Joe Gould's Secret 2000

In the bustling streets of Manhattan during the early 1940s, a riveting tale emerges surrounding the mysterious Joe Gould (/actor/joe-gould), a scruffy yet intellectually vibrant bohemian who boasts a Harvard University background. Sauntering through the lively corners of Greenwich Village, he clutches a worn portfolio while soliciting contributions for his uniquely named “The Joe Gould Fund.” Gould’s persona is intriguing; he is a chameleon of sorts, oscillating between moments of gentle charm and insightful understanding, only to unexpectedly plunge into the depths of pathological deceit or rambunctious drunkenness. His volatile character is made all the more compelling by sudden fits of anger, leaving those around him both spellbound and apprehensive.

As the swings of fate alter Gould’s financial circumstances, he occasionally garners support from notable artistic figures like poet E.E. Cummings (/actor/e-e-cummings) and the portrait painter Alice Neel (/actor/alice-neel), along with Village Vanguard founder Max Gordon (/actor/max-gordon), gallery owner Vivian Marquie, and sculptor Gaston Lachaise (/actor/gaston-lachaise). This web of generosity enables Gould to transition from temporary flophouse stays to a more stable life in a residential hotel, all thanks to the kindness of an anonymous benefactor.

Gould has taken it upon himself to fulfill an ambitious mission: to gather the musings of everyday individuals to weave into what he declares will be a grand oral history of the world. Pieces of this monumental work are entrusted to various individuals for safekeeping, adding to the air of mystery surrounding him. The writer Mitchell (/actor/mitchell), who pens articles for The New Yorker, first crosses paths with Gould in a bustling coffee shop, where he is initially captivated by the charismatic storyteller’s vivid tales. However, as time progresses and Gould’s demands grow increasingly intrusive, invading the peaceful existence of Mitchell’s wife and their two daughters, the journalist begins to doubt the very existence of Gould’s purported 9 million-word masterwork. Is it a palpable reality or simply a figment of his unfettered imagination?

A significant moment occurs within the confines of an art gallery adorned with Lachaise’s creations, creatively filmed on location at the Salander-O’Reilly Galleries (20 East 79th). This scene encapsulates the overarching themes of creativity, perception, and the nebulous boundary between reality and fantasy that runs throughout this enthralling narrative.