A profound and richly satisfying reckoning with the movies and what they mean.

THE BIG SCREEN

THE STORY OF THE MOVIES

Thomson (The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder, 2009, etc.) brings his encyclopedic knowledge of film and idiosyncratic, allusive style to bear on this ambitious consideration of the history of motion pictures and their effect on the audience.

The author goes beyond mere survey and analysis to question what movies mean to us and how they have shaped our perceptions and beliefs. Thomson chronicles the development of movies from Eadweard Muybridge’s 19th-century photographic experiments to the phenomenon of Internet pornography. Along the way, he explicates the excitement and politically fraught evolution of Soviet cinema, the provocations of the European New Wave, the allure of film noir and the world-shaking product of Hollywood, but the author makes no attempt to give a comprehensive or strictly linear history of the medium. Thomson is more interested in making striking connections, looking deeply at particular films, such as Brief Encounter (a surprising subject for such intense scrutiny and indicative of Thomson’s iconoclastic bent) or the TV landmark I Love Lucy, to pursue the central question of his history: What does life in front of screens do to us? Thomson’s approach is lyrical and questing rather than academic; the book is accessible to anyone with more than a passing interest in the subject, written in a distinctive voice, learned and authoritative without pedantic dryness and touched with wonder and trepidation at the primal power of the image. Readers familiar with the author’s Biographical Dictionary of Film will be happy to note that Thomson’s beguiling knack for capturing the essences of our movie icons in poetic or provocative asides has not diminished, and the scholarship on display is first-rate. However, the heart of this unique overview is the author’s ambivalence about the power we grant those shadows on the wall.

A profound and richly satisfying reckoning with the movies and what they mean.

Pub Date: Oct. 16, 2012

ISBN: 978-0-374-19189-4

Page Count: 592

Publisher: Farrar, Straus and Giroux

Review Posted Online: Oct. 4, 2012

Kirkus Reviews Issue: Nov. 1, 2012

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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