Typically, after several days he rubs his bosses or coworkers the wrong way for his perceived superior attitude, when it's really only that he doesn't like people (“I was a man who thrived on solitude”) or tires of whatever soul-destroying work he happens to be doing (“I was horrified by life and by what a man had to do simply in order to eat, sleep, and keep himself clothed”) or succumbs to wanderlust (“Packing was always a good time”). A factotum is someone who does all kinds of work, and Henry is a newspaper gopher, subway poster remover and applier, auto parts store clerk, dog biscuit factory oven worker, women’s dresses shipping clerk, potential libretto writer, bakery coconut man, hotel loading dock worker, fluorescent light fixture shipping clerk, art supply store shipping clerk, LA Times janitor, potential Yellow Cab driver, and more. Another documentary was released in 2004: “Bukowski: Born Into This.Working, Drinking, & Loving in Seedy WWII-era USAįactotum (1975) is a short novel told in a series of short chapters that provide a sardonic, amusing, and morbidly fascinating look at down and out life in World War Two era American cities like New Orleans, New York City, Philadelphia, Saint Louis, and especially Los Angeles, as Charles Bukowski's young alter-ego Henry (Hank) Chinaski travels around by train or bus (without being able to sleep or defecate) and half-heartedly interviews for, miraculously gets, and promptly quits or is fired from a series of demeaning, “dull stupid jobs” with grotesque overseers and coworkers.
That same year, Belgian filmmaker Dominique Deruddere released “Crazy Love,” based on several of Bukowski’s novels. Bukowski’s own screenplay “Barfly” became a 1987 movie starring Mickey Rourke and Faye Dunaway. “Tales of Ordinary Madness,” based on Bukowski’s collection of short stories carrying the same name, was released in 1981. Taylor Hackford made a documentary about the author in 1973.
Hamer is the latest in a long line of filmmakers inspired by Bukowski’s writing.
She and her late husband “weren’t so happy” with previous film adaptations of his work, she says. “He has this huge, profound external image that is so potent that it makes people have to dig a little bit into their own souls in order to accept it and let his truth talk to (them).” “It’s very hard because, as we’ve seen in the past, it can just be turned into a cartoon, an exaggeration,” she says, brushing her long brown bangs out of her eyes. Another potential pitfall is presenting the character as little more than a two-dimensional cliche of drunken debauchery, adds Bukowski’s widow, Linda Bukowski.
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