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Once Howard is introduced to his soon-to-be wife Alison, who’s played with exceeding patience and grace by Mary McCormack, the film splits in two. The film chronicles his faltering beginnings as an entertainer: from raunchy puppet shows in Long Island retirement centers, to a disastrous stint as a college-radio DJ in Boston. “Hey, after all, being misunderstood is the fate of all true geniuses, is it not?” Maybe so.īut Howard Stern’s true genius is evident only here and there in Private Parts. “Most of the things I do are misunderstood,” he says in voiceover late in the film.
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Despite being singularly driven with regard to a career in radio, his juvenile stunts drive wedges into his personal and professional relationships. Private Parts winkingly accepts the premise that Stern (portraying himself with a mix of exaggerated self-awareness and sober restraint) is a natural born prankster. Directed by Betty Thomas (who’d previously helmed HBO’s excellent adaptation of The Late Shift), and starring a sterling cast of then-unknown actors (Paul Giamatti, Allison Janney, Mary McCormack, and, in a tiny cameo, Edie Falco), Private Parts was a surprisingly good, deceptively important-if ultimately minor-silver-screen sensation. But the inflection point, his initial foray into the mainstream, was thanks to the cinematic reworking of his bestselling memoir, Private Parts.
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Glimmers of Stern’s comedic and interrogative brilliance were obvious from his FM-syndication heyday.
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All the while, A-List guests have eagerly lined up for one-of-a-kind, in depth, interviews. A slow trickle of peer endorsements, including hosannas from the likes of Terry Gross and Ira Glass in particular, have imparted public-radio cred to his unruly operation. But that oft-repeated slur stuck into the ‘90s and beyond, and was delivered by detractors who only had a cursory familiarity with his four-hour-long daily program (which currently airs three times a week on SiriusXM). Howard Stern had been branded a mere “shock jock,” perhaps not unfairly, during his rise in the ‘80s. So this subsequent turnabout in critical opinion, which started in earnest when he abandoned terrestrial radio for satellite subscriptions in 2006, has been astonishing. Even though I was a just teenager when I first became a fan, Stern’s status as a joke in the eyes of Very Serious People frustrated me.
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Stern one of the most deft and engrossing celebrity interviewers in the business,” wrote David Segal, “and a sought-after stop for stars selling a movie or setting the record straight.” As a twenty-year listener of Stern’s terrific, if once underrated, radio show, the piece felt like a long overdue coronation from the newspaper of record. Production was delayed after Stern rejected 22 scripts from several screenwriters until he accepted one developed by Blum and Kalesniko in late 1995.A few Sundays ago the New York Times published a front-page Arts & Leisure profile of Howard Stern wherein the Gray Lady heaped praise on the self-anointed King of All Media. Stern signed with Rysher Entertainment, who agreed to fund its production, and teamed with Reitman who thought a biographical take on Stern's life was best suited for a film. The film also stars Mary McCormack, Allison Janney, and Paul Giamatti.Īfter a proposed film featuring Stern as his superhero character Fartman fell through, development for a new film began in 1994, several months after Private Parts was released. Stern and several of his radio show staff star as themselves, including newscaster and co-host Robin Quivers, producers Fred Norris and Gary Dell'Abate, and comedian Jackie Martling. It follows Stern's life from boyhood and his rise to success in radio. The film is an adaptation of the autobiographical chapters from the best selling 1993 book of the same name by radio personality Howard Stern, developed from a script by Len Blum and Michael Kalesniko. Private Parts is a 1997 American biographical comedy film produced by Ivan Reitman and directed by Betty Thomas.