All language subtitles for Pollock.2000.1080p.WEBRip.x264-RARBG2_English

[ Chattering ]

[ Grunting ]

[ Man ]
Who's the greatest
drummer in the world?

Krupa.
[ Laughs ]
You got it.

That guy cooks.
You're damn right I got it.

Fuck Picasso.
That fucking guy.

Fuck Picasso!
Fuck Picasso!

[ Muffled ]
Fucking guy.
Fucking guy's done it all.

Okay.
You're doing
good work.

No, I'm not.
I'm not doing nothing
worth shit.

[ Pollock ]
It's not worth shit!

[ Man ]
Now, you get on your feet.

[ Both Laughing ]

[ Woman ]
We're having a child, Sande.

[ Sande ]
He's my brother.

And I'm not going to
put up with it anymore.

[ Radio ] The United States
government authoritatively
stated yesterday...

that its patience with Japan
was nearing exhaustion.

After nearly two weeks
of negotiations inWa.

between Japanese and American
officials, Secretary of State
Hall declared...

that another Japanese
military move into Thailand...

or elsewhere
would not be tolerated.

The effect of the statement
seemed to be that war...
It's hot.

is closer than at any
previous time.

In other news,
the first complete--

[ Radio Off ]

[ Knock On Door ]

[ Distant Knocking On Door ]

Jackson Pollock?

I'm Lee Krasner.
We're in John Graham's
show together.

You're working?

It's pretty big-time stuff
to be hanging with Picasso
and Braque and that kind.

I thought I knew all
the abstract artists
in New York,

and I don't know
Jackson Pollock.

Here's a name
I've never heard of.

So, being cheeky,
I just hoofed it over here.
I could come back another time.

No, it's all right.
Could I see your work?

I didn't know what I expected,
but my God.

Who do you study with?
Nobody.

- Did you ever?
- Tom Benton.

Benton?
You don't paint
anything like Benton.

Carl Jung and John Graham
helped me get over Benton.

Which one are you showing?

That one.

- I'm not sure I'm finished.
- I don't think
you should touch it.

I'd like it if you would
come to my studio.
Would you?

Yeah, sure.

I'm just around the corner.
Would you?

Yeah, thanks.

It's 23--

23 East Ninth.

Really, yes. You don't
have to give me a when,
just pop on over.

When you said you'd come by
I didn't think it would take
three weeks.

It hasn't been
three weeks.
To the day.

It's not mine,
I didn't do it.
Ex-lover.

That one I did
ten years ago.

Interesting.

"To whom shall I hire
myself out?

"What beast must I adore?
What holy images attacked?

What hearts must I break?
What lie must I maintain,
and what blood tread?"

Part of Rimbaud's
Season In Hell.

That's the one I'm putting
in the Graham show.
That's a damn good picture.

That works.
You're a damn good
woman painter.

- You want coffee?
- Yeah, sure. Thanks.

Let's go.
What?

You don't think
I make it here?

I met you before,
you know.

It was maybe five years ago.
A loft dance.

You were six sheets
to the wind.

You cut in.
You stepped all over my feet.

Yeah.
Got it, right.

You were falling
all over me.
I'm sorry.

You're overseas, you know.
It's kind of vivid in my memory.

[ Mumbles ]

I thought if you remembered,
to let you know it was okay.

Thanks.

Really.

When did you study
with Benton?

'31.

The Arts Students League?

My brother, Charles,
was studying with Benton,

and so I came out
and...

joined him.

Where are you from?

Arizona.
Actually, California.

I'm from Brooklyn.
Oh, I was just going to
ask you where you're from.

My parents came over
from Russia.
I'm from right here.

Russia.

** [ "Sing, Sing, Sing"
Benny Goodman Orchestra ]

The potatoes.

Did you people
eat like this all the time?

How long will you be
in the city, Mrs. Pollock?

For a spell.

Oh, we've asked Mother
to come live with us
in Connecticut.

Sande found out
they're thinking of drafting
married men with children...

who aren't involved
in war production.

I took a job
in Connecticut.

Deep River.

Making gliders for the army.

Well, gee.
That's great, Sande.

That's swell.
Congratulations.

Not everyone can arrange
to be 4-F, Jack.

[ Turns Up Volume ]

Benny Goodman, Gene Krupa--
no one greater.

- Harry James on trumpet.
- The apartment will be
all yours, Jack.

You'll have lots of space.

** [ Big Band Continues ]

[ Lee ]
Is this the best hotel
you could find?

- What's she doing here?
- Lee's going to take
you home.

What's she doing here?

You need to get
cleaned up.

[ Screaming ]

[ Continues Screaming ]

[ Sande ]
Feed him some milk
and some eggs.

[ Whispers ]
Don't go.

Okay, come on.

That's okay.
It's okay.

Thank you.

[ Lee ]
You've gotta see his work.

No one is doing
what Pollock is doing.

Yes, of course.
It would be just great
if you can stop by.

Wonderful. We'll look
forward to it. Bye.

[ Radio, Indistinct ]

Jackson,
breakfast is on the table.

[ Man ]
Lee!

Reuben.
Hello.

Lee Krasner,
Howard Putzel.
How nice to meet you.

Howard's been working
with Peggy Guggenheim.

Howard, of course.

Reuben's here
with Howard Putzel. He works
with Peggy Guggenheim.

Rube!

[ Pollock ]
When'd you get back?

What the hell?
I thought you were
in Los Angeles.

They got me stationed
in Brooklyn.
Look at you!

Jackson, this is
Howard Putzel.
I am very pleased to meet you.

I've known this guy
since high school.
I met Howard in Los Angeles...

before he hooked up
with Peggy in Paris.
Right this way.

We ran into
each other yesterday.
How are Barbara and the kids?

They're good. They're coming
out in a couple of weeks.

How long you here for?
They're going to
ship me out to India.

What about you?
[ Pollock ]
4-F. Too neurotic.

You dog.

Genius.

Peggy must see this.

[ Chattering ]

Harold and May.
Hi, how are you?

Come on, Jackson.

Come here,
meet Peggy Guggenheim.

I'm so glad
you made it.

Lee Krasner, Jackson Pollock,
James Johnson Sweeney
from the Modern,

Miss Peggy Guggenheim.
Hello.

Mr. Pollock, Howard
has been talking about you.

[ Lee ]
Thank you, Howard.
You must see Jackson's work.

Yes. Well, enjoy yourself.

I like those earrings.
Thank you.

It's great, Howard.
But there's not one
American painter...

in the whole goddamn show.

What's this?

I see the head, the body.

This isn't Cubism, Jackson,
because you're not really
breaking down...

the figure into
multiple views.

You're just showing us
one side.

And what is this,
free association?
Automatism?

I'm just painting, Lee.
But what you're doing,
Jackson--

and don't tell me you don't
know what you're doing.

Are you experimenting
with surrealism?

Is this a dream?

Even if it's a dream,
it's still what you see.
It's life.

You're not just randomly
putting paint on the canvas.
You're painting something.

You can't abstract
from nothing. You can only
abstract from life.

From nature.
I am nature.

If you only work
from inside yourself,
you'll repeat yourself.

Why don't you paint
the fucking thing?

[ Grunts ]
[ Laughing ]

"The moon shone bright
on Mrs. Porter
and on her daughter.

Washed their feet
in soda water."

What the hell's that?
Eliot.
T.S. Eliot.

Gentlemen,
T.S. Eliot.

You hear Gorky sold
to the Modern?

Gorky's a cow.

You know, they forage
and they eat, they come back
in the stable still chewing.

He'll go look at a Picasso
for hours, go back to
his studio and spit it out.

- Fuck him.
- But he's so good at it.

Yeah, he's good at it,
but we gotta break through
this shit.

- What do you think of Kline?
- Kline's a whore.

- Picasso?
- A has-been.

de Kooning?

He's all right.
He's learning.

What do you think
of Jackson Pollock?

That's what we think.

[ Horn Honking ]
[ Man ] Watch it!

[ Lee ]
Jackson!

Come on.

[ Dog Yelps ]
Honey.

I have just climbed
five flights of stairs.
I am Peggy Guggenheim,

I do not climb up
five flights of stairs
to nobody home.

Not I. I do not climb up
five flights of stairs!

We're sorry.
Sorry is not
the word for it.

- I have weak ankles.
- It's my fault.

My God, and you're drunk.

- You're drunk.
Are you drunk?
- [ Both ] No.

[ Panting ]

Peg-- Peggy.

L.K.? L.K.?
Who the hell is L.K.?

I didn't come here
to look at L.K.
Peggy, this way.

Now, these show something.
This is better.

The most powerful work
to come round the pike,
there's no three ways about it.

You're not really a surrealist,

and well,
my few Americans are.

What's most impressed Jackson
about the European Moderns...

is their concept that
the source of art
comes from the unconscious.

Yes, yes, I'm sure.

[ Knock On Door ]

Howard.
Jackson, Howard's here.

Do you want coffee?

Jackson?
Howard's here.

Hi, Howard.

You've got your first
one-man show,

Art of This Century,
November 8.
Bravo, Jackson.

Congratulations.
Here, have a seat.

Peggy will give you
a stipend of $150 a month.

If at year's end, the artist
does not sell equivalent
to the advance,

plus one-third commission,
he will make up the difference
in paintings.

In other words, my dears,
you don't sell $2,400 worth,

Peggy owns all the work,
so sell.

In addition, Peggy
has commissioned you...

to paint a mural for
the entrance hall to her new
townhouse on 61st and Lexington.

It's big, Jackson,
8 feet by 20 feet.

You have total
artistic license.

You can paint anything you like.
You will be the sensation
of the season.

[ Peggy ]
This is my new painter,
Jackson Pollock.

They just donated
one of their paintings
to the Whitney Museum.

Tony, you know
Peggy Guggenheim, don't you?

Tony Smith, he's
a wonderful architect.
Hello. Oh.

Bill.
Mr. de Kooning.

Mom.
Oh, my, my, my.
God has provided.

How are you, Mom?
I'm fine,
I'm fine.

Who is this?
I want to introduce you
to Peggy Guggenheim.

How do you do.
Oh, so lovely to meet you.

This is James Johnson Sweeney.
Mrs. Pollock,
you must be very proud.

Of all my boys.

Jack, looks great.

Well, enjoy.
Well, Mom, look around,
okay?

Yes, I will.
Thank you all.

[ Whispering, Indistinct ]

This isn't painting.

-[ Lee ] Are you leaving?
-Yes, I don't think it's so hot.

Well, go back
and look again.
Oh, Lee, Lee.

He's original, he's ambitious,
but there's a lot of mud.

And the titles are...
pretentious.

Muddiness. Mud abounds.
Go back, Clem,
and look again.

Read it, read it.
Wait a minute,
wait a minute. Okay.

"Jackson Pollock
is participating in his first
one-man show...

"at the Art of This Century
Gallery.

Being young and full
of energy, he takes orders
he can't fill."

[ Groans ]
Thanks a lot, Clem.
Listen to the rest of it.

"Pollock has gone through
the influences of Miro,
Picasso,

"Mexican painting and whatnot
and has come out
on the other side...

painting mostly
with his own brush."

Not bad.
"Mostly with
his own brush"?

The man is saying
you're an original.

Not one sale.
Rome wasn't built
in one day.

[ Knocking On Door ]

[ Door Opens ]

What do you see there,
Pollock?

You've been looking
at it for weeks.

Peggy's threatening
to reconsider.

** [ Classical ]
[ Chattering ]

Oh, when you talk to me--

[ Gasps ]

Sorry.

Happy New Year, everyone!

[ Peggy ] That the mural
goes on and on, Clem says,
is what makes it so good.

He thinks it's
a great painting.

I think you found yourself
a champion.

It's all bullshit, anyway.
Do you like it?

I love it.

You've had a lot
of lovers.

My share.
You want to talk
about that?

You want to go to bed.
I had something
like that in mind.

I'll take you up on it.
I don't think you realize
how hard I work...

to get people interested
in you;

to get you into the right hands,
and then you act so badly.

I mean, you remind me
of a trapped animal.

Now you have to
promise me, do not
rip up my bedroom.

[ Peggy Groans ]
All right, wait a minute.

No--
Wait. Wait!

Shit.

I went out
looking for you.

What are you doing
to yourself?
Nothing.

You're doing more than that.

It's like a storm,
it'll pass.

You hear about Howard?
Putzel?

Yeah, he's dead.

Heart attack.

I liked Howard.

To Howard.

Yeah, here's to you,
Howard.

Barb and I and the kids,
we're going to rent a house...

on Long Island this summer.

We want you and Lee
to come out there with us.

You gotta get out of the city
for awhile.

I ain't doing
no harm here.

C'mon, Jack, let me
take you home.

Lee's going to
be worried sick.
I'm doing no harm.

Take it easy.

[ Children Laughing ]

I've had enough.

Take me in.

Deck of cards.

Binoculars.

I got it.

I wanna get married,
Pollock.

I suddenly want to.

So, either we marry
or we split, I think.

I love you.
I think you're
a great artist.

I want you to paint.

I want very much
to keep living with you.

But I want that commitment
from you too.

You'll have to
make the decision.

[ Reuben ]
Who's that girl
you were so gaga over?

You know, the one
that played the banjo?
Oh, Becky.

[ Together ]
Becky Tarwater.

You were so crazy for her.

I asked her
to marry me.
What'd she say?

No.
[ Laughs ]

You know that part
of our lives...

that's supposed to be
so special--
the growing-up part?

It was damn hell for me.
I think it's supposed to
be lousy...

so the rest
is going to seem easier.
Yeah, only it isn't.

Ohh!
What are you doing?

Where are you going?

[ Children Screaming ]

Oh, my God!
[ All Laughing ]

[ Lee ]
Be careful, Jackson.

[ Lee ]
Jackson, you want
a sandwich?

[ Lee ]
We could move out here.

And leave New York?

It would be
good for us.

Church wedding.

Jackson, there's no need--
Church wedding
or nothing.

No family,
please.
No family.

We'll need
a witness.
May Rosenberg.

And Harold.
No Harold.

What church?
That's a good question.

Come here.
I'm coming.
[ Screams ]

Oh, you're going to
break your back, Jackson.

Here, hold this.

You can't find
the keys?
[ Laughing ]

Oh, great.
Be careful.

[ Gasps ]

Jackson.
Look at that.

This is good.
Come on.

Don't think I've ever seen
a fox before.
He's beautiful, wasn't he?

His coat is gorgeous.

I think there's deer
around here too.

Guess I'll paint
in the house.

You're all set.
Thank you.

See you next time.
Okay. You too.

Howdy.

You're the fella that moved
into the old Quinn place.

Morning.

You moved out
from the city?

I don't blame you.

In a world where they can split
a tiny atom and blow up
hundreds of thousands of people,

there's no telling where
it's all gonna lead.

Best to find a quiet place,

do what you have to do.

Oh, you don't have
to pay me now.
What's your name?

Jackson Pollock.
Jackson Pollock.

[ Bird Cawing ]

[ Car Approaches ]

Thank you.

Well, we finally made it.

How you braving
the winter?

No coal, no hot water,
no bathroom.

It's like Jack
to want others
to share the misery.

He loves it.

How's he doing?

It's good for him
to be away from the city.

I guess you're here
to get Jackson drunk again.

Lee!

[ Reuben Laughs ]
Let me think.

I never actually
got Jack drunk.

I mean, he never really
needed any help.

He wrote us
to spend the weekend.
Rube.

I'm sure you understand.

Reuben.

[ Car Engine Starts ]

[ Birds Cawing ]

Come on.

That's it.
Come on.

[ Dog Whimpers ]

Yeah.
How you doing fella?
You lost?

[ Cawing ]

You'll have to find me
more space.

How'd it go
in there today?

Thought you, uh,
might make a table
or something.

What?

Get yourself
working again.

** [ Blues,
Billy Holiday ]

* Never had nothing
No one to care *

* That's why I seem to have
more than my share *

* I've got a man
crazy for me *

* He's funny that way

* When I hurt his feelings
once in awhile *

* His only answer
is one little smile *

* I've got that man
crazy for me *

* He's funny that way

* I can see no other way

* And no better plan

* End it all
and let him go *

* To some better gal
Hello, bub.

** [ Continues ]
Let's make a baby.

No.

* I'm more than certain
he'd follow me West **
No?

** [ Continues ]
Am I missing
something here?

Are you missing
something?

We can't.
We can't?

My life is full enough
with you, Jackson.

Wait a minute.
Where you going?
Don't walk away from me.

We're husband and wife.
I wanna have a baby.

Our baby. That's what the--
That's what the progression
of things is about.

-That's what the union is about.
-That's not what the union
is about.

Well, what else
is there?

- That's not what it's about.
- For me.

The vows
don't stipulate baby.

I am not going to bring
another life into that.

** [ Ends, Record Scratching ]

[ Needle Scratches
On Record ]

We are painters, Jackson.

We don't have any money.
We don't get by.
We struggle.

You are a great artist.

I believe
in Jackson Pollock.

There's you,
and there's the painting.

And you-- you need.
You need, you need, you need!

And I don't wanna be
anywhere else.

I don't want to be with...
anyone else.

But that's all...
I can handle.

[ Car Approaches ]

This is it?
Yes, please.

Come on.
Let's go inside for lunch.

No, no, no, no.
I want to see the paintings.
It's beautiful here.

Let's go see the paintings.
Let's go out to the--
We just moved out to the barn.

[ Lee ]
Jackson?
Hmm?

They're here.
Can we come in?

Sure.

[ Laughter ]
Jackson!

Now be careful.
Jackson!

How are you?
Hi!

I want you to meet
Alfonso Ossorio.
This is Jackson Pollock.

And, oh,
you know him, Ted.

Hello.
Ted, come on in.

Hi.
This is Ted Dragon.
This is Jackson Pollock.

They came up for a preview
of the show, and I expect them
to buy something.

It's beautiful.
You must be very happy.

Damn near.
The country's wonderful.

Well, I just enjoy
this one.

Are these new?
This was in
my last fall show.

You're retreating
into imagery again, Jackson.

Paint is paint.
Surface is surface.

That's all they should be.

This is, um,

this is first-rate.

[ Chattering ]

Why don't you do
eight or ten of those?

[ Chattering Continues ]

Paint is paint.
Surface is surface.
That's all they should be.

** [ Jazz ]
The surrealists confuse
literature with painting.

I can't stand it.
They will not have their way.

What you're doing out there,
Jackson, is better than anything
I've seen from you...

in a year or more.

No, I gotta backtrack.
Peggy's mural.

That's when I thought,
"Here's a great painter."

And people saying to me,
"It's wallpaper.

It repeats itself
and repeats"--

It's always been my plan
to return to Europe.

I don't have
the energy for it
since Howard died.

But Jackson needs
a gallery.
Excuse me.

What was the one that missed?
The one that wasn't so good.

I don't think
you have color yet.

Like Picasso, I think
you're much better off when
you keep your color quiet.

So, which one was it, Clem?
Shit, I'll fix it.

The one
with all the blue.

Is it the wrong blue?
Too much blue?

All I want art to be
is good, Jackson.
The picture misses.

And what do you think,
Ted?

Well, I think
it's interesting.
I like blue.

What do you think, Alfonso?
I think it's your painting.

But you think it misses.
Clem may have a point,
and he may not.

We should be going.
You think it misses?

You think it might miss?

Alfonso, you think
it might miss?

It might.
Well, I'll just go
fix it for you.

[ Laughing ]
Is he all right, Lee?

He's fine.
He's fine.

[ Cricket Chirping ]

So, it's all the blue
that's bothering you?

And what else,
you want the color quiet?

- It could be a little quieter.
- Let's quiet the color, then.

** [ Continues ]

[ Clem ]
Now this is something.

No matter
how drunk you are...

I'm not drunk.

there's one thing
sacred for you--

not anybody's feelings
or anything like that.

It's your art.

You're not going to
destroy your art.

This is something.

[ Sighs ]

[ Lee ]
He's had four shows
with you, Peggy.

He can't suddenly
not have a gallery.

You owe him.

Sam won't take him.

What did Betty Parsons say?

Oh, everyone drinks.
He's not the only one.

I know,
but he's a great painter.

Of course, of course.
I'll call you back.

[ Grunts, Sniffles ]

Oh, I'll have supper
ready in a jiffy.

Looks like Betty Parsons
may take you in.

Peggy's willing to continue
the monthly allowance
through next year,

So, she'll still own
all your unsold paintings,

but Betty will get a commission
on the new work that sells.

You've done it, Pollock.

You've cracked it
wide open.

Pass.

A nickel.
Cover it?

[ Record Player ]
* Old Dan Tucker
he got drunk **

** [ Continues ]
I'll see your nickel,

and I'll raise you...
a quarter.

Oh. I don't like
the look of that smile.

There is a smile of love,
and there is a smile of deceit.

- I'm out.
- I'm out.

Too rich
for my blood.

Two 2s.
Whoo!

"There is a smile of smiles in
which these two smiles meet."
William Blake.

Such a bluffer.

[ Harold ]
Jackson, did you hear
de Kooning sold to the Modern?

Want me to deal?

"A singular concentration
of passion and technique,

fierce energy, virtuosity."

I guess it doesn't hurt
that his wife is fucking
the critic.

Who are you
talking about?
de Kooning.

I don't agree
with "virtuosity,"
but it was a hell of a show.

Blah, blah, blah, blah,
blah, blah, blah, blah.

Did you see the show?
[ Lee ]
We're not in Siberia.

[ Clem ]
Oh, so you're the critic now.

No one knows I fuckin' exist.
Who the hell's talking
about me?

I write about
every goddamn show you have.

You're the only one, Clem.
What good does your praise
do me?

Jackson, it's new stuff.
You gotta give it time.

We're broke!

I'm digging clams
out of the bay
with my toes.

- I don't see de Kooning
digging clams.
- Everyone is struggling.

It'll break for you.
When?

Jackson, I just took part
in a round table on modern art,

held by Life magazine,
for God's sake.

America has become the center
of Western civilization.

And what you're doing is
the most original and vigorous
art in the country.

The rest of the critics
will catch on.
You just keep at it.

I'm keepin' at it.
Don't tell me to keep at it.
I'm keepin' at it.

Ante up.
All right.

Where's your hand?
[ Squeals ]

Did Clem rustle
your feathers?

I love all women!
You get off him!

[ Screams ]
Get off him!

He can take care
of himself.

- This is my house,
do you understand?
- Crazy bitch.

This is my house!

Okay.

That's over.
I'm glad that's over.

Jackson.

[ Bell On Door Jingles ]

[ Man ]
I'll be right there.

Hey, Jackson.
We owe you $56?

Sounds about right.

[ Bottles Clanging ]

[ Man ]
Hey there, Jackson.

Whoa!

You oughta mind...
your own fuckin'
business, bub.

[ Jackson ]
I'm telling you, Sande,
if I can do it, you can too.

It's been three weeks now.
Not a drop.

No, I quit for good.

We're still struggling,
but Alfonso and Ted
bought a painting,

but we won't see any money
until I sell a bunch more.

But guess what?
That Demarest Fund came through.

Fifteen hundred bucks.
[ Chuckles ]

I bought a Model "A."
Ninety bucks.

No, I'm not kidding.
It's just like we used to have.

Oh, okay.

Um, would you put Mom back on?
I'd like to say good night.

Okay, then tell them good night
from Uncle Jack.

Bye.

I think the Macys
are going to buy.

Good.

[ Phone Rings ]

Are you here?
Well, it depends.

[ Continues Ringing ]

Hello.

I'm sorry,
he's painting right now.

This is Lee Krasner,
his wife.

Yes.

Of course.

I'll let him know.

Okay. Bye.

Life magazine.
They want to do
an article on you.

Damn.

I don't let the image
carry the painting.

I-- If it creeps in,
I try to do away with it,

to let the painting
come through.

Hold it a minute
there, please.

[ Lee ]
Pollock spends hours
contemplating a painting.

It may be days or even months
before he tackles it again.

[ Reporter ]
Who are your favorite artists?

de Kooning, Kandinsky.

El Greco, Goya, Rembrandt.

How do you respond
to some of your critics?

They have said,
"A mop of tangled hair."

"A child's contour map
of the Battle of Gettysburg."

"Cathartic disintegration."
"Degenerate."
What do you say to them?

You forgot
"baked macaroni."
Well?

Well, if they'd--
people would just...

leave most of their stuff
at home and just look
at the paintings,

I don't think they'd have
any trouble enjoying them.

It's like...
looking at a bed of flowers.

You don't tear your hair out
over what it means.

How do you know when you're
finished with a painting?

How do you know when you're
finished making love?

That's better.

[ Whispering ]
Just be yourself.

Delivery.

Look whose story this is.

Life magazine article.

Oh, I have plenty here
if you want another one.
Enjoy the show.

[ Murmuring ]

[ Woman ]
Oh, yes, quite interesting.

Oh, yeah, how are you?

Jack, Jack, I'm gonna
go sell the bean dip.

Take a look around, fellas.

These are the big shots.
Jackson broke the ice.

Hi. How are you?

[ Murmuring Continues ]

[ Woman ]
It's such a pleasure.

Do you know the Petersons?
No. Pleasure to meet you.

This is Betty Parsons.

Sande!

Hi, Mom.

Thank you
for your work.
Oh, thanks.

Pollock showed
30 pictures last fall
and sold all but 5.

And his collectors
are nibbling at those.

Mr. Pollock,
in your opinion,

what is the meaning
of modern art?

Modern art, to me,

is nothing more
than the... expression
of the contemporary aims...

of the age
that we're living in.

Did the classical artists
have any means of expressing
their age?

Yes, and they did it
very well.

All cultures have had means
and techniques...

of expressing their...

immediate... aims.

The thing
that interests me...

is that today...

painters do not have to
go to a subject matter
outside of themselves.

[ Clears Throat ]
They work from
a different source.

They work from within.

It seems to me
that the modern artists...

cannot express this age--

the airplane,
the atom bomb, the radio--

in the old forms
of the Renaissance...

or any other past culture.

Well, how do you go about
getting the paint
on the canvas?

I understand
you don't use brushes
or anything of that sort.

[ Pollock ]
I paint on the floor.

That's not unusual.

The Orientals did that.

Most of the paint I use
is a liquid flowing
kind of paint.

The brushes I use
are used more as sticks.

But the brush doesn't
actually touch the canvas,

just above it.

[ Reporter ]
Well, isn't it more difficult
to control?

I mean, isn't there
more of a possibility
of getting too much paint...

or splattering
or any number of things?

No, I don't think so.

With experience,
it seems possible to control...

the flow of the paint
to a great extent.

And I don't use--

I don't use the accident...

'cause I deny the accident.

Did you see
the Magazine of Art review?

It was a public recant,
a complete switcheroo.

Five years ago,
he called Pollock's work
"baked macaroni."

Now he says, "An impregnable
language of image,

beautiful and subtle patterns
of pure form."

[ Chattering ]

[ Dog Barking ]

[ Pollock ]
Y'all made it.
Yeah, we made it.

How was it?
Hi, Elizabeth.
Hey, Jack.

You must be Jeremy.
Dad drove 100 miles an hour
all the way from L.A.

You're kidding. Wow.
Hi. How are you?

Nice to see you.
Nice to see you, Frank.
Hi, Charles.

[ Lee ]
I've heard so much about you.
What's your name?

[ All Talking At Once ]

Hi, Mom.

It's so nice to have
all my boys together.

I'm so glad
everybody's here.

How you doing?
How was the trip?

He's so heavy.
He is. He's so heavy.
There you go.

[ Chattering ]

I miss you,
you son of a bitch.

I miss you.
It's just not the same.

It never was the same
to begin with.

What do you think?
Shangri-la.

Everybody okay down there?

You hit the big time,
Jack.

How many did you sell
from that November show?
Mother wrote 18.

That was the best show
I ever had.

It all gets poured back
into the house.

I'm thinking of buying
the acreage next door,
put up a studio for Lee maybe.

Free up the upstairs bedroom,
give her more space.

I think he probably articulated
the profundity of Jackson's art
more eloquently than anyone has.

How are they?
Everyone's fine.

Mother's reading Peter Pan
to Gerald.
This one here.

This is from
the most recent Art News.

Story about a little boy
who never grew up.
Another rave.

I can't wait to see
what he's going to say
about Jackson's next show.

I'm not sure
I always get it, Jack.

I'm the only painter
worth looking at
in America.

There really isn't
anyone else.

I expect that's true, Jack.
This guy wants to
make a film on me.

Why?
Well, they made one
on Calder.

I have a show coming up
at the Circle Gallery.

I'm exhibiting
under the name of Pima.
Charles Pima.

What the hell
you doing that for?
This is priced at 4,000.

Buy it for 1,500,
it'll be worth 100,000 someday.

** [ Swing ]

Just any kind
for me.
I'll have a cherry.

Does anybody speak Italian?
I need somebody
who speaks Italian.

Do you speak Italian?

Here it is--
Arte Moderna.

We figured out that much.
Modern Art. There's
an article about me.

[ Trying To Read Italian ]

Does anybody know
what that means?

Does anybody wanna play
anagrams?

[ Lee ]
Here's something
about Povro Picasso.

Povro Picasso.
Did you hear that?

What do you think that means,
"Povro Picasso"?

[ Lee ]
I think it means "PoorPi"

"Poor Picasso"?
Like poor Picasso?

Did you guys hear that?
"Poor Picasso."
"Poor Picasso."

Is Picasso more important
than your family?

[ Child Chattering ]

[ Camera Whirring ]

I had this dream.
I'm at the edge of a cliff,

and my brothers are there--
they're all there,
all four of them--

and they're trying to
push me off the cliff.

A goddamn fuckin' nightmare.

[ Man ]
Okay, we're rolling.
Now come back in.

Don't stop.

That's good.
Stop! Stop!

Go to the chair.
Sit down.

Put your shoes on.

Your head's too low.
Lift it up.

Don't talk.
We see your mouth moving.

You're supposed to be alone.
Cut.

We gotta do it again.
You can't talk.

Now sit down.
Don't look at camera.

That's good-- shoes.

Yeah.

That's better.
That looks good.

Cut! Cut! Cut!
You need to take
more time looking.

Like, I don't know,
like you're thinking
or wondering.

[ Movie Camera Clicking ]

Cut.

Jackson, cut.

Cut!
We ran out of film.

[ Lee ]
Just tell him
you don't want to do it.

I can't.

Not polite.

It's been a month.

He wants to get it right.

It's not just that, anyway.

I feel like a phony.

You're a great painter,
Pollock. Just paint.

He wants to
shoot through glass
so he can see my face.

You're the star.

I feel like a clam
without a shell.

Fuck him.

Fuck him.
It's not for you.

I think it's going to be
your best show ever, Jackson.

Everything works.

Big pictures.

Smaller ones.
Phenomenal.

I don't think
it's going to sell, though.

[ Car Door Opens ]

Take care of yourself.
Will do.

[ Car Door Closes ]

[ Car Engine Starts ]

[ Camera Clicking ]

I can't believe
they're still out there.
He's got to be frozen.

[ Chattering ]

Hello.
Happy Thanksgiving.

[ Movie Camera Clicking ]

Yeah, the light's gone.

That's it, Jackson.

You're done.
It's great.
It's marvelous.

** [ Jazz ]

Jackson.
Jackson, where have you been?

Jackson, please.

[ Pollock ]
Damn it, Hans, we need this.

Come in here.

Here, this one's for you.

First drink I've had
in two years.

[ Glasses Clink Together ]
Don't be a fool,
Jackson.

[ Man ]
You want me to do
something else?

Carve the turkey for me.

[ Cowbell Clanging ]

The gravy.
Everyone eat?

[ Lee ]
The turkey will be served.

I'm not the phony,
you're the phony.

[ Man ] Let's eat!
I'm not the phony,
you're the phony.

I'm not the phony,
you're the phony.
Jackson, enough, okay?

I'm not the phony,
you're the phony.

I'm not the phony,
you're the phony.

No, Hans, I want you
sitting next to me.
Come on. Sit next to me.

Right here. Here you go.
No, Herman, I'm sitting
next to my buddy.

[ Chattering ]

[ Clanging ]

I'm not the phony,
you're the phony.

A toast
to our hostess.

- I'm not the phony,
you're the phony.
- Toast! Toast! Toast!

- Should I do it now, Hans?
- Here we go.

- Stop it!
- Now, Hans?

Now. Now!

[ Murmuring ]

[ No Audio ]

** [ Car Radio: Jazz ]

** [ Off ]

[ Footsteps ]

[ Clem ] I understand
there was a ruckus over
my Partisan Review article.

Go find it, Lee.

Jackson.
Jewish cunt.

Lee's the one
who wants you here.

I call them
the way I see them.

- You want it any other way?
- You call them the way
you see them?

I'm traded in
for Clyfford Still?

Jackson, that's not
what Clem is saying.

Clyfford Still
is one of the most
original painters around.

If not the best?
If not the best.

Did you read the article?
I read the whole
goddamn thing.

Clem wasn't trading you
for Still.
Then, what was he doing?

The article is about
the direction of modern art,
Jackson.

It's not just about you.
I'm not talking to you.
I'm talking to him.

Well, if you'd--
I'm not talking to you.
Shut up!

You didn't review the '52.
The '54 show was
"forced and pumped," right?

As I saw it, yes.
Have I lost my stuff, Clem?

Everybody loses
their stuff, Jackson.

You had
a good ten-year run.
Everything's gorgeous.

Gorgeous
isn't good enough.

What do you want from me?

I like
Easter and the Totem.

Is it as good as
the Peterson it was next to
at the Carnegie exhibit?

Peterson was better.

I had something going
in that picture,
but it missed.

I had something going
in The Deep too,
but it just missed.

- The Deep was a kiss-ass
to Clyfford Still.
- No one asked you.

Clyfford Still couldn't
polish Jackson's shoes.

Look what you were painting
when you were sober.

Now that you're back on booze,
do you paint real pictures?

Climb off my back, bitch.
You're a bum.

You open that mouth again,
I'll kill you!

You are killing me!
You are killing me!
You are killing me!

Bitch! Bitch! Bitch!
Bitch! Bitch!

You wouldn't have a child,
you fucking cunt whore!

That would have really
fixed everything!

I never loved you!
Go fuck yourself!

I don't even
wanna touch you,
you fuckin' whore!

Your sex life, if any,
is of no concern to me.

Weekly trips to your therapist.
What a joke!

Whatever trash you pick up
at the Cedar afterwards,
I could care less!

You don't want to stay here.
You won't be able to stand it.

This is morning to night.
This happens over
taking out the garbage!

What are you looking for?
What are you pushing me for?

Stop crying about it
and paint!

You're Jackson Pollock,
and you don't paint!

It's a tragedy,
and I can't stand it!

Paint!

** [ Car Radio,
Indistinct ]

Hi.
Hi.

[ Giggles ]

You look great.
Thanks.
I missed you.

[ Door Opens ]

Don't look at me
that way.

I'm not looking at you.

I was thinking
we could visit
Peggy in Venice,

see the Biennale.

Time to go to Europe
is when you're very young
or very old.

But you should go.

Everybody should do
what the hell they wanna do.

She left it in the car.
I'm surprised
she hasn't missed it.

You take her
where our friends are.

They have the good grace
not to tell me.

If you don't stop seeing her,
I'm going to leave you.

I love her.

You don't.

She's my last chance.

I am not going to
give you a divorce.

[ Quietly ]
If you could be anybody...

who ever lived in the history
of the whole world...

who would you be?

You.

[ Phone Ringing ]
[ Giggles ]

[ Continues Ringing ]

[ Ring ]

I'd better get that.

[ Ring ]

[ Ring ]

[ Ring ]

[ Ring ]

Hello.
[ Lee ]
I'm ridiculous.

I think I left my passport
at the house.

I suppose I'll have to wait
till the next sailing.

Jackson?

Pollock?

Oh, here it is.
I found it.

It's buried in my purse.

I owe the woman
something.

I'd be dead without her.

But I'm the one
who loves you, Jackson.

[ Bell On Door Jingles ]

[ Lee's Voice ]
The roses were...

the most beautiful deep red.

I miss you and wish
you were sharing this with me.

It would be wonderful
to get a note from you.

The painting here
is unbelievably bad.

How are you, Jackson?

Kiss Gyp for me.
Love, Lee.

[ Sets Parking Brake ]

It's okay, buddy.

What have you got there,
Mr. Pollock?

I found him hit
on the road.

He's a beautiful dog.

You gotta save him.

He's a beautiful dog.

Keep a girl waiting,
why don't you?

This is my friend,
Edith Metzger.

Hi.

Okay.

Just throw your stuff
in the back.

We all can fit
in the front, I think.

Ahh!
[ Laughs ]

Thanks.

Edith wants to go
to the beach today.

[ Knock On Door ]

We're all set
and ready to go.

You go.

We'll wait for you.

Okay?

Are we going?

He's taking a little nap.
He'll be down in a little bit.

Is he sick?
No, he's fine.

Come on.
Let's go see the studio.

What's doing for tonight?

I'm invited
to Ossorio's for...

a "musicale" or something
or other benefit.

That could be fun.
Let's go.

I don't want to see
all those people.

Come on. I wanna take
a picture with you.

Edith, take our picture.

Good.

[ Camera Shutter Clicks ]
[ Edith Giggles ]

Okay, here we go.
[ Camera Shutter Clicks ]

Leave the dishes.

Get dressed.

We don't have to go,
Jackson.

You don't have to
amuse me.

Leave the dishes.
Get dressed.

[ Ruth ]
What's the matter, Jackson?

Are you all right?

** [ Indistinct ]
[ Men Chattering ]

I'm gonna call for help.

Don't go in there.
I don't wanna drive
with him.

Get her
back in the car.
Edith! Edith!

Come on. He's fine.
I promise.
We're gonna go home.

I don't wanna drive
with him. I'm afraid.

Get her back in the car!

[ Men Continue Chattering ]

[ Accelerates Quickly ]

[ Tires Squealing ]

Get him to slow down.

Slow down, Jackson.
Please!

[ Tires Squealing ]

Ruth, tell him he's got to
slow down this car!

Jackson, slow down.

Let me out of the car!
Edith, shut up!

[ Edith Yelling,
Indistinct ]
Shut up! Jackson!

[ Ruth ]
No! Jackson!

Let me out of this car!
Get back in the car!

Jackson, you stop
this car right now!

[ Screaming Fades ]

[ No Audio ]

[ No Audible Dialogue ]

No!

[ Tires Squealing ]

[ Edith Screaming ]

[ Man ]
* On our anniversary

* There'll be someone else
where you used to be *

* The world don't care

* Anger clings to me

* And the moon
is gold and silvery *

* Who knows where
the sidewalk ends *

* Or the road will turn
and the road will bend *

* They always say

* He marks *

* The sparrow's fall

* How can anyone

* Believe it all

* Well, the band
has stopped playin' *

* But we keep dancin'

* The world keeps turning

* The world keeps turning

* On his hand *

* He wore the ring
of another *

* The world keeps turning

* The world keeps turning

* We broke the bank
and we tore up the place *

* We disappeared
oh, without a trace *

* Now the sun

* It falls into the sea

* I know I'm the only one
for me *

* I was so green

* And the dress you wore
was yellow *

* The world keeps turning

* The world keeps turning

* The sun is down

* And the moon
is in the meadow *

* The world keeps turning

* The world keeps turning

* Put a hat on your head

* Well, you painted *

* The whole damn town
red with me *

* The band
has stopped playin' *

* But we keep dancin'

* The world keeps turning

* The world keeps turning

* On his hand

* He wore the ring
of another *

* The world keeps turning

* The world keeps turning

* The world keeps turning

* The world keeps turning

* The world keeps turning

* The world keeps turning *