CARY GRANT

A BRILLIANT DISGUISE

A wounded Cockney lad becomes a renowned movie star.

Among the several biographies of Cary Grant (1904-1986), prolific film historian Eyman’s version garners top billing. Replete with meticulous research, perceptive observations, and sharp critiques, this account of the actor’s life consistently engages and illuminates. The author focuses on the perennial actor’s tale: The protagonist flees a squalid childhood, first through fantasy and then through the realities of fame, glamour, and wealth. Grant was born Archibald Leach to working-class parents in Bristol, England. When he was 11, his alcoholic, emotionally absent father had his “emotionally and intellectually erratic” wife committed to an asylum for 20 years. Archie escaped this trauma at the local music hall, first working odd jobs and then appearing onstage, where he demonstrated a talent for comic gymnastics. Vaudeville work ensued, and the 16-year-old acrobat deserted a tour of America to work on Broadway. Soon came film work in Hollywood, as Archie gradually became the eternally suave, impeccably groomed Cary Grant. Honing his skills, Grant survived several undistinguished early efforts to make “an astonishing run of films” in which “his willingness to play the fool implied an ironic attitude toward his own good looks.” Backing encomiums of praise from Grant’s colleagues are Eyman’s keen descriptions of the actor’s techniques manifest in films such as Bringing Up Baby, The Awful Truth, Notorious, and None but the Lonely Heart. Grant’s personal life, on the other hand, gets mixed reviews: Only his fifth marriage succeeded, though the birth of a child during his fourth marriage, to Dyan Cannon, brought him lasting happiness. Canny business dealings, meanwhile, provided enormous financial reward. To the undying rumors that Grant was gay, Eyman replies, “there is plausible evidence [which the author examines] to place him inside any sexual box you want—gay, bi, straight.” The author’s vivid profiles of Grant’s co-workers—designer Orry-Kelly, director Leo McCarey, writer Clifford Odets, and many others—create a colorful mural of Hollywood during its golden age.

Top-shelf film history.

Pub Date: Oct. 20, 2020

ISBN: 978-1-5011-9211-1

Page Count: 576

Publisher: Simon & Schuster

Review Posted Online: June 16, 2020

Kirkus Reviews Issue: July 1, 2020

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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 48 LAWS OF POWER

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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A conversational, pleasurable look into McConaughey’s life and thought.

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GREENLIGHTS

All right, all right, all right: The affable, laconic actor delivers a combination of memoir and self-help book.

“This is an approach book,” writes McConaughey, adding that it contains “philosophies that can be objectively understood, and if you choose, subjectively adopted, by either changing your reality, or changing how you see it. This is a playbook, based on adventures in my life.” Some of those philosophies come in the form of apothegms: “When you can design your own weather, blow in the breeze”; “Simplify, focus, conserve to liberate.” Others come in the form of sometimes rambling stories that never take the shortest route from point A to point B, as when he recounts a dream-spurred, challenging visit to the Malian musician Ali Farka Touré, who offered a significant lesson in how disagreement can be expressed politely and without rancor. Fans of McConaughey will enjoy his memories—which line up squarely with other accounts in Melissa Maerz’s recent oral history, Alright, Alright, Alright—of his debut in Richard Linklater’s Dazed and Confused, to which he contributed not just that signature phrase, but also a kind of too-cool-for-school hipness that dissolves a bit upon realizing that he’s an older guy on the prowl for teenage girls. McConaughey’s prep to settle into the role of Wooderson involved inhabiting the mind of a dude who digs cars, rock ’n’ roll, and “chicks,” and he ran with it, reminding readers that the film originally had only three scripted scenes for his character. The lesson: “Do one thing well, then another. Once, then once more.” It’s clear that the author is a thoughtful man, even an intellectual of sorts, though without the earnestness of Ethan Hawke or James Franco. Though some of the sentiments are greeting card–ish, this book is entertaining and full of good lessons.

A conversational, pleasurable look into McConaughey’s life and thought.

Pub Date: Oct. 20, 2020

ISBN: 978-0-593-13913-4

Page Count: 304

Publisher: Crown

Review Posted Online: Oct. 27, 2020

Kirkus Reviews Issue: Dec. 1, 2020

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