Q&A with Scott O’Brien, on Gene Nelson – Lights! Camera! Dance!

Q&A with Scott O’Brien, on Gene Nelson – Lights! Camera! Dance!

1- The legacy of Gene Nelson seems to have been overlooked, why?

The spotlight on male cinema dancers has focused mainly on Fred Astaire and Gene Kelly. The bulk of Astaire musicals were released over a period of twenty-five years, and Kelly fifteen years. Gene Nelson musicals were released over a five-year period. Even so, his style and mesmerizing athletic grace was all his own, unique and deserving of more recognition.

2- What exactly fueled Gene Nelson’s ambitions -- what inspired him?

Oddly enough, it was Fred Astaire who triggered Gene’s passion for dance. Gene was thirteen when he saw Flying Down to Rio (1933). His parents had no choice, but to pay for dancing lessons. Gene was a real daredevil as a kid, and his skill doing jumps and flips shocked people. He admitted to being quite the show-off. When he took up ice-skating, his dancing/acrobat skills coupled with ballet lessons prompted Sonja Henie to hire him for her ice revues. This all fell into place right after he graduated from Santa Monica High.

3- When did you discover the talents of Gene?

As a boy I was drawn to the musicals of Doris Day and Jane Powell. So were my parents. I was dazzled by the Gene Nelson numbers. In the third grade I was begging to take dance lessons, but my parents would just look at each other and take a deep breath. They would tell me that dance lessons were for girls. I didn’t understand. It didn’t make any sense. It was the 1950’s. In one interview (1989) Gene zeroed in on the problem. While in high school boys were calling him a sissy. “I spent a lot of time defending myself,” said Gene. My parents probably thought they were protecting me. I had to wait until the 1960’s. I thrived on doing the twist, the pony, the shimmy and the swim. Sometimes dancers would stop and crowd around me, just to watch my moves. It felt good. One club owner told me that if I became a regular, drinks would be on the house. At eighteen, I was rather naïve, but had enough savvy not to take him up on his “kind” (and illegal) offer.

4- During your research were there any real surprises?

Several things stood out. Firstly, Gene’s ability to risk his own life in order to save others. As a Private during WWII, Gene toured the globe in Irving Berlin’s This is the Army. Just before the war ended, Gene and the troops were aboard a small vessel in the Pacific Ocean. One afternoon, while Gene was sunning himself, someone threw a cigarette on a large tarp … which caught on fire. All lives were at stake. Gene grabbed the flaming tarp with one hand and dove into the ocean, risking his own life and saving the entire crew. That took guts. He was a courageous soul. He wasn’t always so fortunate, however. Several times his risky dance moves put him in the hospital. He broke bones, discs, and one time, while on a wild horse (he loved horses), Gene’s pelvis was damaged. It was over a year before he could dance again. Fortunately, this took place not long after he completed the film for which he is best known, Oklahoma!

5- Were there other significant undercurrents in Gene’s life?

One consistent aspect of Gene Nelson was his ability to nurture people he worked with. He connected with cast and crew and looked out for them. It was his nature. The only time he locked horns was on the set of I Dream of Jeannie (1965). Larry Hagman plotted to get Gene fired, simply because Hagman didn’t like him. Hagman had his own problems. The producer hired a psychiatrist to counsel Larry, who often locked himself in his dressing room while getting drunk on champagne.

6- What is your impression of Gene’s more personal relationships?

Gene’s first wife, Miriam Nelson, made the honest observation: “You can’t imagine the kind of pressure women place on a young, athletic, attractive star to stray. Gene was already kind of vulnerable.” Gene’s first two marriages lasted 14-16 years. It wasn’t that he was out looking for affairs, they simply fell in place, due to his “vulnerability”. When I talked with Gene’s friend and lover Jan Wahl, who met Gene in the late 1970’s, she emphasized, “Gene was very much a woman’s man. I can’t say womanizer, because when he fell hard, he fell hard. He was kind and good. He was very sensual.” Oddly enough, Jan introduced Gene to his third (and last) wife.

7- For those unfamiliar with Gene Nelson, name 5 films you would recommend.

First off, I would select Lullaby of Broadway (1951). Gene was leading man for Doris Day. Gene has some dazzling numbers, and he and Day make a delightful team. The film should have established him as a top star at Warner Bros. Unfortunately, Jack Warner simply “used” Gene as an added attraction.
Second – Oklahoma! (1955) the film for which Gene is best known. Choreographer Agnes de Mille insisted that Gene play the role of Will Parker, a rope-twirling cowpoke, who practically steals the show from leads Gordon MacRae and Shirley Jones.
Third – Tea for Two (1950) Gene manages to dance along a stair rail in this nostalgic musical spinoff from the 1920’s. He and Doris easily steal the show while dancing together. Critics used terms such as “sensational” when mentioning Gene.
Fourth – She’s Working Her Way Through College (1952) Co-star Virginia Mayo happily admitted that Gene stole the film from her, due to his daredevil athletic dance turn in a gymnasium.
Fifth- Crime Wave (1954) – Gene surprised critics and movie-goers, by his taut acting in this compelling and shrewdly filmed noir crime melodrama.

8- Could you give a brief overview of Gene’s Film/TV/Broadway award nominations?

Theater World Awards (1948-49) for Lend an Ear (recipient)
Golden Globe Award (1951) Best New Star of the Year (won)
Writers Guild of America (1965) Best Written American Musical (Kissin’ Cousins) (nominated)
Tony Award (1972) Best Performance for a Featured Actor in a Musical (Follies) (nominated)
Hollywood Walk of Fame (1990) Gene’s star is at 7005 Hollywood Blvd.

9- What motivated you to write about classic cinema stars?

I kept waiting for someone to write a biography on Kay Francis. I begged San Francisco film critic and author Mick LaSalle to write one. LaSalle told me, “No, Scott. You should write one.” Back in 2003 it was no easy task. Most of Kay’s films were unavailable commercially. There were few on-line resources. I had to track down videos from private collectors, globally. I spent hours researching newspapers (on microfilm). I bought over 60 film publications for articles/interviews … then, I had to decipher truth from publicity. I contacted several of Kay’s co-stars, and her best friends on Nantucket, a couple in their eighties, who invited my husband Joel and I to stay with them. BearManor liked my manuscript, and voila! Kay was a hit. Seven more books, and now Gene Nelson. It’s been a delightful journey.

10- Do you have a specific approach to writing about your subjects?

Many authors tend to dramatize the lives of their subjects. Fueling the narrative with triumph and tragedy. My focus is to present all the intimate details, emotional ups-and-downs, not to dramatize, but to humanize their journey.