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Love in Vain: A Vision of Robert Johnson, by Alan Greenberg
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Robert Johnson was undoubtedly the most outstanding of the Mississippi Delta blues musicians and also one of the first inductees into the Rock and Roll Hall of Fame, but his short life remains steeped in mystery and wrapped in some of the most enduring legends of modern music. Love in Vain is Alan Greenberg’s remarkable, highly acclaimed, and genre-defying screenplay and is widely considered to be one of the foremost books on Robert Johnson’s life and legacy and an extraordinary exercise in American mythmaking. Newly revised and complete with extensive historical notes on Johnson’s life and the culture of the Mississippi Delta and blues music during the 1930s, Love in Vain is at once a classic of music writing and a screenplay whose reputation lies firmly in the realm of great American literature.
- Sales Rank: #1197583 in Books
- Published on: 2012-11-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.00" l, .60 pounds
- Binding: Paperback
- 272 pages
Amazon.com Review
His music has provided a prototype for several generations of blues and rock musicians, his songs remain current in countless new versions, and his own brief but astonishing output of recordings has earned gold records a half century after his death. Yet bluesman Robert Johnson remains among the most elusive figures in 20th-century art, the details of his life as shadowy as his music is brilliant. Johnson's personal obscurity makes the triumph of screenwriter Alan Greenberg's unfilmed script Love in Vain: A Vision of Robert Johnson all the more remarkable, as it weaves the slender factual threads of the musician's life into a haunting--and haunted--portrait that resonates with the history of blues itself.
Written in the early '80s, when blues scholarship was just beginning to unearth important new details about the life of the singer, guitarist, and songwriter, Greenberg's script follows the young Johnson from cotton field to juke joint as he pursued his muse. His abrupt transformation from a ham-fisted blues acolyte into a singer and guitarist of riveting intensity, famously rumored as a deal with the Devil, is inevitably a central plot development, and Greenberg honors both the factual evidence (the influence of guitarist Ike Zinnerman) and the Faustian explanation. Johnson's subsequent triumphs as a performer are laced together with the hardscrabble poetry of the songs themselves, as Greenberg uses blues lyrics to underscore the harsh realities of Mississippi Delta life.
Less obviously, Greenberg re-creates a world where telephones, automobiles, and phonographs coexist with conjurers, devils, and mojo hands. Johnson himself was a cryptic loner whose obsession with his music and immersion in it were paralleled by his descent into alcoholism. While invoking potent and pertinent dualities of sin and salvation (Johnson's early blues peers mirrored--and sometimes became--Bible-thumping preachers), Greenberg does not soften the hard price Johnson paid. His relentless womanizing is neither romantic nor particularly titillating; when the story reaches its inevitable conclusion, with the singer's death from poisoned whiskey, the moment is both tragic and squalid. --Sam Sutherland
Review
“Reads like a great American novel . . . The definite book of any kind on the gifted, eccentric blues legend.” —Pitchfork
“It’s about time.” —Bob Dylan
“Finally someone has captured the central feel of this master musician and his times, and that man is Alan Greenberg. Take my word for it.” —Keith Richards
“Magnificently rendered . . . This is no mere biopic. [Greenberg's] Johnson is a changeling, flesh-and-blood but mutable and secretive, and he dwells in a world of workaday magic, where his meeting with the devil takes place at the moviehouse in front of a western, and where Charlie Patton’s funeral turns into a ferocious soul-claiming contest between Johnson and the Rev. Sin-Killer Griffin. Greenberg not only evokes Johnson in a way that actually enlarges our view of him, he also depicts the blues world of the time, from Mississippi to Texas, in all its variegated splendor and misery.” —Luc Sante, New York Review of Books
“It may be the best movie you’ll see all year—even if it’s just inside your head.” —Entertainment Weekly
“Love in Vain has accomplished what I have tried to do for a long time: that is, to development screenplays as a new genre of literature which has its own natural right of existence.” —Werner Herzog
“The resonances of Robert Johnson’s mysterious life and equally mysterious death continue to echo through American music, from blues to country to rock to soul. Alan Greenberg has thoroughly researched and understood the facts of Robert Johnson’s career, but more importantly he has boldly and brilliantly reimagined the myth. Love in Vain is surreal in the original sense of the word; it transforms the reality of Robert Johnson, his time, his place and his art, into a super-reality—sharp and vivid yet as luminous and elusive as a dream.” —Robert Palmer, New York Times
“Love in Vain is a blazingly readable screenplay that I recommend without reservation.” —Greil Marcus
“A great, great screenplay.” —David Lynch
“Love in Vain is a masterpiece of historical significance.” —Memphis Commercial-Appeal
“Since facts about Robert Johnson are almost as hard to come by as facts about Shakespeare, Greenberg proposes to give flesh to myth instead . . . he makes it happen, too. Drenched in alcohol and bodily fluids, this is gut-bucket romanticism at its most credible. By imagining the Mississippi Delta's churches, shacks, cotton fields, and (especially) jooks so vividly, Greenberg helps us see and hear why blues buffs are obsessed with all that raunch and suffering transport.” —Robert Christgau
“A quantum leap of the imagination.” —Dave Marsh
“Wondrous and vivid.” —The Portland Tribune
“The really remarkable thing about Love in Vain is the way it plays off the mystery of Robert Johnson rather than attempt to penetrate it in literal terms. The screenplay represents the imaginative embodiment of a world, a world of myth and reality, both prosaic and poetic, a world in which Robert Johnson, or perhaps the idea of Robert Johnson, could spring up. I don’t think this milieu has ever been effectively portrayed before, and I consider it little short of a miracle that Alan Greenberg should have captured it so graphically, so colorfully, so dramatically.” —Peter Guralnick
About the Author
Alan Greenberg is a writer, film director, film producer, and photographer. He worked on Martin Scorsese’s Cape Fear and Bernardo Bertolucci’s 1900 and with Werner Herzog on his classic screenplays Fitzcarraldo, Cobra Verde, and Heart of Glass. Greenberg’s documentary Land of Look Behind was awarded the Chicago International Film Festival’s Gold Hugo award, and he is the author of Every Night the Trees Disappear: Werner Herzog and the Making of “Heart of Glass.”
Stanley Crouch is a columnist, novelist, and essayist and a founder of Jazz at Lincoln Center. He is the author of many books, including Considering Genius: Writings on Jazz.
Martin Scorsese is an Academy Award–winning director, screenwriter, producer, actor, and film historian. He was executive producer for the acclaimed seven-part film series The Blues.
Most helpful customer reviews
8 of 9 people found the following review helpful.
When will someone turn this into a movie?
By Garry Heald
It's a long way from the Mississippi Delta to Australia but this screenplay allowed me to visualise and feel the passion and raw edge to the music and landscape of Robert Johnson. It seems a shame that no Director has been brave enough to attempt to put this tale onto film as it could surely be an outstanding work if properly attacked. The comprehensive attached notes provide the reader with an opportunity to fill in any gaps in their knowledge to the point where one can almost picture the juke joints with their duelling musicians. The brutality of life in this community was shocking to me and the early death of Robert Johnson now seems to be less of a tragedy and more of an inevitability.
5 of 6 people found the following review helpful.
A neglected American masterpiece about a great fallen angel.
By A Customer
First released by Doubleday fifteen years ago, this humble trade paperback is as fine a literary
work as any published in our time. This neglected
American masterpiece about the great--and greatly
mysterious--fallen angel, 1930s blues genius Robert Johnson of Mississippi, is about to be transformed into a cinematic classic as well, directed by Martin Scorsese.
"This might be the best movie you'll see all
year--even if it's inside your head."
--Entertainment Weekly
3 of 4 people found the following review helpful.
Colorful Story, Good Details, Fun Read
By notentirely
For me, it was the "Notes" area that accompanies the 'script' that make this book highly recommendable. In fact, the information in the "Notes" is a fine read by itself!
The story of Johnson is part myth, part dream and occassionally part fact. This book/script is best when read as part of a larger look at Johnson and the Blues. In other words, read this - but don't stop here or you won't be getting the bigger picture.
Recommended for blues or Johnson fans. Worth the read.
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