Book Description

Worshiped like a film star by fans of his ultrahip and violent movies, reviled and condemned by the self-appointed guardians of mortality, Quentin Tarantino has become the cult hero of the nineties.

Using exclusive material from her interviews with Tarantino and those close to him, Jami Bernard traces his fascinating rise from high school dropout and B-movie junkie to the darling Hollywood, exploring the philosophy and mythology of the writer and director who has, with just a few explosive films, turned the movie world on its head.

With the furor over Reservior Dogs, the triumph of Pulp Fiction, and the bitter conflict over Natural Born Killers, Tarantino's meteoric rise has been perspective of those who have worked, played, and done battle with him, Jami Bernard looks beyond the media icon and reveals the man--and his message. ... Read more

Reviews (3)

The single best book about Tarantino
This book is a must-read for every true Tarantino fan.

Jamie Bernard's book is simply amazing. It covers Tarantino's life from childhood till about 1996. The book is well-written, and goes deep into detail and uncovers Tarantino's life as hyperactive kid, movie theater regular, fatherless child and genius moviemaker. This is the single best book ever written about Quentin Tarantino. No other book delivers such great information, biographical facts and stories about the making of his early movies and involvements in projects. If you want to read a good book about Tarantino, get this one first. It's the best!

trust me on this...

A great scoop on Tarantino's beginnings
I just finished reading this book, and it is a fine work of reporting. It interviews people from both sides of the Tarantino debate (those who love him and those who hate him), and allows you to draw your own conclusions from all the statements. It covers Tarantino's life from his birth up to the moment when he made Four Rooms.

Too bad this book is out of print. I hope there will be a reissue in the future, probably covering the latest works of Tarantino.

Excellent, well written book, with a lot of information.
This book is a very good book. It gets you very familiar with Quentin and his movis. Every Quentin fan should read this book. I am going to read it again. Read the book!! Thomas Peterson MXPF89C@prodigy.com Kuna, Idaho ... Read more

Book Description

Edmund Goulding's Dark Victory: Hollywood's Genius Bad Boy is the first biography ever written about this eccentric genius of early-twentieth-century filmmaking. Goulding (1891-1959) was by turns a writer, producer, composer, and actor, but it is as a director that he made an indelible impression. He is most remembered today as the director of Grand Hotel. At the dawn of sound, he wrote the story for the Academy Award-winning musical The Broadway Melody and collaborated memorably with Gloria Swanson and Joseph Kennedy for The Trespasser. He excelled at anti-war drama (White Banners, The Dawn Patrol, We Are Not Alone), fantastic Bette Davis weepies (Dark Victory, The Old Maid, The Great Lie), lilting romantic dramas (The Constant Nymph, Claudia), big-budget literary adaptations (The Razor's Edge), and even film noir (Nightmare Alley). The London-born Goulding was a complicated and contradictory man whose notorious orgies, bisexuality, drinking, and drug addictions were whispered about in Hollywood for years. Yet his well-crafted plots and compelling characters set a new standard in American cinema and had a profound influence on the future of filmmaking. ... Read more

Reviews (5)

Film writing at its best
I must add my chorus of praise for Matthew Kennedy, who has given us not only the life of a director with amazing talent, but also a new way of looking at both silent and sound films. Maybe you've heard of Goulding, and certainly you've seen a number of his films, but never before has anyone been abel to put together all the facts, do all the right research, and conduct an amazing number of pertinent interviews to produce such a stunning result.

If Goulding had only directed "Dark Victory" and "Grand Hotel" his place in film history would be assured--and even higher. It's his lesser efforts and indeed misses that have complicated his stature.

Goulding's work in music could be a book all of its own. I had no idea he wrote the music for so many films, including such notable songs as "Love Your Magic Spell is Everywhere" (from The Trespasser), "Mam'selle" (from The Razor's Edge) and "Dodie" (from "Teenage Rebel"). Given all that you'd think he'd be a natural filming a musical, but Kennedy's account of "Friendly Island" a/k/a "Down Among the Sheltering Palms" gives one pause.

Now I'm dying to see "We are Not Alone" and "The Constant Nymph." I've read both novels but are these films on DVD? Sounds like not. Oh well, something to look forward to. Thanks, Matthew Kennedy. You do San Francisco proud!

Well Researched Bio on Forgotten Film Giant
Edmund Goulding's Dark Victory is a perfect read for anyone looking for a bit of the unusual. Here was a first-rate director, adored by actors for his sensitive style, who has been largely forgotten in Hollywood history.Reading Kennedy's book will make you wonder why - for his life and his art both make for compelling reading. Kennedy writes in a lively style well suited to the mercurial, complicated Goulding. Highly recommended!

A Forgotten Talent Brought Back Into the Spotlight
I was very pleased that finally someone has written a full-length treatment of versatile film director Edmund Goulding. Not only does the author explore the many facets of his enormously popular film career, but delves into the subject's many other talents (play writing, song writing, etc). Of importance to anyone interested in the cultural history of Hollywood is the author's detailed evocation of the era in which Goulding reigned (1930s-1940s) and Kennedy brings forth a fascinating tapesty of the director's offbeat personal life.
Like the author's past book on Marie Dressler--another too often unsung talent--this new work on Edmund Goulding shines a bright light on a major Hollywood personality who deserved (and NOW HAS) a solid examination and strong evaluation. Good job!!

Enjoy yourself. It is later than you think.
Matthew Kennedy's brand new "Edmund Goulding's Dark Victory" is a respectful, restrained biography of one of Hollywood's great directors. For the first time, it chronicles the dashing, dapper Englishman who chatted with aristocratic, mannered actresses by day; and hosted secret, erotic Beverly Hills' parties by night. A butcher's son, Eddie Goulding became a child actor on the London stage. After World War I, Eddie immigrated to America; writing and acting for his one true great love: New York's Broadway. Hollywood beckons, and for the sake of money, Eddie travels West. Eddie becomes the director of classics "The Dawn Patrol(1938)" with Errol Flynn, and "Dark Victory(1939)" with Bette Davis. The peak of his career is 1932's "Grand Hotel". But Eddie is self-destructive. During "Grand Hotel", an all-night orgy at his home sends 2 young girls to the hospital. Eddie is temporarily barred from the United States as MGM micro-manages the scandal...."Edmund Goulding's Dark Victory" is thorough. Some may be bored with so much cinema history(I never was). Frank Sinatra once said that "Most things are not what they seem". In Hollywood past, studios were careful about re-constructing the "facts" regarding the lives of it's citizens. Eddie's life is a good example. Kennedy reports that Eddie died on Dec. 24, 1959, after an unsuccessful operation. However, Internet Movie Data Base lists his cause of death as suicide. Once again, we may-or-may-not have the "facts". Eddie Goulding lived the "fast" life; only slowing down to direct a handful of shining, brilliant, motion picture gems. And he took his own advice: "Enjoy yourself. It is later than you think".

Unknown Ringmaster of the Hollywood Circus
I highly recommend this book! I would say it is a must for any student of film history as it is a tale of the "unknown famous" told in an intelligent and humorous voice. I began this book without a clue as to who Edmund Goulding was and slowly realized that he was one of the ringmasters of the circus that was old Hollywood. I read it very quickly as I found the story fascinating and simply could not put it down. Mr. Kennedy has done all the research and then some. Even the "Notes and Sources" make for interesting reading as they are most entertainingly rendered. Chapter 6 by itself is worth the price of admission! Do yourself a favor and read something about Hollywood history that you can't recite by heart. ... Read more

Reviews (3)

Woody Allen: A Life in Film
It would not be accurate, merely useful, to call this book bad. Richard Schickel--known for his bright movie reviews in Time--offers a 100-page interview of Woody Allen. He precedes this with a 70-page, disgracefully elementary introduction (80 percent routine plot summary, 10 percent uncalled-for gossip) and concludes with a six-page irrelevant political afterword. Schickel asks questions like "What was your intention with the movie?" Allen answers in language studded with "uh," "you know," "of course," and "I mean." The answers themselves, ranging from casual and slightly interesting to casual and disarmingly interesting, are modest, articulate, often credible, and thoughtful. But never, never are they sustained. Even if the subject deserves more comment (people like Mia Farrow or Charles Chaplin; or particular movies, especially his own), they never get in-depth or satisfying attention. Everyone will be disappointed. To recommend this book only to "the general public" is to insult them; libraries should avoid this book (despite its up-to-date filmography and index) and instead go for something useful, e.g., Richard A. Schwartz's Woody, from Antz to Zelig: A Reference Guide to Woody Allen's Creative Work

A Great Filmmaker's View of Himself
Woody Allen makes films like no one else. Sure, the themes of Allen's films (New York, anguished intellectuals) aren't ones that are shared by most blockbusters, but his process of making films is different. Since he started making his own films over thirty years ago, he has put out about one every year, a record no other American director has come close to, and of course he writes them and acts in most of them. It is no metaphor that he has put his life into films, and in _Woody Allen: A Life In Film_ (Ivan R. Dee), the movie critic for _Time_ magazine, Richard Schickel, examines the life work along with Allen. The book is the complete text of a four-hour interview shown last year on the invaluable Turner Classic Movies channel; that version was edited to ninety minutes. It also has an essay of appreciation about Allen's work, which Schickel clearly values. He admits that he is biased, not because of friendship for Allen, but because of similarities between them, being roughly the same age and distrusting organized religion, corporate America, and aromatherapy. Allen "... speaks to me - and _for_ me sometimes - in a quite uncomplicated way." If you do not share his bias, he warns, you are reading the wrong book. If you do, you will find Schickel's essay, and especially Allen's own words about his work, a delight.

The film a year output has lead to many people thinking that along with all the other neuroses that Allen has depicted for himself, he is a workaholic. He denies it. He likes the work. "It keeps me sane to the degree that I'm sane. It helps me." But if he can't get the shot exactly right, and it is time for the Knicks game, he lets the shot go. He may love making the movies, but he is distinctly modest about them. "I think I'm going to write _Citizen Kane_ every time out of the box, and it's going to be great." And then he is humiliated by what he sees on the screen. "I have failed almost every time..." He reflects here on his ability to make jokes; even in high school, he could get out of class at one and go into New York to start writing jokes for clients to put in the newspapers. His films are not all just funny, of course. Even though there is humor in, say, the masterful _Crimes and Misdemeanors_, the sad lesson of the movie is that good intentions don't count; "... they do in your heart - but to society success is the bottom line." The earnest film-maker in the movie is a loser and the murderous doctor loses nothing. "I just wanted to illustrate in an entertaining way that there's no God, that we're alone in the universe..." No wonder people like his early funny ones.

Schickel has done a masterful job asking the right questions. He does not go much into Allen's personal life, but sticks to the work. Allen gets to explain his attitude toward actors, and it is clear why he can continue to get the best of them to work with him. He lets them improvise, and he lets them alone: "You get out of the way and let them do what has made them great." He is laudatory about Mia Farrow's participation in the films, and for all her subsequent acerbity towards him, he did provide her with an enormous body of work. Schickel rightly gets Allen to talk on the magic in his movies, like the character leaving the screen in _Purple Rose of Cairo_. Magic is the only thing that could save us, but it doesn't do so for Farrow's character because she, like all of us, has to choose the real world. There is a surprising segment on gangsters in Allen's films, who play roles more often than I had remembered. Allen says that with his father having been a pool hustler and his own having grown up on the streets of Brooklyn, he is closer to gangsters than intellectuals: "I mean, I was thrown out of college in my freshman year." There are insights in this small volume aplenty, and if you like Allen's films, you will learn much about him by hearing what he has to say about them.

More interview, less essay!
The prefatory essay is about 65 pages long, and the entire book, stopping short of the filmography and index, is about 174 pages. Because the book is so slim, I felt a bit cheated once I finally got to the interview. Maybe the publisher wanted an extended essay to make the book long enough to be marketable, but just beware -- interesting essay, fascinating interview (if you like Allen), but when you see how slim the book is, just realize less than 2/3rds of it is interview. ... Read more

Reviews (9)

Steven Spielberg is a Horrible Racist
Just watch that racist Indiana Jones and the Temple of Doom to see that this man is deathly afraid of India and Indians in general. Too bad - he seems to love the Communist Chinese a lot though.

So far, the definitive account of Spielberg's life.
I've now read about five or six biographies of Steven Spielberg and all vary in depth and quality. However Joseph McBride book can only be described as THE most in-depth account of Spielberg's fascinating life. You simply won't read a more well-researched account of Spielberg's life unless the great man writes his autobiography. Don't be put off by the fact that Spielberg didn't co-operate with this book, virtually everyone else did including, most surprisingly, his father. A terrific read from start to finish.

Doesn't do justice to its impressive research
I want to give this book 4 stars, but I just can't bring myself to do it. This book is certainly an impressive scholarly work - well researched, reasonably well referenced, and when there is analysis offered, it is thorough and insightful.

Unfortunately, the analysis is also my major complaint with the book. McBride seems to haphazardly pick pictures to analyse, while ignoring others. What possessed him to give devote more pages to 1941 than all the Indiana Jones movies combined? Further, he has a tendency to focus too much on the story of the movie - I submit that most people reading this book have seen these movies and can draw their own conclusions about the significance of the story. We'd rather hear about how they were made, etc. That is, more facts and less analysis would would make this a better book.

The first half of the book is very good, because the author takes his time explaining family connections, his amateur films, etc. It is a little repetitive (how often does McBride feel he has to tell us that Spielberg felt like an outsider growing up?), but the detail and narrative flow are very good, telling us a lot about the man behind the movies. Especially interesting is the information on S's TV work.

The second half of the book rapidly degenerates into a shallow overview of things we already know about Spielberg, and is very disappointing. It's almost like McBride had a page limit, and after spending so much time on S's childhood, he had to rush through the remaining material, save for sections on Schindler's List and Colour Purple (both deserving movies, of course). Even Jurassic Park is little more than a sideshow, wherein McBride denegrates Crichton's novel (a fate that Peter Benchley's Jaws seems to avoid, even though in my opinion JP is a work far superior to Jaws) and comments on how Spielberg worked on the effects in Poland while shooting Schindler's List. Even his fine analytical powers seem to break down. What else could possess him to comment that Raider of the Lost ark is racist and "a soulless and impersonal film", while praising Last Crusade as "a graceful piece of popular filmaking...gratifyingly free of racist overtones that blighted the two previous films." Huh? Has McBride actually watched these three movies together? Or does he really think it's okay to portray stereotyped Arabs, but not stereotyped Indians or Nepalese?

At any rate, this is an important work, recommended for anyone that wants to learn more about the early life and works of Spielberg. But I would suggest putting it down without reading the last 5 chapters.

What don't you know about him after reading this book?
Steven Spielberg: The most famous film director ever. Anybody knows the name, even small children. He's directed Hook for the younger ones, and Saving Private Ryan for those of us that are older. There is so many films that I could list, I won't even try. But this book isn't just about his movies. They're mentioned quite often, but the truly great thing about this book is the detail.

You learn so much about his family that you could almost be part of it. After reading this book, you could very well know more about his great grandparents than you do about your own. You learn of his childhood and how he made movies when he was young, to how he matured into making great films that we all know and love.

It's a long book, and now you know why. It gives you plenty of reading, and it'll keep you interested. It's also got pictures of him working on movies like E.T. and even him directing other thirteen year olds when he was a child. If you're considering purchasing this book, don't wait any longer. Once you sit down and begin reading, you won't know why you waited in the first place.

Being Steven Spielbeg....
This book taps into the mind of the master himself, Steven Spielberg. The genious that brought us great movies like E.T. and Jaws was actually a quite interesting kid. He was a "nerd" so he called himself. But in reality, Steven Spielberg was always a genious. A control freak. He is a role model for any future film maker. ... Read more

Book Description

A year before his death, the great Italian film director Federico Fellini sat down with documentary-maker Damian Pettigrew for a series of intimate, in-depth interviews. I'm a Born Liar contains the highlights of these conversations. With great candidness, Fellini discusses every aspect of his work, from his early life to his relationship with Italian culture to the inspiration behind his films.

Pettigrew's immensely readable interviews illuminate the life of the director of La Strada, La Dolce Vita, 8(tm), and other classic films, and demonstrate his wild imagination, his energy, and his passion. Fellini reveals much, on subjects ranging from women ("the unknown planet") to his neuroses ("fabulous treasure buried at the bottom of the city") to his actors ("puppets"). In between, the director muses on marriage, memory, cinema, and Marcello Mastroianni.

Accompanying the interviews are 125 film stills and never-before-published photographs from the Fellini Foundation and the Cineteca di Bologna. Published on the 10th anniversary of Fellini's death and in conjunction with the release of Pettigrew's film of the same name, I'm a Born Liar provides rare insight into one of the world's most innovative and influential directors. ... Read more

Reviews (1)

Spiritual Testament
This deluxe edition of what renowned Fellini specialist Tullio Kezich describes as the Maestro's "spiritual testament" (in his superb foreword to the book) is bona fide Fellini-esque. Hilarious anecdotes are squeezed in beside a number of very moving meditations on old age, sex, LSD, unemployment, Trivial Pursuit, God, Dante, death and the Hereafter. The newly restored black-and-white photos capturing the Italian director's surreal world are well-served by an excellent English translation. The final entry in the lexicon is a fairy tale titled "Zio Lupo" or "Uncle Wolf" and it pretty much defines Fellini's insatiability. Highly recommended. ... Read more

Book Description

The visionary force behind such popular and critically acclaimed films as Apocalypse Now and the Godfather trilogy, Francis Ford Coppola has imprinted a distinct style on each of his movies and has significantly influenced modern American cinema. In an era of inflated production budgets and complex studio systems, it is rare for a director to gain creative control over all aspects of the filmmaking process—from screenwriting to editing to the coveted "final cut"—that the auteur commands. Francis Ford Coppola is unarguably one of the few modern American exceptions.

Recipient of the Director’s Guild of America’s Lifetime Achievement Award, Coppola began his career at UCLA’s film school but was soon drawn to an apprenticeship under director Roger Corman, known as "king of the B movie." With Corman he gained practical experience in all aspects of the filmmaking process, particularly in how to manage a budget, a skill Coppola credits with being chosen to direct The Godfather even though Hollywood still considered him to be a young director.

Working as a screenwriter (crafting scripts for The Great Gatsby and Patton, for which he won an Academy Award), Coppola rejected the standard studio practice of hiring multiple writers to work on a single project. Accordingly, he formed his own production company, American Zoetrope, where he exercised complete control over the entire creative process. After founding the company, he began his directorial work in earnest, describing each film as a continuation of the previous one, despite the differences in subject matter.

Author Gene D. Phillips blends biography, studio history, and film criticism to provide the most comprehensive work available on Francis Ford Coppola. Phillips gained access to the reticent director and his colleagues and examined Coppola’s private production journals and screenplays. He reviewed rare copies of Coppola’s student films, his early excursions into soft-core pornography, and his less celebrated productions such as One from the Heart and Tucker: The Man and His Dream. Phillips also illuminates the details of the production history of the harrowing 238-day shoot of Apocalypse Now and explains how The Godfather was almost cast without the now iconic Marlon Brando.

The definitive assessment of one of Hollywood’s most enduring and misunderstood mavericks, Godfather: The Intimate Francis Ford Coppola argues that Coppola has centered his career around engaging films that reflect his own radically independent artistic vision. ... Read more

Reviews (1)

This is a summery of a review I did for the Lexington Herald
You can read the full review at www.donmcnay.com

Coppola: godfather of filmmaking

HIGHLY READABLE BIO OFFERS INSIGHT AND PERSPECTIVE

By Reviewed By Don McNay

At first, I feared that Godfather: The Intimate Francis Ford Coppola would be a stilted thesis. Instead, I found it to convey the research and knowledge of an esteemed academic in a book that is easy to read.
The research is certainly strong; author Gene Phillips, a professor of English at Loyola University of Chicago, knows his stuff. However, I am more impressed with the way the book flows. It covers Coppola's work with just the right amount of detail.
The book is biographical, but the focus is on Coppola's movies and how they were made. Phillips breaks the book into chronological chapters but also groups similar works together. He discusses all three chapters of the Godfather saga as a group, even though they stretch over a 20-year period, during which Coppola was making other movies.
Phillips is obviously a fan of Coppola, but the book comes across as dispassionate and even-handed. It takes us through Coppola's youth, his education at the UCLA film school, and his work for Roger Corman, the king of the B movies.
The book would be well worth the effort just to read Phillips' perspective on how Coppola turned Mario Puzo's novel The Godfather into a classic film trilogy. Coppola saw through some of the more graphic sex and violence in the novel and focused on the drama of the struggle of the family. Graphic scenes were certainly part of the movie, such as the famous horse-head-in-the-bed scene, but Coppola was able to weave the drama and story line of the book in the way that became a film classic.
Coppola was savaged by critics for casting his daughter, Sofia Coppola, in a critical role in Godfather III, and Phillips explains that she was a last-minute replacement after Winona Ryder became ill.
Phillips also examines Coppola's screenwriting, as well as his business dealings in Hollywood.
Coppola won an Oscar as the screenwriter for Patton, in which he captured the eccentric general in a way fans and critics could appreciate.
And while they were developing Apocalypse Now, Coppola and George Lucas, who had been very close, broke their friendship; Coppola finished the film that is now considered an American classic.
Coppola's skill as a director was not always matched by his skill as a businessman, and his money woes included bankruptcy. One of Coppola's low-budget successes was The Outsiders, a movie about teen alienation that helped launch the careers of Tom Cruise, Rob Lowe and Patrick Swayze.
Phillips notes that the Coppola legacy has been passed to the next generation. Sofia Coppola won an Oscar this year for writing Lost in Translation and was nominated for best director for the same film.
A slight irritation is that Phillips injects himself into his book every 30 pages or so. In discussing Coppola's success in the wine business, Phillips writes "For myself, I chose a bottle of dark, dry Coppola claret." So?
But overall, Coppola's movies will be seen for generations to come, and the book Godfather is a good insight into those films and the man who made them.

Don McNay is president of McNay Settlement Group in Richmond and is a weekly business columnist for the Richmond Daily Register. Reach him at www.donmcnay.com. ... Read more

Reviews (1)

Fascinating tale of a frustrated, perfectionist director
Erich Von Stroheim was surely the most unique director of the silent era. Of all of his films, only THE MERRY WIDOW survives in a form that is close to what he wanted. Yet this film is the least representative of his films. He was probably fired from more movies that anybody else in Hollywood. Yet producers recognized that he was an artistic genius and they kept him employed for over a decade. Von Stroheim gave his critics plenty of rope to hang himself, as he worked his crews incredibly long hours and he busted the budget of almost every movie that he filmed. Still, it is sad that Fox producer Sol Wurtzel killed any chances Von Stroheim had in sound films by re-shooting most of his last film, WALKING DOWN BROADWAY.

Almost every film Von Stroheim made is now considered a classic, such as BLIND HUSBANDS and GREED. In the sound era, he had many of memorable supporting roles as an actor in films like THE GREAT GABBO, THE GRAND ILLUSION, SUNSET BOULEVARD, and FIVE GRAVES TO CAIRO.

I alreay have the earlier incarnation of this book THE MAN YOU LOVED TO HATE. I was glad that I bought this updated version, because there is a lot of new information in it. If you are interested in silent film history, you will love this biography. ... Read more

Book Description

To call John Waters a cultural icon is almost insulting.This is after all a man who's entire career has been dedicated to the explosion of mainstream culture. But nonethless, from his earliest films he has been the center of controversy, acclaim, revilement, and reverence.He is the director of the notorious Pink Flamingos (in which the 300 pound transvestite Divine snacks on poodle poop) and Female Trouble (in which Divine as a man--with really nasty skidmarks on his shorts--rapes himself as a woman) as well as the crossover smash Hairspray (which introduced Ricki Lake to the world) and Serial Mom (in which Kathleen Turner offed Patty Hearst for wearing white shoes after labor day.)From the days when the press wouldn't return his phone calls to the present, promoting his new films on network morning shows, and giving commentary on NPR, CNN, TNT, and The Sundance Channel, Waters has consistently been the outrageous voice of avant garde cinema.Critic Robrt Pela, examines Waters's life and impact on our culture in this book which is a remarkable, often hilarious, always illuminating look at his films, their impact, and the not to be believed cult of Waters fans. The Films of John Waters:Mondo Trasho, Multiple Maniacs, Pink Flamingos, Female Trouble, Desperate Living, Polyester, Hairspray, Cry Baby, Serial Mom, Pecker, Cecil B. Demented ... Read more

Reviews (5)

"Isn't there a law or something" (quote from Rex Reed)
The book "Filthy" is for all the die-hard John Waters fans out there, and you know who you are...

Author Robrt Pela begins his book with a glimpse into the mind of the five year-old John Waters. Forget the typical childhood icons of the Easter bunny and Father Christmas, for it seems that little John Waters dreamed of car crashes and roller coaster accidents. It's really no wonder that Waters grew up to be the greatest cult film director in the world. After a brief glimpse into the twisted mind of Waters at 5, Pela then treks to Baltimore in an attempt to find the sort of characters who inhabit a typical Waters film.

Pela describes Waters's association with Divine--how they met, and how the Dreamlanders formed, and charts the course of Waters's career--film-by-film--with reactions to each film from various critics.

Pela visits a medium who has communication with many 'relocated' famous persons. The session between the medium and Divine is priceless. One of the very best chapters covers "the cult of John"--and my favourite part concerns a fan named Suki who only admits guests into her home based on quotes from John Waters films. Pela also interviews a fan who claims that Waters gets all of his ideas from a cat.

One very handy chapter covered themes in the films--including perceptions of suburbia, the family, and "the prowling pervert." Pela includes a section of "filmic influences," and an extremely detailed filmography. "Filthy" is written with wry humour throughout, and it is an easy read. I recommend the book to all Waters fans--everywhere--displacedhuman

Perfect introduction to the world of John Waters
Before reading this book, I knew little to nothing about John Waters. I'd only seen two of his films, Pecker and Cry-Baby, and I enjoyed both. One day I was shopping at my local bookstore when I noticed a announcement for a reading of this book by its author. I decided to attend. I'm glad I did. Not only did I get a couple of autographed copies, but I became introduced to a whole new world of trashy films.

I am a person of patterns. I like order. The way this book is set up chronologically really appeals to me. Robrt Pela did a great job setting up a description of each Waters project, along with a background on each of the players and Mr. Waters himself. I had no idea how disgusting John Waters really was (and continues to be). And how willing he was to put it all on film. In a trashy way, that appeals to me. Can't be perfect all the time.

The interviews with the bizarre Waters fans were well done. One would have to be pretty brave to converse with some of these folks. I liked how these interviews were set in-between the rest of the back story on Waters and his camp. I enjoy Robrt's sassy approach to his over anticipated introduction to Baltimore, and how at every turn he was disappointed that it wasn't more trashy.

My two favorite chapters are six and ten. I like six because it is nothing but quotes about one tiny scene. And ten because its the, "guide to recurring imagery and motifs in Johns Waters film." In this chapter, all the work has been done for the viewer. What could be better?

The filmography at the end is one of the best I have ever seen. I am constantly seeing and reading about movies. So to be able to read one as thorough as this one was, was a pleasant surprise. It was the perfect introduction to Waters world.

Well done Mr. Pela :)

Delightful!
In Filthy, Robrt Pela brings many things to life for the John Waters fan including some outrageously funny and far out fans! Baltimore itself comes to life throughout the book as Pela spins the tales of movie making history. But the most brilliant and hilarious resurrection Pela manages to pull off is that of Divine in Chapter Three.

The themes and motifs chapter and the filmography chapter were packed full of odd bits of trivia that were entertaining and fascinating. The book is informative yes, but incredibly funny! And how else could you, SHOULD you write about John Waters and his movies?

Waters himself said, "I pride myself on the fact that my work has no socially redeeming value." Maybe he's right, but he's become a movie icon and pop culture hero to many people nonetheless and Robrt Pela does a good job of explaining why that is in Filthy: The Weird World of John Waters.

The Adventures of Robrt Pela
There are things about Robrt Pela's book that I really like. For instance, I enjoyed his accounting of his first and aparently only trip to Baltimore. Without knowing it, Pela steps on the toes of nearly every fan who has fun in John's world. Pela missed out on the fun. It took John Waters a lifetime to fall in love with Charm City's characters, so much so that he escaped the suburbs to join them, film them, and present them to the rest of us as a loving parent, showing off his children. As a man who makes his living reviewing theater, Pela's approach is understandable. I guess I like the book because John liked it and who am I to argue with that? I recommend reading it as a guide for the novice, the curious, the uninitiated.

Condescending Book About John Waters.
This book is ultimately just kind of stupid. The author, Robrt Pela writes decently enough, but seems to be extremely judgemental in his descriptions of people he obviously doesn't know (because many are dead)...and furthermore...if some of the Dreamlander's he writes about are his friends, then well, I don't think they will be very happy with his descriptions of them.
I frankly don't think that Mr. Pela actually "gets" John Waters and has written this book simply because he is getting a paycheck. His "Low Points" of the films are just stupid. And he offers no reasons as to why they are low points. I actually love most of the scenes that he refered to as "Low Points"
Mr. Pela refers to several dreamlanders derogatorily, for example he refers to Susan Lowe at one point as, "..a slutty artists model" which is just unneccesary. He's not quoting anyone, he's offering a totally unfounded opinion because he wasn't there and I doubt if he knows Susan Lowe or has ever talked to her.
Mr. Pela writes about these people as if they are abberations and characters in a made up book. His attitude is one of wierd disdain and prudish snobbery. I don't understand how John Water's is his favorite director.
He completely gets it all wrong when he says that Jean Hill has no lines in POLYESTER. I mean did he watch the film? She has several lines. I remember them very well as they are some of the films funniest dialogue.
Robrt Pela seems to me like a typical modern gay man (and I am a queer so I can say this) who embraces the gay politcal agenda and establishment as the only right way to live, and to be gay. His reactions to many things Watersian is very stereotypical and myopic. Robrt Pela seems to feel that because he IS gay that somehow this gives him an insight into what John Waters and the Dreamlander's were, and are, all about.
This book is well written, but offers nothing new about John Waters. It is at best, tolerable subway reading.
Mr. Pela seems to me, to live in a very small and safe world where nothing ICKY ever happens. He is a voyeur. He is watching John Waters and his crew from the safety of his television. He thinks he should like it and appreciate because he is gay. I think this is just not true. I think if he looked at himself beyond his sexuality he would discover that he does not like John Waters at all and would instead write a book about the films of George Cukor. ... Read more

Book Description

Ridley Scott won the 1977 Cannes Film Festival prize for his debut feature The Duellists, dazzled audiences with Alien, created the futuristic noir of Blade Runner, and then hit the road with 1991's Academy Award nominee Thelma and Louise. This entertaining biography and informative reference captures Scott's individual style of movie making. ... Read more

Reviews (1)

Ridley Who???
Ridley Who?...Ridley Scott nonetheless!...this guy has to be one of my all time favorite directors. Alien, a masterpiece...Blade Runner yet another...Legend (Legend?) I am just discovering. Paul Sammon writes in a detached manner typical of this type of material, he doesn't come close to exploring what is behind Mr. Scotts imagination and his drive to make the perfect picture...that's a shame considering his being able to get one-on-one interviews. What is prevalent are the small details about these films that make them so endearing...the chapter on Legend stands out as a must read. It is apparent that there are alot more interesting facts about these movies on the internet than in print, a fact Mr. Sammon seems to have overlooked with just one web reference throughout the entire book. Not nearly as good and comprehensive as his other book "The Making of Blade Runner", but still an enjoyable read for the aficionado. Hopefully the "Making of Aliens" will be some what better, and worth the wait (seems like two ice-ages have passed since it was announced!). Some typos throughout, marks for originality 7 out of 10, cover colour scheme -1 out of 10. ... Read more

Reviews (1)

SPIKE SPEAKS
Shelton Lee is the most controversial film maker of his time because his work defies convention and upsets the conventional values of Hollywood. The spotlight has shone on Spike Lee since his "She's Gotta Have It" exploded on the screen. Spike Lee is a film maker par excellence and is this book we get an opportunity to hear his voice dealing with the entire corpus of his work since 2001.

Spike Lee Interviews is a collection of interviews dating from 1986 through 2001. They are originally reprinted in the form in which they appeared; hardcopy, television and on line. In them we get to hear the ideas, opinions and reflections that Lee has about his craft, the criticism of his work and the need to confront the racist myths prevelant in the film industry. His words are sharp, biting and reflective.

In perusing this book you will see the development of Lee as a film maker and astute businessman. He refuses to co-op his integrity with Hollywood depictions of Blacks and yet he is able to use Hollywood to get some of his pictures made. Lee also uses unusual ideas and film techniques that many of his peers won't touch. He is not afraid to be uncoventional in his story telling nor in his use of new technological forms.

I enjoyed his repartee with the interviewers regarding his controversial image. Spike says his critics need to look at his work rather than him. He doesn't mind talking about his beloved Knicks but moves beyond the game and tells about the exploitation of players and the system. He admits his mistakes in portraying Black women as one dimensional.

In reading this book you will get a multideminsional view of a film maker who has opened a new chapter in African American cinematography. Lee picks up the ball where others left off and challenges the whole idea of what it means to make a film. You will enjoy his ideas and have a deeper appreciation of his work. ... Read more

Book Description

The autobiography of the director many consider the greatest in the history of cinema ... Read more

Reviews (2)

A Must For All Fans and Students of Film
Jean Renoir is one of the greatest masters of the art of cinema. This autobiographical work traces his life from his childhood in France to his later years in Beverly Hills, not in the conventional sense, but rather through the world of film. This is fitting since the world of film was truly Jean Renoir's world.

Jean Renoir, middle son of Pierre-Auguste Renoir, made his first public debut quite early, albeit quite reluctantly, as the little boy with the long, golden curls who figures so prominently in many of his famous father's paintings.

Jean Renoir's early life, in later 19th century France, was dominated by two people--his father and Gabrielle Renard, his maternal cousin, who was to become his nanny and later, his dearest friend. While it was Auguste Renoir who introduced Jean to the world of art, it was Gabrielle who led him to the cinema. Jean, himself, says, "To her I owe Guignol and the Theatre Montmarte. She taught me to realize that the very unreality of those entertainments was a reason for examining real life. She taught me to see the face behind the masks and the fraud behind the flourishes."

Jean Renoir begins and ends this book with Gabrielle Renard, and, along the way, he examines and reveals the profound influence this marvelous woman exerted over him. In characteristic fashion Jean writes more about others than about himself. He lets us peer into the lives of the actors, technicians and producers with whom he worked, in places as diverse as Paris, Hollywood and even India. And, also characteristic of Jean, the unknown often play a role as large or larger than do the very famous.

While most of Jean Renoir's personal life remains unrevealed (this is definitely not a vapid, "tell all" tale!), he does tell us how and why he became a filmmaker and he goes to great lengths when explaining the relationship between film and life. From the depths of his dazzling imagination, Jean Renoir created nearly forty films, films that Francois Truffaut called, "the most alive films in the history of cinema." Two of these films, Grand Illusion and The Rules of the Game, are often thought of as Jean Renoir's masterpieces.

But other films also live on, including The River, the lyrically beautiful film Jean Renoir made in India, and The Southerner, a poetic tale in which all the characters are heroic, in which every element plays its part and all come together in an act of homage to divinity.

This book should be required reading for all students of film everywhere for, as Garson Kanin said of Jean Renoir, "In the world he inhabits he is known as the best of men. In the cinema universe he is a living god."

Everyone, I believe, film student or just a lover of film, can find something to love in My Life and My Films, for Jean Renoir was a man of immense and daring imagination and creativity; he was both simple in outlook yet profound, but above all, he was a lover of humanity, one whose heart and spirit were always as generous as they were wise.

As fresh, funny and startling as a Renoir film
Jean Renoir, the son of the Impressionist painter Pierre Auguste Renoir, is regarded as one of the all-time great film directors. Two of his films, "La Grande Illusion" and "La Regle du Jeu", regularly feature on critics' lists of the greatest films ever created. Even now, over 60 years after some of his films were made, they still seem fresher and more modern (as well as more entertaining) than most of the films produced today.

This warm and witty book presents Renoir's own view of his life and career. It is not only filled with engaging insights into Renoir's own films and his views on cinema in general, but also amply stocked with vivid anecdotes, from visiting Berlin at the time of Hitler's rise to power to watching Jean Gabin and Marlene Dietrich quarrel in Hollywood.

For those who already know and love Renoir's films, this will be essential reading; for those who have not yet discovered them, this book should make them realize what they have been missing out on. ... Read more

Book Description

For the first time, the full life story of the filmmaker laureate: a smart and entertaining deconstruction of Woody Allen's genius, celebrity, and art. Born Allen Konigsberg in the Bronx, the man who came to direct some of the most celebrated comedies in movie history - Annie Hall, Manhattan, Crimes and Misdemeanors - is revealed in all his neurotic complexities in this adroit study by John Baxter. The first biography since the tabloids headlined Allen's lurid breakup with Mia Farrow and his affair and subsequent marriage to her adopted daughter, Soon Yi, this illuminating chronicle of Allen's career - from his days writing jokes for Sid Caesar to his eventual fame as filmdom's quintessential New Yorker - details the often scandalous success that Allen has achieved as screenwriter, actor, and director. And Baxter's compelling saga never fails to uncover Allen's calculated construction of the Woody persona and how far the hapless, obsessive character on screen is from the actual man. "Intelligently points out the gap between the shambling on-screen character that Allen created and the successful, controlling artist." - New York Times Book Review ... Read more

Reviews (11)

Deconstructing Woody
For the most part, I found this book well written and informative, although typos occur quite frequently in the hardcover edition.

After a brief background on Allen's childhood, the author titles the chapters after the titles of Allen's films; a beneficial format, because it allows the reader to watch the movie before they read the chapter if they elect to do so.

The author has interesting arguments about why Allen acted the way he did in certain situations, but it is important to note that it doesn't appear that Mr. Baxter actually spoke with Allen during his research for this book. This is not the Gospel on Allen, but it is an interesting body none the less.

A balanced biography
This is a very fair, even-handed look at the life of Woody Allen and his films. It is NOT critical of him, as several of the negative reviewers below seem to suggest. The author writes with candor and doesn't censor himself. Those are qualities I expect from a biography. Why read a bigraphy if you don't expect to come across a few warts? I've been a fan of Woody's for over 25 years. I like him. And, I like this book.

Great learning tool
I read this because I had NO background information on Woody Allen and thought this would be a fun way to get to know him. Consequently, I am knee-deep in Woody Allen movies. I had never been exposed to him before and learned a great deal by reading this book. For the beginner, it's a nice way to be introduced.

More than the Early Funny Ones
I enjoyed this book very much. I liked the author's tone, which was neither worshipful nor condemning. I thought his examination of the films was pretty interesting. His idea that Allen really owes more to Fellini than to Bergman sounded pretty convincing to me.

Face it, any book on Woody Allen becomes instantly obsolescent, because by the time it gets on the shelves, Allen has made at least one more movie that might move his career in a new direction.

I thought this book did a fine job of showing the many changes in Allen's career, from stand-up and TV (stuff that I really wasn't aware of - like Allen subbing for Johnny Carson) to movies and how the movies changed. Baxter's assessments of the many movies seemed mostly on the mark to me.

The definitive work on Woody Allen will only be written after he is dead and thus can no longer make any movies, but until that sad day, I think this book will do very nicely.

Sawdust Memories
I found this book disappointing, although there are some good things in it. Baxter is interesting on the evolution of the distinctive Woody persona, and on Allen's reluctance to acknowledge some of his artistic influences. The passages on the split with Mia Farrow deftly weave scenes of black comedy and harrowing domestic tragedy. A chapter on the fraught production of 'Casino Royale' is entertaining, and there are a few other good anecdotes I hadn't come across before. I didn't know, for example, that in the 60s Allen was taken to a court by a woman who claimed he was her runaway husband, despite the fact that he would have been 13 at the time of their marriage.

Unfortunately, after a fairly early point I found myself unable to trust Baxter's accuracy. Mistakes in the book range from the sophomoric to the libellous. Hibernia is Ireland, not Scotland as Baxter thinks on page 7. It was not Lenny Bruce's wife who performed the orgiastic act attributed to her on page 77, and it took place in LA, not Greenwich Village as Baxter suggests. Worse, he sometimes garbles Allen film plots and even jokes.

More annoying than the falsehoods are the superfluous facts. There is an excess of filler in the form of irrelevant background information. In 'Take The Money And Run' there's a sequence where the Allen character is sent to jail which consists of a lengthy 'March of Time' style newsreel montage depicting the 1950s, followed by the words, 'Virgil, in jail, misses all of it.' This book is often risibly like that. Baxter spends a page describing social upheavals caused by changes to the NYC transport systems, including a brief synopsis of the career of Robert Moses, and then concludes, 'Little of this impinged on Allen's world.' He notes Allen's appearance at a Eugene McCarthy fundraiser and then spends half a page describing the 1968 Chicago convention. One waits for the revelation that Allen was there, haplessly fleeing riot police like his character in 'Bananas'. But no: unable to attempt even a token connection to Allen's life and work, Baxter simply breaks the text at this point and resumes with something different.

A more serious flaw is that, racing non-stop from film to film (a pattern, admittedly, that much of Allen's life has shared), Baxter does not give enough space to considering the people in Allen's life, in particular the women. A partial exception is Mia Farrow, a character analysis of whom Baxter circles around but ultimately shies away from. Diane Keaton gets unaccountably short shrift and so too does Louise Lasser, arguably Woody's dark lady and the inspiration for several of the more interesting characters in his films. Surprisingly, this is one of the many areas on which Eric Lax's 1991 authorized biography is more interesting.

As for the films, Baxter is often curmudgeonly in his analysis of their merits. By quoting the lukewarm early critical reactions much of Allen's work has received unbalanced by more positive later assessments, or emphasizing that critical plaudits often went hand in hand with domestic box office indifference, Baxter comes close to presenting a picture of Allen as a man who has failed miserably at everything to which he has turned his hand.

Indeed, much of this book is dispiriting work. Baxter does not merely describe Allen's famously bleak outlook but manages to communicate it to the reader. It is de rigeur in modern biography, and a guarantor of sales, to suggest that your subject is either a bit of a heel and a creative magpie, or that they have not had much fun out of life; to suggest both at once is merely depressing.

Besides, all of Allen's fans know in our hearts that, a lot of impressive evidence notwithstanding, the hapless romantic clown of the early funny films is the real Woody. Whether you are a fan or not, I recommend Eric Lax's underrated official biography, or Stig Bjorkman's lengthy interview 'Woody Allen on Woody Allen' (1994), hagiographic though they are at times, as far more entertaining and informative than this book. ... Read more

Book Description

The definitive biography and national best seller, now back in print and fully updated.

When it first appeared in 1991, Eric Lax's splendid biography, written with nineteen years of access to Woody Allen, was universally hailed as the definitive portrait of a film genius. The next year, as Allen's long relationship with Mia Farrow disintegrated amid scandal, a new phase of his life and work began. For this edition, Lax has written a chapter on the break-up and the personal and professional changes that followed. He chronicles the last eight films, from Shadows and Fog to his latest Small Time Crooks, and again offers Woody's candid opinions of his art and himself. Published to coincide with Allen's sixty-fifth birthday, this updated biography will continue to be "required reading for Woodyphiles" (Kansas City Star). ... Read more

Reviews (4)

This one doesn't rip him apart in matters that don't matter
A natural stage in my succession of becoming a Woody Allen freak was picking up a biography. Any single one would have suited my needs, because I knew only as much as somebody who had seen ten or so of his movies and was beginning to show some serious interest in this singular personality.

It turned out that by accident I had picked out just the right book. Eric Lax delivers over 400 pages of what seems to be a very detailed and reliable account of Woody's life. Contrary to the tabloid-like obsession with Allen's women which many writers of today appear to revel, Lax's primary emphasis is on his work, influences, and progress as a comedian. A special section was added to the end of the book to summarise the events of the last ten years (the first edition of this biography was published in 1991), including the row with Mia Farrow and Woody's marriage to Soon-Yi Previn. But it remains a biography of the man it boasts in the title, not a collection of second-hand conjectures and prejudices about what he might seem to be. Indeed, this is left to the army of Woody admirers who like to derive his character from the roles he has played or written.

The shattering of preconceived images that surround the private self of Woody Allen is probably one of the major strengths of Lax's book. Woody is shown as somebody who has been engaging in his beloved trade for years and now shows genuine surprise about all the fuss that is being raised around his straightforward life. Nevertheless, I refuse to buy such a portrayal, simply because I am one of those blind followers who have merged Woody on-screen with the real-life Woody. True or not, it is an illusion I am prepared to live, for that is the main attraction of his movies.

Reasonable bio of one of America's great artists
It's a commonplace that many artists have questionable private lives. What Mr Allen does or doesn't do in his private life is of passing interest to me. That he likes younger women doesn't make him much different, maybe unfortunately, from millions of other men (is Rupert Murdoch a classic example or what?) If I want gossip I read a magazine. Mr Allen's work on the other hand interests me very much. This bio by Mr Lax is good for excerpts from Mr Allen's comedy routines and in revealing the movie making experience from the editting point of view, shooting, casting, writing and rewriting. I don't think the prose skill of Mr Lax is especially high but the book's subject matter is interesting enough, and Woody Allen's writing amusing enough, to carry it along.

under his thumb
I read this book long before Woody Allen's personal troubles became public. (I've always been an admirer of Allen's films.) It is, hands-down, the worst biography I ever read. Lax is more than reverent of Allen; he is obsequious and subservient. At a very early point in the book, I began to sense that every word had been approved by Allen. By the end, I though Allen's publicist and psychiatrists had probably signed off too.

P.S. If I had an option of giving this book no stars, I would have done so.

A Superior Introduction to a Superior Filmmaker
When I first picked up this book, I knew very little. When I put it down, I had become a lifelong "Woodyphile". It is a great introduction to Allen's life and work. By having exclusive access to Allen, Eric Lax presents a side of Allen that the average person could never know. A must read for anyone, whether they be a friend or foe of Woody Allen ... Read more

Reviews (2)

Great Peckinpah biography
This is one of the first and best Peckinpah's biographies. Written a few years before his death but with a new preface and postscript it is a superb account about the life and films of Sam Peckinpah. Garner Simmons talked to many friends, family, actors and producers to make this a wonderful readable experience.If you are in the films of Sam Peckinpah get this book!

Peckinpah - just the facts
Peckinpah, written by Garner Simmons and published by the Universtity of Texas Press in 1982,is a no-nonsense, non-opinionated look at the life and work of director Sam Peckinpah. The first few chapters are devoted to his early life: parents, childhood, growing up, early TV work, etc. The rest of the book is presented in a movie-by-movie format, with one chapter being devoted to each film. The chronological discussion of each film pays great attention to detail form pre to post production. Lots of good insight from cast and crew members help make this book really special! There is little info on Peckinpah's final film, "The Osterman Weekend", as it had not been released at the time of this book's publication. The book is dedicated to the memory of Jerry Fielding, the extremely talented composer who worked with Peckinpah on several films. ... Read more

Amazon.com

The presentation of a lifetime achievement award to Elia Kazan at the 1999 Oscar ceremony was one of the most controversial events in American movie history. Kazan's theatrical résumé includes the original productions of The Skin of Our Teeth, Death of a Salesman, and four of Tennessee Williams's best dramas. For the screen, he created Pinky, A Streetcar Named Desire, East of Eden, Baby Doll, A Face in the Crowd, On the Waterfront, Wild River, and America, America. But during the red scare, the master director named names before the House Committee on Un-American Activities, ruining the careers of several of his contemporaries.

How could the man behind such thoughtful and sensitive masterpieces betray his friends? What is the relationship between an artist's personal life and his public vision? While Kazan spoke to these questions in his stunning, epic autobiography, Elia Kazan: A Life, this interview-based book offers new insight by focusing the conversation on the director's professional life. As Kazan responds to Jeff Young's probing queries, we vividly experience his uncompromising independence, determination, and strength of will.

Regarding the success of his most legendary film, Kazan says:

When I started On the Waterfront, I was what they call unbankable. Nobody would put up money for me because I had had a series of box office failures.... I had a hell of a time raising money, but I respond very well to difficulty. If somebody makes trouble for me, I come flailing out in every direction. One of my happiest moments was when I got the Academy Award for On the Waterfront.... It was especially rewarding because we had made something out of nothing.... All of a sudden no one cared what my politics were, that I was controversial, or difficult or that people were slamming me all the time. After On the Waterfront, I could do anything I wanted. That's Hollywood.

This volume provides readers with an exquisite opportunity to examine the mind and work of a major artist--including details about Kazan's collaborations with Tennessee Williams, Arthur Miller, John Steinbeck, Marlon Brando, James Dean, Gregory Peck, Katharine Hepburn, and many others--as well as the chance to experience the creation of some of the century's most indelible works of art. --Raphael Shargel ... Read more

Reviews (8)

A must-read
This is quite simply fascinating... It should be required reading for anyone interested in Kazan's work... Jeff Young has done us all a great service in providing this unique examination of the art of one of the greatest directors of all time.

Good insight into Kazan's films.
Elia Kazan was one of the most important film directors of the late forties to early fifties. Besides blazing a trail as one of Broadway's top theatre directors, Kazan also established himself as a top Hollywood director. His films helped blaze new ground covering social themes like anti-semitism (Gentleman's Agreement), racism (Pinky), corrupt unions (On the Waterfront), and the abuse of television (A Face in the Crowd). Films like "A Streetcar Named Desire" and "Baby Doll" challenged the censorship of the day with their depiction of raw sexuality.

Kazan also pioneered the use of cinematic realism with his location shooting and the realistic performances of his cast through the use of "method" acting. Kazan would be responsible for launching the careers of Marlon Brando and James Dean.

However all these achievements have been overshadowed by Kazan's appearance before the House Un-American Activitees Committee in 1952. Unlike many other moviemakers and actors, Kazan cooperated with HUAC and named names. One of the most high profile entertainment figures to turn informer, Kazan helped to consolidate the Hollywood blacklist of the 1950s. This has made Kazan arguably one of the most hated and controversial figures of the McCarthy era. As a result many people are uncertain of where to stand on Kazan.

In this book, reporter Jeff Young interviews Kazan extensively about each of his films. It's very interesting to hear a little about what it was like working with his actors and how he would coax great performances from them. Kazan was a very good actor's director in large part, I think, because he was good at empathizing with them and making them feel comfortable. Instead of telling them what to do as most directors would, he told them what to think and what to feel. It was touching hearing how when the neurotic James Dean came onto the "East of Eden" set, Kazan moved in to a trailer across from him to keep an eye on him.

It was also quite interesting hearing how Kazan got some of the ideas for his films. For instance, I didn't realize until I read it that much of the ideas for "On the Waterfront" were based on real cases and that the Terry Malloy character was based on a real person who worked on the docks. Nor did I realize that "East of Eden" was a semi-autobiographical film. "Wild River" (alas, to date never released on video), stemmed from some of Kazan's documentary work during the Depression, and "America, America" stemmed from the experiences of Kazan's Greek uncle's journey to the America.

People looking for insight into Kazan's decision to name names may be disapointed. This is not really an in depth discussion of those events, but a loving look at Kazan's films. However, in case you think that Jeff Young has fallen too in love with Kazan, there is a probing question that Young asks Kazan near the end of the book. Kazan has always claimed that he named names because he thought that Communism was a threat to America, not because he was interested in personal gain. However, Kazan doesn't seem to have been prepared for the specific question that Young has to ask him. Kazan's emotional response is quite revealing and manages to take some of the gloss off the way he portrays himself.

For anyone interested in Kazan, this is a good place to start.

For all students and fans of Elia Kazan films
Illustrated with 72 photographs and 19 original movie posters, Kazan: The Master Director And His Films is based on hundreds of hours of interview during the 1970s with master film maker Elia Kazan by Jeff Young who also drew upon his considerable experience and expertise as a writer, producer, and director, and former studio head for three major film companies. This impressive professional biography and analysis features a summary of each of Kazan's film plots and a discussion of 18 of the director's films in his own words. Of special interest is Jeff Young's commentary on Kazan's final film "The Last Tycoon". Kazan: The Master Director And His Films is well commended and highly recommended reading for all students and fans of Elia Kazan films.

Kazan's sharp and sometimes irreverent take on his career
If you've read this far you may already know about Kazan's career as a filmmaker and Broadway director. But he is probably best known for his actions before the House Un-American Activities committee in the 1950s. Kazan named names. This had made him an enigma to the dominant Hollywood culture. Today, he is recognized as an important filmmaker in the history of movies, but his political views have made his life somewhat bumpy in his chosen profession.

Kazan proves to be erudite and witty and humorous and surprising. He openly hates some of his own movies, though reviewers consider them classics. He does love his version of a STREETCAR NAMED DESIRE, whi