Two days ago I told Stacey Pierrot to remove the essay on the Rosamond Gallery webpage, written by Julie Lynch because it is ficticious and harmful to my career as a truly creative human being. In several yahoogroups I identify the source of the story where my late sister was forced to draw in a closet with a flashlight because Rosemary only wanted me to become a famous artist. When I stopped in the Rosamond Gallery in 1982, I found a stack of papers on the coffee table and read one. Here is what I posted on.
“When I stopped by the Rosamond Gallery twenty years ago, I found a short bio on
the coffee table. My jaw dropped when I read how at three and half years of age,
Christine hid in the dark closet with a flashlight to do drawings. One evening I
caught her competing with me, Mommy’s designated Artist, and I ran and got my
Mommy dearest who dragged Christine from the closet and whipped her good with a
coat hanger – while I danced with glee!
Obviously Christine had recently seen the movie ‘Mommy Dearest’ and plagiarized
it in order to destroy me, lest I consider painting again, for I had given it
up! When I called her up and asked her why she put out such a lie, she said;
“Oh, that was just a gallery promotion thing. You shouldn’t take it seriously.
Besides, it was aimed at mother!”
“I see! So you blow a hole through me to hurt Rosemary?”
Christine had put our mother on the payroll, but had fallen out of her graces,
and was fired!”
“Christina questions her mother as to why she was adopted, and Joan mildly confesses that it was partially a publicity stunt. After Christina yells, “I am not one of your fans!,” Joan begins strangling her. Carol Ann and the reporter witness the attack and intervene. Joan sends Christina to Flintridge Sacred Heart Academy to punish her, under the strictest possible discipline.”
Since my surviving sister and I made ammends, and made a new bond in our pledge to go forward in the Truth and the Light, Vicki has expressed real concern for our niece, Drew Benton, who did not attend her mother’s funeral because she did not love her due the abuse Christine delivered unto her – just like the abuse Rosemary delivered unto Christine. Vicki and I are also very concerned about our niece, Shannon Rosamond. Both of Christine’s daughters have withdrawn from reality, and are not functioning as they should be in the real world. They are no longer getting proceeds from Pierrot who was sold their mother’s artistic legacy by the Executor, so she could make money for the two Heirs, and herself. The Executor, Sydney Morris, also approved of Pierrot hiring a ghost writer to author a biography in hope a movie would be made from it, and give new life to waning interest in Rosamond’s artwork. Morris closed the probate after thirteen years, because the book was lousy, and no one wanted to make a movie about Christine. Recently, Pierrot lost all control of Rosamond’s art. She is out. She no longer if the “caretaker” doing good things for any member of my family.
This morning I discovered that Julie Lynch authored a seried for Showtime ‘Getting Off’. In talking to vicki yesterday, I had the suspicion Stacey Pierrot was reviving the movie idea, because she had contacted Drew Benton, and wanted to speak to Garth. Vicki told me she did not want to see a movie about Christine and our family up on the silver screen because it would be more of the same – an illusion – that had no repsect for the truth, and was another Money Making Machine, verses, Real Art. We concluded this movie would be injurious to members of our family, and drive our nieces furhter into seclusion, the background, as it reinfoces their suspecions that there are people out to hurt them, even destory them, especially in regards to their villianness uncle who owns twenty four years of sobritey, and began his own autbiogrpahy ‘Bonds With Angels’ in hope all his siblings would get sober, and get away from our distructive alcoholic parents. But, most importantly, I wrote in a forty page letter in 1989; “Get your children back!”
I will not allow Lynch or Pierrot to drive another wedge between members of my family. I will be sending this post to Julie Lynch demanding she remove the lie she authored from Pierrot’s webpage. I will see an attorney in order to put a stop to any movie or T.V. series in the works. In 2010 I suggested HBO might be interested in doing a series titled ‘The Prescos’ that would be a contuations of the sapranos due to the real criminal actitvity that surrounded the four beautiful Presco Children, and all but destroyed us.
In 1962, Rosemary brought her three oldest children to her, and told us she was making porno movies, and prostituting herslelf in order to support us. She asked us to be extra good, not get in any trouble, or the authorities would take us from her. She did not tell us she had got arrested for making these movies for ‘Big Bones’ Bremmer a member of the Mafia who ran gamgling houses in Emeryville.
Above is a photo of my first girlfriend Marilyn and Christine’s house. when she was sixteen she confronted Rosemary and her hold over me. Rosemary slapped at Marilyn’s beautiful face, and ulled her hair as she screamed;
“No one tells me how to raise my son!”
Above is the painting Christine did of Melinda, who was Christine’s close friend, who became my second girlfriend. He father and uncles were members of the Purple Gang. He father had Melinda’s firstlover murdered. He told my family he was going to kill me after we cut school. I will post on this. Melinda’s mother was an artist who took Christine under herwing, and encouraged her to paint. Christine told me aobut this,and I asked her if she wanted to be anartist. She did not. Marilyn will testify in her own words that Chrisitne was not an artist, and had every opportunity to become an artist. I would be the last person to stop her.
The bottom line is this. It is traditionla for the abused children to author a biogrpahy that exposes family abuse and secrets as part of a healing process, and not ghost woriter hired by a parasite who will not leave my nieces and my family alone. I left a message on the Rosamond Gallery phone for Pierrot.
“Leave my family alone!”
Getting Off: The Back Story
by Julie Lynch
When I had just started writing GETTING OFF, I had the good fortune to meet Eilhys England. I gave her a copy of the very first draft. She liked it and told me she would work with me to get it made. She attached Lizzie Borden to direct. They both critiqued a number of drafts and when we all thought it was ready, Eilhys and I started sending the script to every contact we had.
Stan Wertlieb read it and suggested I send it to Mark Horowitz who was then at Alliance. Mark liked the script and was very friendly with Lizzie – so it seemed like a great match. Mark gave me crucial notes that took about two drafts to accomplish. Once he was happy with it, he gave it to the head of production at Alliance who decided it was too intense. So, in the end, Mark had to pass.
Feeling frustrated, I decided to check out the indie scene. Jim Stark recommended that we team up with Gill Holland. I met with Gill a few days later. He read the script that night and, by the next morning, Gill, Eilhys and I were in pre-production. I was still hoping that Lizzie would direct but once she saw the budget constraints, it no longer made sense for her. I was sad to lose her. She had been an important part of the script’s development.
Joan Crawford (Faye Dunaway) is a driven actress and compulsively clean housekeeper who tries to control the lives of those around her as tightly as the self-control she exhibits. To prepare for a work day at MGM Studios, she rises at 4:00am and engages in a slightly neurotic morning ritual, scrubbing her face with soap and boiling hot water, then plunging her head into a vat of distilled water and ice to close the pores. Joan is obsessed with cleanliness and wants those around her to follow her instructions to the letter. When Helga (Alice Nunn), a new maid, thinks she has Joan’s living room in spotless condition, Joan finds one minute detail that she overlooked and momentarily loses her temper. She clearly intimidates the maid, as well as her live-in personal assistant, Carol Ann (Rutanya Alda).
Joan is in a relationship with Hollywood lawyer Gregg Savitt (Steve Forrest), but her career is in a bit of a downswing. She desperately wants a baby, but is unable to get pregnant; seven pregnancies when she was married to actor Franchot Tone ended in miscarriages. When she is denied an application for adoption, she enlists Gregg’s help to secure a baby. Joan adopts a girl whom she names Christina, and later a boy, Christopher (Jeremy Scott Reinbolt). Joan lavishes Christina (Mara Hobel) with attention and luxuries such as an extravagant birthday party, but also enforces a code of denial and discipline. When Christina is showered with gifts, Joan asks which she likes best, then donates the other gifts to charity.
As Christina rebels against her mother’s demands and standards, a series of confrontations ensues. Joan overtakes Christina in a swimming-pool race and proclaims her victory by crowing to the child, “You lost again!”. Joan becomes enraged when Christina reacts with childish disappointment, locking her in the pool house. When Joan discovers her daughter putting on makeup and imitating her, she hysterically hacks off Christina’s hair.
Her relationship with Gregg becomes a dismal failure; Joan resents Gregg’s allegiance to studio boss Louis B. Mayer and argues with him after a dinner at Perrino’s restaurant. Joan guzzles down glasses of vodka and throws a drink in Gregg’s face after he tells her she is getting old. A physical altercation develops and Gregg breaks up with Joan. The next day, Joan cuts Gregg out of the family photos. Joan’s tantrums grow more bizarre and violent. When Mayer (Howard Da Silva) forces Joan to leave MGM after theater owners brand her “box office poison,” she hacks down her prize rose garden with a pair of large gardening shears and an axe.
In the most infamous scene of the film, Joan, cross-eyed and slathered in cold cream, stalks into Christina’s bedroom in the middle of the night and discovers one of the child’s dresses hanging on a wire hanger. She launches into a tirade, screaming at the girl, “I told you! No wire hangers, ever!” She yanks dresses from Christina’s closet, throws them all over the girl’s room and brutally beats the screaming girl with the hanger. Joan, furious that the child does not understand her notion of cleanliness, wrecks the bathroom as well, throwing cleanser powder everywhere, screaming at Christina to clean it up.
Fed up by Christina’s perceived rebellion, Joan sends her daughter to boarding school. Christina, now a teenager, is caught in a compromising position with a boy during a romantic encounter, so Joan brings her home. A reporter, Barbara Bennett (Jocelyn Brando) from Redbook magazine, is writing a puff piece on Crawford’s home life. After Joan lies about why her daughter left school, Christina confronts her before the reporter.
Christina questions her mother as to why she was adopted, and Joan mildly confesses that it was partially a publicity stunt. After Christina yells, “I am not one of your fans!,” Joan begins strangling her. Carol Ann and the reporter witness the attack and intervene. Joan sends Christina to Flintridge Sacred Heart Academy to punish her, under the strictest possible discipline.
Joan then marries Alfred Steele (Harry Goz), CEO of Pepsi Cola, moves to New York and pressures him to shoulder a great deal of debt to fund their lavish lifestyle. After his death, the all-male board tries to force her to resign, Joan intimidates them into letting her retain her seat by threatening to publicly condemn Pepsi.
After leaving the convent school, Christina rents an apartment in Manhattan, where she acts in a soap opera. When she suffers an ovarian tumor, a stunned Christina is temporarily replaced on the show by her mother.
Joan dies of cancer in 1977, whereupon Christina and Christopher (Xander Berkeley) learn their mother has completely disinherited them in her will. When a resigned Christopher says their mother has managed to have the last word, Christina disagrees, hinting at the much-publicized book she would write, Mommie Dearest.
IWF member Julie Lynch has just been commissioned to write a biopic based on the life of the artist CHRISTINE ROSAMOND. She was incredibly popular in the ’70s (sold millions of prints of her work) and died in a tragic accident in the ’90s just as she was getting back in the public eye.
Independent Women Filmmakers
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Formed in Park City during the 1999 Sundance Film Festival, IWF is a non-profit organization that provides a casual and connective network for members to freely share information about their films and screenings, discuss general and technical filmmaking topics, support each other in the creative process, communicate needs and offer talent.
Joining IWF is free, and includes your own page on our website as well as access to current news through our member Film Forum.
You can post headshots and your resume, advertise your newest film project, and get your name into the search engines and on the web. We strive to keep our site updated regularly with information about upcoming events and film festivals
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The woman in the photo, where I am wearing a headband, is Dee-Dee. Dirty Dee-Dee
shot Vic in the back. While on her death bed, dying from alcoholism, Vic fucked
with Dirty Dee-Dee for the last time. She grabbed his 9 MM automatic and emptied
it at Vic the Nazi as she chased hm all over the house. As he headed out the
back door, a bullet ricocheted off the window frame into Vic’s back. A direct
shot would have killed him. Vic included the un-fixed window frame on his home
“And this where the bullet my beloved Dirty Dee-Dee fired at me that ricocheted
and struck me in the back. I talked the police out of taking her to jail, and
she died a week later in her bed. Poor Dirty Dee-Dee.
Now let me show you the hall closet where I keep my assault shotgun ever since
the Mod back East wanted in on my Default Loan operation I run out of my
beautiful Lafayette home, here. Have you ever shot a shotgun, son?”
Christine told me;
“You were always jealous of my art!”
She was referring to the myth she painted as a child, and I did my damnedest to
prevent this – with Rosemary’s help. Why I – and Rosemary failed – is a miracle,
as Mommy Dearest got me to quit painting, which I summized was like rendering a
bullseye on my back!
“What art? You cheated. You used a projector. You put the fashion photos of
respected photographers in it, and broadcast these women on to a canvas. You
meant to fill in the whole canvas, but then Ira Roberts came by and said;
“Hey! I like it. These empty spaces. This is your winning style!”
There was ten seconds of silence, followed by this threat;
“I demand you tell me where you live, for I am going to have you killed!”
Wow! That will stop me from competing with the famous Rosamond, or, hindering
her art, some more. Who would be the hit man ‘Vic the Nazi’. How about Dirty
I’m thinking about marketing ‘Capturing Beauty’ to HBO as a replacement for the
How about ‘The Prescos’? It’s got a Italian ring to it, as in Fresco.