A comprehensive guide to both a classic film and the era that created it.

HIGH NOON

THE HOLLYWOOD BLACKLIST AND THE MAKING OF AN AMERICAN CLASSIC

Courage under the gun, in both art and life.

In this history, Pulitzer Prize winner Frankel (The Searchers: The Making of an American Legend, 2013, etc.) tells the story of the well-known 1952 Western that became virtually an allegory of its own making. High Noon, in which Gary Cooper plays a lawman who has to face a gang of killers alone after he is deserted by his friends and town folk, was made in the thick of the Hollywood blacklisting era, when former or current Communists were dragged before the House Un-American Activities Committee and forced to choose between naming names or kissing their careers goodbye. High Noon entered this fray as kind of an ideological Trojan horse, a story of integrity under assault, written, produced, and directed by a team of socially committed liberals and starring the staunchly Republican Cooper. The book’s key figure is writer Carl Foreman, who at the time of production was under fire for his refusal to play ball with HUAC, a standoff that would last until well after the film was finished. At its heart, the book is the story, through one man’s experience, of how HUAC shaped destinies, as Foreman’s contretemps with HUAC threatened production and fractured his relationships with director Fred Zinnemann, producer Stanley Kramer, and numerous associates. (Cooper, to his credit, rarely let politics get in the way of his friendship with Foreman or with making a good movie.) Besides the macro picture of Hollywood in its darkest era, Frankel is excellent at capturing the micro aspects as well, fascinatingly weaving in multiple and competing accounts of how the film was pieced together in the editing room. The author is occasionally overly worshipful, as well as repetitious, in his appraisal of the film, but he can’t be faulted for lack of thoroughness or research.

A comprehensive guide to both a classic film and the era that created it.

Pub Date: Feb. 21, 2017

ISBN: 978-1-62040-948-0

Page Count: 384

Publisher: Bloomsbury

Review Posted Online: Dec. 14, 2016

Kirkus Reviews Issue: Jan. 1, 2017

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

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. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

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

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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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