Tediously written and sloppy—barely an also-ran for any film buff's shelf. (49 film stills)
A revised and updated version of And the Winner Is . . . (1987) provides a decidedly less-than-stellar overview of Hollywood’s annual exercise in tackiness and self-congratulation.
Levy (Cinema of Outsiders, 1999, etc.), senior film critic for Variety, identifies the motive behind the founding of the Academy of Motion Pictures Arts and Sciences in 1927 as a desire to establish the film industry “as a respectable, legitimate institution,” an ambition that has borne fruit in the Academy Awards: “part variety show, part news event, part horse race, part fashion display—and all promotion.” In theory, he has a subject of such intrinsic interest that simply presenting nuggets of trivia (e.g., that Ben-Hur was the first remake ever to win Best Picture) is a sure-fire winner. Unfortunately, his narrative reads like a collection of index cards endlessly reshuffled into different topics, such as early and late recognition of nominees, types of roles most associated with Oscar winners, and the award’s impact on winners. Much of this information will not surprise Oscar junkies. What will surprise them are some of Levy’s “facts” about nominated films: that Anatomy of a Murder hinges on the alleged rape of Lee Remick by a black tavern owner; that Blanche DuBois of A Streetcar Named Desire is a “repressed” Southern belle; and that Forrest Whitaker (rather than Stephen Rea) is shocked by Jaye Davidson’s real gender in The Crying Game. Levy also displays a tin ear for such nuances of language as correct word usage, noting for example that Nurse Ratched of One Flew Over the Cuckoo’s Nest is “indoctrinary” when he means “doctrinaire.” At times, he produces what can only be viewed as unintentional howlers. Does he really think that Mildred Pierce gave Joan Crawford “a perfect role that captured the essence of her offscreen life”? Christina Crawford might beg to differ.
Tediously written and sloppy—barely an also-ran for any film buff's shelf. (49 film stills)Pub Date: Feb. 23, 2001
ISBN: 0-8264-1284-X
Page Count: 384
Publisher: Continuum
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2001
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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