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Natalie Wood: A Life. Gavin Lambert was the first person in the movie business my wife and I met when we moved to Los Angeles in Gavin had careful, hooded, missing-nothing eyes, spoke so softly that one could hardly hear him, and looked, as he does to this day, as if he were trying to suppress a laugh and only half succeeding.
He was gay, but hiding in the closet was something actors did, not an expatriate English writer who had come out at age eleven. In his wonderfully indirect memoir, Mainly About Lindsay Anderson , Lambert described reporting for conscription as an Oxford undergraduate during World War II, when pederasty was still a criminal offense in England. Gavin worked for a while as an assistant to, script doctor for, and part-time lover of the director Nicholas Ray. Clarke of Sons and Lovers. In the years since we met, there have been numerous scripts and ten more books, including the novel Inside Daisy Clover , On Cukor a series of conversations with the director George Cukor that is as stimulating about film as Hitchcock Truffaut , and GWTW , about the making of Gone With the Wind , which is dedicated to my wife, Joan Didion, and me.
Now, with Natalie Wood: A Life , he has found an almost perfect subject, his friend Natalie Wood, the star of Inside Daisy Clover , perhaps her best film role with a screenplay by Lambert. She was a movie star out of a post—Joan Crawford, pre—Julia Roberts age—promiscuous, insecure, talented, irrational, funny, generous, shrewd, occasionally unstable, and untrusting of anyone who would get too close to her—except for a Praetorian Guard of gay men.
When Red units roaming the countryside began executing suspected tsarists, the family set in motion its plan for flight, with jewels and money sewed into their clothes so that they could bribe their way to safety. His widow escaped to Shanghai with her three sons, and eventually the sons made their way to Canada, then into the United States, and finally to San Francisco.
