Jun 17, 2005  |  By: VAN GOWE  | COMMENTS     

When gay filmmkaker John Schlesinger died of a stroke in July 2003, he left behind a memorable canon of films that often broke ground with explorations of both gay and straight relationships.

Schlesinger’s own story proves just as fascinating as some of his characters in William J. Mann’s “Edge of Midnight: The Life of John Schlesinger.” The book is packed with rich, fascinating details about the man who began his career as a closeted actor for the British Broadcasting Corp. and eventually emerged as one of the first openly gay Hollywood heavyweights.

With successes including “Sunday Bloody Sunday,” “The Falcon and the Snowman” and “Marathon Man,” Schlesinger is probably best remembered for “Midnight Cowboy,” the sad portrait of a street hustler that contained male sex scenes so salacious for its time that it originally received an “X” rating.

The film ultimately garnered Oscar nominations in 1969 for Jon Voight and Dustin Hoffman. It won awards for Best Picture, Best Adapted Screenplay and Best Director.

Mann writes that Schlesinger suffered from depression in 1967 while in Los Angeles for the writing of “Midnight Cowboy.” It was around that time that he was introduced to celebrity photographer Michael Childers, who became his partner until the 77-year-old filmmaker’s death two years ago. As the relationship blossomed into Schlesinger’s first requited love for a man, the director’s blues lifted and he was re-energized for the film.

Mann writes that Schlesinger was deeply inspired to make “Midnight Cowboy” and tackle its overt homoerotic themes. But he also knew that society’s attitude about homosexuality at the time could threaten the film’s success.

With that in mind, he originally denied the gay content in interviews about the film. But as the climate for gay people began to improve through the years, Schlesinger eventually confirmed that “Midnight Cowboy” was a love story between two men.

ACCORDING TO MANN, SCHLESINGER experienced difficulties matching the critical, commercial and artistic success of “Midnight Cowboy.” The director’s creative reputation suffered through several mediocre films, and the resulting stress took a toll on his health.

But according to the book, none of his failures would prepare him for the nightmare that would prove to be his final film, the 2000 Madonna vehicle, “The Next Best Thing.”

Mann reveals that it was gay actor Rupert Everett, the film’s co-star, who approached Schlesinger with the idea for “The Next Best Thing.” Everett wanted to continue his streak as Hollywood’s first openly gay leading man, initiated with a role in “My Best Friend’s Wedding.”

Schlesinger was high on Everett’s idea: A woman (Madonna) and her gay male best friend (Everett) raise a child together and find the situation threatened when the woman falls in love with another man.

Mann writes that Schlesinger, Childers, Everett and Madonna were optimistic about the film’s potential for success. But it was plagued with problems.

Mann says in the book that Everett rewrote the original screenplay and balked at any input from Schlesinger, and the oversized egos of the stars, as well as the growing realization that the film was a turkey in the making, pushed Schlesinger’s health to the brink.

The film bombed upon its release in 2000. Schlesinger was devastated and never fully recovered from the experience, Mann writes.

Throughout the book, Mann includes illuminating interviews with actors who worked with Schlesinger. They reveal fascinating and often moving details about the director’s public and private selves.

The interviews and Mann’s own writing sketch a well-rounded portrait of Schlesinger, the man and the artist. Given that this is the first published biography of such a groundbreaking life, it also serves as a long-overdue tribute.