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REBELS ON THE BACKLOT

Name: REBELS ON THE BACKLOT
Author: Sharon Waxman
ISBN: 0-06-054017-6

SIX MAVERICK DIRECTORS AND HOW THEY CONQUERED THE HOLLYWOOD STUDIO SYSTEM

by Sharon Waxman ‧ RELEASE DATE: Feb. 1, 2005

Waxman’s grasp of the interior of the studio world, and her ability to make the workings of closed-door deals...

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New York Times Hollywood correspondent Waxman examines the trajectory of the independent feature film in the 1990s as exemplified by the work of six Tinsel Town outsiders.

In the early 1990s, Hollywood corporate mergers and their resultant focus on the bottom line resulted in a bumper crop of sequels, remakes, and other dependable moneymakers inoffensive to anything but taste. Quentin Tarantino’s Pulp Fiction blazed across this dull background with all the shock of an incendiary device, decimating expectations about the kinds of movies people would pay to see and forcing the studio conglomerates to create independent divisions with the mission of funding Tarantino-esque films. Waxman takes a chronological look at the movies that preceded and followed Tarantino’s master work, examining the men (indies are as gender-biased as the rest of the film industry) who had the drive to steer their work through the always-treacherous studio system. Among the films considered are Steven Soderbergh’s Sex, Lies, and Videotape, made in 1989, and David O. Russell's incest dramedy, Spanking the Monkey. Paul Thomas Anderson’s Boogie Nights was another risk-taker, and Spike Jonze’s absurdist Being John Malkovich could win an award for the film least likely ever to be made. Waxman’s accounts of the ins and outs of the Hollywood machine are as arresting as any of the indy scripts, with cliffhangers, villains, and blunders galore. Russell’s Three Kings, widely noted as a triumph, was ignored by the Oscar committee, and watching Soderbergh’s Traffic, a movie about illegal drugs, struggle and fight its way into existence is a real nailbiter—even though we know it would end up with five Academy Award nominations.

Waxman’s grasp of the interior of the studio world, and her ability to make the workings of closed-door deals comprehensible, raise her work from textbook to something truly absorbing.

Pub Date: Feb. 1, 2005

ISBN: 0-06-054017-6

Page Count: 352

Publisher: HarperEntertainment

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2004

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.