A new, different twist on familiar Brando stories.
With her debut memoir, Marlon Brando’s former executive assistant delivers a chatty tell-all about the often erratic Hollywood legend.
Peardon’s life story may cause readers to ask: Why would an intelligent, energetic and attractive young woman be friends with a man who once locked her in the trunk of a car for fun and threatened to cut her hand with a knife—even if his name was Marlon Brando? Gossip about the late actor’s troubled family life and accusations of his abusive behavior toward women are nothing new, but this memoir isn’t intended as another scathing account of the Hollywood icon. Instead, it’s a loving—and gushing—tribute to a friend, warts and all. Peardon met Brando in the late 1970s, when she was 20 and working as an assistant at her father’s dental office; Brando, in his 50s, was a patient. They were immediately attracted to each other, writes Peardon, but Brando wouldn’t have sex with her, he said, because he liked her father. Thus began their “on again off again” 28-year platonic friendship, during which Peardon sometimes worked for the difficult Brando; he fired her twice. The author writes about Brando with fawning adoration, quick to forgive and point out his good qualities, such as his commitment to civil rights issues. In some ways, Brando seems to have been a father figure to her, especially after her own father committed suicide; according to Peardon, her conversations with Marlon Brando helped her through many life challenges, including her divorce. The book re-creates dialogue between Peardon and Brando, which makes for a vivid, easy read, and also includes a few pictures, letters and handwritten notes from Brando himself. Alice Marchak, Brando’s personal assistant for 50 years, offers a tougher, more inside look into the legend’s day-to-day life in her 2008 memoir Me and Marlon, but hard-core fans may appreciate Peardon’s wide-eyed adulation.
A new, different twist on familiar Brando stories.Pub Date: April 3, 2013
ISBN: 978-0988455719
Page Count: 320
Publisher: The Falcon Press
Review Posted Online: March 22, 2013
Review Program: Kirkus Indie
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Startling, at times pretentious in its self-regard, but ultimately breathtaking: The Lost Weekend for the under-25 set.
Frey’s lacerating, intimate debut chronicles his recovery from multiple addictions with adrenal rage and sprawling prose.
After ten years of alcoholism and three years of crack addiction, the 23-year-old author awakens from a blackout aboard a Chicago-bound airplane, “covered with a colorful mixture of spit, snot, urine, vomit and blood.” While intoxicated, he learns, he had fallen from a fire escape and damaged his teeth and face. His family persuades him to enter a Minnesota clinic, described as “the oldest Residential Drug and Alcohol Facility in the World.” Frey’s enormous alcohol habit, combined with his use of “Cocaine . . . Pills, acid, mushrooms, meth, PCP and glue,” make this a very rough ride, with the DTs quickly setting in: “The bugs crawl onto my skin and they start biting me and I try to kill them.” Frey captures with often discomforting acuity the daily grind and painful reacquaintance with human sensation that occur in long-term detox; for example, he must undergo reconstructive dental surgery without anesthetic, an ordeal rendered in excruciating detail. Very gradually, he confronts the “demons” that compelled him towards epic chemical abuse, although it takes him longer to recognize his own culpability in self-destructive acts. He effectively portrays the volatile yet loyal relationships of people in recovery as he forms bonds with a damaged young woman, an addicted mobster, and an alcoholic judge. Although he rejects the familiar 12-step program of AA, he finds strength in the principles of Taoism and (somewhat to his surprise) in the unflinching support of family, friends, and therapists, who help him avoid a relapse. Our acerbic narrator conveys urgency and youthful spirit with an angry, clinical tone and some initially off-putting prose tics—irregular paragraph breaks, unpunctuated dialogue, scattered capitalization, few commas—that ultimately create striking accruals of verisimilitude and plausible human portraits.
Startling, at times pretentious in its self-regard, but ultimately breathtaking: The Lost Weekend for the under-25 set.Pub Date: April 15, 2003
ISBN: 0-385-50775-5
Page Count: 384
Publisher: Nan A. Talese
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2003
BOOK TO SCREEN
4 Book Adaptations to Check Out In December
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