Frank O'Hara: To the Film Industry in Crisis

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Gloria Swanson in The Great Moment (1921), film poster

Not you, lean quarterlies and swarthy periodicals

with your studious incursions toward the pomposity of ants,

nor you, experimental theatre in which Emotive Fruition

is wedding Poetic Insight perpetually, nor you,

promenading Grand Opera, obvious as an ear (though you

are close to my heart), but you, Motion Picture Industry,

it’s you I love!

In times of crisis, we must all decide again and again whom we love.

And give credit where it’s due: not to my starched nurse, who taught me

how to be bad and not bad rather than good (and has lately availed

herself of this information), not to the Catholic Church

which is at best an oversolemn introduction to cosmic entertainment,

not to the American Legion, which hates everybody, but to you,

glorious Silver Screen, tragic Technicolor, amorous Cinemascope,

stretching Vistavision and startling Stereophonic Sound, with all

your heavenly dimensions and reverberations and iconoclasms! To

Richard Bartelhmess as the "tol'able boy" barefoot and in pants,

Jeanette MacDonald of the flaming hair and lips and long, long neck,

Sue Carroll as she sits for eternity on the damaged fender of a car

and smiles, Ginger Rogers with her pageboy bob like a sausage

on her shuffling shoulders, peach-melba-voiced Fred Astaire of the feet,

Eric von Stroheim, the seducer of mountain climbers' gasping spouses,

the Tarzans, each and every one of you (I cannot bring myself to prefer

Johnny Weissmuller to Lex Barker, I cannot!), Mae West in a furry sled,

her bordello radiance and bland remarks, Rudolph Valentino of the moon,

its crushing passions and moonlike, too, the gentle Norma Shearer,

Miriam Hopkins dropping her champagne glass off Joel McCrea's yacht

and crying into the dappled sea, Clark Gable rescuing Gene Tierney

from Russia and Allan Jones rescuing Kitty Carlisle from Harpo Marx,

Cornel Wilde coughing blood on the piano keys while Merle Oberon berates,

Marilyn Monroe in her little spike heels reeling through Niagara Falls,

Joseph Cotten puzzling and Orson Welles puzzled and Dolores del Rio

eating orchids for lunch and breaking mirrors, Gloria Swanson reclining,

and Jean Harlow reclining and wiggling, and Alice Faye reclining

and wiggling and singing, Myrna Loy being calm and wise, William Powell

in his stunning urbanity, Elizabeth Taylor blossoming, yes, to you

and to all you others, the great, the near-great, the featured, the extras

who pass quickly and return in dreams saying your one or two lines,

my love!

Long may you illumine spaces with your marvelous appearances, delays

and enunciations, and may the money of the world glitteringly cover you

as you rest after a long day under the klieg lights with your faces

in packs for our edification, the way the clouds come often at night

but the heavens operate on the star system. It is a divine precedent

you perpetuate! Roll on, wheels of celluloid, as the great earth rolls on!

Gloria Swanson in Sadie Thompson (1928), lobby card



Rudolph Valentino in The Sheik (1926), film poster



Rudolph Valentino in Son of the Sheik (1926), film poster

Rudolph Valentino in Son of the Sheik (1926), film poster

Frank O'Hara: To the Film Industry in Crisis, 15 November 1955, from Meditations in an Emergency, 1957 (ms. draft has "mother" for "starched nurse", line 9)