For all the changes in the story, I think we stayed true to Wallace’s vision of Douglass Dilman, and, therefore, to the crux of the novel. Dilman is a man who has no ambition to be president, yet when fate brings him into the presidency, he does the best he can, despite everything. His intention is to be president of all the people. He has no axes to grind, even racial axes. He simply cares for the national good. Wallace seems to be saying that the fire in the belly is not all that drives an important statesman. Rationality, integrity, and a balanced psyche are more important.
I met Irving Wallace at a press event to promote the film, but I did not hear him say how he felt about the translation of his novel into the entirely different medium of television film. And The Man was to undergo one more metamorphosis before our project was done.
I think we had just finished production for our television movie of the week when Robert Redford’s The Candidate appeared, to much success. It seems the people in charge of The Man decided that the time was right for political films. All of a sudden, they opted to release our movie in cinema houses as a feature film.
Those of us in the cast and the crew questioned that decision vigorously, and our director led our protest. Wallace’s novel had been pared down to fit television, and even for TV, I thought. The Man deserved a more complex script. I did not see how our film could work on the wider, deeper screen and bigger stage of the movie theater. I think our film came up short, only skimming the surface of Irving Wallace’s richly detailed novel. Still, television always had more daring to tackle controversial subjects, in part because television films, with their time constraints, could only dig skin deep anyway.
I enjoyed playing Douglass Dilman immensely, even though I knew that the film, unlike the novel, lacked bite and fire. It was not until after I saw the show on television many years later that I realized that despite my complaints, and despite Rod Serling’s really quick work, our film version of The Man was actually quite eloquent for its time, as well as for the present, and it certainly did work better on the TV screen.
Soon after the film opened, I was in a play, and we took questions from the audience after the performance. One young man questioned me about The Man.
“Why did you cry the first night you became President?” he wanted to know. “The name of the story is The Man, and if you are The Man, you don’t cry, you kick ass.”
I explained that I wanted to leave the impression that, at some point, this man who was suddenly cast in the role of President of the United States had to realize what an awesome journey lay before him, and that I expressed this simply by having him look at himself in the mirror, alone in a room, and say to himself, “Mr. President.” Then I let myself cry.
The young man had a problem with those tears, but I believe that Wallace was suggesting that all leaders serve better, and all the people are better served, when they acknowledge the awesome responsibility of the office.
The spelling of Douglass Dilman’s first name evokes the name of Frederick Douglass, whose words serve as the epigraph for Irving Wallace’s noveclass="underline"
“In a composite Nation like ours, made up of almost every variety of the human family, there should be, as before the Law, no rich, no poor, no high, no low, no black, no white, but one country, one citizenship, equal rights and a common destiny for all.”
That, in essence, is the key to The Man.
I predict that this new edition of the novel will find an appreciative contemporary audience. And that comes down, in the end, to the enduring power of Irving Wallace’s story, his characters and his themes. The Man speaks eloquently to the present and to the future, just as it did to the past.
James Earl Jones
June 21, 1999
I
Standing there in the cold office, at this ungodly hour, no longer night, not yet day, she felt apprehensive and nervous. She wondered why, but instantly her memory had traced the source of worry, and she knew its answer was right.
From her earliest childhood on the modern farm outside Milwaukee, Edna Foster remembered, she had been raised-by erect parents of German origin-to believe in the virtues of constancy, steadiness, punctuality. Whenever she had given voice to a girlish dream of irregular adventure, her solemn and mustached father, an omnivorous reader of almanacs and books of useful quotations, would repeat verbatim the words of Someone (rarely named, Edna suspected, because her father hoped that the terse homily would seem his own). “Gott im Himmel,” her father would say to the ceiling, addressing his approving Lutheran God, “adventures, romantic adventures she wants.” Then, glowering down at Edna, he would recite the wisdom of Someone: “Adventures are an indication of inefficiency. Good explorers don’t have them.”
Her father, she guessed long after, had the approval of his God because he had so carefully anticipated and thwarted the temptations of the Lutheran devil. Her father’s devil seduced the weak and erring not with the banal sins of immorality and unrighteousness, but with the Twentieth Century sins of irregularity and confusion. As a consequence of this paternal foresight, Edna Foster’s formative years had been boundaried by tangible disciplines: the clock at the bedside, the budget in the bureau drawer, the schedule on the kitchen wall.
These rigid lessons had stood Edna in good stead during her attendance at the business college in Chicago, during her first secretarial jobs in Detroit and New York City, and especially when she had come to work for T. C.-yes, he had been T. C., “The Chief,” even as a senator-in the Old Senate Office Building in Washington, D.C. In an uncharacteristically long and almost indecipherable letter, her father had hailed her prestigious government job as the inevitable triumph of her upbringing.
It was only after so much had happened to her employer, after T. C.’s nomination, and the exacting and exciting campaign, and the heady election night, it was after all that, when she followed T. C. into the White House with her shorthand pads and special Kleenex box that Edna had come to realize that the parental standards she lived by were causing her difficulty. T. C. found her indispensable, she knew, because of her efficiency. What he did not know was that his secretary’s efficiency depended upon her opportunity to be methodical. Yet the new job, from the start, seemed to have been equipped by the old Lutheran devil. No inkpot could drive that devil off. The office of the President’s personal secretary was possessed of furnishings that mocked regularity: clocks had thirteen hours, calendars had thirty-two-day months, light switches had no “off” markings, or so it sometimes seemed to Edna.
As personal secretary to the President of the United States, Edna Foster possessed great pride in her position-she had recently learned to regard it as a position, not a job-and she had believed George Murdock, and giggled with delight, when he had told her over their second martinis in Duke Zeibert’s bar, “Edna, if the President’s wife is the nation’s First Lady, then you are the nation’s First Secretary.” It was one of the things that she liked about George Murdock, his way of putting ordinary things so cleverly, which of course came from his newspaper reporter training. But then the job-no, position, position, as George kept reminding her-had its burdens, as she sometimes explained to George, and the worst burden of all, the most disconcerting for one of her background, she could never disclose to him, for then he might think her inflexible and dull, and therefore unattractive.