Plot summary
Gilbert Selwyn's mother has remarried once more—this time to a successful but aging Hollywood producer. Gilbert, ever the schemer, lifted a few plot points from Casablanca (i.e., plagiarized the entire film and put a new title on it) and convinced his new stepfather to promote the script to actor Stephen Donato's producer. Gilbert convinces his friends, Philip Cavanaugh and Claire Simmons, to move to Hollywood to help him rewrite the script. They quickly uncover his deception. But since Gilbert told the studio executives that the script was mostly Philip and Claire's, they must help rewrite the screenplay or else find any chance of a career ruined.
Claire refuses to go along with the stunt, but Gilbert offers her the chance of a lifetime: Gilbert's agent, having heard of their success selling a screenplay, has offered the trio a chance to write actress Diana Malenfant's new film. The movie will be the first time Diana and her son, Stephen Donato, have acted together on screen since Stephen was 10, and it may prove the jump-start to Diana's career which she's been searching for.
Gilbert is able to wrangle an appointment with Diana Malenfant, who is not particularly interested. But Lily, her drunken and estranged sister, is writing a tell-all book. Philip convinces Diana and Stephen that he has a job assisting Lily with her memoirs, and that he could find out what Lily intends to say in her book. Shrewdly, Diana agrees to hire Gilbert, Philip and Claire to write her new film while Philip spies on Lily.
Stephen, who is gay, soon makes a secret rendezvous with Philip. He's worried that Aunt Lily might attempt to out him in her book. Stephen convinces Philip that he should not only spy on Lily but actually sabotage the book. Philip agrees. Lily's older brother, former child actor Monty Malenfant (and an openly gay man), is suspicious of Philip but goes along to keep Lily happy.
As if events were not complicated enough, Moira Finch suddenly shows up at Gilbert, Philip and Claire's home. She has heard about their deal with Diana Malenfant, and threatens to expose them as frauds. But Moira offers the three a deal: Moira has recently opened a ritzy Hollywood spa, but is lacking clients and cachet. Get Stephen Donato to show up for a free weekend at her spa, and Moira will forget all about how "Casablanca" happened to be sold (again) to one of Hollywood's biggest producers.
Philip soon finds that Monty is on to him. Monty confirms that Stephen is indeed a homosexual, which thrills Philip and leads to numerous fantasies. But Monty also threatens to expose Philip to Diana. Monty offers him a deal: Philip helps Lily turn her book into a best-seller, and nothing will be said to Diana.
Now Claire, Philip and Gilbert are caught in a bind. How do they help Lily while also ruining any chance her book might have? And what of Moira? Claire begins to suspect that her spa isn't quite what it seems, for Moira has far too much money and too many friends. The trio quickly get caught in a downward spiral of sex, closeted movie stars, hustlers, blackmail, secret videotape, a homophobic district attorney, a cute bartender, false fire alarms, car theft, impersonating a police officer, a sleazy public-access television host and a "night with Oscar" that has nothing to do with the Academy Awards.
Reviews
My Lucky Star was not widely reviewed in the mainstream press at the time of its release. Some major newspapers did critique the book, however.
Keenan has often been called a "gay P. G. Wodehouse." In that vein, Publishers Weekly called My Lucky Star "a comic masterpiece that...rivals the best of Wodehouse." The review said the book should appeal to all audiences, and claimed it was a "tour de force." [3] In the United Kingdom, the respected The Times observed, "This is sophisticated, deliciously camp entertainment." [4]
The New York Daily News pointed out that readers might be overwhelmed by the elaborate and numerous plot twists and the broadly-drawn caricatures that are the novel's characters. "But that's nitpicking, really," reviewer Joe Dziemianowicz wrote. "In the end, Keenan's twinkly prose keeps you firmly tethered to his 'Lucky Star.'" [5]
The Washington Post was more equivocal, however. Reviewer Debra Weinstein applauded Keenan for capturing the way Hollywood insiders speak, subtly attack one another, and fixate on failure, and for documenting the inner lives of older gay men. But the Post found the humor to be shtick not literature, far too misogynist, and too stereotypical. [6]
The New York Times was even less kind. Although reviewer Mark Kamine noted that "Keenan gets off some decent one-liners" and that references to Los Angeles landmarks were "made sparingly and used to good effect", he felt the book engaged in "incessant name-dropping," that many of the jokes were too topical, and that Keenan's humor was too blunt. "[T]here's no need for canned laughter either. We get enough of that elsewhere." [7]
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