Big, heart-heavy bio of Garland that—though never stylish- -holds throughout. Shipman wrote the huge, chatty film history The Story of Cinema (1984). One wonders, starting out, what new stuff Shipman has dug up. Whole books study passages in Garland's life, such as the making of The Wizard of Oz and of A Star Is Born, and the shooting of her TV series. Must we settle for fresh dirt on her sex life? Yes, her bisexuality takes up a page or two; her husband/director Vincente Minnelli's homosexuality is scanned; and, at one point, we find Garland climbing into the back seat and fellating her gay hairdresser after she's failed to bring her driver to climax by hand. But such ginger-flavored passages are fairly rare. What we really get is the unbelievable downhill slide of a stupendous talent who could reduce seven thousand people at once to sloppy tears, even near her end. At the age of 12, she sang like ``a woman with a heart that had been hurt.'' Though a child, Garland outstripped her two older sisters in their stage act together. One wonderful night as an adult, when she ran out of encores, the audience sang ``Auld Lang Syne'' to her. Garland rises time and again here through death's trapdoor, each resurrection thrilling as she gets back up and rips out her heartstrings. This is a sad story: Pills, pills, pills, from girlhood on. Huge earnings, endless hospitals. Slit wrists, blamed on her mother, and teenage daughter Liza caring for Garland's crumbling ego. Tax problems, quarrels with film and TV studios, broken contracts, cancellations. Then the Big Cancel. If you can take it, it's a great story. (Twenty-four pages of b&w photographs)

Pub Date: June 10, 1993

ISBN: 1-56282-846-0

Page Count: 512

Publisher: Hyperion

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 1993

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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

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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.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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