Original subtitles

[ 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 *