Cassidy's Girl: The Movie

You know what a David Goodis junkie I am. So I was happy to receive an email from writer/director Ed Holub, who's been working on a film adaptation of Cassidy's Girl, one of my favorite Goodis noirs. (How can you not love a story about a bus driver who falls in love with a Philly lush?) Secret Dead Blog lobbed a few questions his way, and Mr. Holub was kind enough to lob 'em back.

Secret Dead Blog: What drew you to Cassidy's Girl? Was it your first Goodis novel, or the one that just stuck with you?

Ed Holub: Well, I shoot book covers for a lot of Vintage Black Lizard titles. I did some Jim Thompson, Dashiel Hammett, Ross McDonald, etc... So, I got a hold of tons of original paperbacks to check out what the original art looked like. Then I wondered what the covers were trying to say. I read like hundreds. I've found tons of stories I think would translate well to films...

When I first came across Goodis, his work just stood out. His endings are never "happy" or conventional, and I've often been left more confused than satisfied by the novels. But I think that's why his work leaves such a lasting impression. Even with Cassidy's Girl, it's taken me a long time to truly understand the subplots and psychology involved. Also the existential philosophy is as strong as Camus, so his stories don't just make you think, they make you grapple, writhe around a bit, and contradict yourself a bunch before you can let go.

Cassidy's Girl in particular hit some personal cords in my own life, along relationship lines, and ironically I find myself fighting to regain my glory as James did. The concept of rediscovering hope in the face of uncertainty is a strong message. Well, this title has many other themes, subplots, subtexts, and difficult human emotions, all great stuff to work with in film. I think that's why most actors who read it, love it.

SDB: Can you tell us a little bit about the development process been like? Is there a screenplay ready?

Holub: The development process is a hell I don't wish on my worst enemies. I've had financing twice. Both times, producers egos have destroyed the project. I've found some good people along the way too. Michael Arata, though he's losing patience with me, has been there all along, and Jimmy Woods did boards and schedules for the whole film. I owe him for that.

The best thing going now is the script. I've made some deliberate changes from the original book. And this answer will segue the next question too. I wanted to bring significance to setting the film in the 50's. Besides the dialog and social morees (broken and unbroken), that is. So I wanted to bring in the McCarthy hearings, because CNN is pushing terrorist hype on us as much Senator Joe ever did, so I wanted to say that through metaphor. Then I also wanted to expose urban decay in all its grimy beauty, so exterior setting became the utmost in considerations.

SDB: And now the controversial question. You've decided to set Cassidy's Girl in New Orleans, even though it's a Philly novel through and through. But you seem like a nice guy, Ed, and I'm willing to forgive you. So tell us: why New Orleans?

Holub: Now the Philly thing was hard for me. I came up through the tough streets of New York, so originally I was all for Philly. But as I watched Times Square turn from the Big Apple Theatre to Disneyland East, I also saw a lot of the charm of the 50's leave the entire region. I was especially disenchanted by the urban renewal efforts of Dock Street. I simply felt the overall vibe of the 50's wasn't there, not the way I feel it deserves to be. I started hunting up and down the East Coast looking for that vibe and feeling of the time period.

It wasn't until I hit New Orleans that I found it. I walked into a bar, and there was Mildred standing there. Same hair. Same gum snapping brovado. Then I found a barefoot Pauline ranting on about something or other while sipping something strong. Spann threatened to kill me once (true). Goodis characters live and breathe in New Orleans. And of course, it IS the biggest alcoholic city in the world. I decided it wasn't just the physical place, but the overall emotional zone... and New Orleans has it. Especially the ninth and seventh wards. Besides, the streets look especially creepy at night, when haze floats through the air, grabbing artificial street light filtered through the trees.

And I can't afford to rebuild Dock Street anytime soon... I think David could live in New Orleans, as long as he has air conditioning. But remember it's not the heat that gets you, it's the stupidity.