SO WE CALLED IT LOVE

There used to be stars

Before we pulled them down

We used to have leaders

Who were mentally sound

There used to be a gift

From up above

We didn’t know what it was 

So we called it love


There used to be care

For our fellow man

When friends were in trouble

We’d try and lend a hand

It’s now considered weak

And out of date

So we look the other way

And we call it fate 

 

The older we get

The more we forget what we’ve been taught

By all the friends we squandered 

And all the dreams we bought 

We toss and we turn

We live and dont learn 

Stumbling in the dark

And shooting from the lip

Until we wake to find

It all comes to zip 

 

There used to be Dreams 

That got us through the night

Some called us lucky 

Until we missed our flight

And we’d lost every girl 

By the final reel

Too old to try again

And too scared to feel

 

(C) Frank Howson 2019

x 

Advertisements

A JOYFUL WOMAN

We tried to live a simple life in a complex world. Surrounded by all the dangers, temptations, frustrations and good intentions gone south. We had a simple love, in that sweet naive time before the reptilians took over and the war designed to have no end began. 

All I knew was that I loved you, and you loved me. Nothing much else mattered. And if the world we knew came to an end, I’d love you in the next too. 

Your beautiful face and inner joy were the only drugs I needed to keep going.  You made me smile. You made me dance. You made me hope for more when I’d given up hoping. 

Each day we’d plow the fields, sowing for the harvest that would keep us full during the winter months. 

Life was good and the people we knew were fun. Until they weren’t anymore. But they weren’t as lucky as us and life made them bitter. 

Sometimes I’d whisper your name in a reverential prayer when my road narrowed and  the nights became too dark to see ahead. 

 Some people became envious of our joy and sought to steal it, foolishly thinking they could replicate the recipe, but they burnt the base. 

They burnt us too. 

These days I don’t punish myself by thinking of love, and have accepted my life of solitude. Sometimes we have to sacrifice joy to obtain wisdom. Sometimes I long to be a happy fool again. For there is a penalty in knowing too much. 

My wisdom has told me that angels must leave. They weren’t meant to be chained to this mortal earth, or to us flawed humans. And so, it is as it should be. Fly on, my darling, fly on. It was all my fault, dreaming that I could keep you. 

But perhaps our time will come. Again. And I’ll not awaken my wisdom, and instead, pretend I don’t know the ending. 

And so on. And so on. 

 

(C) Frank Howson 2019

 

 

ONCE I WAS A CHILD

Once I was a child
And the world was beautiful
And frightening
Loving and cruel
Simple
And complex
Much bigger than me
I looked up to everyone
Seeking guidance
Wisdom
A smile
Some grownups didn’t like children
You could tell by how they looked at you
Perhaps they didn’t like fellow grownups either
But I didn’t know that
I was just a child
I liked to play with little soldier figures
That I collected until I had my own army
Then I started collecting an army for them to fight
They like to hook boys on war as soon as possible
My army won every battle
But none of them got really hurt
They just pretended to be to satisfy my scenario
That’s a grownup word for story
Grownups like to show off
I also liked to listen to the radio
My mum said I could identify every singer
Just from hearing a few bars of their voices
My dad worked every week day
And sometimes he took me with him
I was made a fuss of by his workmates
Because I was a child
Sometimes my mum worked at night
I didn’t like that
I would sit on my dad’s knee
Listening to the radio
Eagerly awaiting her return
I wished that we had a TV set
And then one day Steele’s department store
Delivered one by accident
We never told them
And they never came back
My parents thought it was luck
I knew it was magic
And my wish had come true
But what did I know?
I was a child
Sometimes my much older sisters were nice to me
Most times they weren’t
I grew to accept that
I must have done something wrong to them
And they were paying me back
Or else they knew I was worthless
I should’ve thanked them for bringing this to my attention
But I was just a child
I liked watching things on TV
In those days shows always had a happy ending
And the cast would smile as the credits rolled
Sometimes they’d wave at me while they smiled
And I waved back
Before they faded out
I wished that I could be on TV
And then I was
My parents called it luck
But I knew it was magic
My wish had come true
Again
One day my mum took me to see a pantomime
At the Tivoli Theatre
It looked magical to me
And everyone seemed to be having fun
I wished I could be up there on the stage
And one day I was
My parents called it luck
But I knew much more
You see, I was a child
And for a time my wishes came true
Then I grew up
And I wished I hadn’t
But as much as I wished
Nothing happened
And I couldn’t go back
Ever again
Then my dad went to heaven
He said he’d had enough
So I got married
Because that’s what grownups do
When you replace grownups
And take on responsibilities
And it all begins again
And I got to learn grownup secrets
Like
There are not always
Happy endings
And that wishes rarely come true and it’s more to do with luck
The older you get
The more selective you become about what you wish for
One day my wife took me to dinner
And told me a happy occasion was coming
And soon we had a child of our own
I always knelt so as to not look down on him
No matter what he asked
I always smiled and gave him
Guidance
And what wisdom I had
I tried to make him feel he was worth
Everything
To me
Then one day it was all taken away
But that’s a long story
I guess I’d forgotten in my joy
To say thank you
To the one who grants the wishes
Or luck
And he can be a hard God at times
My mother didn’t want to leave me
Alone
So she hung on a long time
But finally she got so tired
She had to go
Sometimes people ask me what I want
And I answer that I want what I had
A long time ago
When there were heroes
Before the press tore them down
Back when my family and I gathered around
Our hot TV
And watched our favourites
And laughed as one
Cried as one
And cheered as one
When I was a child
And the world was new
Once
When wishes came true
And
If you were lucky
Stayed true
But now I’ve been cast as the kindly old man
And seek signs of affection
In the eyes
Of those I pass in the street
As I did when I was a child
But people’s eyes are cold these days
And they don’t see others
For they are only looking inward
I also smile at children
Remembering when I was one
But they confirm that I am now invisible
For they’ve been taught to ignore strangers
I’m no longer in the club
Expelled for growing too tall
Too grey
Even though my heart remains young
And open
And child-like
The deserted alleyways of night
Sometimes
Are the only friends one can confide in
Walk it away
Walk it away
Around the next corner there is no light
Anymore
And you can lose yourself
Quite easily
Sometimes I am seen
Looking lost
Frantic
Anxious
Searching for my youth
In the recycling bins
Trying to find one little toy soldier
Who might stand up for me
Take my side
Fight the good fight
And guide me
Home

(C) Frank Howson 2019

LONESOME ENDS WITH ME

We sleep in the dark
And wake to a stark
New day
We never learn
We wait our turn
Then forget what to say
When someone nags
We pack our bags
And flee
We push and shove
And try to love
But lonesome ends with me

Wasn’t I there for you
Aren’t I a friend too?
You sneak thoughts into my head
While I rest in bed
I used to feel alive
But now I feel
As good as dead
But
With that having been said…

We give what it takes
And make our mistakes
And cry
We walk alone
And turn to stone
I love you but you lie
I walk the beach
And sometimes teach
For free
That one and one
Can come undone
And lonesome ends with me

(C) Frank Howson 2019

ME WALKING AWAY

My key doesn’t fit any door anymore
No one excitedly awaits my approaching footsteps
No one offers me anything to kiss
But a cheek
My watch doesn’t tell time
It’s taken to telling fortunes
The lifeline on my palm keeps extending
I may outlive you all
Wouldn’t that be cruel?
The only laughs I get
Are from reading Emil Cioran
I know only too well what it’s like to be misunderstood
I see nothing in anyone’s eyes anymore
But suffering
It’s painful to be able to look at people
And foretell their destiny
So I don’t go out any longer
You could’ve saved me
But you seemed fully booked
With married men
And those going nowhere
Good luck with that
Dogs see more in me
Than you do
But you seem hellbent
On waiting for a bus that will never come
And in the waiting
Your life goes by
Until you die
I eat but don’t want
I love but don’t need
I seek but don’t find
I walk but don’t move
I sleep but don’t dream
I listen but don’t hear
I look but don’t see
I give my hand to those in need
Because I never learn
I befriend those who betray me
I rage wars without raising my sword
I remember those who forget me
I stand guilty of all the above
Only because you offered me no chair
What would it have cost you
To have given me some affection?
But I guess your plans were overcrowded
With images of yourself
From those heydays when you were young
And the world was at your feet
But you wouldn’t listen
You never listen
Well, not really
Our only difference is
I know when it’s over
“Too late, too late,” he cried
I have a stubborn streak
That has sprung a leak
I am my father’s son now
I will never ask again
Here I go
This is me walking away

(C) Frank Howson 2019

WHO SAW HIM LAST?

These were the shoes he wore. Notice the soles are thin. He’d walked many miles in these trying to get ahead.

This was his favourite jacket. He felt wealthy when he wore it. Even though it had holes in the pockets.

This is the shirt he called his lucky one. He always wore it to important meetings and although nothing ever came of them he felt this shirt would bring him luck. Someday.

These were his favourite pants – he’d been married in them. Twice.

This was the hat he wore everyday. It shielded his head from the rain and the wind and the sun. And if he pulled the brim down, from everyone.

This is the map he lost just before he lost his way.

These are the tears he cried when he had nowhere to go.

This is the heart you broke and you didn’t even know.

These are your letters he kept when he believed in you.

This is the photo of his mother who thought he was precious.

Where are the friends he helped instead of helping himself?

This is his favourite song that he played every night.

This is the movie he said changed his life.

These are the books he loved now all packed away.

Who saw him last?

(C) Frank Howson 2019

FRANK HOWSON interviewed by ROBERT CHUTER

It is Sunday. A sweltering day in St. Kilda. I am seated under a shaded canopy in pink paradise – “Good Love” on Acland Street. I’m chatting over tea and banana bread with the imitable Frank Howson – Screenwriter, Producer, Theatre Director, Film Director, Artist, Performer, Poet and list goes on. I first met Frank way back in 2007 in a fleeting hallway passing during his rehearsals for the short play “The Replacement Son” he was directing for Short and Sweet. I recognised his name.

Frank’s colourful life has had more dips and turns than Luna Park’s Scenic Railway – so my chat with him was highly energetic and elaborate to say the least. I suggested that we visit one of his old haunts, his childhood home in the adjourning street – 51 Fawkner Street – to trigger some memories. So as we strolled down the street, accompanied by our ever reliable photographer, our conversation back to those years and onwards. “When I was a small boy, I began to dream. These dreams weren’t like normal ones in my sleep, these were my awake hours. Some of these dreams were bigger than me,” he said, adding, “And a few would turn out to be so big they would eventually run me down. In some of them I was Davy Crockett, and others Peter Pan, Robin Hood and Zorro. All you had to do was find a park bench, close your eyes and lift your head until you felt the warm rays of the sun, and let your mind go off to exotic locations. I dreamed that I was bigger than my dad in height, temperament and wealth, and I lived to achieve all that only to discover how meaningless it all was.”

As our photographer snapped photos of Frank in front of the house, I was thinking to myself, “I wonder how he is really feeling about being here again?” He didn’t give much away, but a smile and no revealing emotions except for a few tales of yesteryear, “Living in Fawkner Street back then, the neighbours were just ordinary battlers, sly grog salesmen, gangsters,” he remembered. In that street Public Enemy Number 1 – nicknamed The Beast (Norm Bradshaw) for good reason lived there when he was not on the run. “Next door to us lived the Aussie equivalent to Bonnie Parker, the gangster’s moll, pretty (but deadly) Dulcie Markham (known as “The Angel of Death” reported The Truth). One bullet came through our wall,” said Frank with delight. But to be expected Pretty Dulcie got a bullet right in the thigh. “There’s bloody blood everywhere, Bastards!” She spurted to The Truth reporter. Apparently another altercation left Pretty Dulcie with a broken leg and her hoodlum ex-boxer boyfriend Gavin Walsh was shot dead during the six o’clock swill at the Barkly Hotel.

Henry (Jack) Howson, Frank’s dad, was in charge of the O’Donnell Gardens for thirty or so years and was promoted to overseer of the entire St. Kilda Foreshore not long before his death. His tiny office was under the biggest dip in Luna Park’s Scenic Railway. His mum, Pearl, worked across the road “in the best lolly shop in the world” – Candy Corner. Young Frank spent his years hiding in the O’Donnell Garden’s Sherwood Forest, climbing trees to attack Santa Ana’s soldiers at the Alamo, and re-enacting every John Wayne movie. At the sweet age of seven he started his life in show business as a singer, tap dancer and actor. His first public appearance was at the St. Kilda Town Hall performing a rendition of “Give My Regards To Broadway.”

“When I was at school I just couldn’t concentrate on anything. I was hopeless.” His introduction to books was by his old Irish grandmother who would sit him on her sturdy lap and read aloud “Noddy in Toyland.” Later, the first book he actually managed to finish all by himself was ironically “Little Women” then came, of course, Enid Blyton’s Famous Five, The Secret Seven and then graduated to Biggles. In his later teens it was “The Great Gatsby,” Dickens, Hemingway, Steinbeck, Huxley, Wilde and many others. After leaving Christian Brothers College in 1967 his first job was office boy at Radio 3UZ. Soon he was promoted to panel operator and worked on “Radio Auditions,” Johnny McMahon’s extraordinarily long-lived talent show in which participants were awarded up to three “gongs” – if it rained and there weren’t enough acts for the program, Frank was called upon to perform under made-up names. When he was invited to perform on a TV talent show pilot by (the late) Jimmy Hannan and told to come up with a mad act he became known as “Magical Frank” – a singing and tap dancing magician who’s tricks all went wrong. Eventually he acquired a record deal and produced and performed on his first Top 40 hit “Seventeen Ain’t Young.” This was followed by other singles “This Night” and “The Heart Is A Lonely Hunter.”

Before turning twenty-one, Frank had already appeared in over twenty-one major productions. Two highlights during this prolific period were notable Australian productions of “Oliver” in 1966 at Her Majesty’s Theatre with a young John Diedrich, Toni Lamond and the (late) Terry McDermott; then the legendary original production of “Jesus Christ Superstar” at the Palais Theatre with Marcia Hines, Robin Ramsay, Reg Livermore, Stevie Wright, John Paul Young and (the late) Jon English.

Standing around, we talked a little about his film career. The photographer kept snapping away with me avoiding getting in the way. Apparently, during its heyday, Boulevard Films was one of Australia’s most successful film production companies. Numerous people became resentful of the company’s success and worked against it unfortunately. Left to its own devices, the company became undone by the relentless pressure and enormous responsibility to keep bettering the last film and raising the bar amidst disappearing money. In 1997, after a very prolonged falling out with his business partner, Frank dissolved the company in order to extricate himself from the situation.

The company’s films included; “Boulevard of Broken Dreams” which starred John Waters and Kim Gyngell and was nominated for 7 AFI Awards including “Best Film” and won 2 – Waters for Best Actor, and Gyngell for Best Supporting Actor. Others films followed, including the AFI nominated “Heaven Tonight” that was Guy Pearce’s debut as a movie actor and sold to the giant American Broadcasting Corporation; the AFI nominated “What The Moon Saw” which became the first Australian film sold to Miramax; “Hunting” screenplay and direction by Frank and starring American actor John Savage, Kerry Armstrong (nominated for an AFI as Best Actress, and Guy Pearce, sold to Paramount Pictures; “Beyond My Reach” starring David Roberts, American actress Terri Garber (whom Howson would later marry), and Alan Fletcher, sold to Warners; and “Flynn” starring Guy Pearce, Claudia Karvan, internationally acclaimed stage & movie actor Steven Berkoff, and John Brumpton in his first screen role. The film depicted the early life of Errol Flynn, and was directed and co-written by Howson. In 1989, he was awarded the Producer of the Year Award from Film Victoria, and since then has received several Hall of Fame awards and Lifetime Achievement Awards at numerous international film festivals.

Frank relocated to Los Angeles where there the experience he received working with and for such talents as Martin Landau, Mark Rydell, Helen Mirren, Sharon Stone, Amy Ephron, Arthur Hiller, Michael Richards, William Friedkin, Ryan O’Neal, Eric Idle, Joe Eszterhas, Jackie Chan, Patricia Clarkson, Heath Ledger, Jacqueline Bissett, Whoopi Goldberg, Sylvester Stallone, Bernard Fowler, and many others elevated him to a whole new level. He was commissioned to write several screenplays, and script doctor some script written by others. His beloved screenplay on the tragic life of the Australian boxer Les Darcy entitled “Winter In America” was put on hold by Heath Ledger for three years as he desperately wanted to play the lead. It has not, to this time, been made, but was described by the Age as “the best unproduced screenplay in Australia.” Between 1998 and 2001, Frank served on the board of the L. A branch of the Starlight Children’s Foundation.

Returning home to St. Kilda after nine years of a self-imposed exile from his homeland he arrived back to no job offers, a tattered reputation, and found no opportunities whatsoever at his feet. So, he began again.

Ever restless Frank began writing his own songs which were ultimately performed and/or recorded by Little River Band. Richie Havens, Eric Idle, Stephen Cummings, Marc Jordan. Bernard Fowler, Judith Durham, Keith Potger, Andre Rieu and many others. In September 2005, Frank was approached by a producer to direct the Melbourne premiere of Caryl Churchill’s play “A Number” at fortyfivedownstairs and received the best reviews of his career. He was back. Shortly after, he ghost wrote Rhonda Burchmore’s best selling memoir, “Legs 11” and then Rhonda toured with her hit one woman show “Cry Me A River – The World of Julie London” that was specially written for her by Frank. He then wrote and directed two sell-out seasons of “Genesis To Broadway” at Chapel Off Chapel, and was asked to direct the two music videos to celebrate The Seekers 50th. Anniversary. One of the clips opened their show on their international farewell tour and was screened at their Royal Albert Hall performances. And this isn’t even a quarter of his astounding creative accomplishments. So, there were so many questions I wanted to ask, so I did:

Q) Why do you do the work that you do, Frank?
A) “Because it’s the only thing I ever wanted to do, and the only thing it seems I was any good at. It can be a very hard, very lonely life. But if there is a higher power it is no doubt purposely conceived to be that way. Almost like God removes all happy distractions from our life so that we are forced to save the very best of us for the page, or the stage. Or as Dylan said, “Blood On The Tracks.” Looking back on Fawkner Street, I think all that young boy ever wanted was to have a happy family where no one fought and had terrible degrading arguments, and have a nice little house, and be friends with all the neighbours and know that he was safe and that tomorrow would be just like today. And to wake and find that the woman he loved still loved him. But none of that was to be. Well, not in any lasting sense. So he just keeps writing and occasionally directing and hoping that somehow that will get him home. Wherever that is.”

Q) Which people inspired you to work in showbiz?
A) “The biggest and most influence on me getting into showbiz was the movie “Yankee Doodle Dandy” starring James Cagney. I was only seven, but that movie showed me a whole new world to the one I was born into. My dad was the loveliest man in the world – up to ten drinks! After that he would wander the house looking for something to blame. I guess, for the emptiness within himself. So, there were most nights some horrible ego destroying verbal abuse that effected and infected those of us who lived at 51 Fawkner Street. When I saw “Yankee Doodle Dandy” its influence on me was profound. I saw that you can invent a new world through creativity. The movie’s depiction of showbiz was, of course, highly romanticised but very intoxicating to a boy from St. Kilda whose whole world at that time was Fawkner Street, the O’Donnell Gardens, Luna Park and the occasional trip to the city with my mum to patiently watch her shop at Myer. That movie told me there was a place for those who didn’t fit in. The camaraderie, the risk taking, the loyalty of a long business partnership between two men where the only contract had been a handshake, the opening nights of triumph. Yep, it hooked me on its bullshit and although it wasn’t all champers I have lived to experience some amazing things, and people. At a cost. Along that hard long and winding road of showbiz I have seen the very best and the very worst of human nature. And thus it gave me much to write about.”

Q) What happened after “Boulevard of Broken Dreams”?
A) “After that, I made so many films, it almost killed me. You know the old saying, “Be careful what you wish for?” Well, my business partner and I had spent five years trying to get into the film industry and knocked on every door there was and got most of them slammed in our faces. The industry at that time didn’t want any new blood competing with them. It was virtually a closed shop with the same old guys getting all the grants and making the same old types of Australian movie. But Peter and I were the two most determined bastards and finally by sheer youthful energy, determination and perseverance we gate crashed the party and they hated us for it. After “Boulevard of Broken Dreams” there was “What The Moon Saw,” “Heaven Tonight,” “Hunting,” “Beyond My Reach,” “Flynn,” “The Final Stage,” “A Slow Night At The Kuwaiti Cafe,” “The Intruder,” “Crime Time,” “Blue Roses,” “Guy Pearce – The Music Videos,” “The Making of Heaven Tonight,” “The Making of Hunting,” “The Making of Flynn,” and “A Thin Life.” Five of those films were made in virtually a year. When the stage & screenwriter Patrick Edgeworth read about my schedule he told his wife, “That man will either be dead or insane within a year.” I’m still here, so I guess I’m the latter.”

Q) Do you think you might have been a casualty of the tall poppy syndrome, Frank?
A) “I think there was a great love of our films by the Australian public but the fat cats in the industry and their associates, especially in Sydney, influenced or pressured local critics to be so much harsher on our films than any other homemade films (and let’s face it, some of these other films by approved producers who were in the clique were appalling but received good reviews.) When I returned home from living in Los Angeles for 9 years, I was out somewhere and a young filmmaker came up to me and told me how much he’d been influenced by my movies and believed there had been a government conspiracy to destroy Boulevard Films. I laughed as I’d never thought in those terms, but after considering the question, I answered that, “I don’t think there was an official focussed conspiracy to destroy us. But the industry did nothing to help us. Perhaps that was the conspiracy.” And if so, they should hang their heads in shame. These films I made were all sold to Miramax, Paramount, Warners, Disney, etc., at a time when you couldn’t give Australian films away on the international market. Some of those films also played at every major film festival in the world, except Melbourne. Everywhere except the place where they was made. They also garnered rave reviews overseas and awards, but were savaged by most local reviewers. When one of them received a scathing review in The Australian, I wrote to the critic Evan Williams and asked him why there were so many inaccuracies and misquotes of dialogue in his review, to which he replied, and I still have the letter, that he’d been unwell that day at the press screening so had to leave 10 minutes into the film but asked a colleague some days later how it ended. Based upon that he wrote a horrible review that no doubt turned potential customers away from a local film that went on to be lauded and praised overseas. Alan Finney of Village Roadshow also stated to witnesses that he hated all my films. This was before the first five were even finished and no one had seen them yet. So, he had a negative opinion sight unseen. But those idiots are all gone now and their power diminished to nothing and yet my films continue to be re-released on DVD worldwide. So I guess I win. I sometimes think I get more respect in L.A or London than I do in my own country. David Mann of 3AW asked me recently if I’d been honoured by my country yet. Again, I laughed. No. Just bloodied, humiliated, spat on and shunned. They even came at me with a trumped up charge that because a film of mine had changed from the original synopsis to the final cut that it was somehow a different movie and I’d somehow done something illegal. It was like a Franz Kafka absurdist nightmare I had to live through and the pressure of defending myself against this insanity took a huge emotional toll on my last marriage and ruined it. I had to try and explain to public servants that Art is an ever evolving process. I also named over 1000 Hollywood films that started as one thing and ended up quite different from the original concept. This is the same government that were later happy to steal my original idea and concept of “G’Day L.A” which went on to become the most successful promotion in the history of Australia. The “Honourable” John Olsen, the then Australian Consulate in Los Angeles, whom I presented my idea to, later received the highest award the Australian Government can bestow on one of its citizens for this superb idea of “his.” But you know something? It’s made me all the tougher. And that’s why I’m still here. They have, in fact, empowered me.”

Q) What do you think have been some of the negatives in your work?
A) “Probably revealing too much of myself in it. It’s amazing but even though you come up with what you think is a piece of fiction from your mind, you look back later and realise it was in some ways autobiographical, sometimes in a symbolised way, but there it was. And there it is. I can look at some of these films now and tell you exactly what I was going through at the time. They are almost like a diary to me. The spookiest thing is that some proved to be a premonition of what was to come. But apart from that, my work has supplied me no negatives, in fact it has been my friend, my family, my saviour, and my way out of the darkness and confusion. It has been the various people my work has attracted into my life that has on occasion been a severe negative. Perhaps because they were attracted by the wrong thing. The idea of a quick buck, rape what they couldn’t understand, and depart leaving others to clean up the mess. Light attracts darkness unfortunately.”

Q) What’s been the positives in your work?
A) “Finding myself. Realising I was at last good at something and could relax all those inner fears that I was the idiot my school teachers thought I was. Because I was a ‘change of life’ baby I was a big surprise to everyone, my mum considered me a miracle and that everything I did was genius. On the other hand my sisters were so angered by my intrusion into their lives they didn’t speak to my mother and father for a year! As there was a twelve year gap between me and my youngest sister, and I was the only boy, the chill and resentment still continues to this day and will never end. So, in effect, I was given a good grounding to become level-headed about myself. Everything I did my sisters considered crap, and everything I did my mother thought was genius. The genius thing was a very heavy burden for a young boy from St. Kilda to carry on his shoulders. Looking back now I realised I strived so hard to live up to her exulted view of me and not let her down, that I denied myself a normal youth. It’s interesting to note that when my mother died, so did a lot of my ambition. I guess in my mind I had no one to impress anymore. So I relaxed and went about becoming a human being.”

Q) Whats been your favourite achievements up to this point?
A) “The only reason I became a producer, a job I in fact hate doing, was to protect the integrity of my work. I’d had a very bad experience, or introduction to movie making, with a film called “Backstage” starring the late American singer Laura Branigan. I co-wrote the script with Jonathan Hardy and it was sold to a large production company. They tampered with my original vision so much that I walked off the movie before a single frame was shot. I was embarrassed to have any part of it. Hardy sold out and compromised but not me. My instincts were right and it was, in my opinion, one of the worst films ever made. Becoming a producer wasn’t some lust for power by me, I just wanted to ensure that anything that had my name on it contained some resemblance to what I had written. The latest thing I have written, the big budget theatre musical “Dream Lover” which tells the Bobby Darin story and starred David Campbell, I think is my proudest moment. Simon Phillips, the director, and I worked so closely and so well on two workshops and then an intense rehearsal period that it became the dream working relationship we always hope for. We’d only had to see something being acted out and we’d exchange a look and I’d know what he was thinking and visa versa. And of course the topping on the cake is that the people responded. We were a smash in Sydney and then broke the all-time historic attendance record at the State Theatre in Melbourne. It had taken years of frustration waiting for the production to happen, but when Darin’s son, Dodd, flew into Sydney with his wife to see it, he walked up to me afterwards, with tears in his eyes, to hug me and said, “You got every detail right. All my life I’ve wanted a legacy for my father and you’ve written it.” And I replied, “What you’ve just said to me was worth the whole 9 years.”

Q) What are you currently working on?
A) “After “Dream Lover” I took 12 months off to travel and not think about anything. And it’s hard for me to not think about things and new ideas, but I did. I shut it off. And just roamed around and took in new experiences. I also didn’t want to make the mistake that many do after a huge hit by quickly cashing in with a new show. I wanted to make sure that whatever I did next was as high a standard as “Dream Lover” had been. So, now I’m back at it full steam and I have another theatrical work ready. This one is even more emotionally moving. It’s about those last, very sad and revealing years in the life of Elvis Presley. It is a piece of pure theatre. Not one of those lookalike, soundalike shows. This script goes deep, way deep, into Elvis’ soul. We have already had one workshop on it and The Seekers’ Bruce Woodley attended and afterward said to me, “I teared up about six times and for the first time I felt I really knew him.” Aleks Vass, owner of The Alex Theatre, was there and publicly stated that what he saw was “musical theatre genius.” I loved Elvis so much that I have really worked hard to get it right and cut to the very heart, soul and mind of the man in those final confusing years. I think it will be a very cathartic night in the theatre for all those who loved him and it will explain a lot about what happened.”

Q) If you couldn’t do this anymore, what career path do you think you would have followed, Frank?
A) “Well I’ve had two very successful art exhibitions at Fad Gallery over the past two years, and I must admit that painting seems to relax my restless mind. I find peace and comfort in it. I guess I’d be a painter. The only two school subjects I was any good at was English and Art. So there you have it. If it wasn’t for those two things I’d be fucked. Of course I would love to do another film, but even given my stellar track record, no one asks me, so I guess I’m still blacklisted from that old brigade closed shop. And they’re the reason the Australian film industry has been woeful for so long, because those old power brokers never encouraged new blood. They never encouraged anything other than more money into their bank accounts and now live in mansions in Tuscany. In a perfect world though, I guess I’d have a very happy life writing a book a year and having a couple of art exhibitions of my paintings and sketches. I wouldn’t have to deal with business partners who take care of the business so well there’s no money left, financiers, horrendous deadlines, producers and actors asking me, “What does this mean?””

Q) Tell me a funny story or joke that involves your work or life?
A) “I remember when I was seventeen and I’d recorded a single called “Seventeen Ain’t Young” and the record company (without asking my permission) credited me on the label as Frankie Howson. I don’t remember anyone before then ever calling me “Frankie” but there you have it. Anyway, a few months had passed since that record slipped out of the charts and I was on a tram one day, when a girl walked up to me and asked. “Didn’t you used to be Frankie Howson?” That’s how tough this life in showbiz can be. A few months can go by and you’re a has been. Yes. I used to be Frankie Howson.”

Undoubtedly, Frank Howson is one of St. Kilda’s most precious icons. He is blessed that creativity has been his life. His lifelong and prolific contribution to the arts and our entertainment is simply phenomenal. The fact that he and his work has been underrated, undervalued, belittled and ignored is also phenomenal. It is truly shameful, truly disgraceful and most of all – embarrassing. When I thanked Frank for his time and bid him farewell he certainly left me with an indelible Mark. On the journey home I thought to myself, this man’s dazzling talent is only outshone by his humanity and accomplishment. Thank heavens, we have him.

(C) Robert Chuter.