I’ve always been interested in the communist witch hunts of the 50’s and some of my favorite acting moments are from the movie In the Heat of the Night, so I was immediately drawn to Lee Grant’s memoir, “I Said Yes to Everything”.

The big picture of Lee Grant’s career is that she got off to a big start in theater and then in Hollywood, getting an Oscar nomination for her first film, “Detective Story” at the age of 24. Almost immediately after that Grant was blacklisted. From the age of twenty-four until she was thirty-six, prime years for an actress, Grant remained blacklisted and was not allowed to do any film or television work. Fortunately for her, the theater did not accede to the blacklist and she was able to continue working in that venue. Her first Hollywood role after her blacklisting ended was as the victim’s widow in In the Heat of the Night. Numerous roles followed, both large and small, in television, movies and theater making hers one of the most successful post-blacklist careers. Too soon, though, middle age occurred and roles became less desirable.

In 1975, the American Film Institute created a program to help women get into directing, and she took part in the first round. As she puts it she would no longer “have to depend on the kindness of strangers” to create. Her husband produced her short film for the AFI, leading to a long collaboration with Grant directing and her husband producing.

After seeing herself onscreen in a B-movie she did in Canada, Grant realized that she was beginning to look her age and that future acting jobs would not be leading lady parts, but old ladies. She decided to step away from being in front of the camera all the time and move behind it more. Her first commercial film was a documentary about women striking at a bank in Minnesota, “The Willmar 8.” She has gone on to do many other documentaries, including “What Sex Am I?” (one of the first looks at the LGBT community) and “Down and Out in America” which won the 1986 Best Documentary Oscar and has also directed a number of films for television.

The book is an interesting read. Grant is nothing if not candid. Her language is frequently salty, and she spares no one, including herself. It is a pretty even mix of her personal (hard to say “private” given her candor) and professional lives. Some of it is funny, much sad. Her personal relationships have been, for the most part, less than rosy. Her first marriage brought her stepsons who she loved a great deal, but lost after the marriage ended. Her second marriage has lasted many years, but has certainly not been of the storybook variety. Her relationships with her daughters have gone, in one case, from idyllic to awful to good and, in the other case, from bad to worse to better. Her friendships have similarly been all over the map. Many one-time friends became enemies, others have remained steadfast ending only in death. Much space is devoted to her second husband, parents and maternal aunt all of whom had profound (if not always good) impact, less to children and in-laws.

There are, of course, anecdotes about actors, directors, and others like one-time boyfriend Burt Bacharach, and those she has worked with or with whom she was associated via the blacklist. Indeed, the blacklist runs through nearly the entire narrative, rearing its ugly head from time to time both professionally and personally. Joe McCarthy and HUAC have a lot to answer for. Summing up, an interesting life to read about and an interesting, if not particularly happy, life to have lived.

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