The film begins with Nelson Algren himself reading a
passage from one of his works. (Passages from several of his books are read by
Warren Leming at other moments throughout the film.) And the film includes
footage from interviews with Algren. Some of that material is actually quite
funny. For example, early on he talks about looking for a job in journalism
during the Depression, and of course not finding one. He says: “I never went
voluntarily into the world of pimps and thieves and wandering people. I was
pushed into it.” And then, when talking about his work with the Federal
Writers’ Project (part of the New Deal), he says, “I don’t recall doing any
real work.” He mentions being fired from it, then re-applying. It’s
humorous, but the information about the Writers’ Project, as told by some of
those actually involved, is also truly interesting.
There are several interviews with fellow writers,
including Kurt Vonnegut, Paul Buhle and Studs Terkel. It’s interesting to hear
other writers talk about his writing and about the characters he’d create.
There is some great stuff with Studs Terkel talking about how A Walk On The
Wild Side was picked apart by the critics. And we learn about the troubles
Algren had, beginning with his books being banned from the Chicago libraries
because of the portrayal of certain Polish characters. Polish politicians in
Chicago actually wrote to Hoover at the FBI, asking that organization to keep
an eye on Algren. And hey, the FBI was never an organization to turn down such
requests.
There is also information about his relationships, including
that with Simone de Beauvoir which began in the 1940s, and how existentialism
crept into his work as a result. The film does include a portion of an audio
interview with Simone de Beauvoir. By the way, throughout all of this, old
footage is shown to give us a sense of the political and social climate. That’s
particularly important when we get to the material on the House Un-American
Activities Committee, with footage of Hoover testifying about communism. There
is also some audio from an interview with Algren about that time, and about the
fear that people had.
His story is interesting, and at times funny, at times
depressing (particularly toward the end, with his financial troubles). Kurt
Vonnegut calls Algren “the loneliest man I ever knew.” You certainly
don’t have to be familiar with his work to appreciate and enjoy the story told
here.
Special Features
The DVD includes Algren’s Last Night, a short film
by Warren Leming and Carmine Cervi. It’s about Algren’s Chicago, and some
portions of it are used in the feature. There is also some bonus footage,
including more with Studs Terkel telling an anecdote about Algren and the
police, as well as biographer Bettina Drew talking about Algren and de
Beauvoir. The bonus features also include a photo gallery.
There is also a segment in which Denis Mueller and Mark
Blottner talk about the documentary on The Heartland Show recorded live
at the Heartland Café. They talk about how the documentary was started quite a
while ago, which is how it happens to include interviews with Kurt Vonnegut and
Studs Terkel, and they talk about Nelson Algren himself, and how they became
interested in him. This is approximately thirteen minutes.
Nelson Algren: The End Is Nothing, The Road Is All
was produced and directed by Mark Blottner, Ilko Davidov and Denis Mueller, and
is scheduled to be released on DVD on March 8, 2016 through First Run Features.
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