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a L
Graliffition CaTefing
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Andre Gregory's
Back Story
— Danny Raskin, 2012
Holiday Trays
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New film documents the before and
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WITH ANY DELICATESSEN IN TOWN!
after of My Dinner with Andre.
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A scene from Andre Gregory: Before & After Dinner
we,
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33214 W.14 Mile
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L
ouis Malle's 1981 film My
Dinner with Andre was about
as unlikely an art-film hit
as one could imagine. A film that
consisted of a pair of downtown New
York theater mavens talking about
their art and their lives in a restau-
rant for nearly two hours — well, it
just didn't sound like a blockbuster.
Of course, Andre Gregory, now
79, and Wallace Shawn, now 69,
weren't just any two theater guys,
and the talk was uncommonly rich
and entertaining. The result was not
merely a surprising box-office suc-
cess and Malle's best film, but the
transfiguration of the duo, Gregory
in particular, from cult heroes of Off
Broadway into gurus for a whole raft
of spiritual "seekers" in and out of
the theater.
Everything in that paragraph is
essentially true, yet it sells both men
short.
Gregory was a key figure in the
evolving experimental theater scene
of the '60s and '70s, and Shawn was
about to emerge as a distinctive play-
writing voice; the success of Malle's
film made it possible for each to
carve out a "day job" in mainstream
film and television that paid the bills.
After the film, Gregory lost his
first wife to cancer, met documen-
tary filmmaker Cindy Kleine (Phyllis
and Harold), 24 years his junior, and
married her.
Inevitably, given that her primary
subject is family, Kleine felt the urge
to make a film about her husband.
The result, Andre Gregory: Before &
After Dinner, can be seen this week-
end and next at the Detroit Film
Theatre in the Detroit Institute of
Arts.
The distance between Kleine and
Gregory can be expressed not only
in years but also in cultures. As
the filmmaker makes explicit, her
upbringing was the classic experience
of Jewish Americans in the post-
World War II suburbs: membership
in the local synagogue and Hadassah
chapter; the usual round of bar mitz-
vahs and weddings; loud, boisterous
family meals and the kitsch that
accompanied such a life.
By contrast, Gregory's family life
is downright mysterious, and the
mystery is one of the key subtexts of
the film.
His parents came to the States in
1939 on the very last ocean liner to