I hear you’re a good photographer,’” the film’s producer, Graham Belin, explained. Debbie was offered the role of Lillian, the apparently timid wife of an obsessive accountant named Harlan played by TV character actor Dennis Lipscomb. “I play a very traditional kind of housewife who likes to keep the place looking nice,” she stated. “Originally, she wanted her husband and she works at it. She always cooks his dinner and does his laundry and makes the house look nice and everything, but he goes down Tatty’s bar all the time and gets loaded. And he gets crazy. He gets nuts. And in those days nobody went to psychiatrists, nobody knew anything, especially girls.”

One of the main aspects that appealed to Debbie was how the character of Lillian represented a complete departure from her public persona. “I don’t want to make a film based on music. I want a script that will establish me as an actress. Being a singer in a movie won’t do it,” she asserted. “That’s why I did it. I wanted a part that wouldn’t put me under the microscope.”

It called for her to wear a brown wig quite close to her natural hair colour for most of the film, something that came as a shock to many who were expecting a character more consistent with her media image. “Union City was non-union, and it was a real low-budget production – nobody had a dressing room or anything like that,” she recounted.

“She was unpretentious – she didn’t lord it over us because ‘Heart Of Glass’ had just broken,’ remembered Belin. “She was professional about everything, which is very unusual for major music stars. Working with her was a joy. Her abilities and potential as an actress are both great. She needs work, but for film she’s fantastic because her face is so photogenic, and she’s just herself in front of the camera. I think if she works with a more experienced director he’ll bring her out even more.”

Although her unexpected performance would garner critical praise, Debbie found that her creative courage was a double-edged sword. “They took it to distributors and everyone went ‘Ah, Debbie Harry movie,’ and they expected this big glamour thing, but it’s very low-key and Debbie’s role is just a role, plus it’s this weird sort of underground movie,” explained Chris, who supplied the film’s jazz-inspired soundtrack.

“It’s a strange little sleeper art film, not a picture that would get broad-ranging praise,” added Deborah.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.