A smart, fond backward glance at two trailblazers from an era when being the only woman in the room was not only the norm,...
Benjamin encores The Swans of Fifth Avenue (2016) with another glam story inspired by the legendary personalities and monkeyshines of America’s film pioneers.
Silent screen ingénue Mary Pickford (nee Gladys Louise Smith) and screenwriter Frances Marion meet cute on their way to becoming Hollywood A-listers—or, in Mary’s case, Hollywood royalty following her marriage to Douglas Fairbanks. An assiduous researcher, Benjamin quickly gets into the heads and hearts of both women, whose professional collaboration and personal friendship over six decades are laced with delicious film trivia, e.g. the secret of Pickford’s imperishable golden curls. Moving from “flickers” to “talkies” (which paradoxically required silence on formerly noisy sets) through star-studded wartime newsreels and Hollywood-style Prohibition (teacups filled with gin blossoms), Benjamin touches on the intrigues of an industry finding its legs. Pickford—the first film actress to become “a casualty of her own image”—is rendered in third person and comes off as a bit damaged (for good reason), while Marion—the first writer to win two Academy Awards—narrates her own story with an amused cockiness one might expect from a contemporary of Anita Loos and Adela St. John. Content to stay behind the scenes after briefly trying her hand at acting, Frances provides Mary with the scripts and roles that lock in her reign as “America’s Sweetheart,” giving Pickford the financial means to co-found (along with Fairbanks, Charlie Chaplin, and D.W. Griffith) United Artists, the first actor-directed film studio in America. When Mary decides to divorce her first husband (silent film idol Owen Moore—here depicted as a bad character), she turns to her twice-divorced friend for support, certain that “Fran would write her a way out of this.” She’s already prepaid the favor by setting Frances up with the love of her life, a gift that haunts their relationship to the end of their days.
A smart, fond backward glance at two trailblazers from an era when being the only woman in the room was not only the norm, but revolutionary.Pub Date: Jan. 16, 2018
ISBN: 978-1-101-88680-9
Page Count: 448
Publisher: Delacorte
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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