A biography of the highest-paid female scriptwriter in Hollywood becomes an exploration of the work and sustaining friendships of the leading women of early cinema. Until now Frances Marion has been largely absent from the screenwriters' pantheon, despite a five-decade career that yielded 325 scripts, many for top films (The Champ, Son of the Sheik, Dinner at Eight). Seasoned film reporter Beauchamp (coauthor, Hollywood on the Riviera, 1992) spends no time taking umbrage. Instead she jumps into Marion Benson Owens's two early marriages, a fateful encounter with Marie Dressler as a reporter for Hearst's San Francisco Examiner, and early days in Los Angeles, where she met lifetime friends Adela Rogers and Mary Pickford, and director Lois Weber, who renamed her Frances Marion. After her first scenario in 1915, an already crowded life became dizzying: It included stints with Famous Players, First National, and MGM, new friendships with Hedda Hopper and Anita Loos, and a happy and creatively fruitful marriage to 1920s western star Fred Thomson until his death in 1928. Beauchamp admirably marshals her research and writes with tempered prose. Still, when her subject is so well placed that she witnesses young George Gershwin playing a new piece called Rhapsody in Blue and introduces directors to a tall guy named Frank (later Gary) Cooper, it's hard not to become a little breathless. There's also a gossipy, epic quality that inspires page-turning: Will entertainment mogul Joseph Kennedy hurt Thomson's career? What will Marion do at MGM after her beloved friend Irving Thalberg dies? At the book's conclusion, what stands out are the friendships. As Marion says, `` `Contrary to the assertion that women do all in their power to hinder one another's progress, I have found that it has always been one of my own sex who had given me a helping hand when I needed it.' '' A triumph of discovery in the often strip-mined quarry of film history.
Pub Date: March 24, 1997
ISBN: 0-684-80213-9
Page Count: 480
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1997
BOOK REVIEW
BOOK REVIEW
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
A potent depiction of grief, but also a book lacking the originality and acerbic prose that distinguished Didion’s earlier...
A moving record of Didion’s effort to survive the death of her husband and the near-fatal illness of her only daughter.
In late December 2003, Didion (Where I Was From, 2003, etc.) saw her daughter, Quintana Roo Dunne, hospitalized with a severe case of pneumonia, the lingering effects of which would threaten the young woman’s life for several months to come. As her daughter struggled in a New York ICU, Didion’s husband, John Gregory Dunne, suffered a massive heart attack and died on the night of December 30, 2003. For 40 years, Didion and Dunne shared their lives and work in a marriage of remarkable intimacy and endurance. In the wake of Dunne’s death, Didion found herself unable to accept her loss. By “magical thinking,” Didion refers to the ruses of self-deception through which the bereaved seek to shield themselves from grief—being unwilling, for example, to donate a dead husband’s clothes because of the tacit awareness that it would mean acknowledging his final departure. As a poignant and ultimately doomed effort to deny reality through fiction, that magical thinking has much in common with the delusions Didion has chronicled in her several previous collections of essays. But perhaps because it is a work of such intense personal emotion, this memoir lacks the mordant bite of her earlier work. In the classics Slouching Toward Bethlehem (1968) and The White Album (1979), Didion linked her personal anxieties to her withering dissection of a misguided culture prey to its own self-gratifying fantasies. This latest work concentrates almost entirely on the author’s personal suffering and confusion—even her husband and daughter make but fleeting appearances—without connecting them to the larger public delusions that have been her special terrain.
A potent depiction of grief, but also a book lacking the originality and acerbic prose that distinguished Didion’s earlier writing.Pub Date: Oct. 19, 2005
ISBN: 1-4000-4314-X
Page Count: 192
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2005
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