Jan-Michael Vincent Really Was On The Edge Of Greatness (Book Review)

One of the more unique and bittersweet biographies available in print and Kindle is the outstanding Jan-Michael Vincent Edge of Greatness by David Grove. Much like the brilliant look at the last few years of Groucho Marx in Raised Eyebrows, this bio paints a unique and intriguing, poignant, and somewhat sad portrait of the talented actor. Unlike Raised Eyebrows, Grove's work doesn't focus on a period of a few short years. The book covers the entire life of the great and underappreciated actor.

And Jan-Michael Vincent was simultaneously brilliant and underappreciated. Most well-known for his brilliant portrayal of the hitman apprentice appearing alongside Charles Bronson in the original The Mechanic (1972), the Disney hit The World's Greatest Athlete (1973), along with the cult television series Airwolf (1984 - 1986), Vincent appeared in a host of other memorable television programs and television movies and a few forgotten classic films of the 1970s. (How many Generation X members recall a young Jan-Michael Vincent on the "Danger Island" episodes of The Banana Splits Show )

(Jan-Michael Vincent in his iconic role in 1972'a The Mechanic)

Jan-Michael Vincent garnered a few starring roles, but he never broke through to major stardom. Grove's book -- published by Bear Manor Media -- points out that Vincent never had a major box office hit outside of his Disney vehicle and the 1977 cult hit White Line Fever. The latter film owed its success to the CB/trucker movie fad. The actor gained no major star momentum from either hit.

It may be added that bouncing between cinematic releases and guest appearances on television likely over-exposed him. Appearances on prime-time television crime shows probably undermined his chances at more prominent roles in major studio movies.

Vincent also tended to select some truly obtuse films to appear in. These movies' lack of box office success did little to keep his career on an upwards trajectory.

Grove's book is worthwhile reading for anyone who fondly remembers Jan-Michael Vincent's memorable work in the 1970s and 1980s, but be forewarned: the tale is not always the happiest one.

Circumstances Change, But Paul Muni Doesn't in I Am A Fugitive From A Chain Gang

Raising social consciousness is commonly cited as the motivation behind crafting a classic film such as 1932's I Am A Fugitive From A Chain Gang. The theme of freedom is prominent throughout the film. Paul Muni's brilliant portrayal of a down-on-his-luck wanderer named James Allen consistently discusses man's desire to be free.

The Freedom Theme

Allen becomes a drifter because he wants to be free of his dull home life. Drafted into the army only to be discharged to face the monotony of a factory job, Allen makes his way across the country only to lose his freedom again after being falsely convicted of a crime and ending up serving his sentence on a brutal chain gang.

Escaping from the chain gang offers a brief respite of freedom and a new lease on life. And then he is trapped in a loveless marriage. Upon freeing himself from the union, he finds himself back on the chain gang.

Freedom, it seems, only comes and goes.

Or is, as the title self-aware computer of the sci-fi classic Colossus: The Forbin Project assesses, "Freedom is an illusion."

For James Allen, freedom is fleeting to the point it barely exists. Likely, for him, it never exists. He reinvents himself numerous times to achieve a level of personal and outright physical freedom. He changes jobs, changes his lot in life through a prison escape, changes his identity, and so on.

Freedom never arrives for James Allen because, although circumstances change, Allen never really changes. He is the symbolic ball and chain, which is tied to a literal ball and chain.

Chained to Unchanging Circumstances

Was James Allen predestined to be a prisoner both literally and figuratively? Based on his life, as seen in the film, this good, moral, virtuous man never changes. He remains the same individual from scene to scene, and he suffers greatly no matter what backdrop he is placed on.

James Allen's life on the outside of the chain gang mimics what life was like on the inside. And no, the notion of freedom is an illusion. There is a sameness to things. Allen tries to make changes in his life. Looking for a new job is less melodramatic than an escape from prison.

The ultimate sameness is James Allen himself.

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Allen simply cannot catch the proverbial break. No matter what circumstances the man finds himself in, things never work out well for him. The narrative of I Am A Fugitive From A Chain Gang consistently features ever-changing backdrops.

This is why life is so difficult for the man. He cannot fit well into any of the new lives he places himself or lands.

In a tragic sense of irony, James Allen finally does change in the film's final minutes - he loses his morality and virtue, allowing him to better fit into the backdrop of a fugitive.

Raised Eyebrows, Groucho Marx, and the Curtain Call on Laughter

A cliché of a cliché of a cliché of a cliché goes something to the effect of "Things don't always turn out how you planned." The final years of the life of the iconic Groucho Marx probably were nothing like the sharp-witted comedian troupe leader envisioned. Known by millions, Marx's last years entailed living a life of mostly solitude behind the four walls of a California estate. His career in show business was over, and, barring the occasional get-togethers with Hollywood friends, Marx's twilight years were spent chiefly waxing on the glory days of yesteryear.

We have a document of those days in the form of an amazing book.

Raised Eyebrows: My Years Inside Groucho's House by Steve Stoliar presents an intriguing look at the last years of the iconic comedian. Stoliar was a massive fan of the Marx Brothers as a young man, and he eventually met his iconic screen hero after arranging an early 1970's screening of Animal Crackers. The scratchy, beaten-up 16mm print screening was a very special event. At the time, Animal Crackers was a Marx Brothers film unavailable for television syndication due to a rights issue. With the sold-out screening, doors were opened, and contacts made leading to Stoliar working as Groucho's archivist at the comedian's home from 1974 to 1977.

The autobiography/biography delivers a sad glimpse into the final years of the lonely screen and stage icon. This long-retired beloved figure still had legions of fans thanks to constant reruns of Marx Brothers movies on television, but the fame connected to a life he no longer lived.

Rob Zombie optioned the book for a film version, but the project appears stalled. Maybe the adaptation will rise out of "development hell" and become a realized project one day.

Cover for the book by Steve Stoliar

Retelling the book's highlights here on this blog is unnecessary and would not do the outstanding and compelling work justice. Just buy the book. Read the whole story.

What can be said about the work is it shows, in the microcosm of the last days of Groucho Marx, we learn a great life can come to a bittersweet end. Groucho sat on top of the entertainment world on stage, screen, and television. And then, one day, he got old. While it is wonderful to live a long life, Marx had to accept the world had changed around him, and he was too aged to make any transitions into the new entertainment landscape. Solace in personal relationships was not to be either.

Outstanding radio interview with Stoliar.

Raised Eyebrows is a proverbial cautionary tale for all of us. No one has to be a world-famous comedian to reach the end of days in a sad state. Faded professional and personal glory affect people of all walks of life and backgrounds. And the impact is going to be bear a considerable weight on the shoulders of anyone who experiences it. Raised Eyebrows may focus on the particulars of the final years of Groucho Marx, but the tale can be found in the home of many untold millions of people.