Ryan O’Neal states that he is 70-years old as he is writing this memoir (which could almost be a therapy journal). That alone was difficult for me to envision, even though the dates made perfect sense. I’ve spent years watching a much younger Ryan O’Neal in movies such as “Love Story,” “Barry Lyndon,” and “What’s Up, Doc?” I had been too young to stay up to watch him in his most famous television series, “Peyton Place,” but my parents were regular watchers.
It seems especially appropriate to mention “Peyton Place” because the story revealed in this book is as engrossing as that night time “soap opera.” In fact, I kept coming back to this memoir whenever I had the opportunity, eager to learn more.
The memories I have of Ryan O’Neal and Farrah Fawcett are vivid. He was a sulky, anti-social star with a quick temper and one of the most dysfunctional families ever known. (His own assessment in this book is that he was living a prolonged adolescence.) Farrah Fawcett became more well-known, gracing what must have been the most popular pin-up poster in history, growing as an actress from the fluff of “Charlie’s Angels” to the unforgettable “The Burning Bed,” and becoming the butt of comedy routines after her first appearance on David Letterman’s show.
My expectation was that this would be some self-serving explanation of the tabloid stories. Boy, was I ever wrong.
Early on, my hopes for the book weren’t promising. O’Neal has a very direct, “matter of fact” writing style that seemed a bit abrupt. Yet, it soon became apparent that he was writing a fascinating recollection ... as he states, subject to his memory and sometimes out of chronological sequence. The effect was of someone trying to come to terms with how he’s lived his life by studying his behavior. And he does not just rely on memory. He publishes some of his personal journal entries along with letters he had saved. He is also working with an archivist to sort through relevant material, and is sometimes surprised by what is found.
The O’Neal and Fawcett relationship begins while she is still married to Lee Majors and O’Neal has determined that he will never marry anyone ever again. His approach to life appears to be that people should be able to do what they like as long as they don’t physically hurt others. She relies on others to fill in gaps in her self-confidence.
I mentioned earlier that this seems similar to a personal therapy journal. O’Neal is completely unsparing in descriptions of his actions. He believes that treating his children as grown adults even when they were toddlers robbed them of the parental guidance they needed, but that he was emotionally incapable of giving. He provides oddly emotionless details of the harm done to him by others (other than to say that he was surprised or hurt), although he constantly backs off from assigning full blame to others. That inability to express emotion is a major part of his regrets, suggesting that being more open would have helped with healing.
My suspicion is that the text was transcribed from O’Neal’s dictation into an audio device. I say that because he includes comments that often occur when someone is describing their life events. An example would be something like, “But, back to what I was saying.”
O’Neal name-drops, and that is one of the joys of the book. He doesn’t go into many details about people outside of his family. Still, the brief revelations were almost always something that I’d never heard before, from Stanley Kubrick’s directing techniques on “Barry Lyndon” to Barbra Streisand’s business focus ... and a peculiarity of Dick Cavett’s that I will never forget.
The details of the personal relationships are simple in the way they are communicated, but struck me with a strong emotional intensity. These ranged from the stages of a relationship (with their related joys, heartbreaks, and loneliness) to horrendous struggles with addiction suffered by most of his children. Reading about Fawcett’s last days brought tears to my eyes. From what I read of O’Neal’s life, mine is pretty darn good!
BOTH OF US: MY LIFE WITH FARRAH was remarkably candid, and was likely all the more moving because it wasn’t trying to accomplish justification. This is the tale of a man reflecting on how he has lived his life. It was definitely worth the read.