Tough-talking 'tecs, femme fatales, hard-bitten loners, mystery, eros, danger: With rich ingredients like this, it's hard to go wrong, and Christopher certainly doesn't disappoint in this intelligent, thoroughgoing study of film noir. Like that other uniquely American film genre, the western, film noir provides almost illimitable metaphorical and metaphysical illuminations of the national psyche (as a French critic once observed, film noir is America's stylization of itself). From 1945 to 1955 Hollywood produced more than 300 of these hard-edged, cynical, even nihilistic dramas, classic films such as Double Indemnity, Kiss Me Deadly, and Sunset Boulevard. Novelist (Veronica, 1996, etc.) and poet Christopher (though he also includes here such modern noirish films as Taxi Driver, The Usual Suspects, and the groundbreaking sci-fi noir, Blade Runner) agrees with the prevailing critical view that noir was largely a response to WW II. The old screwball comedies of the '30s just didn't seem to work after such massive death and destruction. And the atomic bomb and the Cold War meant that the world could easily and quickly be annihilated. Mechanization and urbanization had created sprawling, depersonalized cities as convoluted as mazes. In fact, Christopher identifies the labyrinth as one of the noir's key figurations. Part Borges, part Freud, it is every confusion modern life labors us with. It is also the classic noir plot: The hero (usually a man) finds himself trapped in increasingly perilous circumstances (usually involving a ``dangerous dame'') from which he can't escape. Despite a number of minor factual mistakes, Christopher's analysis of various films is shrewd and revealing. He manages to tease out a number of subtle connections and similarities among films, everything from the role of dreams to gender issues to noir's attitude toward capitalism. An encyclopedic and very readable appreciation that will probably send many readers hurrying to the video store.
Pub Date: March 12, 1997
ISBN: 0-684-82803-0
Page Count: 288
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1997
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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