A readable, delightful work of film/cultural history for movie fans.
A noted authority on all things Texas, Graham (English/Univ. of Texas, Austin; State of Minds: Texas Culture and Its Discontents, 2011, etc.) turns his attention to film with this authoritative tale of “Big Texas Oil” and the epic movie Giant (1956).
At the “top of his game” after A Place in the Sun (1951) and Shane (1953), George Stevens, the film’s “often inscrutable” director, was anxious to film Edna Ferber’s latest novel, Giant, about a Texas ranching empire and the clash between old ranch aristocracy and the new breed of oilmen. Hollywood was abuzz as the cast took shape. For the main part of Bick Benedict, Clark Gable, Gary Cooper, Robert Mitchum, Charlton Heston, and Errol Flynn, among others, were passed over for Rock Hudson, who was popular with teenagers. For the role of Bick’s wife, Leslie, Stevens “had his heart set on Audrey Hepburn” and then Grace Kelly, but Elizabeth Taylor got the role: “Stevens didn’t choose Taylor so much as she chose him.” Alan Ladd, Marlon Brando, and Richard Burton were passed over for a young actor with “little-boy wounds…brash bad-boy behavior and exposed nerve endings,” the “rebel,” James Dean, as the “surly, resentful ranch hand Jett Rink.” Dean died during production. Graham recounts in detail filming in the small, still-segregated-by-“custom” town of Marfa, whose citizens would soon learn that the film was a “powerful indictment of racial intolerance in Texas, and in the United States.” Peppered throughout are lively profiles of the crew and actors, which also included Dennis Hopper and Carroll Baker. Cultural critic Rebecca Solnit called Giant “a freak: a wildly successful mid-1950s Technicolor film about race, class, and gender from a radical perspective, with a charismatic, unsubjugated woman at the center.” As Graham notes, the film “keeps finding new ways to speak to Americans across the decades.” Stevens won an Academy Award; Hudson and Dean got best actor nominations.
A readable, delightful work of film/cultural history for movie fans.Pub Date: April 10, 2018
ISBN: 978-1-250-06190-4
Page Count: 336
Publisher: St. Martin's
Review Posted Online: Dec. 23, 2017
Kirkus Reviews Issue: Jan. 15, 2018
BOOK REVIEW
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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