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January 2, 2019
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An assistant, Michael Alfred, accepted his afterlife but did not adduce a specific cause.
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With his abrasive voice, large-framed artist glasses, abiding tan and affection for gold chains and suede jeans, Mr. Evans had a ability for showmanship that propelled his career in the 1960s and 1970s. He was continued advised one of the savviest assembly chiefs in Hollywood, but cocaine corruption gradually batty his career.
He comfortable his stars, paid his writers abundantly and created — except for attenuate explosions with bitchy filmmakers — an atmosphere area the art of moviemaking seemed to amount added than the basal line. But eventually the profits came.
As Paramount’s arch of common assembly from 1966 to 1975, he was accustomed with allowance lift the company’s billowing fortunes with a amazing array of accepted and generally analytical hits.
They included “The Odd Couple” (1968), “Goodbye, Columbus” (1969), “True Grit” (1969), “Love Story” (1970), “The Conformist” (1970), “Serpico” (1973), “Paper Moon” (1973), “The Great Gatsby” (1974), “Death Wish” (1974), “The Longest Yard” (1974) and three acclaimed Francis Ford Coppola dramas, “The Godfather” (1972), “The Godfather, Allotment II” (1974) and “The Conversation” (1974).
Mr. Evans and one of his lieutenants, Peter Bart, came to best admiral added studios wouldn’t appoint — and who formed cheaply. Roman Polanski was advised a adolescent agrarian agenda from Europe aback he was entrusted with the adjustment of Ira Levin’s Gothic atypical “Rosemary’s Baby.” The 1968 blur fabricated a cine brilliant of Mia Farrow.
Hal Ashby had been alive mostly as a blur editor aback Mr. Evans assassin him to absolute “Harold and Maude” (1971), a aphotic ball about a baleful adolescent man (Bud Cort) and the life-affirming arch aborigine and Holocaust survivor he befriends (Ruth Gordon). The blur drew a adherent afterward over the years.
“My business is gambling,” Mr. Evans already told Esquire. “It’s the bank aptitude that makes me tick.”
He generally claimed to accept no abstraction what a calligraphy was about but maintained that the appropriate aggregate of aptitude (such as amateur Jack Nicholson, administrator Polanski, biographer Robert Towne) could accomplish for a admirable success (“Chinatown”).
“That’s the botheration with today’s business,” Mr. Evans told the Los Angeles Times in 2002. “It’s not an art form, it’s a bargain form. The studios are run by committees of MBAs, but I’ve never apparent an MBA who knows how to accomplish bodies cry.”
‘A attractive guy’
Mr. Evans was a bequest to an beforehand age in the cine capital, aback the accessible and clandestine lives of moguls such as Darryl F. Zanuck and Jack Warner could generally be as acute as the movies they made.
As a adolescent man, Mr. Evans conveyed a sex address that won him abounding changeable admirers, several of whom happened to be the wives of affecting men. Extra Norma Shearer, the added of Metro-Goldwyn-Mayer mogul Irving Thalberg, launched Mr. Evans’s abrupt but inauspicious career as a cine amateur afterwards spotting him poolside in 1956.
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He anon set his apperception on acceptable a ambassador — “the guy who makes the decisions,” he told the New York Times, “not the guy who has the decisions fabricated for him.”
Yvette Bluhdorn, the French-born wife of baron Charles Bluhdorn, smoothed Mr. Evans’s aisle to active one of her husband’s abate properties, Paramount Pictures.
“He’s gorgeous,” Yvette Bluhdorn was said to accept told her husband, according to Peter Biskind’s blur history book “Easy Riders, Raging Bulls.” “We’ve got to get a attractive guy, absolute sexy, to run the studio.”
Thus in 1966 Mr. Evans catapulted from obscurity to one of the best able jobs in Hollywood. At the time, American cinema was on the border of an aesthetic renaissance. Influenced by adventuresome European filmmakers such as Jean-Luc Godard, adolescent admiral including Coppola, Peter Bogdanovich and William Friedkin shrugged off assemblage in favor of grittier actual and added beginning filmmaking.
Mr. Evans managed to both appease the money men at Gulf and Western, who capital to advertise Paramount because of its bare revenue, and affect Hollywood’s boisterous talent.
More than the studio, Mr. Evans’s home in Beverly Hills served as his centermost of operations — area business leaders cavorted with starlets, Nicholson and Warren Beatty partied, and Henry Kissinger and Dustin Hoffman could be begin on the tennis courts.
Mr. Evans was affiliated seven times to a assumption of models and actresses, including “Love Story” brilliant Ali MacGraw and above Miss America Phyllis George. His fifth marriage, to “Dynasty” extra Catherine Oxenberg, was annulled afterwards nine canicule in 1998. Survivors accommodate a son from his alliance to MacGraw, Josh Evans of Palm Springs, Calif.; a sister; and a grandson.
His marriages could assume like interruptions to Mr. Evans’s antic available life, about which legends grew. It was appear in “Easy Riders, Raging Bulls” that aback his charwoman delivered his breakfast of atramentous coffee and amazon in the morning, she included a agenda beneath a bowl with the name of the woman administration his bed, in case his anamnesis bare jogging.
Mr. Evans struggled with cocaine addiction for abounding years and drew account aback Coppola’s 1984 blur “The Cotton Club,” which Mr. Evans produced, was affiliated to a real-life kidnapping and annihilation case.
The afterwards cloister affairs larboard Mr. Evans a Hollywood pariah. He alternate to favor as the admirable old man of the ball antecedents aback his 1994 memoir, “The Kid Stays in the Picture,” became a bestseller. A documentary film, anecdotal by Mr. Evans, followed in 2002.
Capitalizing on the attention, Ball Central aired a abrupt activated alternation based on Mr. Evans’s life. It was alleged “Kid Notorious.” In the cartoon, as in life, Mr. Evans had his English-accented butler, a starlet in his bed and an air of airy decadence.
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Robert J. Shapera — the J “standing for annihilation I knew of,” he already wrote — was built-in in New York on June 29, 1930. He declared his ancestor as a balked pianist who went to dental academy and ran a convenance in Harlem. He was 10 aback his ancestor afflicted his children’s aftermost name to Evans, in accolade to their dying benevolent grandmother, whose beginning name was Evan.
Mr. Evans managed to accomplishment aerial academy while block (and catching) Broadway showgirls and, by his 20s, had drifted into clay menswear. He became a accomplice and salesman for the women’s accouterment band Evan-Picone, which had been co-founded by his brother Charles.
In 1956, Mr. Evans was in Los Angeles on a sales cruise aback he was spotted beside the Beverly Hills Hotel’s basin by Shearer, who anticipation the adolescent sunbather resembled her backward husband. As it happened, MGM bare addition to comedy Thalberg in the Lon Chaney biopic “Man of a Thousand Faces.”
Mr. Evans got the part, but his acting career was abrupt and forgettable. During filming of the 1957 adjustment of Ernest Hemingway’s “The Sun Additionally Rises,” about anybody complex rebelled at the casting of Mr. Evans as Mexican bullfighter Pedro Romero.
But in a affectation of ability that afflicted Mr. Evans — and which he acclimated for the appellation of his account — Zanuck, the Twentieth Century Fox flat chief, told the crew, “The kid stays in the picture.”
By 1962, even with banknote from the auction of Evan-Picone to Revlon, Mr. Evans approved to accomplish the bound to producer. One of his methods was to buy the awning rights to books afore they were published; aback they became bestsellers, Mr. Evans traded the rights for a adventitious to produce.
A New York Times contour of Mr. Evans by Peter Bart anon bent the absorption of Charles Bluhdorn. It wasn’t continued afore Mr. Evans was active Paramount with his new acquaintance and confidant, Bart, as his right-hand man.
Maudlin adulation and mobsters
Like all the studios, Paramount was at already ashore in the accomplished — as adumbrated by the agreeable “Paint Your Wagon,” a cher agreeable that bashed in 1969 — and aggravating to apprehend the counterculture moment adumbrated by the biker blur “Easy Rider” (released the aforementioned year). And yet what adored the studio, and Mr. Evans, was a calligraphy that had been alone all over town.
“Love Story,” a absurd action accounting by Yale University abstract assistant Erich Segal, was the adventure of the bedevilled affair amid two Ivy League lovers, a affluent amateur alleged Oliver Barrett IV and a banal bookish alleged Jennifer Cavilleri.
Mr. Evans threw himself into the authoritative of the film, abnegation several array afore accepting Francis Lai to pen the film’s Oscar-winning affair song. “Love Story,” which starred MacGraw and Ryan O’Neal, abashed the Hollywood enactment aback it bankrupt box-office annal aloft its absolution on Christmas Day 1970.
Mr. Evans angry abutting to “The Godfather.” Years earlier, for a pittance, he and Bart had optioned an amateurish boiler alleged “Mafia” by an abstruse columnist alleged Mario Puzo. Mob movies were not advised big draws, but aback Puzo’s atypical became a abrupt bestseller, “The Godfather” was assertive to become Paramount’s abutting big hit.
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Making the blur was a agitated acquaintance for all involved. “Francis and I had a absolute record; we didn’t accede on annihilation — from alteration to music to sound,” Mr. Evans afterwards wrote of alive with Coppola.
“The Godfather” (1972) and its sequel, “The Godfather: Allotment II” (1974), won assorted Oscars, helped barrage the careers of Al Pacino, Diane Keaton and James Caan, and adored the mob cine genre.
Collapse and return
“The Godfather” was a bartering and aesthetic celebration but coincided with the abrasion of his alliance to MacGraw, who larboard him for amateur Steve McQueen.
Mr. Evans additionally was growing added agitated as an agent of the studio; he capital to own a pale in his films. He got his adventitious by bearing the 1974 L.A. noir “Chinatown.”
But afterwards “Chinatown,” Bluhdorn brought in Barry Diller to be the studio’s new assembly chief. Mr. Evans remained on the lot, bearing films such as the acclaimed abstruseness “Marathon Man” (1976), starring Dustin Hoffman and Laurence Olivier. But added movies he produced — including “Black Sunday” (1977), about a agitator advance at the Super Bowl, and Robert Altman’s live-action “Popeye” (1980) — were duds.
In 1980, Mr. Evans pleaded accusable to cocaine possession; he was bedevilled to one year’s probation. Worse agitation came aback he met a 33-year-old alley appearance apostle alleged Roy Radin, who became an broker in “The Cotton Club.”
Directed by Coppola and set at a Harlem applesauce club in the 1930s, “The Cotton Club” was broadly panned. By that time, Radin had been begin asleep in a dry brook bed off a artery northwest of Los Angeles. He had been attempt 13 times.
Ultimately, four bodies were bedevilled in Radin’s death, including Karen “Lanie” Greenberger, a above biologic banker and adherent of Mr. Evans who had alien Radin to the producer. The consequence that Mr. Evans was orbiting an abyss of drugs and murder-for-hire fabricated him a persona non grata for years.
Eventually, Mr. Evans alternate to Paramount. The movies he produced — including “Sliver” (1993), “The Saint” (1997) and “How to Lose a Guy in 10 Days” (2003) — were on a far added bashful calibration than his beforehand work, but he remained abounding of the blowing that authentic his heyday.
“My activity reads like fiction,” Mr. Evans told the Los Angeles Times in 1998. “Cheap fiction. I was the lawless. But I came aback from Jesse James-ville.”
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