“We both deserved more, something more difficult, more special. How much do you know about sadomasochism?”
Another entry in my Year of Geoff Nicholson, and if you didn’t know already, it’s Geoff’s 60th birthday next month. This read-a-thon is a way for me to say ‘thanks’ to one of my favourite authors who’s given me a lot of laughs over the last few years. Always grateful to authors who make me laugh and if they throw a little obsession and perversion into the mix, well so much the better, right?
This time, I’m writing about The Errol Flynn Novel, a book I first read a few years ago and a book that was rather difficult to track down at the time. I loved it and immediately recommended it to several people who didn’t like it at all. So take that as a warning for what it’s worth. One of the complaints I read about the book is that it isn’t really about Errol Flynn. Actually, while that isn’t strictly true, I can see why this book, in common with other Nicholson novels didn’t get the right audience. Other readers appear to be offended by what is written about Errol Flynn. Well you can’t please all the people, etc., so suffice to know that I thoroughly enjoyed this strange tale.
So what’s it about?
The story concerns a failed actor named Jake who’s all but given up the idea of ever making the big time. This explains why he’s working in a photocopying shop when the story opens. Jake admits that he “wanted excitement, drama, money, love” so this is one of those ‘be-careful-what-you-wish-for’ scenarios. By the novel’s conclusion, Jake has far more excitement than he wants, lots of drama and some strange sexual encounters. Shortly after the novel begins, Sacha, an attractive girl from Jake’s drama school days walks into the shop. She’s making a career out of edgy art films, and Jake is initially not thrilled to see her as his loser life is in stark contrast to her acting career which seems to be a series of good moves. Jake is then rather surprised by Sacha’s offer to introduce Jake to Dan Ryan, an American who’s making a film about the life of Errol Flynn. If something sounds too good to be true, it usually is, and if Jake weren’t so desperate to have that elusive acting career, he’d probably have smelled a rat at this very first meeting:
“Look,” Ryan continued, “this is not going to be an expensive movie. we’re only talking about a few million dollars or so. Okay, that means we won’t be hiring Robert Redford, but it also means we can be free in a way Hollywood never dreamed of. We can be outrageous. We have the freedom to be weird. It’s important that you know what kind of director I am, Jake. I’m not a David Lean. I’m sure as hell no Dickie Attenborough. I’m more Andy Warhol meets David Lynch meets Peter Greenaway. Is that okay by you?”
“That’s fine by me,” I said.
“ And look, in the end it may not be a movie about Errol Flynn at all, not the Errol Flynn who actually lived. It may be about ontology and iconography, and sensuality, and fame, and myth, and, of course, death. And you know what it’s going to be called? The Errol Flynn Movie.”
I don’t know about you, but I’d be a bit nervous about that speech–a speech which rather uncannily is a mirror image of the novel itself. Jake certainly is a little uncomfortable with Ryan, but he’s also never been in a film before. Perhaps all directors are nuts. While his concerns are mostly silenced by a large cheque, Jake does have the wit, however, to ask to see the script. There isn’t one. Well, at least not yet, but Ryan’s harried, slightly neurotic wife, Tina is desperately trying to produce one. To Jake’s astonishment, he lands the leading role, and armed with Errol Flynn’s biography, film stills, videos, recording and a gossip mag, he begins to ‘discover’ the man he’s supposed to portray in the film.
Naturally since this is a Geoff Nicholson novel, things go downhill from here. Ryan not only wants to make a film about Errol Flynn’s life, but he seems determined to live parts of it. As the film is made, things spiral increasingly out of control until… well … until they devolve completely.
One of the frequent themes in Nicholson’s novel is obsession, so in The Errol Flynn Novel, we see a multi-layered obsession with Errol Flynn. Director Dan Ryan is so obsessed with the exploits of this iconic star whose life is wrapped in myth, scandal and rumour, and Ryan wants to make the ultimate film, an ‘interpretation ‘of Flynn’s life, yet where does fact and fiction end? And where are the demarcations of reality and fiction in Ryan’s head? Can Ryan be so gregarious, such a larger than life personality that his actions mask … insanity?
Throughout the making of the film, Jake of course must act and dress like Errol Flynn, so this involves no small number of costumes and feats of daring (which are very funny if you’re not Jake). Jake has researched his subject, and so the novel is full of Errol Flynn trivia as well as Jake’s inevitable comparisons with his own pathetic life.
No don’t get me wrong. I’m not some sort of sexual inadequate. I have had my fair share of sexual partners, although you could debate whether or not it was a fair share. I am not one of those men who feels he has to make a lot of conquests, and I certainly don’t see why you would want to have sex with someone who didn’t want to have sex with you, and I’m definitely liberal enough to believe that women are entitled to say no and be believed. On the other hand I do wish that rather fewer women had felt free to say no to me over the years than actually have.
Nicholson excels in creating these peculiar situations that spin out-of-control and morph into total whackiness, and in this humorous novel, a film that’s supposed to be a bio-pic of Errol Flynn becomes a formless homage of the very worst aspects of Flynn’s life and a vehicle for Ryan’s obsession. Insane scene after insane scene is shot by a devoted cast while Tina, Ryan’s harried wife attempts to churn out a script. Eventually Jake sniffs that there’s something fishy afoot, but he has no idea just what he’s got himself into….