Autorentext
Actor and director Al Pacino is a unique and enduring figure in the world of American stage and film. He grew up in New York City’s South Bronx, attended the High School of Performing Arts, and studied acting at the Herbert Berghof Studio with Charles F. Laughton and the Actors Studio with mentor Lee Strasberg.  

He has been nominated for the Academy Award nine times, for movies including The Godfather, Dog Day Afternoon, Serpico, The Godfather: Part II, and The Irishman, and won the Oscar for Best Actor in 1992 for Scent of a Woman. He has been nominated for nineteen Golden Globe Awards and won four; three Tony Awards and won two; and three Emmy Awards and won two. He has won one prestigious Obie Award.

Pacino is a Kennedy Center Honoree and has been awarded the American Film Institute Life Achievement Award, the National Medal of Arts from President Obama, and the Golden Globe's Cecil B. DeMille Award for lifetime achievement.

Zusammenfassung
**The Instant New York Times Bestseller • One of People Magazine's Top 10 Books of the Year

"The rare celebrity memoir that's also a literary read. As funny as it is reflective, it shares stories behind Pacino's hardscrabble upbringing, classic films and journey to icon status." —People Magazine
**
From one of the most iconic actors in the history of film, an astonishingly revelatory account of a creative life in full

To the wider world, Al Pacino exploded onto the scene like a supernova. He landed his first leading role, in The Panic in Needle Park, in 1971, and by 1975, he had starred in four movies—The Godfather and The Godfather Part II, Serpico, and Dog Day Afternoon—that were not just successes but landmarks in the history of film. Those performances became legendary and changed his life forever. Not since Marlon Brando and James Dean in the late 1950s had an actor landed in the culture with such force.

But Pacino was in his midthirties by then, and had already lived several lives. A fixture of avant-garde theater in New York, he had led a bohemian existence, working odd jobs to support his craft. He was raised by a fiercely loving but mentally unwell mother and her parents after his father left them when he was young, but in a real sense he was raised by the streets of the South Bronx, and by the troop of buccaneering young friends he ran with, whose spirits never left him. After a teacher recognized his acting promise and pushed him toward New York’s fabled High School of Performing Arts, the die was cast. In good times and bad, in poverty and in wealth and in poverty again, through pain and joy, acting was his lifeline, its community his tribe.

Sonny Boy is the memoir of a man who has nothing left to fear and nothing left to hide. All the great roles, the essential collaborations, and the important relationships are given their full due, as is the vexed marriage between creativity and commerce at the highest levels. The book’s golden thread, however, is the spirit of love and purpose. Love can fail you, and you can be defeated in your ambitions—the same lights that shine bright can also dim. But Al Pacino was lucky enough to fall deeply in love with a craft before he had the foggiest idea of any of its earthly rewards, and he never fell out of love. That has made all the difference.

Leseprobe
1

A Blade of Grass

I was performing since I was just a little boy. My mother used to take me to the movies when I was as young as three or four. She did menial work and factory jobs during the day, and when she came home, the only company she had was her son. So she'd bring me with her to the movies. She didn't know that she was supplying me with a future. I was immediately attached to watching actors on the screen. Since I never had playmates in our apartment and we didn't have television yet, I would have nothing but time to think about the movie I had last seen. I'd go through the characters in my head, and I would bring them to life, one by one, in the apartment. I learned at an early age to make friends with my imagination. Sometimes being content in your solitude can be a mixed blessing, especially to other people you share your life with, but it usually beats the alternative.

The movies were a place where my mother could hide in the dark and not have to share her Sonny Boy with anyone else. That was her nickname for me, the one she gave me first, before everyone else started calling me Sonny too. It was something she picked up from the movies, where she heard Al Jolson sing it in a song that became very popular. It went like this:

Climb up on my knee, Sonny Boy

Though you're only three, Sonny Boy

You've no way of knowing

There's no way of showing

What you mean to me, Sonny Boy

It stuck in her head for a dozen years, and at my birth in 1940, the song was still so vivid to my mother that she would sing it to me. I was my parents' first child, my grandparents' first grandchild. They made a big fuss over me.

My father was all of eighteen when I was born, and my mother was just a few years older. Suffice it to say that they were young, even for the time. I probably hadn't even turned two years old when they split up. The first couple of years of my life my mother and I spent constantly moving around, no stability and no certainty. We lived together in furnished rooms in Harlem and then moved into her parents' apartment in the South Bronx. We hardly got any support from my father. Eventually, we were allotted five dollars a month by a court, which was just enough to cover our room and board at her parents' place.

Many years later, when I was fourteen, my mother took my father to court again to plead for more money, which he said he didn't have and which we didn't get. I thought the judge was very unfair to my mom. It would take decades for the courts to have some sense about a single mother's needs.

To find the earliest memory I have of being together with both of my parents, I have to go back to when I'm about three or four years old. I'm watching some movie with my mother in the balcony of the Dover Theatre. The story is some sort of melodrama for adults, and my mother is totally transfixed. I know I am watching something that's really meant for grown-ups, and I imagine there is a certain thrill in that, in being a little kid at my mother's side and sharing this time with her. But I can't quite follow the plot, and my attention wanders. I look down from the balcony, into the rows of seats below us. And I see a man walking around there, looking for something. He is wearing the dress uniform of an MP-the military police, which my father served in during World War II.

He must have seemed familiar, because I instinctively shouted out "Dada!" My mother shushed me. I didn't understand why. How could you say shush? I shouted for him again. "Dada!" She kept whispering "Shh-quiet!" because he was looking for my mother. They were having problems, and she didn't want him to find her, but now she had been found.

When the film was over, I remember walking on the dark street at night with my mother and father, the marquee of the Dover Theatre receding behind us. Each parent held one of my hands as I walked between them. Out of my right eye I saw a holster on my father's waist with a huge gun pouring out of it, with a pearl-white handle. Years later, when I played a cop in the film Heat, my character carried a gun with a handle like that. Even as a little child, I could understand: That's powerful. That's dangerous. And then my father was gone. He went off to the war and came back, but not to us.

Later in life, when I was acting in my first Broadway show, my relatives from my father's side of the family came to see me. I was this young, avant-garde a…