Part 44

Larry and his wife Elva have been married since 1944; their son Laurence III is a Washington-based lawyer. An Eastside resident during most of the last seven years, O'Brien recalls the Watergate break-in with grim humor. "We didn't have anything in the office anyway. We were practically bankrupt. I thought, maybe there's a typewriter missing. ... I was a disbeliever. It took a long time for it to penetrate that this was real. ... My best recollection of that period is that I was very depressed, in the sense of what effects it was having on our system of government.

"When I was on my book promotion tour, people would ask, 'How does it feel to be a politician?' as if it was a dirty word. I have always been proud of being a politician, and I've never felt otherwise. But I found that all of us involved in politics were painted with the same brush."

His mood brightens when the subject returns to basketball. Speaking of the recent backboard-shattering antics of "Chocolate Thunder" Darryl Dawkins, O'Brien reports that the star "said that he certainly could adjust his dunk shot to prevent further incidents."

The most difficult aspect of his job so far, says O'Brien, has been to enforce the compensation agreement that players and owners signed four years ago. "Compensation means that when a player has terminated his contractual obligations to a club, the new club that acquires him must make compensation to the other team, and work that out between them. And then if the two teams fail to reach an agreement, the case comes to me and I determine what compensation is appropriate. In making the losing club whole, I can assign draft choices, players, money, or any combination thereof. It's extremely difficult -- weighing players against players, and deciding how much money is valid compensation. There's no sure way of doing it, unless you were Solomon or you had a crystal ball as to how it would turn out."

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WESTSIDER MAUREEN O'SULLIVAN Great lady of the movie screen

3-4-78

As recently as 10 years ago, most of the motion pictures filmed in this country had a single run at the theatres, and then were seldom seen or heard from again.

Television has changed that. Now, with longer broadcasting hours and the abundance of new channels, vintage movies are enjoying a second life, often with a bigger audience than the first time. Maybe that's why the name Maureen O'Sullivan is practically a household word even today. Between 1930 and 1965 she made dozens of films, ranging from Marx Brothers comedy (A Day At The Races) to classics of English literature (David Copperfield, Pride and Prejudice) to Tarzan films, in which she played Jane.

But unlike so many of her contemporaries, Maureen is neither dead nor retired. She maintains a busy schedule of acting, writing, traveling, and enjoying her status as a mother of five and a grandmother of many.

Maureen shows me around her large, beautiful apartment facing Central Park, right across the hallway from Basil Rathbone's last home. "I keep this part for the children," she says, indicating a section of several rooms. There are photos of her children everywhere, including a good number of her actress daughters Mia and Tisa Farrow. Mia lives in England and Tisa is in California, but they still get together frequently.

"I'm doing an autobiography now. It's about halfway done. My agent has the manuscript. But I'm not writing any more until I see if there's any interest in it. ... I started it two years ago, then put it away. I wasn't even interested in it myself. Then a friend of mine, John Springer, had me to lunch. He said, 'You ought to do an autobiography.' I said I had already started one. ... So I went back and worked on it some more, and condensed it into 10 pages. I had to do it myself -- every word, syllable, comma."

She recently spent five weeks in upstate New York playing one of the leads in The Glass Menagerie by Tennessee Williams. The critics had nothing but praise for her portrayal of the ambitious mother, and one described Maureen's acting as "genius."

The stage is not the only place where Maureen employs her dramatic talents. Shortly after completing the Williams play, she went to Albany, New York to do a reading from The Wayward Bus for the state legislature. "They're trying to get a new bill through Congress to get money for a program for more halfway houses for women alcoholics," she explains. "I believe in that kind of thing."

One of the last plays she did in New York City was No Sex Please -- We're British. It was a hit in London, and the preview performances were doing well enough in New York to call for an official Broadway opening. "Then [drama critic] Clive Barnes came to the producer and said, 'If you have an opening you'll have a disaster, because the critics won't like it.' And he was right. As soon as the reviews came out, the theatre emptied. In the previews, the audiences loved it. The critics made a big thing out of opening night. In London, I don't think the public pays that much attention to the critics. The average person there doesn't read the reviews."

Perhaps it's the singing lessons she has never stopped taking that account for her pure lyrical speaking voice, which is still as sweet as it was when she made her first film, Song of My Heart, nearly 50 years ago. Though Maureen's soft British accent gives no hint of it, she was brought up in Dublin, Ireland. While working as a young actress in England she was discovered by an American producer and brought to the U.S. to do her first movie with famed tenor John McCormack. After that her career blossomed.

Any comment on the Tarzan films for which she became famous? "I made five. They have been remembered. I'm glad to be remembered for something. Let's leave it at that."

These days, while Maureen is waiting to hear about her autobiography, she is working on some short stories. Two have appeared in the Ladies' Home Journal. "I have no special goals," she says. "One thing leads to another. Supposing my theatrical career came to an end, I'd like to open an antique shop in Vermont, and write, and paint -- I always have -- and sew. If you can do one art, you can do them all. It's different ways of saying the same thing.

"I'm a special type of grandmother. At the theatre, I like to take the children backstage. And in New York, I take them in a horse and buggy around the park, or for tea at the Plaza. In that way, I can bring color into their lives."

Maureen has been a Westsider for the past 15 years. "I'm very fond of Mal the Tailor, on 72nd near Columbus. And Mr. Walsh the florist. O'Neal's Balloon. The Pioneer Market. They're all on 72nd Street. That's my beat."

She walks toward the window. "I love this view. The park is different every time of the year. Now it's all covered with snow. Pretty soon the buds will be all over the trees." She smiles contentedly. "I really think that if I had to leave the West Side I'd leave New York. Because to me, this is New York."

Hannah and Her Sisters.

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WESTSIDER BETSY PALMER Star of Same Time, Next Year

4-1-78

"Oh, do you take shorthand?" said Betsy Palmer as we sat down in her dressing room to chat between shows. "I could always read and write shorthand. I worked for the B & O Railroad as a stenographer before I went away to school and learned acting. I guess if I had to, I could brush up and go back to it."

It's most unlikely that she'll ever have to. Even if her Tony Award winning play, Same Time, Next Year, should happen to close, Betsy would find herself swamped with offers for choice acting roles. But her hit show about the lighter side of adultery won't be closing for a long time yet. It is currently being made into a film starring Ellen Burstyn and Alan Alda.

"A lot of people think of me as a personality rather than an actress, and when they come to see me they expect to see that personality," says Palmer, who has one of the more recognizable names and faces on Broadway. "Mostly people know me from panel shows. It's been a double-edged sword for me. When they see me doing something that's really dramatic, they say, 'My God, she can act!'"