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KEEPERS

THE GREATEST FILMS—AND PERSONAL FAVORITES—OF A MOVIEGOING LIFETIME

Schickel found writing this collection “a rather playful business”; readers will find it infused with his joy.

A noted critic celebrates the pleasure of movies.

By his own count, film critic Schickel (Conversations with Scorsese, 2011, etc.) has seen 22,590 movies. After a 40-year career as “a professional moviegoer,” he admits that he prefers popular movies to “art” films, although his eclectic list of keepers includes some decidedly arty directors, such as Wim Wenders and German expressionist F.W. Murnau. Beginning with the first two decades of the talkies, Schickel praises the exemplary Charlie Chaplin in a movie not well regarded by others, The Circus (1928). To the author, the climax, which “features Chaplin doing a high-wire act while beset by a troop of monkeys,” is “breathtaking in its intricacy, and its thrills.” Murnau’s Nosferatu (1922) seems to him “the greatest of the Dracula movies,” but he believes Fritz Lang’s Metropolis (1927) and M (1931) to be overrated. Carl Theodor Dreyer’s The Passion of Joan of Arc (1928) was “a great act of modernism”; William Wellman’s The Public Enemy (1931), an iconic gangster picture. The author remarks on virtually every director, from D.W. Griffith to Rouben Mamoulian (a “half-forgotten genius”), Clint Eastwood to Steven Spielberg. He thinks Woody Allen is “trapped by his gift” of creating comedy. Annie Hall (1977), though a huge hit, is only a “charming movie, but scarcely an overpowering one,” and Radio Days (1987) seems to Schickel “one of Woody’s most accomplished films.” Although he concedes that Werner Herzog’s Aguirre, the Wrath of God (1972) “is not everyone’s dish of tea,” he deems it “an important film because there were not many before it that were essays in pure insanity.” A great admirer of Martin Scorsese, Schickel thought Mean Streets (1973) was clumsy, but Raging Bull (1980) and Taxi Driver (1976) were masterpieces.

Schickel found writing this collection “a rather playful business”; readers will find it infused with his joy.

Pub Date: June 23, 2015

ISBN: 978-0-375-42459-5

Page Count: 320

Publisher: Knopf

Review Posted Online: Feb. 23, 2015

Kirkus Reviews Issue: March 15, 2015

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NUTCRACKER

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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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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