Deft and probing, with stunningly close-up glimpses of a maniac’s ascendancy.
Penetrating biography of a man once on such intimate terms with Hitler that his son would know the Holocaust’s progenitor as “Uncle Dolph.”
Dubbed “Putzi,” an affectionate nickname from his American mother that haunted his entire adult life, Ernst Hanfstaengl was born in 1887 to a prominent Bavarian family engaged in publishing reproductions of fine art. He struggled academically at Harvard, though he was well liked as a bon vivant and party pianist, but managed to graduate in 1909. Running the family’s New York gallery, he became an acquaintance of Franklin Delano Roosevelt’s through the Harvard Club. The stage was thus set for a fascinating double life, notes Conradi, deputy foreign editor of the London Times. By 1921, Putzi had married Helene Neimeyer, daughter of German immigrants, and they had a son, Egon, but he was at odds with an older brother and decided to return home. Urged by a friend to hear Hitler speak, Hanfstaengl sensed that a country in turmoil was prone to Nazism’s lures. He joined Hitler’s entourage as a “civilizing” tutor, piano-therapist (playing Hitler’s favorite Wagnerian themes), and sometime pimp (he often worried about the leader’s lack of a sex life); later he became the party’s foreign press liaison. Fleeing the failed 1923 Munich Beer Hall putsch, Hanfstaengl made for Austria while Hitler went to Putzi’s country house, where Helene and Egon were waiting. The police followed, and Hitler attempted suicide, but Helene, upon whom the Fuehrer had an obsessive, lap-dog crush, literally knocked the pistol out of his mouth, thus securing his place in history. Finally repelled by Hitler’s extremism, Putzi (divorced by his wife in 1936) narrowly escaped the Reich in 1937, ultimately becoming a key figure in FDR’s psy-war Project S.
Deft and probing, with stunningly close-up glimpses of a maniac’s ascendancy.Pub Date: Aug. 1, 2004
ISBN: 0-7867-1283-X
Page Count: 352
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2004
BOOK REVIEW
BOOK REVIEW
Brimming with open introspection, engaging anecdotes, and gorgeous photographs, Field’s moving account sheds light on how...
A beloved actor attempts to assemble her fragmented past.
In her debut memoir, Field (b. 1946) takes to the page to explore her early life and storied acting career; she also pens an extended love letter to her mother, who died in 2011, on the author’s 65th birthday. Described by the author as “drop-your-jaw beautiful,” Margaret Morlan was discovered by a Paramount talent scout while sitting in a Pasadena Playhouse audience and instantly got a career at age 23. Affectionately called “Baa” by Field, Morlan never achieved anywhere near her eldest daughter’s screen credits, but she played a central role throughout Field’s life as both a peerless champion of and “backup generator” to her daughter’s burgeoning talents. Baa was also a complicated source of great psychological trauma, as she failed to protect her daughter from the sexual advances of her stepfather, stuntman Jock Mahoney. While the memoir details the rapid progression of Field’s childhood interest in acting to on-screen success in TV (from Gidget and The Flying Nun to winning the Emmy for Sybil in 1977) and film (for Norma Rae, she won “every award for best actress that existed in the United States”), Field’s narrative of her professional and personal achievements may be best viewed through the lens of her fraught relationship with Baa. “My cherished mother had known…something,” she writes. “What exactly that was, I didn’t want to hear, because even at that time, when I was middle-aged, I couldn’t bear the idea that she hadn’t run to my side….I had accepted the idea that I was broken in an effort to keep my mother whole.” Through acting, Field found a way to constitute herself: “By standing in Norma’s shoes, I felt my own feet. If I could play her, I could be me.”
Brimming with open introspection, engaging anecdotes, and gorgeous photographs, Field’s moving account sheds light on how playing larger-than-life figures has enabled her to keep her feet on the ground.Pub Date: Sept. 18, 2018
ISBN: 978-1-5387-6302-5
Page Count: 416
Publisher: Grand Central Publishing
Review Posted Online: Oct. 11, 2018
A fascinating, major work that will spark endless debates.
An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.
With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”
A fascinating, major work that will spark endless debates.Pub Date: April 21, 2020
ISBN: 978-0-06-229839-3
Page Count: 976
Publisher: Ecco/HarperCollins
Review Posted Online: Dec. 1, 2019
Kirkus Reviews Issue: Jan. 1, 2020
BOOK REVIEW
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