A well-meaning but flawed book about legendary filmmakers.
A prolific film critic offers analyses of noteworthy directors.
Despite the subtitle, Thomson presents a series of personal assessments of a handful of filmmakers. “I have omitted so many people,” he admits. Indeed, there are chapters on Fritz Lang, Luis Buñuel, Howard Hawks, and Orson Welles but not Sergei Eisenstein, Francois Truffaut, Akira Kurosawa, and many others. Much of this material appears in greater detail in other, better books, including some of Thomson’s own works. A typically florid sentence is the author’s appraisal of Hitchcock: “A time may come when he stands for Movies in the way Attila the Hun bestrides the Dark Ages or Cleopatra signifies Ancient Egypt.” Thomson’s opinions are often based on debatable logic. He notes with sadness that Jean Renoir’s The Rules of the Game has fallen behind Vertigo in greatest-films surveys, but even readers who agree that Vertigo is the lesser film might be baffled by the author’s claim that its triumph over Renoir’s indictment of maladjusted sophisticates represents “opting for neurosis over reason.” Curiously for such an acclaimed film critic, Thomson gets facts wrong. For example, he claims The Piano wasn’t nominated for Best Picture the year Driving Miss Daisy won. The Piano came out four years after Daisy, and it was nominated but lost to Schindler’s List. While the author makes some progressive statements—e.g., that the film industry needs more respect for women—he undercuts them with tin-eared comments, such as when noting the camera’s infatuation with Catherine Deneuve in Belle de Jour: “I have a similar wish to dwell on the smoothness of Deneuve’s skin.” Only one chapter focuses on women directors. But at least the book has some memorable lines: “There are instants in Pierrot le Fou where its grasp of love and love’s death are like hummingbirds on your veranda, while Doctor Zhivago is a pantechnicon struggling up a distant hill with a grand piano to be carried up the stairs.”
A well-meaning but flawed book about legendary filmmakers.Pub Date: March 23, 2021
ISBN: 978-0-593-31815-7
Page Count: 304
Publisher: Knopf
Review Posted Online: Oct. 2, 2020
Kirkus Reviews Issue: Nov. 1, 2020
The heartbreaking story of an emotionally battered child delivered with captivating candor and grace.
The former iCarly star reflects on her difficult childhood.
In her debut memoir, titled after her 2020 one-woman show, singer and actor McCurdy (b. 1992) reveals the raw details of what she describes as years of emotional abuse at the hands of her demanding, emotionally unstable stage mom, Debra. Born in Los Angeles, the author, along with three older brothers, grew up in a home controlled by her mother. When McCurdy was 3, her mother was diagnosed with breast cancer. Though she initially survived, the disease’s recurrence would ultimately take her life when the author was 21. McCurdy candidly reconstructs those in-between years, showing how “my mom emotionally, mentally, and physically abused me in ways that will forever impact me.” Insistent on molding her only daughter into “Mommy’s little actress,” Debra shuffled her to auditions beginning at age 6. As she matured and starting booking acting gigs, McCurdy remained “desperate to impress Mom,” while Debra became increasingly obsessive about her daughter’s physical appearance. She tinted her daughter’s eyelashes, whitened her teeth, enforced a tightly monitored regimen of “calorie restriction,” and performed regular genital exams on her as a teenager. Eventually, the author grew understandably resentful and tried to distance herself from her mother. As a young celebrity, however, McCurdy became vulnerable to eating disorders, alcohol addiction, self-loathing, and unstable relationships. Throughout the book, she honestly portrays Debra’s cruel perfectionist personality and abusive behavior patterns, showing a woman who could get enraged by everything from crooked eyeliner to spilled milk. At the same time, McCurdy exhibits compassion for her deeply flawed mother. Late in the book, she shares a crushing secret her father revealed to her as an adult. While McCurdy didn’t emerge from her childhood unscathed, she’s managed to spin her harrowing experience into a sold-out stage act and achieve a form of catharsis that puts her mind, body, and acting career at peace.
The heartbreaking story of an emotionally battered child delivered with captivating candor and grace.Pub Date: Aug. 9, 2022
ISBN: 978-1-982185-82-4
Page Count: 320
Publisher: Simon & Schuster
Review Posted Online: May 30, 2022
Kirkus Reviews Issue: July 1, 2022
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
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