A diverting meander through a life in showbiz.



The handsome actor reminisces about the passing of a more glamorous Hollywood, settles some old scores and examines his passionate relationship with Natalie Wood.

Perhaps best known for his role as the suave, mystery-solving millionaire on the TV series Hart to Hart, Wagner grew up struggling to please his distant, disapproving father. As a young actor, he was drawn to an older generation of male stars, idolizing and befriending the likes of James Cagney and Clark Gable in a bid for more congenial paternal lights to steer by. This identification with an older style of movie glamour slightly marginalized Wagner as the Method propelled intense, mumbling actors like James Dean and Paul Newman to superstardom, leaving him to flounder in a series of forgettable, lightweight parts. The preternaturally good-looking young man still managed to enjoy himself, cutting a mighty swath through hordes of hopeful starlets and not a few more mature actresses, including a memorable layover with the sultry Yvonne De Carlo. Wagner recounts these adventures in surprisingly salty detail, which is great fun. Less fun are his gripes about producers’ and directors’ unfairness or incompetence, tales of real-estate deals, anecdotes about children and the like, which will tax the patience of even the most generous reader. Fortunately, he provides much more gripping material concerning his stormy relationship with Wood. They were one of the original celebrity couples: Married in 1957, separated in 1961 and divorced a year later, they remarried in 1972 and were still together when she tragically drowned in a 1981 boating accident that has invited morbid speculation for decades. Wagner is open about the emotional torment he suffered during their separation, confessing to murderous feelings toward Warren Beatty, Wood’s post-divorce boyfriend. His account of the fateful boat trip, which included a protracted, nearly violent argument between Wagner and eccentric actor Christopher Walken, delivers a mesmerizing sense of queasy fatefulness.

A diverting meander through a life in showbiz.

Pub Date: Oct. 1, 2008

ISBN: 978-0-06-137331-2

Page Count: 314

Publisher: Morrow/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2008

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.


The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...


Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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