Reviewed by
Jeanne
I first
encountered Helene Hanff’s writing in the delightful 84, Charing Cross Road which was composed of letters she wrote to a
bookseller in London and his responses.
They formed a fast friendship, one that was later portrayed in the movie
of the same title and starring Anthony Hopkins and Anne Bancroft. (I can’t
resist adding that I was not the only one charmed by the book. Anne Bancroft loved it, and so her husband Mel
Brooks bought the screen rights for her as a birthday gift.)
While that
is by far her best-known book, she did write others including Underfoot in Show Business. I love this
book for many different reasons.
First and
foremost, Hanff has a wonderful way of telling a story. As the book opens, it’s the end of the Great
Depression. Helene has had to drop out of college and go to work as a typist in
the basement of a diesel-engine school for twelve dollars a week “and all the
grease I could carry home on me.” She wants desperately to become a playwright,
so she writes plays in her spare time. She enters a contest for young authors
with a $1500 fellowship as a prize, and ends up moving to New York where she
writes plays, takes odd jobs, and scratches out a living among all the other aspiring
actors and playwrights. Helene budgets very carefully, figuring out not only
rent but the prospect of attending functions where free food is available. And, of course, cigarettes.
What could
have been a dreary tale is instead a comedic adventure in Hanff’s capable
hands. Her first garret turns out to a be in a red light district, a fact she
discovers only when a man knocks on her door at 1 a.m. and asks if she’s open
for business. Her second apartment is more respectable but caters to elderly
women. This means one needs to get used
to seeing men carry out black body bags at regular intervals. On the plus side, it also means that there’s
a steady flow of merchandise for sale, cheap.
This book
let me learn a bit more about the ultra-private Helene, as well as giving me
insight into the way theatre works. It’s not all opening nights and reviews,
but hard work behind the scenes for plays that may be a hit or a flop. When
Helene does find lucrative work, it’s in the new medium of television where she
writes and edits scripts for some of TV’s Golden Age shows. She drops some
famous names but she’s no gossip; she guards their privacy as she does her own.
This may be
one of my favorite books of the year.

