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BOMB SHELL

Name: BOMB SHELL
Author: David Stenn
ISBN: 0-385-42157-5

THE LIFE AND DEATH OF JEAN HARLOW

by David Stenn ‧ RELEASE DATE: Oct. 1, 1993

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Rather winning life of Jean Harlow, with some revisions on the tale offered by Samuel Marx and Joyce Vanderveen in Deadly Illusions (1990)—and many fresh interviews plus a handful of new folks speaking out who have kept silent until now. Stenn (the well-received Clara Bow, 1988) gives a sympathetic, well-rounded Harlow—one immensely superior to the Harlow (1965) by Irving Shulman and Arthur Landau that prompted two scurrilous film bios back in the mid-60's—but he doesn't actually add much to the Harlow we already know. Aside from massaging the boot blows by Shulman and Landau, and cleaning up the suicide of Harlow's second husband, producer Paul Bern, this is more a refresher course than a set of discoveries. The big, definitive life is yet to be written, although most of Harlow's intimates are dead and still fresher material than Stenn's is not likely. The best qualities here are Stenn's attention to his subject's acting and the growth of her talent, and Harlow's often physical presence on the page, especially in her wacky nude scenes with studio photographers and at parties, and in Stenn's capturing of her shyness, the modesty at the core of the woman, which her nude moments only enforce. Yes, Jean Harlow, aided by her mother, would ice her breasts to a tight firmness and play scenes braless—but this was ``Jean Harlow'' the image and top moneymaker for MGM, not Harlean Carpenter, the towhead deep inside the image. The biggest villain in this bio is Mother Jean, ``who had slave-driven her [daughter] to stardom, sabotaged her marriages, squandered her money, and sacrificed her happiness.'' Harlow, going by Stenn, was marked for early death when her mother, a Christian Scientist, didn't have Jean properly diagnosed at 15 for the nephritic infection that killed her at 26. Between takes, a platinum Venus sits firmly on your lap, knitting socks. (Sixty photos)

Pub Date: Oct. 1, 1993

ISBN: 0-385-42157-5

Page Count: 380

Publisher: Doubleday

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1993

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.