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In a little Chinese restaurant on Broadway, near the CBS-TV studios, I met a member of the Jackie Gleason staff who was groaning and moaning about his very sad life. "If Jackie would only give up the idea that he must always be a genius," he lamented, "and just be satisfied to be goodV
Gleason's anxiety about always being practically perfect — about living up to the reviews that have said he is Chaplinesque — have made it hard for those around him.
"If he would just compromise a little and say, 'Well, this isn't the greatest thing in the world, but it'll be okay. . . .' But he throws out
something that's pretty fair, orders something else done in a hurry, and maybe the new piece of business isn't as good as the first one would have been if it had been well rehearsed."
Gleason doesn't blame directors, performers or writers for something not measuring up to the standards he wants. He'll usually say:
"It'd be fine for somebody else, but I can't do it."
And with a big smile, he'll ask for some other idea.
Gleason's desire for high standards— in a field where standards aren't always high — frightens some of those around him. They constant
ly tremble that one day he will say, "Oh, to hell with doing a show every week" — and devote his time to movies.
"What does he need this for, anyway, with his money?" they constantly ask.
Don't Print That: One of the
biggest stars is demanding so much from his stagehands, aides and everybody around him now, that some are convinced he knows they can't do it and thus he'll find an alibi to throw in the towel. . . . Jack Carter and Red Buttons are great pals but they're different. Jack grabs nearly every offered job,
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