Pollock (2000) - full transcript
A film about the life and career of the American painter, Jackson Pollock.
Who's the greatest drummer
in the world?
Krupa.
-You got it.
-That guy cooks.
You're damn right, l got it.
Fuck Picasso.
That fucking guy.
Fuck Picasso! Fuck Picasso--
Fucking guy....
Fucking guy's done it all.
-You're doing good work.
-No, l'm not. l'm not worth shit.
-lt's not worth shit, Sande.
-Get on your feet.
We're having a child, Sande.
He's my brother.
l'm not going to put up
with it anymore.
The government stated yesterday that
its patience with Japan was exhausted.
After two weeks of negotiations between
Japanese and American officials...
...Secretary of State Hull declared
that another Japanese move...
... into Thailand
would not be tolerated.
The effect of the statement
seemed to be....
lt's hot.
In other news,
the first complete--
Jackson Pollock?
l'm Lee Krasner.
We're in John Graham's show together.
You're working?
lt's pretty big-time stuff to be hanging
with Picasso and Braque and that kind.
l thought l knew all the abstract artists
in New York, and l don't know Pollock.
Here's a name l've never heard of.
So, being cheeky,
l just hoofed it over here.
l could come back
another time.
-No, it's--
-Could l see your work?
l don't know what l expected,
but my God....
-Who do you study with?
-Nobody.
Did you ever?
-Thom Benton.
-Benton?
You don't paint like Benton.
Carl Jung and John Graham
helped me get over Benton.
Which one are you showing?
That one.
-l'm not sure l'm finished with it.
-l don't think you should touch it.
l'd like it if you would come
to my studio. Would you?
Yeah. Sure.
-l'm just around the corner. Would you?
-Yeah. Thanks.
lt's 23.
Twenty-three East Ninth.
Really, yes. You don't have to
give me a ''when.'' Just pop on over.
l didn't think it would take you
three weeks to come by.
-lt hasn't been three weeks.
-To the day.
lt's not mine.
l didn't do it. Ex-lover.
That one l did 1 0 years ago.
lnteresting.
To whom shall I hire myself out?
What beast must I adore?
What holy image is attack ed?
What hearts must I break?
What lie must I maintain?
In what blood tread?
Part of Rimbaud's Season in Hell.
That's the one l'm putting
in the Graham show.
That's a damn good picture.
That works. You're a damn good
woman painter.
-You want coffee?
-Yeah, sure. Thanks.
-Well, let's go.
-What?
You don't think l make it here?
l met you before, you know.
lt was maybe five years ago.
A loft dance.
You were six sheets to the wind.
You cut in and stepped
all over my feet.
Yeah. Got it. Right.
-You were falling all over me.
-l'm sorry.
You were overseas, you know.
lt's kind of vivid in my memory.
l thought, if you remembered,
to let you know it was okay.
Thanks.
Really.
When did you study with Benton?
'31 .
The Art Students League?
My brother Charles
was studying with Benton...
...and so l came out...
...and joined him.
Where are you from?
Arizona. Actually, California.
l'm from Brooklyn.
l was just gonna ask you
where you were from.
My parents came over from Russia.
l'm from right here.
Russia.
Potatoes.
Thanks.
Did you people eat
like this all the time?
How long will you be
in the city, Mrs. Pollock?
For a spell.
We've asked Mother to come
live with us in Connecticut.
Sande found out they're thinking of
drafting married men with children...
...who aren't involved
in war production.
l took a job in Connecticut.
Deep River.
Making gliders for the Army.
Gee, that's great, Sande.
That's swell. Congratulations.
Not everyone can arrange
to be 4-F, Jack.
Benny Goodman, Gene Krupa....
No one greater.
-Harry James on trumpet.
-The apartment will be all yours.
You'll have lots of space.
ls this the best hotel
you could find?
-What's she doing here?
-Lee's gonna take you home.
-What's she doing here?
-You need to get cleaned up.
Feed him some milk
and some eggs.
-Okay.
-Come on.
lt's okay. lt's okay.
Thank you.
You've gotta see his work.
No one is doing what Pollock is doing.
Yes, of course. lt would be just great
if you could stop by.
Wonderful.
We'll look forward to it. Bye.
Jackson, breakfast is on the table.
Lee.
Reuben.
Hello.
-Lee Krasner, Howard Putzel.
-How nice to meet you.
Howard's been working
with Peggy Guggenheim.
Howard, of course.
Reuben's here with Howard Putzel.
He works with Peggy Guggenheim.
When did you get back?
l thought you were in Los Angeles.
-They stationed me in Brooklyn.
-Look at you!
-This is Howard Putzel.
-l am so pleased to meet you.
-l've known this guy since high school.
-l met Howard in L.A...
...before he hooked up with Peggy.
We ran into each other yesterday.
-How are Barbara and the kids?
-They're coming out in a couple weeks.
-How long you here for?
-They're gonna ship me to lndia.
-What about you?
-4-F.
-Too neurotic.
-You dog.
Genius.
Peggy must see this.
-Hi, how are you?
-Hi, Lee.
Come on, Jackson.
Come here, Jackson.
Peggy Guggenheim.
l'm so glad you made it.
Lee Krasner, Jackson Pollock,
James Sweeney from the Modern.
-Nice to meet you.
-Miss Peggy Guggenheim.
Hello.
Mr. Pollock, Howard
has been talking about you.
Thank you, Howard.
You must see Jackson's work.
Yes. Well, enjoy yourself.
-l like those earrings.
-Thank you.
lt's great, Howard.
But there's not one American painter
in the whole goddamn show.
What's this?
l see the head, the body....
This isn't cubism. You're not breaking
down the figure into multiple views.
You're just showing us one side.
Well, what is this?
Free association? Automatism?
-l'm just painting, Lee.
-But what are you doing, Jackson?
Don't tell me you don't know
what you're doing.
Are you experimenting
with surrealism?
ls this a dream?
Even if it's a dream, it's still
what you see. lt's life.
You're not just randomly
putting paint on the canvas.
You're painting something.
You can't abstract from nothing.
You can only abstract from life.
-From nature.
-l am nature.
lf you only work from inside yourself,
you'll repeat yourself.
Why don't you paint
the fucking thing.
O the moon shone bright on Mrs. Porter
And on her daughter
-They wash their feet in soda water
-What the hell's that?
Eliot. T.S. Eliot.
Gentlemen, T.S. Eliot.
T.S. Eliot.
Did you hear Gorky
sold to the Modern?
Gorky's a cow.
They forage and eat, and they come back
to the stable and they're still chewing.
He'll look at a Picasso for hours,
go to his studio and spit it out.
-Fuck him.
-But he's so good at it.
But we gotta break through this shit.
-What do you think of Kline?
-Kline's a whore.
-Picasso?
-A has-been.
De Kooning?
He's all right. He's learning.
What do you think
of Jackson Pollock?
That's what we think.
-Watch it.
-Jackson!
Come on.
Honey....
l've just climbed up and down five
flights of stairs. l'm Peggy Guggenheim.
l do not climb up five flights
of stairs to nobody home. Not l.
-l do not climb five flights of stairs.
-We're sorry.
''Sorry'' is not the word for it.
l have weak ankles.
-My fault.
-My God, and you're drunk.
You're drunk. Are you drunk?
-No.
-No.
'' L.K.''? Who the hell is L.K.?
l didn't come here to look at L.K.
Peggy, this way.
Now, these show something.
This is better.
The most powerful work
to come around the pike.
There's no three ways about it.
You're not really a surrealist
and, well, my few Americans are.
What's most impressed Jackson
about the European moderns...
...is their concept that the source
of art comes from the unconscious.
Yes, yes. l'm sure.
Howard. Jackson, Howard's here.
Do you want coffee?
-Jackson?
-Yeah.
Howard's here.
Hi, Howard.
You've got your first one-man show.
Art of This Century, November 7th.
-Bravo, Jackson.
-Congratulations.
Here, have a seat.
Peggy will give you a stipend
of $1 50 a month.
'' lf at year's end the artist does not
sell equivalent to the advance...
...plus one-third commission, he will
make up the difference in paintings.''
lf you don't sell $2400 worth,
Peggy owns all the work. So sell.
ln addition, Peggy has
commissioned you to paint...
...a mural for the entrance hall to her
new townhouse on 61 st and Lexington.
And it's big, Jackson.
Eight feet by 20 feet.
You have total artistic license.
Paint anything you like.
You will be the sensation
of the season.
This is my new painter,
Jackson Pollock.
You know James Johnson.
Tony, you know
Peggy Guggenheim, don't you?
Tony Smith.
He's a wonderful architect.
-Will.
-Hi.
Mr. de Kooning.
-Jackson.
-Mom.
My, my, my. God is good.
-How are you, Mom?
-l'm fine.
-Who is this?
-Peggy Guggenheim. This is my mother.
-How do you do?
-Lovely to meet you.
-This is James Johnson Sweeney.
-You must be proud.
Of all my boys.
Jack, it looks great.
-Well, enjoy.
-Yes, l will. Thank you all.
l don't know what
he's trying to achieve.
This isn't painting.
-Are you leaving?
-l don't think it's so hot.
Well, go back and look again.
Lee, he's original. He's ambitious.
But there's a lot of mud...
...and the titles are pretentious.
Muddiness.... Mud abounds.
Go back, Clem, and look again.
-Read it. Read it.
-Wait a minute. Okay.
''Jackson Pollock is participating
in his first one-man show.
Being young and full of energy,
he takes orders he can't fill.''
-Thanks a lot, Clem.
-Listen.
'' Pollock has gone through
the influences of Mir?, Picasso...
...Mexican painting and whatnot,
and has come out on the other side...
...painting mostly
with his own brush.''
-Not bad.
-'' Mostly with his own brush''?
-He's saying you're an original.
-Not one sale.
Rome wasn't built in one day.
What do you see there, Pollock?
You've been looking at it for weeks.
Peggy's threatening to reconsider.
Oh, my God.
ls he doing what l think he's doing?
Sorry.
Happy New Year, everyone.
That the mural goes on and on,
Clem says, is what makes it so good.
He thinks it's a great painting.
l think you've found
yourself a champion.
lt's all bullshit anyway.
-Do you like it?
-l love it.
You've had a lot of lovers.
-My share. You want to talk about that?
-You want to go to bed.
-l had something like that in mind.
-l'll take you up on it.
l don't think you realize how hard
l work to get people interested in you...
...to get you into the right hands,
and then you act so badly.
You remind me of a trapped animal.
Promise me, do not rip up my bedroom.
All right, wait a minute.
Wait. No, wait!
Shit.
Shit. Shit.
l went out looking for you.
-What are you doing to yourself?
-Nothing.
You're doing more than that.
lt's like a storm. lt'll pass.
-You hear about Howard?
-Putzel?
Yeah, he's dead.
Heart attack.
l liked Howard.
-To Howard.
-Yeah.
Here's to you, Howard.
Barb and l and the kids...
...we're gonna rent a house
on Long lsland this summer.
We want you and Lee
to come out there with us.
You gotta get out
of the city for a while.
l ain't doing no harm here.
Come on, Jack,
let me take you home.
-Lee's gonna be worried sick.
-l'm doing no harm.
Take it easy.
l've had enough.
Take me in.
Deck of cards.
Binoculars.
l got it.
l want to get married, Pollock.
l suddenly want to.
So either we marry
or we split, l think.
l love you.
l think you're a great artist.
l want you to paint.
l want very much
to keep living with you...
...but l want that commitment
from you too.
You'll have to make the decision.
Who's that girl you were so gaga over?
The one that played the banjo?
Becky.
Becky Tarwater.
-God, you were so crazy for her.
-l asked her to marry me.
-What did she say?
-No.
You know that part of our lives
that's supposed to be so special...
...that growing up part?
lt was damn hell for me.
lt's supposed to be lousy
so the rest is gonna seem easier.
Yeah, only it isn't.
Daddy, Uncle Jackson, come play.
-What are you doing?
-Where are you going?
Oh, my God.
Jackson, you want a sandwich?
We could move out here.
Leave New York?
lt would be good for us.
Church wedding.
-Jackson, there's no need--
-Church wedding or nothing.
-No family, please.
-No family.
We'll need a witness.
May Rosenberg.
-And Harold.
-No Harold.
What church?
That's a good question.
-Come here.
-l'm coming.
You're gonna break your back, Jackson.
Here, hold this for me.
You can't find the keys?
Come on.
Be careful.
Look at that.
This is good.
Come on.
l don't think l've ever seen
a fox before.
-He was beautiful, wasn't he?
-His coat was gorgeous.
l bet there's deer around here too.
l guess l'll paint in the house.
-You're all set. See you next time.
-Thank you.
Howdy.
You're the fella moved
into the old Quinn place.
Morning.
You moved out from the city?
l don't blame you. ln a world
where they can split a tiny atom...
...and blow up hundreds
of thousands of people...
...there's no telling
where it's all gonna lead.
Best to find a quiet place...
...do what you have to do.
You don't have to pay me now.
What's your name?
-Jackson Pollock.
-Jackson Pollock.
Yeah.
We finally made it.
How are you braving the winter?
-No coal, no hot water, no bathroom.
-Jack wants others to share the misery.
-He loves it.
-How's he doing?
lt's good for him
to be away from the city.
l guess you're here
to get Jackson drunk again.
Lee.
Well, let me think.
l never actually got Jack drunk.
l mean, he never really
needed any help.
-He wrote us to spend the weekend.
-Rube--
l'm sure you understand.
Reuben.
Come on.
Okay.
Hey, how you doing, fella?
Are you lost?
l'm gonna have to find
me more space.
How did it go in there today?
l thought you might
make a table or something. Look.
Get yourself working again.
Hello, bub.
-Let's make a baby.
-No.
No?
Am l missing something here?
Are you missing something?
-We can't.
-We can't?
My life is full enough
with you, Jackson.
Where are you going?
We're husband and wife.
l want to have a baby, our baby.
That's what the progression is about.
-That's what the union is about.
-That's not what the union is about.
-What else is there?
-That's not what it's about.
-For me!
-The vows don't stipulate '' baby.''
l am not going to bring
another life into that.
We are painters, Jackson.
We don't have any money.
We don't get by. We struggle.
You are a great artist.
l believe in Jackson Pollock.
There's you and there's the painting,
and you need! You need! You need!
And l don't want to be anywhere else.
l don't want to be with...
...anyone else.
But that's all l can handle.
-This is it?
-Please.
-Let's go inside for lunch.
-lt's beautiful here.
-l want to see paintings.
-Let's go see the paintings.
We just moved to the barn.
-Jackson, they're here. Can we come in?
-Sure.
-Jackson.
-Now be careful.
-Jackson!
-Hi, Peggy.
l want you to meet Alfonso Ossorio.
This is Jackson Pollock.
And you know him.
Ted? Come on in.
Ted Dragon,
this is Jackson Pollock.
They came up for a preview of the show,
and l expect them to buy something.
-lt's beautiful. You must be happy.
-Damn near. The country's wonderful.
Really, just enjoy.
Now this one l like very much.
This was in my last fall show.
You're retreating into
imagery again, Jackson.
Paint is paint, surface is surface.
That's all they should be.
Now this is....
This is first-rate.
Why don't you do
eight or 1 0 of those?
Paint is paint, surface is surface.
That's all they should be.
The surrealists confuse
literature with painting.
l can't stand that.
They will not have their way.
What you're doing out there
is better than anything...
...l've seen from you
in a year or more.
No, l gotta backtrack. Peggy's mural.
That's when l thought,
'' Here's a great painter.''
And people saying to me,
'' lt's wallpaper. lt repeats itself.''
lt's my plan to return to Europe. l don't
have the energy since Howard died.
-But Jackson needs a gallery.
-Well....
What was the one that missed?
The one that wasn't so good?
You don't have colour yet. You're better
off when you keep your colour quiet.
-Which one was it? l'll fix it.
-The one with all the blue.
-lt's predominantly blue.
-The wrong blue? Too much blue?
All l want art to be is good.
The picture misses.
-What do you think, Ted?
-lt's interesting. l like blue.
-What do you think, Alfonso?
-lt's your painting.
-You think it misses.
-Clem may have a point, and he may not.
You think it misses?
You think it might miss?
-You think it might miss?
-lt might.
lt might. Well, l'll just
go fix it for you.
-ls he all right, Lee?
-He's fine.
So it's all the blue
that's bothering you?
What else?
You want the colour quiet?
-lt could be a little quieter.
-Let's just quiet the colour then.
Now this is something.
-No matter how drunk you are--
-l'm not drunk.
One thing's sacred for you.
Not anybody's feelings
or anything like that.
lt's your art.
You're not gonna destroy your art.
This is something.
He's had shows with you, Peggy.
He can't suddenly not have a gallery.
You owe him.
Sam won't take him.
What did Betty Parsons say?
Everyone drinks.
He's not the only one.
l know, but he's a great painter.
Of course. Of course.
l'll call you back.
l'll have supper ready in a jiffy.
Looks like Betty Parsons
may take you in.
Peggy's willing to continue the
monthly allowance through next year.
She'll still own all
your unsold paintings...
...but Betty will get a commission
on new work that sells.
You've done it, Pollock.
You've cracked it wide open.
Pass.
A nickel.
l'll see your nickel...
...and l'll raise you a quarter.
l don't like the look of that smile.
There is a smile of love and
there is a smile of deceit. l'm out.
l'm out.
-Too rich for my blood.
-Two twos.
There is a smile of smiles
in which these two smiles meet.
-William Blake.
-Such a bluffer.
Jackson, did you hear
de Kooning sold to the Modern?
Want me to deal?
''A singular concentration
of passion and technique...
...fierce energy, virtuosity.''
lt doesn't hurt that his wife
is fucking the critic.
-Who?
-De Kooning.
l don't know if l'd agree with
''virtuosity,'' but it was a hell of a show.
-Did you see the show?
-We're not in Siberia, Clem.
So you're the critic now.
No one knows l exist.
Who the hell's talking about me?
-l write about every show you have.
-You're the only one.
-What good does your praise do me?
-lt's new stuff. Give it time.
We're broke!
l'm digging clams out of the bay.
l don't see de Kooning digging.
Everyone is struggling.
lt'll break for you soon.
When?
l just took part in a roundtable
on modern art...
...held by LIFE magazine,
for God's sakes.
America has become the centre
of Western civilization.
You're doing the most original
and vigorous art in the country.
-Other critics will catch on. Keep at it.
-Don't tell me to keep at it.
l'm keeping at it!
-Ante up.
-All right, l'm in.
Did old Clem ruffle your feathers?
-l love all women.
-You get off him!
Get off me!
He can take care of himself!
-This is my house, do you understand?!
-Crazy bitch.
This is my house.
Okay.
Well, it's over. l'm glad that's over.
Jackson.
Jackson.
l'll be right there.
-Hey, Jackson.
-We owe you $56?
That sounds about right.
Hey there, Jackson.
You ought to mind your own
fucking business, bub.
Sande, if l can do it, you can too.
lt's been three weeks now.
Not a drop.
Hell, l quit for good.
We're still struggling,
but Alfonso and Ted bought a painting.
We won't see any of the money till
l sell a bunch more, but guess what....
Demarest Fund came through.
Fifteen hundred bucks.
l bought a Model A.
Ninety bucks.
No, l'm not kidding.
lt's just like we used to have.
Okay, would you put Mom back on?
l'd like to say good night.
Okay, then. Well, tell them
good night from Uncle Jack.
-l think the Macys are going to buy.
-Good.
-Are you here?
-Well, that depends.
l'm sorry, he's painting right now.
This is Lee Krasner, his wife.
Yes.
Of course. l'll let him know.
Okay, bye.
LIFE magazine. They want
to do an article on you.
Damn.
l don't let the image
carry the painting.
lf it creeps in,
l try to do away with it...
...to let the painting come through.
Hold it a minute there, please.
Pollock spends hours
contemplating a painting.
lt may be days or even months
before he tackles it again.
Who are your favourite artists?
De Kooning, Kandinsky....
El Greco, Goya, Rembrandt.
How do you respond
to your critics?
They have said,
''A mop of tangled hair.''
''A child's contour map
of the Battle of Gettysburg.''
'' Cathartic disintegration.''
What do you say?
-You forgot, '' Baked macaroni.''
-Well?
Well, if people would just...
...leave most of their stuff at home
and look at the paintings...
...l don't think they'd have
any trouble enjoying them.
lt's like looking at flowers.
You don't tear your hair out
over what it means.
How do you know when
you're finished with a painting?
How do you know when
you're finished making love?
That's better.
Just be yourself.
Delivery.
You saw this
LIFE magazine article?
Well, l have plenty if you want
another one. Enjoy the show.
Well, l have plenty if you want
another one. Enjoy the show.
Take a look around, fellas.
These are the big shots.
Jackson broke the ice.
-Hi, how are you?
-Beautiful.
-Do you know the Petersons?
-No.
-This is Betty Parsons.
-Thank you.
Sande.
How do you do, sir? Hi, Mom.
-Thank you. Beautiful work.
-Thanks.
Pollock showed 30 pictures
last fall and sold all but five...
...and his collectors
are nibbling at those.
Mr. Pollock, in your opinion,
what is the meaning of modern art?
Modern art, to me...
...is nothing more than the expression
of the contemporary aims...
...of the age we're living in.
Did the classical artists have
any means of expressing their age?
Yes, and they did it very well.
All cultures have had means
and techniques of expressing their...
...immediate aims.
The thing that interests me
is that today...
...painters do not have to go to
a subject matter outside of themselves.
They work from a different source.
They work from within.
lt seems to me that the modern artist
cannot express this age...
...the airplane,
the atom bomb, the radio...
...in the old forms of the Renaissance
or any other past culture.
How do you get the paint on the canvas?
l understand you don't use brushes.
l paint on the floor.
That's not unusual.
The Orientals did that.
Most of the paint l use is a liquid,
flowing kind of paint.
The brushes l use
are used more as sticks.
The brush doesn't actually touch
the canvas, but just above it.
lsn't it more difficult to control?
lsn't there more of a possibility of...
...getting too much paint,
splattering, or any number of things?
No, l don't think so.
With experience,
it seems possible to control...
...the flow of the paint to a great
extent, and l don't use--
l don't use the accident
'cause l deny the accident.
Did you see
the Magazine of Art review?
lt was a public recant,
a complete switcheroo.
Five years ago, he called
Pollock's work '' baked macaroni.''
Now he says,
''An impregnable language of image...
...beautiful and subtle
patterns of pure form.''
Come on. Hold it, Mom.
-You all made it.
-Yeah, we made it.
How was it?
-Hi, Elizabeth.
-Hi.
You must be Jeremy.
Dad drove 1 00 miles an hour
all the way from L.A.
-How are you?
-How you doing? lt's nice to see you.
-Hi, Charles.
-Hi, Jack.
-Hi.
-Hi.
-How are you, Karen?
-Nice to meet you. Yes.
Hi, Mom.
lt's so nice to have
all my boys together.
l'm so glad everybody's here.
How you doing?
How was the trip?
He's so heavy.
Thank you, here you go.
l miss you, you son of a bitch.
l miss you. lt's just not the same.
Nothing was ever the same
to begin with.
-What do you think?
-Shangri-la.
-Everybody okay down there?
-You hit the big time, Jack.
How many did you sell
from that November show?
lt was the best show l ever had.
lt all goes to the house.
l'm buying the acreage next door,
put up a studio for Lee.
Free up the upstairs bedroom,
give her more space.
He articulated the profundity
of Jackson's art...
...more eloquently than anyone has.
-How are they?
-Mother's reading Peter Pan.
This one is from
the most recent Art News.
-Story about a boy who never grew up.
-Another rave.
l can't wait to see what he
says about Jackson's next show.
l'm not sure l always get it, Jack.
l'm the only painter
worth looking at in America.
-l expect that's true.
-This guy wants to make a film on me.
-Why?
-Well, they made one on Calder.
l have a show coming up
at the Circle Gallery.
l'm exhibiting under the name
Charles Pima.
What the hell you doing that for?
This is priced at 4000.
Buy it for 1 500.
lt'll be worth 1 00,000 someday.
-Just any kind for me.
-l'll have a cherry.
Does anybody speak ltalian?
l need somebody who speaks ltalian.
Do you speak ltalian?
Here it is. Arte Moderna.
We figured out that much: '' Modern Art.''
There's an article about me.
Anybody know
what that means?
-Does anybody wanna play anagrams?
-l do.
-Here's something about '' povro Picasso.''
-'' Povro Picasso.'' Did you hear that?
-What do you think that means?
-l think it means '' poor Picasso.''
'' Poor Picasso''? Like, poor Pic--?
Did you guys hear that? Poor Picasso!
ls Picasso more important
than your family?
l had this dream.
l'm at the edge of a cliff,
and my brothers are there...
...and they're trying
to push me off the cliff.
Goddamn fucking nightmare.
Okay, we're rolling.
Now come back in.
Okay, we're rolling.
Now come back in.
Don't stop.
That's good.
Stop, stop.
Go to the chair, sit down.
Put your shoes on.
Your head's too low.
Lift it up.
Don't talk. We see your mouth moving.
You're supposed to be alone. Cut.
We gotta do it again.
You can't talk.
Now sit down.
Don't look at camera.
That's good. Shoes.
Yeah.
That's better.
That looks good.
Cut. Cut. You need
to take more time looking.
Like-- l don't know.
Like you're thinking or wondering or....
Cut.
Jackson, cut.
Cut. We ran out of film.
Just tell him you don't wanna do it.
l can't.
Not polite.
lt's been a month.
He wants to get it right.
lt's not just that, anyway.
l feel like a phoney.
You're a great painter, Pollock.
Just paint.
He wants to shoot through glass
so he can see my face.
You're the star.
l feel like a clam without a shell.
Fuck him.
Fuck him. lt's not for you.
l think it's gonna be
your best show ever, Jackson.
Everything works.
The big pictures.
The smaller ones. lt's phenomenal.
l don't think it's going
to sell, though.
-Take care of yourself.
-Will do.
l can't believe they're still
out there. He's gotta be frozen.
-Hello.
-Hello. Happy Thanksgiving.
Yeah. The light's gone.
That's it, Jackson.
We're done. lt's great.
lt's marvellous.
-Jackson.
-Jackson, where have you been?
Jackson, please.
Damn it, Hans, we need this.
Come in here.
Here, this one's for you.
First drink l've had in two years.
Don't be a fool, Jackson.
Carve the turkey for me.
-The gravy.
-Anybody wanna eat?
The turkey will be served.
l'm not the phoney,
you're the phoney.
-Let's eat.
-Let's eat.
-l'm not the phoney, you're the phoney.
-Jackson, enough. Okay?
l'm not the phoney, you're the phoney.
No, l want you sitting next to me.
Come on, sit next to me.
Here you go.
No, Herbert, l'm sitting
next to my buddy.
l'm not the phoney,
you're the phoney.
How about a toast
to our hostess?
l'm not the phoney,
you're the phoney.
-Should l do it now, Hans?
-Here we go.
-Now?
-Stop it.
Now, Hans?
Now?
Now!
l understand there was a ruckus
over my Partisan Review article.
Go find it, Lee.
-Jackson.
-Jewish cunt.
Lee's the one who wants you here.
l call them the way l see them.
You want it any other way?
You call them the way you see them?
l'm traded in for Clyfford Still.
That's not what Clem's saying.
Clyfford Still is one of the most
original painters around.
-lf not the best?
-lf not the best.
-Did you read the article?
-l read the whole thing.
-Clem wasn't trading you for Still.
-What was he doing?
The article was about the direction
of modern art. lt's not just about you.
-l'm not talking to you.
-lf you--
l'm not talking to you! Shut up!
You didn't review '52, the '54 show
was ''forced.'' ls that right?
-As l saw it, yes.
-Have l lost my stuff, Clem?
Everybody loses their stuff.
You had a good 1 0-year run.
Everything's gorgeous.
Gorgeous isn't good enough.
What do you want from me?
l like Easter and the Totem.
ls it as good as the Peterson
it was next to at the Carnegie exhibit?
The Peterson was better.
Yeah, well, l had something going
in that picture, but it missed.
l had something going
in The Deep too, but it just missed.
-The Deep was a kiss-ass to Still.
-No one asked you!
Clyfford Still couldn't
polish Jackson's shoes.
Look what you painted
when you were sober.
Now that you're back on booze,
do you paint real pictures?
-Climb off my back, bitch!
-You're a bum!
-Open that mouth again, l'll kill you!
-You are killing me!
Bitch! Bitch! Bitch! Bitch! Bitch!
-You wouldn't have a child!
-That would have fixed everything.
l never loved you!
Go fuck yourself!
-l don't even wanna touch you!
-Your sex life is of no concern to me.
Weekly trips to your therapist.
What a joke.
And whatever trash you pick up at
the Cedar afterwards, l could care less!
You don't wanna stay here.
This is morning to night. This happens
over taking out the garbage!
What are you looking for?
What are you pushing me for?
Stop crying about it and paint!
You're Jackson Pollock,
and you don't paint!
lt's a tragedy, and l can't stand it.
Paint!
-Hi.
-Hi.
-You look great.
-Thanks. l missed you.
-Don't look at me that way.
-l'm not looking at you.
l was thinking we could visit Peggy
in Venice, see the Biennale.
Time to go to Europe is when
you're very young or very old.
But you should go.
Everybody should do
what the hell they wanna do.
She left it in the car.
l'm surprised she hasn't missed it.
You take her
where our friends are.
They have the good grace
not to tell me.
lf you don't stop seeing her,
l'm going to leave you.
-l love her.
-You don't.
She's my last chance.
l am not going
to give you a divorce.
lf you could be anybody...
...who ever lived in the history
of the whole world...
...who would you be?
You.
l'd better get that.
-Hello?
-I'm ridiculous.
I think I left
my passport at the house.
I suppose I'll have to wait
till the next sailing.
Jackson?
Pollock.
Here it is.
I found it buried in my purse.
l owe the woman something.
l'd be dead without her.
But l'm the one
who loves you, Jackson.
The roses were
the most beautiful, deep red.
I miss you and wish
you were sharing this with me.
It would be wonderful
to get a note from you.
The painting here
is unbelievably bad.
How are you, Jackson?
Kiss Gyp for me.
Love, Lee.
lt's okay, buddy.
What have you got
there, Mr. Pollock?
l found him hit on the road.
He's a beautiful dog.
You gotta save him.
He's a beautiful dog.
Keep a girl waiting,
why don't you.
This is my friend Edith Metzger.
Just throw your stuff in the back.
We can all fit in the front, l think.
Thanks.
Edith wants to go
to the beach today.
We're all set and ready to go.
You go.
We'll wait for you.
Okay?
Are we going?
He's taking a little nap.
He'll be down in a little bit.
-ls he sick?
-No, he's fine. Come on.
Let's go see the studio.
What's doing for tonight?
l'm invited to Ossorio's...
...for a musicale
or something or other benefit.
That could be fun. Let's go.
l don't want to see
all those people.
Come on, l wanna take
a picture with you.
Edith, take our picture.
Good.
Okay, here we go.
Leave the dishes.
-Get dressed.
-We don't have to go, Jackson.
-Really, you don't have to amuse me.
-Leave the dishes. Get dressed.
What's the matter, Jackson?
Are you all right?
-l'm gonna call for help.
-Don't go in there.
-l don't wanna drive with him.
-Get her back in the car.
Come on, he's fine. l promise.
We're gonna go home.
-l don't wanna drive with him.
-Get her back in the car!
You need to get him to slow down.
Slow down.
Jackson, please.
Tell him he has got
to slow down this car!
Jackson, slow down.
-Let me out of your car!
-Edith, shut up!
-Let me out!
-Shut up! Jackson!
No!
-Jackson!
-Let me out of this car!
Get back in the car! Jackson,
you stop this car right now, Jackson!
-Stop, Jackson.
-Stop this car!
Subtitles by
SDl Media Group
in the world?
Krupa.
-You got it.
-That guy cooks.
You're damn right, l got it.
Fuck Picasso.
That fucking guy.
Fuck Picasso! Fuck Picasso--
Fucking guy....
Fucking guy's done it all.
-You're doing good work.
-No, l'm not. l'm not worth shit.
-lt's not worth shit, Sande.
-Get on your feet.
We're having a child, Sande.
He's my brother.
l'm not going to put up
with it anymore.
The government stated yesterday that
its patience with Japan was exhausted.
After two weeks of negotiations between
Japanese and American officials...
...Secretary of State Hull declared
that another Japanese move...
... into Thailand
would not be tolerated.
The effect of the statement
seemed to be....
lt's hot.
In other news,
the first complete--
Jackson Pollock?
l'm Lee Krasner.
We're in John Graham's show together.
You're working?
lt's pretty big-time stuff to be hanging
with Picasso and Braque and that kind.
l thought l knew all the abstract artists
in New York, and l don't know Pollock.
Here's a name l've never heard of.
So, being cheeky,
l just hoofed it over here.
l could come back
another time.
-No, it's--
-Could l see your work?
l don't know what l expected,
but my God....
-Who do you study with?
-Nobody.
Did you ever?
-Thom Benton.
-Benton?
You don't paint like Benton.
Carl Jung and John Graham
helped me get over Benton.
Which one are you showing?
That one.
-l'm not sure l'm finished with it.
-l don't think you should touch it.
l'd like it if you would come
to my studio. Would you?
Yeah. Sure.
-l'm just around the corner. Would you?
-Yeah. Thanks.
lt's 23.
Twenty-three East Ninth.
Really, yes. You don't have to
give me a ''when.'' Just pop on over.
l didn't think it would take you
three weeks to come by.
-lt hasn't been three weeks.
-To the day.
lt's not mine.
l didn't do it. Ex-lover.
That one l did 1 0 years ago.
lnteresting.
To whom shall I hire myself out?
What beast must I adore?
What holy image is attack ed?
What hearts must I break?
What lie must I maintain?
In what blood tread?
Part of Rimbaud's Season in Hell.
That's the one l'm putting
in the Graham show.
That's a damn good picture.
That works. You're a damn good
woman painter.
-You want coffee?
-Yeah, sure. Thanks.
-Well, let's go.
-What?
You don't think l make it here?
l met you before, you know.
lt was maybe five years ago.
A loft dance.
You were six sheets to the wind.
You cut in and stepped
all over my feet.
Yeah. Got it. Right.
-You were falling all over me.
-l'm sorry.
You were overseas, you know.
lt's kind of vivid in my memory.
l thought, if you remembered,
to let you know it was okay.
Thanks.
Really.
When did you study with Benton?
'31 .
The Art Students League?
My brother Charles
was studying with Benton...
...and so l came out...
...and joined him.
Where are you from?
Arizona. Actually, California.
l'm from Brooklyn.
l was just gonna ask you
where you were from.
My parents came over from Russia.
l'm from right here.
Russia.
Potatoes.
Thanks.
Did you people eat
like this all the time?
How long will you be
in the city, Mrs. Pollock?
For a spell.
We've asked Mother to come
live with us in Connecticut.
Sande found out they're thinking of
drafting married men with children...
...who aren't involved
in war production.
l took a job in Connecticut.
Deep River.
Making gliders for the Army.
Gee, that's great, Sande.
That's swell. Congratulations.
Not everyone can arrange
to be 4-F, Jack.
Benny Goodman, Gene Krupa....
No one greater.
-Harry James on trumpet.
-The apartment will be all yours.
You'll have lots of space.
ls this the best hotel
you could find?
-What's she doing here?
-Lee's gonna take you home.
-What's she doing here?
-You need to get cleaned up.
Feed him some milk
and some eggs.
-Okay.
-Come on.
lt's okay. lt's okay.
Thank you.
You've gotta see his work.
No one is doing what Pollock is doing.
Yes, of course. lt would be just great
if you could stop by.
Wonderful.
We'll look forward to it. Bye.
Jackson, breakfast is on the table.
Lee.
Reuben.
Hello.
-Lee Krasner, Howard Putzel.
-How nice to meet you.
Howard's been working
with Peggy Guggenheim.
Howard, of course.
Reuben's here with Howard Putzel.
He works with Peggy Guggenheim.
When did you get back?
l thought you were in Los Angeles.
-They stationed me in Brooklyn.
-Look at you!
-This is Howard Putzel.
-l am so pleased to meet you.
-l've known this guy since high school.
-l met Howard in L.A...
...before he hooked up with Peggy.
We ran into each other yesterday.
-How are Barbara and the kids?
-They're coming out in a couple weeks.
-How long you here for?
-They're gonna ship me to lndia.
-What about you?
-4-F.
-Too neurotic.
-You dog.
Genius.
Peggy must see this.
-Hi, how are you?
-Hi, Lee.
Come on, Jackson.
Come here, Jackson.
Peggy Guggenheim.
l'm so glad you made it.
Lee Krasner, Jackson Pollock,
James Sweeney from the Modern.
-Nice to meet you.
-Miss Peggy Guggenheim.
Hello.
Mr. Pollock, Howard
has been talking about you.
Thank you, Howard.
You must see Jackson's work.
Yes. Well, enjoy yourself.
-l like those earrings.
-Thank you.
lt's great, Howard.
But there's not one American painter
in the whole goddamn show.
What's this?
l see the head, the body....
This isn't cubism. You're not breaking
down the figure into multiple views.
You're just showing us one side.
Well, what is this?
Free association? Automatism?
-l'm just painting, Lee.
-But what are you doing, Jackson?
Don't tell me you don't know
what you're doing.
Are you experimenting
with surrealism?
ls this a dream?
Even if it's a dream, it's still
what you see. lt's life.
You're not just randomly
putting paint on the canvas.
You're painting something.
You can't abstract from nothing.
You can only abstract from life.
-From nature.
-l am nature.
lf you only work from inside yourself,
you'll repeat yourself.
Why don't you paint
the fucking thing.
O the moon shone bright on Mrs. Porter
And on her daughter
-They wash their feet in soda water
-What the hell's that?
Eliot. T.S. Eliot.
Gentlemen, T.S. Eliot.
T.S. Eliot.
Did you hear Gorky
sold to the Modern?
Gorky's a cow.
They forage and eat, and they come back
to the stable and they're still chewing.
He'll look at a Picasso for hours,
go to his studio and spit it out.
-Fuck him.
-But he's so good at it.
But we gotta break through this shit.
-What do you think of Kline?
-Kline's a whore.
-Picasso?
-A has-been.
De Kooning?
He's all right. He's learning.
What do you think
of Jackson Pollock?
That's what we think.
-Watch it.
-Jackson!
Come on.
Honey....
l've just climbed up and down five
flights of stairs. l'm Peggy Guggenheim.
l do not climb up five flights
of stairs to nobody home. Not l.
-l do not climb five flights of stairs.
-We're sorry.
''Sorry'' is not the word for it.
l have weak ankles.
-My fault.
-My God, and you're drunk.
You're drunk. Are you drunk?
-No.
-No.
'' L.K.''? Who the hell is L.K.?
l didn't come here to look at L.K.
Peggy, this way.
Now, these show something.
This is better.
The most powerful work
to come around the pike.
There's no three ways about it.
You're not really a surrealist
and, well, my few Americans are.
What's most impressed Jackson
about the European moderns...
...is their concept that the source
of art comes from the unconscious.
Yes, yes. l'm sure.
Howard. Jackson, Howard's here.
Do you want coffee?
-Jackson?
-Yeah.
Howard's here.
Hi, Howard.
You've got your first one-man show.
Art of This Century, November 7th.
-Bravo, Jackson.
-Congratulations.
Here, have a seat.
Peggy will give you a stipend
of $1 50 a month.
'' lf at year's end the artist does not
sell equivalent to the advance...
...plus one-third commission, he will
make up the difference in paintings.''
lf you don't sell $2400 worth,
Peggy owns all the work. So sell.
ln addition, Peggy has
commissioned you to paint...
...a mural for the entrance hall to her
new townhouse on 61 st and Lexington.
And it's big, Jackson.
Eight feet by 20 feet.
You have total artistic license.
Paint anything you like.
You will be the sensation
of the season.
This is my new painter,
Jackson Pollock.
You know James Johnson.
Tony, you know
Peggy Guggenheim, don't you?
Tony Smith.
He's a wonderful architect.
-Will.
-Hi.
Mr. de Kooning.
-Jackson.
-Mom.
My, my, my. God is good.
-How are you, Mom?
-l'm fine.
-Who is this?
-Peggy Guggenheim. This is my mother.
-How do you do?
-Lovely to meet you.
-This is James Johnson Sweeney.
-You must be proud.
Of all my boys.
Jack, it looks great.
-Well, enjoy.
-Yes, l will. Thank you all.
l don't know what
he's trying to achieve.
This isn't painting.
-Are you leaving?
-l don't think it's so hot.
Well, go back and look again.
Lee, he's original. He's ambitious.
But there's a lot of mud...
...and the titles are pretentious.
Muddiness.... Mud abounds.
Go back, Clem, and look again.
-Read it. Read it.
-Wait a minute. Okay.
''Jackson Pollock is participating
in his first one-man show.
Being young and full of energy,
he takes orders he can't fill.''
-Thanks a lot, Clem.
-Listen.
'' Pollock has gone through
the influences of Mir?, Picasso...
...Mexican painting and whatnot,
and has come out on the other side...
...painting mostly
with his own brush.''
-Not bad.
-'' Mostly with his own brush''?
-He's saying you're an original.
-Not one sale.
Rome wasn't built in one day.
What do you see there, Pollock?
You've been looking at it for weeks.
Peggy's threatening to reconsider.
Oh, my God.
ls he doing what l think he's doing?
Sorry.
Happy New Year, everyone.
That the mural goes on and on,
Clem says, is what makes it so good.
He thinks it's a great painting.
l think you've found
yourself a champion.
lt's all bullshit anyway.
-Do you like it?
-l love it.
You've had a lot of lovers.
-My share. You want to talk about that?
-You want to go to bed.
-l had something like that in mind.
-l'll take you up on it.
l don't think you realize how hard
l work to get people interested in you...
...to get you into the right hands,
and then you act so badly.
You remind me of a trapped animal.
Promise me, do not rip up my bedroom.
All right, wait a minute.
Wait. No, wait!
Shit.
Shit. Shit.
l went out looking for you.
-What are you doing to yourself?
-Nothing.
You're doing more than that.
lt's like a storm. lt'll pass.
-You hear about Howard?
-Putzel?
Yeah, he's dead.
Heart attack.
l liked Howard.
-To Howard.
-Yeah.
Here's to you, Howard.
Barb and l and the kids...
...we're gonna rent a house
on Long lsland this summer.
We want you and Lee
to come out there with us.
You gotta get out
of the city for a while.
l ain't doing no harm here.
Come on, Jack,
let me take you home.
-Lee's gonna be worried sick.
-l'm doing no harm.
Take it easy.
l've had enough.
Take me in.
Deck of cards.
Binoculars.
l got it.
l want to get married, Pollock.
l suddenly want to.
So either we marry
or we split, l think.
l love you.
l think you're a great artist.
l want you to paint.
l want very much
to keep living with you...
...but l want that commitment
from you too.
You'll have to make the decision.
Who's that girl you were so gaga over?
The one that played the banjo?
Becky.
Becky Tarwater.
-God, you were so crazy for her.
-l asked her to marry me.
-What did she say?
-No.
You know that part of our lives
that's supposed to be so special...
...that growing up part?
lt was damn hell for me.
lt's supposed to be lousy
so the rest is gonna seem easier.
Yeah, only it isn't.
Daddy, Uncle Jackson, come play.
-What are you doing?
-Where are you going?
Oh, my God.
Jackson, you want a sandwich?
We could move out here.
Leave New York?
lt would be good for us.
Church wedding.
-Jackson, there's no need--
-Church wedding or nothing.
-No family, please.
-No family.
We'll need a witness.
May Rosenberg.
-And Harold.
-No Harold.
What church?
That's a good question.
-Come here.
-l'm coming.
You're gonna break your back, Jackson.
Here, hold this for me.
You can't find the keys?
Come on.
Be careful.
Look at that.
This is good.
Come on.
l don't think l've ever seen
a fox before.
-He was beautiful, wasn't he?
-His coat was gorgeous.
l bet there's deer around here too.
l guess l'll paint in the house.
-You're all set. See you next time.
-Thank you.
Howdy.
You're the fella moved
into the old Quinn place.
Morning.
You moved out from the city?
l don't blame you. ln a world
where they can split a tiny atom...
...and blow up hundreds
of thousands of people...
...there's no telling
where it's all gonna lead.
Best to find a quiet place...
...do what you have to do.
You don't have to pay me now.
What's your name?
-Jackson Pollock.
-Jackson Pollock.
Yeah.
We finally made it.
How are you braving the winter?
-No coal, no hot water, no bathroom.
-Jack wants others to share the misery.
-He loves it.
-How's he doing?
lt's good for him
to be away from the city.
l guess you're here
to get Jackson drunk again.
Lee.
Well, let me think.
l never actually got Jack drunk.
l mean, he never really
needed any help.
-He wrote us to spend the weekend.
-Rube--
l'm sure you understand.
Reuben.
Come on.
Okay.
Hey, how you doing, fella?
Are you lost?
l'm gonna have to find
me more space.
How did it go in there today?
l thought you might
make a table or something. Look.
Get yourself working again.
Hello, bub.
-Let's make a baby.
-No.
No?
Am l missing something here?
Are you missing something?
-We can't.
-We can't?
My life is full enough
with you, Jackson.
Where are you going?
We're husband and wife.
l want to have a baby, our baby.
That's what the progression is about.
-That's what the union is about.
-That's not what the union is about.
-What else is there?
-That's not what it's about.
-For me!
-The vows don't stipulate '' baby.''
l am not going to bring
another life into that.
We are painters, Jackson.
We don't have any money.
We don't get by. We struggle.
You are a great artist.
l believe in Jackson Pollock.
There's you and there's the painting,
and you need! You need! You need!
And l don't want to be anywhere else.
l don't want to be with...
...anyone else.
But that's all l can handle.
-This is it?
-Please.
-Let's go inside for lunch.
-lt's beautiful here.
-l want to see paintings.
-Let's go see the paintings.
We just moved to the barn.
-Jackson, they're here. Can we come in?
-Sure.
-Jackson.
-Now be careful.
-Jackson!
-Hi, Peggy.
l want you to meet Alfonso Ossorio.
This is Jackson Pollock.
And you know him.
Ted? Come on in.
Ted Dragon,
this is Jackson Pollock.
They came up for a preview of the show,
and l expect them to buy something.
-lt's beautiful. You must be happy.
-Damn near. The country's wonderful.
Really, just enjoy.
Now this one l like very much.
This was in my last fall show.
You're retreating into
imagery again, Jackson.
Paint is paint, surface is surface.
That's all they should be.
Now this is....
This is first-rate.
Why don't you do
eight or 1 0 of those?
Paint is paint, surface is surface.
That's all they should be.
The surrealists confuse
literature with painting.
l can't stand that.
They will not have their way.
What you're doing out there
is better than anything...
...l've seen from you
in a year or more.
No, l gotta backtrack. Peggy's mural.
That's when l thought,
'' Here's a great painter.''
And people saying to me,
'' lt's wallpaper. lt repeats itself.''
lt's my plan to return to Europe. l don't
have the energy since Howard died.
-But Jackson needs a gallery.
-Well....
What was the one that missed?
The one that wasn't so good?
You don't have colour yet. You're better
off when you keep your colour quiet.
-Which one was it? l'll fix it.
-The one with all the blue.
-lt's predominantly blue.
-The wrong blue? Too much blue?
All l want art to be is good.
The picture misses.
-What do you think, Ted?
-lt's interesting. l like blue.
-What do you think, Alfonso?
-lt's your painting.
-You think it misses.
-Clem may have a point, and he may not.
You think it misses?
You think it might miss?
-You think it might miss?
-lt might.
lt might. Well, l'll just
go fix it for you.
-ls he all right, Lee?
-He's fine.
So it's all the blue
that's bothering you?
What else?
You want the colour quiet?
-lt could be a little quieter.
-Let's just quiet the colour then.
Now this is something.
-No matter how drunk you are--
-l'm not drunk.
One thing's sacred for you.
Not anybody's feelings
or anything like that.
lt's your art.
You're not gonna destroy your art.
This is something.
He's had shows with you, Peggy.
He can't suddenly not have a gallery.
You owe him.
Sam won't take him.
What did Betty Parsons say?
Everyone drinks.
He's not the only one.
l know, but he's a great painter.
Of course. Of course.
l'll call you back.
l'll have supper ready in a jiffy.
Looks like Betty Parsons
may take you in.
Peggy's willing to continue the
monthly allowance through next year.
She'll still own all
your unsold paintings...
...but Betty will get a commission
on new work that sells.
You've done it, Pollock.
You've cracked it wide open.
Pass.
A nickel.
l'll see your nickel...
...and l'll raise you a quarter.
l don't like the look of that smile.
There is a smile of love and
there is a smile of deceit. l'm out.
l'm out.
-Too rich for my blood.
-Two twos.
There is a smile of smiles
in which these two smiles meet.
-William Blake.
-Such a bluffer.
Jackson, did you hear
de Kooning sold to the Modern?
Want me to deal?
''A singular concentration
of passion and technique...
...fierce energy, virtuosity.''
lt doesn't hurt that his wife
is fucking the critic.
-Who?
-De Kooning.
l don't know if l'd agree with
''virtuosity,'' but it was a hell of a show.
-Did you see the show?
-We're not in Siberia, Clem.
So you're the critic now.
No one knows l exist.
Who the hell's talking about me?
-l write about every show you have.
-You're the only one.
-What good does your praise do me?
-lt's new stuff. Give it time.
We're broke!
l'm digging clams out of the bay.
l don't see de Kooning digging.
Everyone is struggling.
lt'll break for you soon.
When?
l just took part in a roundtable
on modern art...
...held by LIFE magazine,
for God's sakes.
America has become the centre
of Western civilization.
You're doing the most original
and vigorous art in the country.
-Other critics will catch on. Keep at it.
-Don't tell me to keep at it.
l'm keeping at it!
-Ante up.
-All right, l'm in.
Did old Clem ruffle your feathers?
-l love all women.
-You get off him!
Get off me!
He can take care of himself!
-This is my house, do you understand?!
-Crazy bitch.
This is my house.
Okay.
Well, it's over. l'm glad that's over.
Jackson.
Jackson.
l'll be right there.
-Hey, Jackson.
-We owe you $56?
That sounds about right.
Hey there, Jackson.
You ought to mind your own
fucking business, bub.
Sande, if l can do it, you can too.
lt's been three weeks now.
Not a drop.
Hell, l quit for good.
We're still struggling,
but Alfonso and Ted bought a painting.
We won't see any of the money till
l sell a bunch more, but guess what....
Demarest Fund came through.
Fifteen hundred bucks.
l bought a Model A.
Ninety bucks.
No, l'm not kidding.
lt's just like we used to have.
Okay, would you put Mom back on?
l'd like to say good night.
Okay, then. Well, tell them
good night from Uncle Jack.
-l think the Macys are going to buy.
-Good.
-Are you here?
-Well, that depends.
l'm sorry, he's painting right now.
This is Lee Krasner, his wife.
Yes.
Of course. l'll let him know.
Okay, bye.
LIFE magazine. They want
to do an article on you.
Damn.
l don't let the image
carry the painting.
lf it creeps in,
l try to do away with it...
...to let the painting come through.
Hold it a minute there, please.
Pollock spends hours
contemplating a painting.
lt may be days or even months
before he tackles it again.
Who are your favourite artists?
De Kooning, Kandinsky....
El Greco, Goya, Rembrandt.
How do you respond
to your critics?
They have said,
''A mop of tangled hair.''
''A child's contour map
of the Battle of Gettysburg.''
'' Cathartic disintegration.''
What do you say?
-You forgot, '' Baked macaroni.''
-Well?
Well, if people would just...
...leave most of their stuff at home
and look at the paintings...
...l don't think they'd have
any trouble enjoying them.
lt's like looking at flowers.
You don't tear your hair out
over what it means.
How do you know when
you're finished with a painting?
How do you know when
you're finished making love?
That's better.
Just be yourself.
Delivery.
You saw this
LIFE magazine article?
Well, l have plenty if you want
another one. Enjoy the show.
Well, l have plenty if you want
another one. Enjoy the show.
Take a look around, fellas.
These are the big shots.
Jackson broke the ice.
-Hi, how are you?
-Beautiful.
-Do you know the Petersons?
-No.
-This is Betty Parsons.
-Thank you.
Sande.
How do you do, sir? Hi, Mom.
-Thank you. Beautiful work.
-Thanks.
Pollock showed 30 pictures
last fall and sold all but five...
...and his collectors
are nibbling at those.
Mr. Pollock, in your opinion,
what is the meaning of modern art?
Modern art, to me...
...is nothing more than the expression
of the contemporary aims...
...of the age we're living in.
Did the classical artists have
any means of expressing their age?
Yes, and they did it very well.
All cultures have had means
and techniques of expressing their...
...immediate aims.
The thing that interests me
is that today...
...painters do not have to go to
a subject matter outside of themselves.
They work from a different source.
They work from within.
lt seems to me that the modern artist
cannot express this age...
...the airplane,
the atom bomb, the radio...
...in the old forms of the Renaissance
or any other past culture.
How do you get the paint on the canvas?
l understand you don't use brushes.
l paint on the floor.
That's not unusual.
The Orientals did that.
Most of the paint l use is a liquid,
flowing kind of paint.
The brushes l use
are used more as sticks.
The brush doesn't actually touch
the canvas, but just above it.
lsn't it more difficult to control?
lsn't there more of a possibility of...
...getting too much paint,
splattering, or any number of things?
No, l don't think so.
With experience,
it seems possible to control...
...the flow of the paint to a great
extent, and l don't use--
l don't use the accident
'cause l deny the accident.
Did you see
the Magazine of Art review?
lt was a public recant,
a complete switcheroo.
Five years ago, he called
Pollock's work '' baked macaroni.''
Now he says,
''An impregnable language of image...
...beautiful and subtle
patterns of pure form.''
Come on. Hold it, Mom.
-You all made it.
-Yeah, we made it.
How was it?
-Hi, Elizabeth.
-Hi.
You must be Jeremy.
Dad drove 1 00 miles an hour
all the way from L.A.
-How are you?
-How you doing? lt's nice to see you.
-Hi, Charles.
-Hi, Jack.
-Hi.
-Hi.
-How are you, Karen?
-Nice to meet you. Yes.
Hi, Mom.
lt's so nice to have
all my boys together.
l'm so glad everybody's here.
How you doing?
How was the trip?
He's so heavy.
Thank you, here you go.
l miss you, you son of a bitch.
l miss you. lt's just not the same.
Nothing was ever the same
to begin with.
-What do you think?
-Shangri-la.
-Everybody okay down there?
-You hit the big time, Jack.
How many did you sell
from that November show?
lt was the best show l ever had.
lt all goes to the house.
l'm buying the acreage next door,
put up a studio for Lee.
Free up the upstairs bedroom,
give her more space.
He articulated the profundity
of Jackson's art...
...more eloquently than anyone has.
-How are they?
-Mother's reading Peter Pan.
This one is from
the most recent Art News.
-Story about a boy who never grew up.
-Another rave.
l can't wait to see what he
says about Jackson's next show.
l'm not sure l always get it, Jack.
l'm the only painter
worth looking at in America.
-l expect that's true.
-This guy wants to make a film on me.
-Why?
-Well, they made one on Calder.
l have a show coming up
at the Circle Gallery.
l'm exhibiting under the name
Charles Pima.
What the hell you doing that for?
This is priced at 4000.
Buy it for 1 500.
lt'll be worth 1 00,000 someday.
-Just any kind for me.
-l'll have a cherry.
Does anybody speak ltalian?
l need somebody who speaks ltalian.
Do you speak ltalian?
Here it is. Arte Moderna.
We figured out that much: '' Modern Art.''
There's an article about me.
Anybody know
what that means?
-Does anybody wanna play anagrams?
-l do.
-Here's something about '' povro Picasso.''
-'' Povro Picasso.'' Did you hear that?
-What do you think that means?
-l think it means '' poor Picasso.''
'' Poor Picasso''? Like, poor Pic--?
Did you guys hear that? Poor Picasso!
ls Picasso more important
than your family?
l had this dream.
l'm at the edge of a cliff,
and my brothers are there...
...and they're trying
to push me off the cliff.
Goddamn fucking nightmare.
Okay, we're rolling.
Now come back in.
Okay, we're rolling.
Now come back in.
Don't stop.
That's good.
Stop, stop.
Go to the chair, sit down.
Put your shoes on.
Your head's too low.
Lift it up.
Don't talk. We see your mouth moving.
You're supposed to be alone. Cut.
We gotta do it again.
You can't talk.
Now sit down.
Don't look at camera.
That's good. Shoes.
Yeah.
That's better.
That looks good.
Cut. Cut. You need
to take more time looking.
Like-- l don't know.
Like you're thinking or wondering or....
Cut.
Jackson, cut.
Cut. We ran out of film.
Just tell him you don't wanna do it.
l can't.
Not polite.
lt's been a month.
He wants to get it right.
lt's not just that, anyway.
l feel like a phoney.
You're a great painter, Pollock.
Just paint.
He wants to shoot through glass
so he can see my face.
You're the star.
l feel like a clam without a shell.
Fuck him.
Fuck him. lt's not for you.
l think it's gonna be
your best show ever, Jackson.
Everything works.
The big pictures.
The smaller ones. lt's phenomenal.
l don't think it's going
to sell, though.
-Take care of yourself.
-Will do.
l can't believe they're still
out there. He's gotta be frozen.
-Hello.
-Hello. Happy Thanksgiving.
Yeah. The light's gone.
That's it, Jackson.
We're done. lt's great.
lt's marvellous.
-Jackson.
-Jackson, where have you been?
Jackson, please.
Damn it, Hans, we need this.
Come in here.
Here, this one's for you.
First drink l've had in two years.
Don't be a fool, Jackson.
Carve the turkey for me.
-The gravy.
-Anybody wanna eat?
The turkey will be served.
l'm not the phoney,
you're the phoney.
-Let's eat.
-Let's eat.
-l'm not the phoney, you're the phoney.
-Jackson, enough. Okay?
l'm not the phoney, you're the phoney.
No, l want you sitting next to me.
Come on, sit next to me.
Here you go.
No, Herbert, l'm sitting
next to my buddy.
l'm not the phoney,
you're the phoney.
How about a toast
to our hostess?
l'm not the phoney,
you're the phoney.
-Should l do it now, Hans?
-Here we go.
-Now?
-Stop it.
Now, Hans?
Now?
Now!
l understand there was a ruckus
over my Partisan Review article.
Go find it, Lee.
-Jackson.
-Jewish cunt.
Lee's the one who wants you here.
l call them the way l see them.
You want it any other way?
You call them the way you see them?
l'm traded in for Clyfford Still.
That's not what Clem's saying.
Clyfford Still is one of the most
original painters around.
-lf not the best?
-lf not the best.
-Did you read the article?
-l read the whole thing.
-Clem wasn't trading you for Still.
-What was he doing?
The article was about the direction
of modern art. lt's not just about you.
-l'm not talking to you.
-lf you--
l'm not talking to you! Shut up!
You didn't review '52, the '54 show
was ''forced.'' ls that right?
-As l saw it, yes.
-Have l lost my stuff, Clem?
Everybody loses their stuff.
You had a good 1 0-year run.
Everything's gorgeous.
Gorgeous isn't good enough.
What do you want from me?
l like Easter and the Totem.
ls it as good as the Peterson
it was next to at the Carnegie exhibit?
The Peterson was better.
Yeah, well, l had something going
in that picture, but it missed.
l had something going
in The Deep too, but it just missed.
-The Deep was a kiss-ass to Still.
-No one asked you!
Clyfford Still couldn't
polish Jackson's shoes.
Look what you painted
when you were sober.
Now that you're back on booze,
do you paint real pictures?
-Climb off my back, bitch!
-You're a bum!
-Open that mouth again, l'll kill you!
-You are killing me!
Bitch! Bitch! Bitch! Bitch! Bitch!
-You wouldn't have a child!
-That would have fixed everything.
l never loved you!
Go fuck yourself!
-l don't even wanna touch you!
-Your sex life is of no concern to me.
Weekly trips to your therapist.
What a joke.
And whatever trash you pick up at
the Cedar afterwards, l could care less!
You don't wanna stay here.
This is morning to night. This happens
over taking out the garbage!
What are you looking for?
What are you pushing me for?
Stop crying about it and paint!
You're Jackson Pollock,
and you don't paint!
lt's a tragedy, and l can't stand it.
Paint!
-Hi.
-Hi.
-You look great.
-Thanks. l missed you.
-Don't look at me that way.
-l'm not looking at you.
l was thinking we could visit Peggy
in Venice, see the Biennale.
Time to go to Europe is when
you're very young or very old.
But you should go.
Everybody should do
what the hell they wanna do.
She left it in the car.
l'm surprised she hasn't missed it.
You take her
where our friends are.
They have the good grace
not to tell me.
lf you don't stop seeing her,
l'm going to leave you.
-l love her.
-You don't.
She's my last chance.
l am not going
to give you a divorce.
lf you could be anybody...
...who ever lived in the history
of the whole world...
...who would you be?
You.
l'd better get that.
-Hello?
-I'm ridiculous.
I think I left
my passport at the house.
I suppose I'll have to wait
till the next sailing.
Jackson?
Pollock.
Here it is.
I found it buried in my purse.
l owe the woman something.
l'd be dead without her.
But l'm the one
who loves you, Jackson.
The roses were
the most beautiful, deep red.
I miss you and wish
you were sharing this with me.
It would be wonderful
to get a note from you.
The painting here
is unbelievably bad.
How are you, Jackson?
Kiss Gyp for me.
Love, Lee.
lt's okay, buddy.
What have you got
there, Mr. Pollock?
l found him hit on the road.
He's a beautiful dog.
You gotta save him.
He's a beautiful dog.
Keep a girl waiting,
why don't you.
This is my friend Edith Metzger.
Just throw your stuff in the back.
We can all fit in the front, l think.
Thanks.
Edith wants to go
to the beach today.
We're all set and ready to go.
You go.
We'll wait for you.
Okay?
Are we going?
He's taking a little nap.
He'll be down in a little bit.
-ls he sick?
-No, he's fine. Come on.
Let's go see the studio.
What's doing for tonight?
l'm invited to Ossorio's...
...for a musicale
or something or other benefit.
That could be fun. Let's go.
l don't want to see
all those people.
Come on, l wanna take
a picture with you.
Edith, take our picture.
Good.
Okay, here we go.
Leave the dishes.
-Get dressed.
-We don't have to go, Jackson.
-Really, you don't have to amuse me.
-Leave the dishes. Get dressed.
What's the matter, Jackson?
Are you all right?
-l'm gonna call for help.
-Don't go in there.
-l don't wanna drive with him.
-Get her back in the car.
Come on, he's fine. l promise.
We're gonna go home.
-l don't wanna drive with him.
-Get her back in the car!
You need to get him to slow down.
Slow down.
Jackson, please.
Tell him he has got
to slow down this car!
Jackson, slow down.
-Let me out of your car!
-Edith, shut up!
-Let me out!
-Shut up! Jackson!
No!
-Jackson!
-Let me out of this car!
Get back in the car! Jackson,
you stop this car right now, Jackson!
-Stop, Jackson.
-Stop this car!
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