20 years on with The Show Business Bible

During an especially affecting moment in Spring Forward, one of my favorite films, Ned Beatty – playing a parks and recreation worker on the verge of retirement – marvels to a younger colleague played by Liv Schrieber that, somehow, when he wasn’t looking, several years slipped away: “Time goes by, and it seems like a little time. You turn around, and it was a big time.” How true.

Twenty years is a big time by anybody’s measure. But I’ve had a mostly grand time during my past two decades as a free-lance film critic (and, periodically, theater critic) for Variety, the venerable trade paper that I still think of as The Show Business Bible. That it actually has been two decades is a little disconcerting – has it really been that long? – but never mind. This weekend, it’s also a cause for celebration.

To be precise: My first three free-lance reviews – all of them for films shown at the WorldFest/Houston International Film Festival -- appeared in the weekly edition of Variety dated May 2, 1990. One of the movies just happened to be Red Surf, a melodrama about drug-dealing surfers starring a very young George Clooney. (For the record: the other two were Revenge of the Radioactive Reporter and something called A Girl’s Guide to Sex.) One week later, Variety ran my review of another WorldFest/Houston offering, Chopper Chicks in Zombietown, a spoofy sci-fi B-movie that showcased a very young Billy Bob Thornton in a supporting role. And two weeks after that, I reviewed yet another WorldFest feature: Across the Tracks, a dysfunctional family drama co-starring a very, very young Brad Pitt.

So you see: Right from the start, I’ve specialized in spotting fresh talent for The Show Business Bible. Well, OK: I’ve been lucky enough to be in the right place at the right time to spot fresh talent. Thanks to Variety.

I already was gainfully employed as a film critic for the late, great Houston Post when I was approached – by no less a luminary than Peter Bart himself -- to serve as a Variety stringer. But in my mind, writing for Variety – even back when I started, at a time when film critics didn’t receive a full byline – was not just a step up but a leap forward. To put it simply and hubristically, it was, to my way of thinking, a sign that I had arrived. I had made the grade, passed the test, completed my apprenticeship – and somehow gained entry inside a very select circle. I felt I had become part of a grand tradition. And you know what? I still feel that way.

Blame on my misspent youth. Back in the mid-to-late '60s, when I was a high school student in New Orleans, I fortuitously discovered The Show Business Bible in a library and was instantly smitten. In fact, I'm not ashamed to say that, while I was growing up, there was something truly magical to me about Variety, my own private gateway to Hollywood and beyond.

On Fridays -- after school or, quite often, very early in the morning, before classes -- I would take the bus downtown to buy Variety at a newsstand. (It took two days for the weekly edition, then published on Wednesdays, to reach N.O.) I would devour all the reviews of movies and plays and TV shows, all the news about movies in production and box-office hits and misses, and gradually master the Variety-ese slanguage so I could fully understand what to the uninitiated must have seemed like indecipherable code. And, of course, I would marvel at the colossal special-edition issues dedicated to film festivals and year-end wrap-ups, all them filled with dozens of full-page ads for forthcoming movies.

I continued to be awestruck buy The Show Business Bible well into my twenties and beyond. I still have a photo somewhere that my wife took of me during our first trip together to New York in the mid '70s, long after I had begun my professional writing career. It's a picture of me standing in front of the old Variety office near Times Square -- the one with the big Variety logo emblazoned on a huge ground floor window.  I am smiling a great big goofy kid's smile in the picture, like a True Believer enraptured by his proximity to some hallowed shrine.

So, of course, when Peter Bart called more than 15 years later…

I know, I know: Some of you will be quick to dismiss all of this a sentimental blathering, or shameless self-aggrandizing, or both. And that’s your prerogative. For others, it may seem odd, if not downright incomprehensible, for anyone to still feel so emotionally bound to anything so seemingly antiquated as a newspaper. But, hey, that’s my prerogative. Besides: I’ve also been writing web-only reviews for Vaiety.com for quite some time now, so it’s not like I’m exclusively an ink-stained wretch. But I remain, deep down, an analogue guy in a digital world, as my heart continues to beat to the rhythm of a printing press. That may change – well, actually, that must change, eventually – but not too soon, I hope.

This is probably where I should write something about all the notable filmmakers whose first films I reviewed for Variety at various and sundry film festivals. And after that, I guess I should toss out ten or twenty titles of films that I got to review before anybody else thanks to my Variety affiliation. But that really would be self-aggrandizing, and I would deserve every brickbat tossed in my general direction. So I’ll leave it at this: I am deeply grateful that I’ve been a part of the Variety team for the past two decades. And I look forward to my next 20 years with the organization. (Assuming, of course, that they'll have me.) Because even though I know that the day may come when print media as we now know it will go the way of 8-track tapes and VHS movies, I’m sure that Variety, in some form, will survive and thrive. And I hope to remain part of its ongoing tradition.