Observer » James Dean

Master Howard Dean

Ben Smith — Mon, 08 Dec 2003 00:00:00 -0400

Before Howard Dean was a country doctor, before he was the tight-fisted governor of Vermont or the angry champion of dispossessed Democrats, Howard Brush Dean III was a Madison Avenue baby.

Those were the days when Madison Avenue ran in two directions. Young Howard-no one called him Howie-walked a block east each morning from his home on Park Avenue between 85th and 86th streets, often joined by a classmate, Ricky Lazar, to catch the downtown bus. The boys rode about a mile south to the place where Dr. Dean spent much of his Manhattan youth, the Brown-ing School.

Since 1920, Browning has been housed in an unobtrusive five-story brick building on East 62nd Street. The all-boys school was the sort of place for parents who valued high character more than high college-board scores, a place that turned out "gentlemen." The school was at the heart of a power establishment that gave birth to Rockefeller Republicanism, and that lineage is embedded in the school's history. John D. Rockefeller gave the school its first building in 1888. Among Dr. Dean's classmates at Browning 70 years later was Winthrop (Winnie) Rockefeller Jr., then something of a class punching bag and now the lieutenant governor of Arkansas.

Howard appears in yearbook pictures in a three-button blazer with handkerchief sticking out of his breast pocket, beaming. He studied Latin and French, collected stamps and saved his allowance for ice-cream sodas. Classmates say they still recognize his directness, his charm and his short fuse, which they delighted in testing.

"He had that teasability," recalled a classmate, Christopher Reed. "It was always fun to get a rise out of him."

The candidate himself doesn't tell stories about his childhood, an unusual tactic in this age of personal narrative. His rivals for the Democratic Presidential nomination are not as shy. If you know one thing about John Edwards, you know his father worked in a mill. Joe Lieberman has immigrant forbears; John Kerry served in Vietnam; and Wesley Clark turned up a Jewish grandfather. Howard Dean was born in Doctors Hospital on East 88th Street, and he left the city in 1962 for boarding school. But you won't hear that when he's on the stump, and you won't read it in the campaign literature.

It could be that Dr. Dean, whose campaign has been fueled by clever organizing, clear ideas and pure anger, doesn't need a story. Particularly if the story-of old money and WASP values-doesn't particularly fit the insurgent image. Still, it's striking to see how little he makes of his New York roots. At a press conference at Mount Sinai Hospital on Nov. 23, for example, he dropped no hint that he was in his old neighborhood, and that his mother still lives just 15 blocks south. And his quickie campaign autobiography, Winning Back America , is similarly silent on the subject of Manhattan. "My family comes from Sag Harbor," the book begins, and its brief personal section focuses on the idyllic summers and weekends he and his three brothers spent on Long Island. His years in the city merit just a clause: "Although I was born in the city and went to school in the city until I was 13, I feel I really grew up in East Hampton." Cut to memories of swimming, fishing, stealing potatoes.

Well, sure. The four Dean boys spent an unusual amount of time at their country house, according to Dr. Dean's younger brother, James.

But what about those 13 years on Park Avenue?

The Browning School doesn't merit a mention in Dr. Dean's autobiography, but the candidate's classmates say they still see in him the traits he showed as a boy. They also said they see the values he learned from a school which, in its mission statement, avows its aim of shaping a lad who is, "in the best sense of the word, a gentleman." The school emphasized perseverance and integrity, learning for its own sake and patrician responsibility for society at large. The boys of Browning embraced those values.

"People couldn't wait to get into the adult male world," said Michael Miller, a classmate. "One year there was a fad for attaché cases, of all things. Kids were always trying to get the most elegant kind of attaché case they could possibly find."

There were two classes of families at Browning in the late 1950's and early 1960's: old money and new. You could tell them from each other by the size of the boy's allowance.

"Some kids' families had just come to money, and they had a huge allowance," recalled Basil Nikas, another classmate. "They would have cash on them a lot," and they'd spend it freely on novel gadgets like portable transistor radios, he said.

More of the Browning boys came from old money. They "were raised to appreciate the value of money, and that you had to earn it to deserve it," Mr. Nikas said.

The Deans came from the latter group. Howard's father had followed his own father, the original Howard Brush Dean, into the stock-brokerage business, ending his career at the firm known as Dean Witter (no relation).

"Howard had a couple of dollars a week," said Mr. Nikas, who now runs an e-commerce company in Washington, D.C. "We'd spend it going to Boyd's," a pharmacy on Madison Avenue between 60th and 61st streets where the boys chose between ice-cream sodas and banana splits.

The impression that Howard Dean left on his classmates-12 of 21 of them spoke to The Observer about him-was largely pleasant, if not always deep. Howard was not, they agree, the kid who wanted to be President or the most likely to succeed.

"Howard Dean was in my class? He must not have stood out, then," marveled one classmate, George Caesar.

Lt. Governor Rockefeller "does not have really any substantive memories of Governor Dean and their boyhood," his spokesman said. But then, an Arkansas Republican probably has as little use for his Upper East Side past as does a Vermont Democrat.

"I remember Dad telling me [Howard] was very shy-he didn't really grow into his own until he went away for school," said James Dean, the candidate's younger brother.

Those who do remember Dr. Dean recall a pleasant, thoughtful boy who was slightly removed from the pack. He did not, for example, have a best friend. He didn't have a clique. "Boys are horrible to each other, but he was friendly and considerate to all," recalled Peter Schoeffer.

Family Ties

Howard and the two brothers who attended Browning, Charlie and James, stood a bit apart from the other boys. The Deans were a leading family of the school-their father sat on its board of trustees, and everyone had a crush on their beautiful mother-but, unlike other parents, theirs didn't send them each year to dancing school at Barclay or De Rham to learn to fox-trot and waltz with the girls from Chapin. Nor were they signed up for the Knickerbocker Greys, a kind of Upper East Side version of the Boy Scouts that involved a lot of marching around the Seventh Regiment Armory.

The Deans were a kind of elite among an elite-smart but not nerdy, socially accepted but not cruel. Not exactly the type you'd expect to be running an angry insurgency from the provinces.

That was the background to Dr. Dean's earliest political consciousness. The first tentative political memory anyone has of Howard Dean is that of his collection of Eisenhower buttons. Howard was in third grade in the fall of 1956, and he and his classmates collected buttons for the two rival Presidential candidates, Dwight Eisenhower and Adlai Stevenson. Boys filled the linings of their blazers with them. The "I Like Ike" buttons were, of course, the most popular at the Republican-leaning school. Eisenhower's second and final Secretary of State, Christian Herter, was a Browning alumnus, and "he was constantly mentioned to us and held up as a role model," Mr. Miller said.

Young Howard was, of course, for Eisenhower. "People basically followed the politics of their parents," recalled Mr. Miller, now a classics professor at New York University.

Later, Dr. Dean suffered what may be his only political defeat thus far: He ran and lost for vice president of the class on a ticket headed by Steve Moskowitz, who professes no memory of the race. His highest political distinction appears to have been a posting, in 1960, as hall monitor.

Dr. Dean may not refer to Browning much, but he hasn't forgotten it. Browning boys who have bumped into him recently say he remembers them clearly. (He even appointed one, Richard Fischer, to chair his Council of Economic Advisers in Vermont.) He certainly remembered them well enough in 1992, when he returned to Browning to accept an alumni achievement award. The school now devotes an entire wall to magazine articles on Dr. Dean's bid for the Democratic nomination.

So what kind of an insurgent is this? New York Times columnist David Brooks has been among those pointing out the parallels between Dr. Dean and George W. Bush: Both attended Eastern boarding schools (St. George's for Dr. Dean, Andover for President Bush) and then Yale, both drank too much, and both possess confidence as a birthright. Mr. Bush's grandmother was a bridesmaid at the wedding of Dr. Dean's grandmother.

But while Dr. Dean and Mr. Bush are both children of privilege, not all privilege is identical. Old money and new money have their own codes. The old-money conservatism was, on a political level, about balanced budgets, diplomacy and-as the 20th century progressed-a strong role for the state. The Texas politics of new money, oil and unfettered capitalism that surrounded Mr. Bush in Midland have moved in the opposite direction. So perhaps Dr. Dean's insurgency isn't just on behalf of the Democratic left; he also speaks for a wing of the Republican Party that split from its Southwestern counterpart in the 1960's, returned in an uneasy truce in the person of George H.W. Bush, and seems to have been lopped off entirely by the current President.

Seen in that light, perhaps the legendary anger of Dr. Dean makes a little more sense. He's not just a grumpy liberal; he's a party to a nasty feud over who, in the end, are the real elites.

Browning Ethic

Dr. Dean's former classmates-all of whom hail from the heart of the old New York establishment-have certainly rallied to his cause. Mr. Lazar switched his registration to the Democratic Party and began handing out Dean literature in Seattle. Mr. Nikas is gathering phone numbers of classmates with plans to organize them. Nearly every Browning alumnus contacted by The Observer says he plans to vote for Dr. Dean. And they expect Dr. Dean to give Mr. Bush a run for his money.

They say they still see in him a certain Browning style, in things as simple as his tendency toward threadbare suits and ties so covered in travel grime that they verge on brown.

"This ethic comes from his upbringing and Browning," said Mr. Nikas. "We all had our favorite blazer or Harris tweed jackets, penny loafers, mostly white Oxford shirts which we all pretty much wore down."

Most of all, Dr. Dean's old classmates see in him the embodiment of the school's motto: "Grytte."

The word is an Old English version of an old Protestant virtue: grit. As defined in an 1897 school yearbook, it could serve Dr. Dean well on the campaign trail. Grytte, it appears, combines the qualities of "firmness, courage, determination … which alone win the crown of genuine success in all undertakings."

Gangs Looks Good, But Disappoints

Rex Reed — Mon, 23 Dec 2002 00:00:00 -0400

Not bad enough to dismiss but too dense and boring to praise, let's just call Martin Scorsese's Gangs of New York the year's longest and most expensive cinematic disappointment. Massively overproduced and confusingly overpopulated with people and ideas that choke on their own cross-purposes, it's a major director's ambitious attempt to chronicle the crime and chaos that ruled New York City in 1863. While the rest of the country was fighting the Civil War, the Five Points section of lower Manhattan was a battlefield unto itself. In a bloody, lawless landscape of human suffering crawling with gangs of rival immigrants and tribes of underworld killers-united by poverty and filth, and divided by false promises from the corrupt politicians of Tammany Hall, ruled by the infamous Boss Tweed-Mr. Scorsese's New York (designed on a sound stage in Rome) looks like an alien planet costumed by Charles Dickens. In a melting pot of dissidence and exploding tempers, the American-born natives hate the Irish Catholics, the "micks" hate the "chinks," the "chinks" hate the "niggers," the fire brigades hate the cops, the cops hate everybody. And they all fight each other with a glossary of archaic words that makes the audience scream for subtitles. There are lynchings, candlelight dances, Chinese theatricals, armies of thieves, prostitutes and drag queens, gangs of ghouls who sell freshly slaughtered bodies to medical science, and tons of nauseating violence, culminating in the draft riots that almost burned New York to the ground, from the wharves to the mansions on Fifth Avenue. In this canvas of mayhem, there is also a David-and-Goliath plot about an Irish lad named Amsterdam (Leonardo DiCaprio, looking like a troll), who returns from 16 abusive years in an orphan asylum-slash-workhouse to avenge the death of his father (Liam Neeson) and falls into the clutches of the man who killed him, a one-eyed monster called "The Butcher" (Daniel Day-Lewis). Jim Broadbent is the smarmy Boss Tweed. Cameron Diaz is a trashy pickpocket who looks like one of the victims of Jack the Ripper. Brendan Gleeson is the honest, working-class Irish patriot they run for sheriff. Henry Thomas is the two-faced urchin who betrays them. When they finally declare war on each other, you wait around just to see how long it will take Mr. Scorsese to wipe out the entire cast. In this age of ignorance, few people know (or care) anything about the violent history of New York. Even if you've read about the draft riots, the crooked elections and the sinister corruption of Tammany Hall in the 19th century, you won't see it illustrated with half the clarity you find in old Police Gazettes . For a fascinating dossier on an era when New York was Dodge City, it fails to engage the emotions for its nearly three-hour running time. It's both a history lesson and the kind of moving panorama you pay to see in a national park, with all of the preachy moralizing you get from both. It's the duty of a historical pageant to do more than catalog facts and drop names. But in deconstructing an age of gangs and war chiefs locked in rampantly criminal rivalries, where everyone is a villain and there is nobody to root for or care about, Mr. Scorsese fails to deliver the necessary cinematic images that explain the times and embody so many clashing points of view with coherence. (No mention of the Italians, who survived it all to start the Mafia.) There's plenty to look at (great scene: the sideshow freaks escape from the burning P.T. Barnum museum, while a circus elephant runs amok through the plundering mob), but the movie is all style and no substance. The characters are cutouts from old wanted posters that never come to life. The graphic horrors are repetitive tableaux. I continue to admire the craftsmanship and singular vision of Martin Scorsese, but I don't predict much box-office allure for Gangs of New York .

Lovable Leo

For Leo fans, Steven Spielberg's Catch Me If You Can is more of an odds-on favorite. This is a meticulously directed, deliciously acted, humorously written work of skill, energy and imagination that showcases the range, charm, charisma and talent so sadly missing from Mr. DiCaprio's luckless miscasting in Gangs . The juicy role of real-life con artist Frank Abagnale Jr., a mischievous and brilliant kid from New Rochelle traumatized by his parents' divorce, who forged hundreds of checks and successfully assumed the identities of a Pan Am pilot, pediatric head of a hospital E.R. in Atlanta and assistant attorney general for the state of Louisiana-all before he was 19 years old-is dream casting for Mr. DiCaprio, and Tom Hanks is nothing less than sensational as the F.B.I. agent who devotes his career to stalking the elusive impostor but remains constantly shamed and humiliated by his failure to catch him. Mr. DiCaprio makes this scoundrel not only lovable, but deeply sympathetic, too. You have to like this cad. Each chapter of his adventures unfolds with Mr. Spielberg's customary polish and devotion to great storytelling. Why not? Abagnale's got the wonder and amazement of a children's book hero, and his story is as awesome as science fiction. Forging his own medical diploma from Harvard, rising to new heights as a prosecutor by watching Perry Mason TV shows, or staging his own spectacular escape from the Miami airport surrounded by the beautiful stewardesses he recruited for Pan Am himself to distract the police, he's a unique and fearless combination of Archie Andrews and Batman. Christopher Walken gives his best performance in years as the father who thrills vicariously to his son's felonies to make up for his own failures in life. The marvelous screenplay by Jeff Nathanson, based on Abagnale's own book, is the kind of biographical triumph without embellishment that could teach a few valuable lessons in how to write a biopic with mass appeal to the overrated Charlie Kaufman, who wrote the silly scripts for Adaptation and Confessions of a Dangerous Mind and is something of a fraud himself. Sentenced to 12 years in prison, Abagnale saved his biggest surprise for last: He resurfaced as a millionaire and ended up as a guest on To Tell the Truth , interviewed by Kitty Carlisle. This funny, riveting, entertaining, fizzy, feel-good movie is one of the best of the year.

Scorching Pianist

In The Pianist , Roman Polanski returns to his native Poland for the first time in 40 years to recreate a vivid, heartbreaking canvas of life in the Warsaw Ghetto, as seen through the eyes of the celebrated composer, concert pianist and national hero Wladyslaw Szpilman. Aesthetically inclined, ill-equipped for war or even Resistance fighting, this Polish Jew somehow miraculously survived through one ironic twist of fate after another, saved by his own innocence-and the aid of an anonymous Nazi music lover who kept him alive in the final days of the war. Half a million Jews were herded into a few blocks of misery and disease. Shooting from across the street in a dark apartment building, Mr. Polanski shows each light go on as the families are routed from their dinner tables and machine-gunned in the streets. A woman with a dying child in her arms begs for one drop of water. The images linger like surgical scars, but the force of the pianist's stranger-than-fiction experiences after his own family is sent to Treblinka remains, as both a canvas of human faith and a riveting adventure story. Hiding under the noses of the Germans in abandoned flats, attics, cellars and even a bombed-out hospital, he narrowly escaped death many times in many ways-once, by pretending to be a corpse. Through it all, he held onto his sanity by moving his fingers to the sounds of piano concertos in his head. He died in 2000, at the age of 88. The detailed screenplay, by the great writer Ronald Harwood ( The Dresser ), carefully illuminates every shadow of those tragic days with an uplifting dedication and spirit that relieves the gloom and lends a thread of optimism. In a haunting, deeply inspired performance, Adrien Brody as the pianist looks insanely like photos of the mad monk Rasputin. It's as though the real Szpilman had been channeled through the actor's body. Mr. Polanski, who escaped the Ghetto himself at age 7 by crawling through a hole in a barbed-wire fence, calls The Pianist "a testimony to the power of music, the will to live, and the courage to stand against evil." The Pianist , which won the Palme d'Or in Cannes for obvious reasons, is his Schindler's List -a great film of integrity and unforgettable power that leaves you breathless with gratitude.

Dopey Pinocchio

The new Pinocchio is a noisy, exasperating take on the children's classic starring Roberto Benigni, a hyperkinetic writer-director-player of unparalleled mannered hysterics who is as irritating as a human deer tick. As the puppet who wants to be a boy, he jumps, hops, leaps and bounces his way through a procession of phony, charmless scenes, screeching in an overwrought voice like a broken factory whistle. (I saw it in Italian, so the dubbed version in English might be an improvement, although nothing can save the film itself.) Carved from a rolling tree log that destroys half of Italy, hung from a tree by thieves, rescued by a fairy with blue hair, swallowed by a whale and turned into a donkey, this dopey, bug-eyed Pinocchio is duped so often by the world at large, you find yourself praying for somebody to put him out of his misery and chop him up for firewood. When he lies, his nose flies out like a toilet plunger, while his pal the cricket looks like a TV set with rabbit ears. This gluttonous overdose of whimsy cries out for animation, but when the nursery-book action is played out by real people in tacky costumes from a Macy's parade, it loses its magic fast. It's unusual to see so many people making fools of themselves at the same time. Lethal for kids and an unspeakable insult to adults, this unreleasable fiasco is a torture for all. Where is Walt Disney when we need him?

Seedy Sonny

New Orleans, 1981: A young soldier comes home from the Army to a mother who runs a brothel. Sonny (James Franco, a lean, intense actor whose breakthrough role as James Dean on TV launched a promising career) was trained to be a male prostitute by Mom (Brenda Blethyn, with a cracker accent), but now he wants to get out of "the life" and go straight. At 26, he knows his days in the sack with paying customers are limited, but all that talk about making a career change and starting over leads nowhere. Sonny resigns himself to a dreary fate that is almost as depressing as this movie. Making his directorial debut, Nicolas Cage plays a small role as a flamboyantly gay pimp. Sonny is a guided tour through the seedy underworld of prostitution in a town that is not called "the Big Easy" for nothing, but from the French Quarter sewers to the oversexed echelons of Garden District society, this movie erroneously depicts New Orleans as a freak show populated by immoral alley cats. Mena Suvari, Brenda Vaccaro and Harry Dean Stanton make colorful contributions as decadent characters from the Tennessee Williams archives, but Mr. Franco is the center of focus. He's a good actor, but in Sonny he should have been encouraged to break away from the James Dean imitations. As the sulking, moody male hustler in the title role, he has all of Dean's mannerisms and self-indulgence, but none of his sweetness and vulnerability.

Goodbye, Freedom

Spike Lee's 25th Hour charts the last day of freedom in the life of Monty Brogan (Edward Norton), a smart, privileged drug dealer sentenced to seven years in prison. There's time for a last meal with his dad (Brian Cox), and one final night of partying with his girl (Rosario Dawson) and his childhood buddies, Frank (Barry Pepper), an investment banker with an apartment overlooking Ground Zero, and Jake (Philip Seymour Hoffman), a teacher. One of them betrayed him, but which one? On the last night, truths are revealed, ties are broken and old wounds reopened, with typical Spike Lee monologues full of cynicism and rage about every aspect of New York life he loathes, from East Side housewives with Hermès scarves to Pakistanis stinking up the taxis with the smell of curry. In the 25th hour of this purgatory, in the S.U.V. carrying Monty out of town, there is one last-minute escape plan offering redemption and a rosy future on the lam in Mexico, but when the camera angle opens wide, the car is still on a road in upstate New York, on its way to Sing Sing. See it for Edward Norton, who does his usual job of turning sackcloth into satin. He makes the fear and danger of what awaits him behind bars and the regret for wrong choices in his wasted life palpable and real, but this is still a depressingly downbeat film-dark, dank and deadly.