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Reds is a 1981 American epic drama film co-written, produced and directed by Warren Beatty. The picture centers on the life and career of John Reed, the journalist and writer who chronicled the Russian Revolution in his book Ten Days That Shook the World. Beatty stars in the lead role alongside Diane Keaton as Louise Bryant and Jack Nicholson as Eugene O'Neill. The supporting cast of the film includes Edward Herrmann, Jerzy Kosinski, Paul Sorvino, Maureen Stapleton, Gene Hackman, Ramon Bieri, Nicolas Coster and M. Emmet Walsh. The film also features, as "witnesses," interviews with the 98-year-old radical educator and peace activist Scott Nearing (1883–1983), author Dorothy Frooks (1896–1997), reporter and author George Seldes (1890–1995), civil liberties advocate Roger Baldwin (1884–1981), and the American writer Henry Miller (1891–1980), among others. Beatty was awarded the Academy Award for Best Director and the film was nominated for Best Picture, but lost to Chariots of Fire. Warren Beatty, Diane Keaton, Jack Nicholson and Maureen Stapleton were nominated for Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress, respectively, the last time a film was nominated in all four acting categories until Silver Linings Playbook in 2012. Stapleton was the only one of the four to win, with Beatty and Keaton losing to Henry Fonda and Katharine Hepburn for On Golden Pond and Nicholson to John Gielgud for Arthur. Beatty was also nominated, along with co-writer Trevor Griffiths, for Academy Award for Best Original Screenplay, but lost to Chariots of Fire. Warren Beatty became the third person to be nominated for Academy Awards in the categories Best Actor, Director and Original Screenplay for a film nominated for Best Picture. This was done previously by Orson Welles for Citizen Kane and Woody Allen for Annie Hall. In June 2008, the American Film Institute revealed its "Ten Top Ten" – the best ten films in ten "classic" American film genres – after polling over 1,500 people from the creative community. Reds was acknowledged as the ninth best film in the epic genre.[2][3] Contents 1 Plot2 Cast3 Production4 Soundtrack5 Witnesses6 Reception and response7 Awards and honors8 References9 External links Plot The film covers the life of John Reed and Louise Bryant from their first meeting to Reed's final days in 1920 Russia. Interspersed throughout the narrative, several surviving witnesses from the time period give their recollections of Reed, Bryant, their colleagues and friends, and the era itself. A number of them have mixed views of Bryant and her relationship with Reed. In 1915, married socialite Bryant encounters the radical journalist Reed for the first time at a lecture in Portland, Oregon, and she is intrigued with his idealism. Upon meeting him for an interview on international politics which lasts over the course of a night, she realizes that writing has been her only escape from her frustrated high society existence. Inspired to leave her husband, Bryant joins Reed in Greenwich Village, New York City, and becomes acquainted with the local community of activists and artists, including anarchist and author Emma Goldman and the playwright Eugene O'Neill. Later, they move to Provincetown, Massachusetts, to concentrate on their writing, becoming involved in the local theatre scene. Through her writing, Bryant becomes a feminist and radical in her own right. Reed becomes involved in labor strikes with the "Reds" of the Communist Labor Party of America. Obsessed with changing the world, he grows restless and heads for St. Louis to cover the 1916 Democratic Convention. During Reed's absence, Bryant falls into a complicated affair with O'Neill. Upon his return, Reed discovers the truth about the affair and realizes he still loves Bryant. The two marry secretly and make a home together in Croton-on-Hudson, north of New York City, but still have conflicting desires. When Reed admits to his own infidelities, Bryant takes a ship to Europe to work as a war correspondent. After a flare-up of a kidney disorder, Reed is warned to avoid excessive travel or stress, but he decides to take the same path. Reunited as professionals, the two find their passion rekindled as they are swept up in the fall of Russia's Czarist regime and the events of the 1917 Revolution. The second part of the film takes place shortly after the publication of Ten Days that Shook the World. Inspired by the idealism of the Revolution, Reed attempts to bring the spirit of Communism to the United States, because he is disillusioned with the policies imposed upon Communist Russia by Grigory Zinoviev and the Bolsheviks. While attempting to leave Europe, he is briefly imprisoned and interrogated in Finland. He returns to Russia and is reunited with Bryant at the railway station in Moscow. By this point, Reed is growing progressively weaker as a result of his kidney disorder. Bryant helps nurse the ailing Reed, who eventually dies. Cast Warren Beatty as John Silas "Jack" ReedDiane Keaton as Louise BryantEdward Herrmann as Max EastmanJerzy Kosinski as Grigory ZinovievJack Nicholson as Eugene O'NeillPaul Sorvino as Louis C. FrainaMaureen Stapleton as Emma GoldmanNicolas Coster as Paul TrullingerWilliam Daniels as Julius GerberM. Emmet Walsh as Speaker – Liberal ClubIan Wolfe as Mr. PartlowBessie Love as Mrs. PartlowMacIntyre Dixon as Carl WaltersPat Starr as Helen WaltersEleanor D. Wilson as Margaret Green Reed (mother)Max Wright as Floyd DellGeorge Plimpton as Horace WhighamHarry Ditson as Maurice BeckerLeigh Curran as Ida RauhKathryn Grody as Crystal EastmanDolph Sweet as Big Bill HaywoodGene Hackman as Pete Van WherryNancy Duiguid as Jane HeapDave King as Allan L. BensonRoger Sloman as Vladimir LeninStuart Richman as Leon TrotskyOleg Kerensky as Alexander KerenskyJohn J. Hooker as Senator OvermanJan Triska as Karl Radek Production Warren Beatty came across the story of John Reed in the mid-1960s and executive producer and film editor Dede Allen remembers Beatty mentioning making a film about Reed's life as early as 1966. Originally titled Comrades, the first script was written by Beatty in 1969,[4] but the process stalled. In 1976, Beatty found a suitable collaborator in Trevor Griffiths who began work but was delayed when his wife died in a plane crash.[5] The preliminary draft of the script was finished in 1978, but Beatty still had problems with it. Beatty and Griffiths spent four and a half months on fixing it, though Beatty's friend Elaine May would also collaborate on polishing the script. Beatty originally had no intention of acting in the film or even directing it, because he had learned on various projects such as Bonnie and Clyde and Heaven Can Wait that producing a film alone is a difficult task. He briefly considered John Lithgow for the part of John Reed because the two looked similar in appearance. Eventually, however, Beatty decided to act in the film and direct it himself. Jack Nicholson was cast as Eugene O'Neill over James Taylor and Sam Shepard.[5] When principal photography began in August 1979 the original intention was for a 15-to-16-week filming shoot, but it ultimately took one whole year to just shoot the film. The process was slow because it was shot in five different countries and at various points the crew had to wait for snow to fall in Helsinki (and other parts of Finland), which stood in for the Soviet Union, and for rain to abstain in Spain. Beatty would also not stop the camera between takes and would have it continuously roll. He also insisted on a large number of takes. Paul Sorvino said he did as many as 70 takes for one scene and actress Maureen Stapleton had to do 80 takes of one particular scene which caused her to say to Beatty, "Are you out of your fucking mind?"[5] Beatty and Keaton's romantic relationship also began to deteriorate during the filming. Peter Biskind wrote about the making of Reds, "Beatty's relationship with Keaton barely survived the shoot. It is always a dicey proposition when an actress works with a star or director – both, in this case – with whom she has an offscreen relationship. ... Keaton appeared in more scenes than any other actor, save Beatty, and many of them were difficult ones, where she had to assay a wide range of feelings, from romantic passion to anger, and deliver several lengthy, complex, emotional speeches." George Plimpton once observed, "Diane almost got broken. I thought [Beatty] was trying to break her into what Louise Bryant had been like with John Reed." Executive producer Simon Relph adds, "It must have been a strain on their relationship, because he was completely obsessive, relentless."[5] The editing process began in spring of 1980 with as many as 65 people working on editing down and going over approximately two and a half million feet of film.[5] Post-production ended in November 1981 more than two years after the start of filming. Paramount stated that the final cost of the film was $33.5 million, which would be the rough equivalent of around $80 million today.[5] Soundtrack The film introduced the song "Goodbye for Now," written by Stephen Sondheim. The song was later recorded by Barbra Streisand for The Movie Album (2003). Witnesses "The most evocative aspect of the presentation is a documentary enhancement – interviews with a number of venerable 'witnesses,' whose recollections of the period help to set the scene, bridge transitions and preserve a touching human perspective," wrote The Washington Post.[6] "More than anything else in Reds, these interviews give the film its poignant point of view and separate it from all other romantic adventure films ever made," wrote New York Times film critic Vincent Canby.[7] To gain perspective on the lives of Reed and Bryant, Beatty began filming the "witnesses" as early as 1971.[8] Some of them are very well known, others less so. As well as their being listed in the opening credits, American Film magazine identified the witnesses in its March 1982 issue.[9] Jacob Bailin, labor organizerRoger Nash Baldwin, founder, American Civil Liberties UnionJohn Ballato, early socialistHarry Carlisle, writer, teacherKenneth Chamberlain, political cartoonist for the MassesAndrew Dasburg, painterTess Davis, cousin of Louise Bryant's first husbandWill Durant, historianBlanche Hays Fagen, with Provincetown PlayersHamilton Fish, Congressman, Harvard classmate of John ReedDorothy Frooks, "Recruiting girl," World War IHugo Gellert, artist for the MassesEmmanuel Herbert, student in Petrograd, 1917–18George Jessel, entertainerOleg Kerensky, son of Alexander KerenskyIsaac Don Levine, journalist, translator for ReedArthur Mayer, film historian, Harvard classmate of Reed also film distributorHenry Miller, novelistAdele Nathan, with Provincetown PlayersScott Nearing, sociologist, pacifistDora Russell, delegate to CominternAdela Rogers St. Johns, journalistGeorge Seldes, U.S. journalist in MoscowArt Shields, political activistJessica Smith, political activistArne Swabeck, member, Communist Labor PartyBernadine Szold-Fritz, journalistGalina von Meck, witness to Russian RevolutionHeaton Vorse, son of a Provincetown playwrightWill Weinstone,organizer, U.S. Communist PartyRebecca West, feminist, authorLucita Williams, wife of a Lenin biographer Reception and response Released on December 4, 1981, Reds opened to critical acclaim upon its release. Despite its political subject matter and limited promotion by Warren Beatty, the film became the thirteenth highest grossing picture of 1981, grossing $50,000,000 in the United States.[1] Beatty later remarked that the film "made a little money" in box office returns. The movie currently holds a high 94% "Fresh" rating on the review aggregate website Rotten Tomatoes.[10] In an interview with IMDb regarding his recently released film Interstellar (2014), director Christopher Nolan stated that Reds strongly influenced some of its scenes.[11] Awards and honors The film won Academy Awards for the following:[12][13] Best Actress in a Supporting Role (Maureen Stapleton playing Emma Goldman)Best Cinematography (Vittorio Storaro)Best Director (Warren Beatty) The film received the following nominations:[12] Best Actor in a Leading Role (Warren Beatty)Best Actor in a Supporting Role (Jack Nicholson)Best Actress in a Leading Role (Diane Keaton)Best Art Direction-Set Decoration (Richard Sylbert, Michael Seirton)Best Costume Design (Shirley Ann Russell)Best Film Editing (Dede Allen , Craig McKay) Best PictureBest Sound (Dick Vorisek, Tom Fleischman and Simon Kaye)Best Writing, Screenplay Written Directly for the Screen · The original John Reed was a dashing young man from Portland who knew a good story when he found one, and, when he found himself in the midst of the Bolshevik revolution, wrote a book called "Ten Days That Shook the World" and made himself a famous journalist. He never quite got it right again after that. He became embroiled in the American left-wing politics of the 1920s, participated in fights between factions of the Socialist Party and the new American Communist Party, and finally returned to Moscow on a series of noble fool's errands that led up, one way or another, to his death from tuberculosis and kidney failure in a Russian hospital. He is the only American buried within the Kremlin walls. · · · That is Reed's story in a nutshell. But if you look a little more deeply you find a man who was more than a political creature. He was also a man who wanted to be where the action was, a radical young intellectual who was in the middle of everything in the years after World War I, when Greenwich Village was in a creative ferment and American society seemed, for a brief moment, to be overturning itself. It is that personal, human John Reed that Warren Beatty's "Reds" takes as its subject, although there is a lot, and maybe too much, of the political John Reed as well. The movie never succeeds in convincing us that the feuds between the American socialist parties were much more than personality conflicts and ego-bruisings, so audiences can hardly be expected to care which faction is "the" American party of the left. · What audiences can, and possibly will, care about, however, is a traditional Hollywood romantic epic, a love story written on the canvas of history, as they used to say in the ads. And "Reds" provides that with glorious romanticism, surprising intelligence, and a consistent wit. It is the thinking man's "Doctor Zhivago," told from the other side, of course. The love story stars Warren Beatty and Diane Keaton, who might seem just a tad unlikely as casting choices, but who are immediately engaging and then grow into solid, plausible people on the screen. Keaton is a particular surprise. I had somehow gotten into the habit of expecting her to be a touchy New Yorker, sweet, scared, and intellectual. Here, as a Portland dentist's wife who runs away with John Reed and eventually follows him halfway around the world, through blizzards and prisons and across icy steppes, she is just what she needs to be: plucky, healthy, exasperated, loyal, and funny. · Beatty, as John Reed, is also surprising. I expected him to play Reed as a serious, noble, heroic man for all seasons, and so he does, sometimes. But there is in Warren Beatty's screen persona a persistent irony, a way of kidding his own seriousness, that takes the edge off a potentially pretentious character and makes him into one of God's fools. Beatty plays Reed but does not beatify him: He permits the silliness and boyishness to coexist with the self-conscious historical mission. · The action in the movie takes Reed to Russia and back again to Portland, and off again with Louise Bryant (Keaton), and then there is a lengthy pause in Greenwich Village and time enough for Louise to have a sad little love affair with the morosely alcoholic playwright Eugene O'Neill (Jack Nicholson). Then there are other missions to Moscow, and heated political debates in New York basements, and at one point I'm afraid I entirely lost track of exactly why Reed was running behind a horsecart in the middle of some forgotten battle in an obscure backwater of the Russian empire. The fact is, Reed's motivation from moment to moment is not the point of the picture. The point is that a revolution is happening, human societies are being swept aside, a new class is in control -- or so it seems -- and for an insatiably curious young man, that is exhilarating, and it is enough. · The heart of the film is in the relationship between Reed and Bryant. There is an interesting attempt to consider her problems as well as his. She leaves Portland because she is sick unto death of small talk. She wants to get involved in politics, in art, in what's happening: She is so inexorably drawn to Greenwich Village that if Reed had not taken her there, she might have gone on her own. If she was a radical in Portland, however, she is an Oregonian in the Village, and she cannot compete conversationally with such experienced fast-talkers as the anarchist Emma Goldman (Maureen Stapleton). In fact, no one seems to listen to her or pay much heed, except for sad Eugene O'Neill, who is brave enough to love her but not smart enough to keep it to himself. The ways in which she edges toward O'Neill, and then loyally returns to Reed, create an emotional density around her character that makes it really mean something when she and Reed embrace at last in a wonderful tear-jerking scene in the Russian train station. · The whole movie finally comes down to the fact that the characters matter to us. Beatty may be fascinated by the ins and outs of American left-wing politics sixty years ago, but he is not so idealistic as to believe an American mass audience can be inspired to care as deeply. So he gives us people. And they are seen here with such warmth and affection that we sense new dimensions not only in Beatty and Keaton, but especially in Nicholson. In "Reds," understating his desire, apologizing for his passion, hanging around Louise, handing her a poem, throwing her out of his life, he is quieter but much more passionate than in the overwrought "The Postman Always Rings Twice." · As for Beatty, "Reds" is his bravura turn. He got the idea, nurtured it for a decade, found the financing, wrote most of the script, produced, and directed and starred and still found enough artistic detachment to make his Reed into a flawed, fascinating enigma instead of a boring archetypal hero. I liked this movie. I felt a real fondness for it. It was quite a subject to spring on the capitalist Hollywood movie system, and maybe only Beatty could have raised $35 million to make a movie about a man who hated millionaires. I noticed, here at the end of the credits, a wonderful line that reads: Copyright copy MCMLXXXI Barclays Mercantile Industrial Finance Limited. · John Reed would have loved that. · Director: Warren Beatty Entertainment grade: A– History grade: A– · John Reed was an American journalist who witnessed the October revolution in Russia in 1917. · Sex · · Paramount Pictures · Earnest leftie Jack Reed (Warren Beatty) meets earnest leftie Louise Bryant (Diane Keaton) in Portland, Oregon, late in 1915. He impresses her with his thoughts on the profit motive in the first world war, somewhat anticipating Lenin's Imperialism: The Highest Stage of Capitalism, written a few months later. This was exactly the way to an earnest leftie's heart in the 1910s, and if only Reed had said something more specific about dialectical materialism it would probably have been pants off straight away. As it is, that takes them until the second date. "I'd like to see you with your pants off, Mr Reed," says Bryant. Aha, there we go. · People · · Paramount Pictures · Reed persuades Bryant to follow him to New York, where they meet the film's two most shameless scene-stealers. First, there's Maureen Stapleton, doing a wickedly enjoyable turn as no-nonsense anarchist Emma Goldman. "What do you write about?" Goldman asks Bryant. "Oh, everything," she replies nervously. "You write about everything?" Goldman snaps. "Everything, yes," stammers Bryant. "Everything … nothing, huh. Just…" Goldman gives her a look that could flay the hide off a rhinoceros. Second, there's Jack Nicholson as bilious playwright and future Nobel laureate Eugene O'Neill. Actually, he's more or less just playing Jack Nicholson, but he is awfully good at that – and the quick-witted screenplay gives him plenty of brutal O'Neillish lines to snarl. · Romance · · PR · Bryant is fleetingly seduced by O'Neill. In real life, she was not quite so ingenuous. In fact, it was she who seduced O'Neill, telling him untruthfully that Reed was seriously ill and they were no longer in a sexual relationship. Reportedly it is true, as portrayed here, that O'Neill fell hopelessly in love with her. That would be easier to believe if Reds allowed her more of the confidence and audacity she had in real life. · Politics · · Paramount Pictures · After the action-packed first half, ending on the high of the October revolution, it's a slight disappointment that the film's second half begins with the internecine struggle between the American Socialist Party, the Communist Labor Party and the Communist Party of America. If you've seen Monty Python's Life of Brian, this is a lot like the schism between the People's Front of Judea and the Judean People's Front, only with no one hawking a tray of otters' noses. · Ideology · · Paramount Pictures · The action picks up again as Reed returns to the Soviet Union. Emma Goldman is already there, and disillusioned with the Soviet project. That's convenient for the screenwriters, but it's also true. "The situation is such that we are now going through the deepest spiritual conflict in our lives," she wrote to a friend at the time. Nor does Reed arrive in the glorious socialist paradise he expected. Instead, he finds food and fuel shortages, and the head of the Comintern, Grigory Zinoviev (Jerzy Kosinski), imperturbably eating a lemon. Zinoviev effectively kidnaps Reed and puts him to propaganda work. This, too, is accurate, as is the film's depiction of his doomed attempt to escape. · Love · · PR · Bryant sets out on an odyssey from the US to the USSR to find her husband. The audience's sympathies for Reed are undiminished by the fact that he had an affair with a Russian woman, because the film tactfully leaves that out. Furthermore, the tension has been ramped up by its claim that communication between Reed and Bryant was impossible, whereas in real life they did correspond and he knew she was coming. Still, though Reds fiddles with the details, the political and emotional situations portrayed have been impressively well researched. Without spoiling the end, it too is correct – well, almost. · Verdict · An engrossing, beautifully filmed and remarkably balanced portrait of a fascinating moment in history, cleverly enhanced by the intercutting of real-life documentary interviews. Reds is everything a historian could want in a movie. Reds (1981) BEATTY'S 'REDS,' WITH DIANE KEATON By VINCENT CANBY Published: December 4, 1981 THE Scott Joplin ragtime tune behind the opening credits of Warren Beatty's ''Reds'' recalls the sounds of pre-World War I America as they were heard then, when Greenwich Village was still a new Bohemia, free love was a way of life for the adventurous, new ideas were shaping the arts, and radical politics were more a matter of theory than practice. As the ragtime music fades out, voices fade in, contemporary voices that form a bridge to the past. ''Was that in 1917 or 1913?'' asks one. ''I'm beginning to forget.'' ''You know,'' another voice acknowledges, ''things go and come back.'' ''Were they Socialists?'' One by one the faces that belong to these voices appear on the screen, seen in close-up against a luminously black void. Some are familiar - Rebecca West's, Henry Miller's, Adela Rogers St. Johns's - and all are very old (some have died since the interviews were filmed). Some are lined with the cobwebs of long life. Other faces, like Miller's, are as wrinkle-free as stretched parchment. Each in some way remembers that earlier time, if only, like George Jessel, who wears his U.S.O. uniform, to become confused. Jessel cannot remember whether the great anarchist and anti-World War I activist was named Emma Goldberg or Emma Goldman. These are the Witnesses - there are more than two dozen of them - who make up a kind of Greek chorus, the members of which appear from time to time throughout ''Reds'' to set the film in historical perspective, as much by what they remember accurately as by their gossip and by what they no longer recall. It's an extraordinary device, but ''Reds'' is an extraordinary film, a big romantic adventure movie, the best since David Lean's ''Lawrence of Arabia,'' as well as a commercial movie with a rare sense of history. The focal point of ''Reds,'' which Mr. Beatty produced, wrote (with Trevor Griffths), directed and acts in, is the love affair and marriage of John Reed, the flamboyant American journalist and radical sympathizer, and Louise Bryant, the Portland, Ore., dentist's wife who, in 1915, fled from her husband and middle-class conventions to follow Reed to Greenwich Village and her own desperately longed-for emancipation. The film, which begins with a montage of Reed's exploits while covering Pancho Villa in Mexico in 1913, moves from Portland to Greenwich Village; to Provincetown, Mass., where Reed and Louise helped form the famous Provincetown Players with Eugene O'Neill and others; to France, before United States entry into the war, and finally to Russia, where Reed and Louise were covering the successful Bolshevik Revolution of 1917. Theirs is the kind of story that only a third-rate novelist would dare make up. Though very long - more than three hours plus intermission - and broad in physical scale, ''Reds'' has at its center two remarkable characters -Reed, the perennial undergraduate who used wars and revolutions as his personal raw material, but whose commitment to social and political change led him to risk everything on behalf of the world Communist movement, and Louise Bryant, an incurable romantic who, in the course of her association with Reed, became her own tragic heroine. Mr. Beatty is fine as Reed, full of youthful enthusiasm, arrogance and the dedication of a convert, but Diane Keaton is nothing less than splendid as Louise Bryant - beautiful, selfish, funny and driven. It's the best work she has done to date. Most prominent in the supporting cast are Jack Nicholson as the young O'Neill, with whom Louise had an affair at the same time she was living with Reed; Maureen Stapleton, marvelous and earthy as Emma Goldman; Jerzy Kosinski, the novelist, who is very, very good as Grigory Zinoviev, the smarmy Bolshevik who may have helped push Reed to a disillusion with Communism never fully verified, and Edward Herrmann, as Reed's friend and editor, Max Eastman. Most astonishing is the way the movie, which abounds with Great Moments of History, including the Bolshevik takeover of the Winter Palace in Petrograd, avoids the patently absurd, even as Reed and Louise, drunk on the excitement of the successful revolution they've just witnessed, make love in a cold Petrograd flat to the strains of ''The Internationale.'' The secret, I think, is that the film sees Reed and Louise as history's golden children, crass and self-obsessed but genuinely committed to causes they don't yet fully understand. There are times when the movie falters - a reconciliation between Louise and Reed on a French battlefield, which never happened and seems drawn from an old Hollywood picture; a terrible decision by Mr. Beatty to cut to a close-up of a cute, sympathetic puppy when Reed is distraught and crying after one of Louise's periodic departures, and a long montage depicting the ''Doctor Zhivago''-like hardships of Louise's second journey to Russia to join Reed in 1920, the year of his death. These, however, are minor faults in a large, remarkably rich, romantic film that dramatizes - in a way that no other commercial movie in my memory has ever done - the excitement of being young, idealistic and foolish in a time when everything still seemed possible. The film's scenes of epic events (actually photographed in Finland and Spain) are stunning, but so are the more intimate moments, including a stuffy Portland dinner party where Reed and Louise are formally introduced; the Greenwich Village sequences in which Reed and Louise enjoy their newly found, mutual love, and a hilarious sequence in Provincetown in which Louise, not a born actress, plays the lead in the early O'Neill play called ''Thirst.'' Says O'Neill to Louise: ''I wish you wouldn't smoke during rehearsals. You don't act as if you're looking for your soul but for an ashtray.'' Students of history may argue over some of the film's ellipses, and film students may delight in pointing out cinema ''quotes,'' shots that recall scenes from other movies, but they will be missing the point of a film of great emotional impact. The technical credits are superior, including Vittorio Storaro's photography and the mindboggling editing job done by a crew headed by Dede Allen and Craig McKay. Only the very narrow-minded will see the film as Communist propaganda. Though Reed remained at his death a card-carrying Communist and was buried in the Kremlin, the movie is essentially as ideological as the puppy that whimpers when Louise stalks out. ''Reds'' is not about Communism, but about a particular era, and a particularly moving kind of American optimism that had its roots in the 19th century. The film, which opens today at the Astor Plaza and Coronet, sees this time as if through the wrong end of a telescope, the image being startlingly clear and distant and, finally, very sad. This mood is most effectively evoked in the testimony of the Witnesses, by one woman who recalls how Louise badgered her for a fur coat, by Rebecca West's talk of old lovers, by Henry Miller's suggestion that someone like Reed, who was so concerned with the world's problems, ''either had no problems of his own or refused to recognize them.'' Then there's the incredibly beautiful moment when the Witness Heaton Vorse, who looks as ancient as the sands of Cape Cod, jauntily sings the old song ''I Don't Want to Play in Your Yard,'' to cue in a Provincetown revel in which the youthful, incredibly beautiful Louise, surrounded by friends and lovers, sings the same song, which suddenly becomes a lament. ''Reds'' is an extremely fine film. ''Reds,'' which has been rated PG (''Parental Guidance Suggested''), contains some vulgar language and some none-tooexplicit sex. Moving Optimism REDS, directed by Warren Beatty; written by Mr. Beatty and Trevor Griffiths; photography by Vittorio Storaro; edited by Dede Allen and Craig McKay; music by Stephen Sondheim and Dave Grusin; produced by Mr. Beatty; released by Paramount Pictures. At the Astor Plaza, Broadway and West 44th Street, and the Coronet, Third Avenue and 59th Street. Running time: 196 minutes. This film is rated PG. John Reed . . . . . Warren Beatty Louise Bryant . . . . . Diane Keaton Max Eastman . . . . . Edward Herrmann Grigory Zinoviev . . . . . Jerzy Kosinski Eugene O'Neill . . . . . Jack Nicholson Louis Fraina . . . . . Paul Sorvino Emma Goldman . . . . . Maureen Stapleton Paul Trullinger . . . . . Nicholas Coster Speaker, Liberal Club . . . . . M. Emmet Walsh Mr. Partlow . . . . . Ian Wolfe Mrs. Partlow . . . . . Bessie Love Carl Walters . . . . . MacIntyre Dixon Helen Walters . . . . . Pat Starr Mrs. Reed . . . . . Eleanor D. Wilson Floyd Dell . . . . . Max Wright Horace Whigham . . . . . George Plimpton Maurice Becker . . . . . Harry Ditson Ida Rauh . . . . . Leigh Curran Crystal Eastman . . . . . Kathryn Grody Marjorie Jones . . . . . Brenda Currin Jane Heap . . . . . Nancy Duiguid Barney . . . . . Norman Chancer Big Bill Haywood . . . . . Dolph Sweet Pete Van Wherry . . . . . Gene Hackman Dr. Lorber . . . . . Gerald Hiken Julius Gerber . . . . . William Daniels Allan Benson . . . . . Dave King Joe Volski . . . . . Joseph Buloff Alex Gomberg . . . . . Stefan Gryff Interpreter in Factory . . . . . Denis Pekarev Lenin . . . . . Roger Sloman Trotsky . . . . . Stuart Richman Kerensky . . . . . Oleg Kerensky WITNESSES: Roger Baldwin, Henry Miller, Adela Rogers St. John, Dora Russell, Scott Nearing, Tess Davis, Heaton Vorse, Hamilton Fish, Isaac Don Levine, Rebecca West, Will Durant, Will Weinstone, Oleg Kerensky, Emmanuel Her- bert, Arne Swabeck, Adele Nathan,George Seldes, Kenneth Chamberlain, Blanche Hays Fagen, Galina von Meck, Art Shields, Andrew Dasburg, Hugo Gellert, Dorothy Frooks, George Jessel, Jacob Bailin, John Ballato, Lucita W illiams, Bernadine Szold-Fritz, Jessica Smith, Harry Carlisle and Arthur Mayer. Henry Warren Beaty (/ˈbeɪti/ BAY-tee[1]) (born March 30, 1937) is an American actor, producer, screenwriter and director. He has been nominated for fourteen Academy Awards – four for Best Actor, four for Best Picture, two for Best Director, three for Original Screenplay, and one for Adapted Screenplay – winning Best Director for Reds (1981). Beatty is only the second person to have been nominated for acting, directing, writing and producing in the same film – doing so first with Heaven Can Wait (1978), and again with Reds – succeeding Orson Welles, who was nominated for all four for Citizen Kane in 1941 and won for writing. In 1999, he was awarded the Academy's highest honor, the Irving G. Thalberg Award. Beatty has been nominated for eighteen Golden Globe Awards, winning six, including the Golden Globe Cecil B. DeMille Award, which he was honored with in 2007. Among his Golden Globe-nominated films are Splendor in the Grass (1961), Bonnie and Clyde (1967), Shampoo (1975), Dick Tracy (1990), Bugsy (1991), and Bulworth (1998). Contents 1 Early life 1.1 Education1.2 Military service2 Career 2.1 1950s and 1960s2.2 1970s and 1980s2.3 1990s and 2000s2.4 2010s2.5 Tribune lawsuit2.6 Unrealized projects3 Political work4 Honors5 Personal life6 Filmography7 References8 Further reading9 External links Early life Henry Warren Beaty was born in Richmond, Virginia. His mother, Kathlyn Corinne (née MacLean), was a Nova Scotia-born teacher, and his father, Ira Owens Beaty, had a PhD in educational psychology, was a public school administrator, and dealt in real estate.[2] Beatty's grandparents were also educators. The family was Baptist.[3][4] In 1945, the family moved from Richmond to Arlington, Virginia. During the 1950s, the family resided in the Dominion Hills section of Arlington.[5] Beatty's elder sister is the actress/dancer/writer Shirley MacLaine. He is not related to Ned Beatty (who was also born in 1937). Education Beatty was a star football player at Washington-Lee High School in Arlington. Encouraged to act by the success of his sister, who had recently established herself as a Hollywood star, he decided to work as a stagehand at the National Theatre in Washington, D.C. during the summer before his senior year. He was reportedly offered ten football scholarships to college, but rejected them to study liberal arts at Northwestern University (1954–1955), where he joined the Sigma Chi Fraternity. After his first year, he left college to move to New York City, where he studied acting with Stella Adler. Military service Warren Beatty enlisted in the California Air National Guard on February 11, 1960 under his original name, Henry W. Beaty. On January 1, 1961, Beatty was discharged from the Air National Guard due to physical disability. He was simultaneously discharged from the United States Air Force Reserve (USAF), and served on inactive duty only.[citation needed] Career 1950s and 1960s Beatty in Bonnie and Clyde (1967). Beatty started his career making appearances on television shows such as Studio One (1957), Kraft Television Theatre (1957), and Playhouse 90 (1959). He was a semi-regular on The Many Loves of Dobie Gillis during its first season (1959–60). His performance in William Inge's A Loss of Roses on Broadway in 1960 garnered him a Tony Award nomination for Best Actor and a 1960 Theatre World Award. It was his sole appearance on Broadway.[citation needed] He made his film debut in Elia Kazan's Splendor in the Grass (1961), opposite Natalie Wood. The film was a critical and box office success and Beatty was nominated for a Golden Globe Award for Best Actor, and received the award for New Star of the Year – Actor.[6] He followed his initial film with Tennessee Williams' The Roman Spring of Mrs. Stone (1961), with Vivien Leigh and Lotte Lenya, directed by Jose Quintero; All Fall Down (1962), with Angela Lansbury, Karl Malden and Eva Marie Saint, directed by John Frankenheimer; Lilith (1963), with Jean Seberg and Peter Fonda, directed by Robert Rossen; Promise Her Anything (1964), with Leslie Caron, Bob Cummings and Keenan Wynn, directed by Arthur Hiller; Mickey One (1965), with Alexandra Stewart and Hurd Hatfield, directed by Arthur Penn; and Kaleidoscope (1966), with Susannah York and Clive Revill, directed by Jack Smight. In 1967, when he was 29 years old, he produced and acted in Bonnie and Clyde. He assembled a team that included the writers Robert Benton and David Newman and the director Arthur Penn, chose Faye Dunaway, Gene Hackman and Estelle Parsons for lead roles, oversaw the script and spearheaded the delivery of the film. It was a critical and commercial success, and was nominated for ten Academy Awards, including Best Picture and Best Actor, and seven Golden Globe Awards, including Best Picture and Best Actor.[citation needed] 1970s and 1980s Beatty with Diane Keaton and first lady Nancy Reagan in 1981. After Bonnie and Clyde, Beatty acted with Elizabeth Taylor in The Only Game in Town (1970), directed by George Stevens; McCabe & Mrs. Miller (1971), directed by Robert Altman; Dollars (1971), directed by Richard Brooks; The Parallax View (1974), directed by Alan Pakula; and The Fortune (1975), directed by Mike Nichols. Beatty produced, co-wrote and acted in Shampoo (1975), directed by Hal Ashby, which was nominated for four Academy Awards, including Best Original Screenplay, as well as five Golden Globe Awards, including Best Motion Picture and Best Actor. In 1978, Beatty directed, produced, wrote and acted in Heaven Can Wait (1978). The film was nominated for nine Academy Awards, including Best Picture, Director, Actor, and Adapted Screenplay. It also won three Golden Globe Awards, including Best Motion Picture and Best Actor. Beatty's next film was Reds (1981), an historical epic about American Communist journalist John Reed who observed the Russian October Revolution – a project Beatty had begun researching and filming for as far back as 1970. It was a critical and commercial success, despite being an American film about an American Communist made and released at the height of the Cold War. It received twelve Academy Award nominations – including four for Beatty (for Best Picture, Director, Actor, and Original Screenplay), winning three; Beatty won for Best Director, Maureen Stapleton won for Best Supporting Actress (playing anarchist Emma Goldman), and Vittorio Storaro won for Best Cinematography. The film received seven Golden Globe nominations, including Best Motion Picture, Director, Actor and Screenplay. Beatty won the Golden Globe Award for Best Director. Following Reds, Beatty did not appear in a film for five years until 1987's Ishtar, written and directed by Elaine May. Following severe criticism in press reviews by the new British studio chief David Puttnam just prior to its release, the film received mixed reviews and was commercially unsuccessful. Puttnam attacked several other over-budget U.S. films greenlit by his predecessor, and was fired shortly thereafter.[citation needed] 1990s and 2000s Beatty on the set of Dick Tracy (1990). In 1990, Beatty produced, directed and played the title role as comic strip based detective Dick Tracy in the film of the same name. The film received critical acclaim and was one of the highest grossing of the year. It received seven Academy Award nominations, winning three for Best Art Direction, Best Makeup, and Best Original Song; it also received four Golden Globe Award nominations, including Best Motion Picture. In 1991, he produced and starred as the real-life gangster Bugsy Siegel in the critically and commercially acclaimed Bugsy, directed by Barry Levinson, which was nominated for ten Academy Awards, including Best Picture and Best Actor; it later won two of the awards for Best Art Direction and Best Costume Design. The film also received eight Golden Globe Award nominations, including Best Motion Picture and Best Actor, winning for Best Motion Picture. Beatty's next film, Love Affair (1994), directed by Glenn Caron, received mixed reviews and was unimpressive commercially. In 1998, he wrote, produced, directed and starred in the political satire Bulworth, which was critically acclaimed and was nominated for the Academy Award for Best Original Screenplay. The film also received three Golden Globe Award nominations, for Best Motion Picture, Actor, and Screenplay.[citation needed] Beatty has appeared briefly in numerous documentaries, including: Arthur Penn, 1922–: Themes and Variants (1970), Year of the Woman (1973), George Stevens: A Filmmaker's Journey (1984), Dick Tracy: Behind the Badge, Behind the Scenes (1990), Madonna: Truth or Dare (1991), Bugsy: The Dark Passion of an American Dreamer (1991), Victory & Valor: Special Olympics World Games (1991), Writing With Light: Vittorio Storaro (1992), The First 100 Years: A Celebration of American Movies (1995), Forever Hollywood (1999), Dean Tavoularis: The Magician of Hollywood (2003), One Bright Shining Moment (2005), The Road to Damascus: The Reinvention of Bugsy Siegel (2006), In Search of Puppy Love (2007), American Masters (2008), and Revolution! The Making of Bonnie and Clyde (2008). 2010s In 2010, Beatty directed and reprised his role as Dick Tracy in a 30-minute film titled Dick Tracy Special, which premiered on TCM. The short metafiction film stars comic strip hero, Dick Tracy (played by Beatty) and film critic and historian Leonard Maltin who talks about the history and creation of Tracy. Maltin also interviews Dick Tracy. Tracy talks about how he admired Ralph Byrd and Morgan Conway who portrayed him in several films, but how he didn't care much for Beatty's portrayal of him nor his film. In June 2011, it was reported that Beatty was developing a film based on Howard Hughes. The story of Hughes was a dream project Beatty planned to make since the 1970s. Beatty identified himself with Hughes and unlike many roles he played, he was reported saying that he thought he was the appropriate actor to play Hughes (as well as playing Bugsy Siegel, a role he eventually played in Bugsy). In the mid-1970s, Beatty signed a contract with Warner Bros. to star, produce, write and possibly direct a film about Hughes. It was also during this period that Beatty approached Paul Schrader to write a script on Hughes' life, which he declined. However, the project was put on hold when Beatty began Heaven Can Wait. Initially, Beatty planned to film the life story of John Reed and Hughes back-to-back, but as he was getting deeper into the project, he eventually focused primarily only on the John Reed film Reds. In the mid-1980s, Beatty postponed the Hughes film to film Ishtar with Hoffman, Adjani and May. After finishing the Dick Tracy draft in the late 1980s, Beatty pursued Bo Goldman (who wrote a Howard Hughes-themed script Melvin and Howard which also earned him an Academy Award) to write a Hughes script for Warners by the end of 1990. It was during this collaboration with Goldman that Beatty decided to make a film about the later life of Hughes, which Beatty found more fascinating. Although many speculated[who?] that Beatty never had a script about Hughes, it was reported that Goldman did hand Beatty the script on Hughes in the summer of 1989 and he was pleased with the script, but Beatty went on to other projects. However, in the early 1990s, Beatty got word that Steven Spielberg approached Goldman to write him another script on Howard Hughes for Spielberg to direct, in which Spielberg wanted Jack Nicholson to play the billionaire aviator. Beatty convinced Nicholson to turn down the part and Spielberg eventually moved on to other projects. Although Beatty continued to work on the Hughes script himself in 1995, Beatty moved on to Bulworth, shelving his Hughes project once again. However, after years of being away from the screen and the camera, it was reported that Beatty is producing, writing, directing and starring in a film about Hughes and an affair he had with a younger woman in the final years of his life. The project also includes an ensemble cast. During this period, Beatty approached Andrew Garfield, Alec Baldwin, Owen Wilson, Justin Timberlake, Shia La Beouf, Jack Nicholson, Evan Rachel Wood, Rooney Mara, his wife Annette Bening and his personal choice of the female lead, Felicity Jones, to join the cast. After Paramount Pictures exited the film, Regency Enterprises picked up the film in September 2011. The film, Untitled Warren Beatty project, began principal photography on February 24, 2014 and wrapped on June 8, 2014. Some have said that Beatty's film is 40 years in the making. Tribune lawsuit In May 2005, Beatty sued Tribune Co., claiming he still maintained the rights to Dick Tracy. On March 25, 2011, U.S. District Judge Dean Pregerson ruled in Beatty's favor.[7] Unrealized projects Throughout his career, Warren Beatty had several projects that he wanted to produce, to star and to possibly direct. In 1963, producer Charlie Feldman approached Beatty to star and to co-produce a screwball comedy based on a Hungarian play called Lot's Wife, which was penned by Billy Wilder's writing partner, I.A.L. Diamond (Feldman had prior knowledge of Beatty's ambition of becoming a film producer). Beatty agreed to participate in the project and Lot's Wife evolved into What's New Pussycat?. The title comes from Beatty, who would answer the phone to female callers with "What's New Pussycat?" It was intended that Beatty would play the film's hero, a notorious lovesick womanizer and for then-little known writer Woody Allen to play the film's secondary role (which would have been his film debut). Beatty originally wanted Groucho Marx to play Beatty's character's psychiatrist in the film. The role would have been a juicy part and the funniest in the film, and a comeback for Marx's career. During the writing phase of the film, Beatty suggested that maybe Mike Nichols should direct this film. Nichols hadn't yet directed a feature film up to that time. Both Beatty and Allen wrote several drafts for Pussycat. However, Beatty became increasingly upset that Allen began to increase his part to the point where Allen's character had the best, funniest lines in the script. Beatty took his case to Feldman to denounce Allen's involvement in the project. Despite their collaboration, Feldman sided with Allen, partly because Allen's version of the script was funnier than Beatty's. Unhappy with the direction of where the screenplay was going, Beatty left the project. Ultimately, What's New Pussycat? was released without Beatty's involvement and, although Woody Allen did get the writing credit, it was reported that he was not satisfied with the end results. The character that Beatty would have played in the film was portrayed by Peter O'Toole, and Marx's role was played by Peter Sellers. Despite their disputes on the film, both Beatty and Feldman reconciled and remained friends until Feldman's death in 1968. Although not happy on how the film was made, both Beatty and Allen went on their own careers and both understood that when developing their own projects, they must have total control over them.[citation needed] In the mid-1960s, while touring in France with then-girlfriend Leslie Caron, Beatty approached the film director François Truffaut and proposed to him to direct a film on the life of French singer Édith Piaf which would star Caron as Piaf. Beatty would have produced the project. Truffaut declined the offer. As soon as Beatty returned to New York, he got word that a hot, sharp script by two young writers David Newman and Robert Benton was being presented. The script was about Bonnie and Clyde.[citation needed] During pre-production on Bonnie and Clyde, Beatty continued to look for future projects. During that time, he was toying with the idea of remaking the Jean Renoir film The Lower Depths. However, the idea of remaking Renoir's film was quickly abandoned when Beatty, with the suggestion of his friend and idol Cary Grant, went on to look for/think of a romantic comedy to make. Eight years later, Beatty's "romantic comedy" led him to produce, co-write and star in Shampoo. After the release of Bonnie and Clyde and while writing the script of Shampoo, Beatty, who was fascinated in "everything Russia", visited the Soviet Union several times with then-girlfriend Julie Christie. It was during those trips when Beatty took interest in the life of the American Communist journalist John Reed. During that time, it was also reported that Beatty had written a screenplay called Natural State which was about a love affair between an American man and a Russian woman set during the height of the Cold War. The Natural State screenplay remained unrealized and Beatty eventually made the film about John Reed thirteen years later.[citation needed] Beatty intended for Reds to be his first feature as director, but Beatty nearly stepped into the role of a director of two films that he starred in in the 1970s. During production of McCabe & Mrs. Miller, Beatty didn't like the direction Robert Altman was taking. Beatty re-wrote his own scenes and lines as well as Julie Christie's scenes and lines. Beatty wanted to take control of the film and to direct the film himself due to Altman's lack of skill (according to Beatty). However, Altman resumed his position as director and Beatty resumed his original position as well. A few years later, during the pre-production of The Fortune, Beatty was eager to work with Jack Nicholson for the first time, and Beatty toyed with the idea of directing the film. Beatty originally thought of directing the film as a silent feature, as an homage to the silent comedies of Charlie Chaplin, Buster Keaton and Mack Sennett. Eventually, Mike Nichols was chosen to be the film's director. Also in the 1970s, according to Robert Evans, Evans approached Beatty to star in the title role of The Great Gatsby. But like many well-known actors during that time, Beatty turned down the part. However, Beatty was more interested in taking control of the film by being its producer and to direct Gatsby. Beatty thought that Evans should play the part of Gatsby (Evans started his career as an actor) who Beatty thought would be ideal. Beatty also envisioned Evan's ex-wife Ali MacGraw to play Daisy. Eventually, Beatty moved on to other projects, and The Great Gatsby starred Robert Redford and Mia Farrow. In 1975, after the release of Shampoo, screenwriter Paul Schrader approached Beatty to star in a script he had written, Hardcore. Beatty was interested in being involved in the film, and even thought of being the producer of the film as well as maybe taking the role of director. Beatty eventually, passed on the film and went on to direct Heaven Can Wait. While preparing Heaven Can Wait, Beatty met screenwriter James Toback, who showed Beatty a new script he had written entitled Love and Money. Beatty expressed interest, but eventually, after finishing Heaven Can Wait, Beatty placed his whole attention on making Reds. Beatty also flirted with the idea of starting in Fosse's All That Jazz. In the 1980s, Beatty had several projects he rejected and considered making. Beatty considered starring in Robert Towne's film Tequila Sunrise, as well as another project written by Towne titled Mermaid, which would have been directed by Arthur Penn. Beatty was also pursued by filmmaker Paul Mazursky to star in his film Down and Out in Beverly Hills, but Beatty turned it down. In the late 1980s, after finishing Ishtar and producing The Pick-Up Artist, Beatty bought the rights to produce the life of Warhol superstar Edie Sedgwick. Although, he would not have an acting role in the film, Beatty wanted to direct it and he co-wrote a script with James Toback, entitled Edie. The film would have been about the rise of Sedgwick's fame in the 1960s and how her Svengali-like relationship with Andy Warhol, her troubled romance with Bob Dylan and her drug abuse led her to her downfall in the 1970s. Beatty wanted the film to have a documentary feel. He only wanted to use hand-held cameras, 8mm cameras in some scenes, and black and white stock in the film. At the time, Beatty considered Michelle Pfeiffer to play Sedgwick and Al Pacino to play Warhol. However, the pre-production of the film was halted with constant decision changing. During casting, Beatty thought that maybe he wasn't appropriate to be the film's director. Beatty asked Bob Fosse if he would direct the film. When Fosse passed on the film, Pfeiffer moved on to do other films. Beatty later considered either Molly Ringwald, Jessica Lange or Madonna to play Sedgwick. Beatty eventually cancelled Edie and went on to direct and star in Dick Tracy. In the 1990s, Beatty starred in Dick Tracy, Bugsy and Love Affair, and was in talks of starring in films such as Jade, Misery (who briefly considered producing and possibly direct, as well), The Doctor, Nixon, Schindler's List and Boogie Nights, which Beatty admits he regrets not being in. During this time, Beatty found a script titled Ocean of Storms. It was a romance about an older astronaut who rejoins in the space program for another shot at glory and falls for a female astronaut. The script was written by documentary producer Ben Young Mason and writer-actor Tony Bill. Beatty bought the rights to the script and pitched the film to 20th Century Fox. However, like most of Beatty projects, it was stalled in development. After completing Love Affair, Beatty wanted himself and Annette Bening to star in Ocean of Storms as their next project. He tried to convince Martin Scorsese to direct it. Scorsese passed on the project, but Beatty continued to develop it over the years, with rewrites from several screenwriters including Robert Towne, Lawrence Wright and Aaron Sorkin. In 1999, Clint Eastwood and Warner Bros. had released their own astronaut film Space Cowboys. After the success of that film, and the disappointing box office success of both Love Affair and Bulworth, Beatty pulled the plug on Ocean of Storms. In the early 2000s, Beatty thought of making a sequel to Bulworth called Bulworth 2000 in which the plot would have started a few minutes after the events of the end of Bulworth. Bulworth 2000 was intended to satirize the 2000 presidential election, but the film never came to fruition. Bulworth 2000 was not the only sequel Beatty considered making. For years, he was thinking of making a sequel to both Shampoo and Dick Tracy, but nothing came of it. Also, during the 2000s, Beatty was asked to play the title role in Quentin Tarantino revenge epic Kill Bill, which would have had Beatty as Bill, a James Bond-like character. Beatty passed on the film but suggested Tarantino ask martial arts star David Carradine to play the part. Beatty also turned down another chance to play Richard Nixon in Frost/Nixon. From the late 1990s to the early 2000s, Warren Beatty expressed an interest in producing, adapting and possibly directing a film based on Scott Thorson's book on his romance with Liberace. His intention was to make a twisted black comedy-romance/showbiz satire with lots of music. Beatty toyed with the idea of either casting Michael Douglas, Bill Murray or Robin Williams to play Liberace and Justin Timberlake to play Scott Thorson. Beatty also talked to several actors about being in the film, such as Oliver Platt to play Liberace's agent, Seymour Heller, Shirley MacLaine as Liberace's mother (which would have been the first time that the brother and sister would have worked together in a film), and in a small comic role, Johnny Depp as Liberace's drug addicted plastic surgeon. Thorson's book was eventually made into an HBO original movie. Despite some casting conversations and writing a draft, Beatty eventually dropped the project and began to slowly work on Untitled Warren Beatty project. Political work In 1972, Beatty was part of the "inner circle" of Senator George McGovern's presidential campaign. He traveled extensively and was instrumental in organizing fundraising.[8] Honors Beatty at the 47th Venice Film Festival. He has received the Eleanor Roosevelt Award from the America