by James Harvey ‧ RELEASE DATE: July 8, 2014
Harvey’s meticulously close reading of movies illuminatingly analyzes both the “controlling sensibility” of stars and the...
A movie critic considers the mystery of star power.
Playwright and essayist Harvey (Emeritus, Film and Literature/SUNY, Stony Brook; Movie Love in the Fifties, 2001, etc.) takes his title from James Baldwin’s observation about movie stars: “One does not go to see them act; one goes to watch them be.” A star’s personality, the author contends, transcends particular performances to generate “enforced intimacy” with the viewer. “A screen star,” he writes, “generally appropriates her role rather than disappearing into it (as an ordinary actor might do).” Greta Garbo, for example, “offered something that approached sublimity,” which emerged even in the “dead weight” of a movie like Anna Karenina (1935). Ingrid Bergman shone like “a goddess” even when miscast, “because it’s her more than the character…that you respond to.” Beginning with stars of the 1930s and ’40s, Harvey analyzes performances by Garbo, Marlene Dietrich, Bette Davis, John Wayne, Bergman and Charles Laughton. In a section on “realists,” he turns to Robert De Niro, notably his role as Noodles in Sergio Leone’s Once Upon a Time in America (1984); performances by Lily Tomlin and Ronee Blakley in Robert Altman’s Nashville (1975); and Pam Grier, the raunchy heroine of Quentin Tarantino’s Jackie Brown (1997). Harvey also looks at directors such as Jean-Luc Godard, whose masterful close-ups celebrated star quality, and Carl Theodor Dreyer, “arguably the preeminent ‘religious’ filmmaker of our modern cinema time.” He cites Dreyer’s The Passion of Joan of Arc (1928), in which Maria Falconetti had an “overwhelming star turn” as Joan. “There is something religious about the movie experience,” the author writes, and he ends his film journey with a worshipful exegesis of Robert Bresson’s Balthazar (1966), in which the star is a donkey.
Harvey’s meticulously close reading of movies illuminatingly analyzes both the “controlling sensibility” of stars and the viewer’s process of “intense watching.”Pub Date: July 8, 2014
ISBN: 978-0-571-21197-5
Page Count: 432
Publisher: Faber & Faber/Farrar, Straus and Giroux
Review Posted Online: May 6, 2014
Kirkus Reviews Issue: May 15, 2014
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by Charlayne Hunter-Gault ‧ RELEASE DATE: Nov. 1, 1992
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
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by John Carey ‧ RELEASE DATE: April 21, 2020
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
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by David Hajdu ; illustrated by John Carey
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