A revealing look behind the curtain—if not the persona—from the man who helped Garland reclaim the limelight after Hollywood...
Hollywood producer Luft reflects on his relationship with show business legend Judy Garland, whom he married (and managed) during the final great phase of her performing career.
The author, who died in 2005, had a reputation as a controlling Svengali, but he comes across here as concerned, pragmatic, and, more often than not, right about Garland’s professional trajectory. Luft was instrumental in the production of her critically heralded film comeback, A Star Is Born (1954), and he orchestrated her triumphant performances at the London Palladium and Broadway’s Palace Theatre, epochal shows that cemented her late-period legacy and led to the creation of her own TV series. Throughout, Luft credits Garland’s genius and gallantly excuses her erratic behavior, drug dependency, and financial recklessness as the inevitable results of a lifetime of exploitation at the hands of Hollywood. More interestingly, he candidly expresses his physical attraction to Garland and appreciation of her unconventional sexual appeal—his ardor reads as completely sincere—and expresses concern about the consequences of his laissez faire disposition toward Garland’s peccadilloes. Luft’s memoir was written in fits and starts over a period of many years and completed after his death with the aid of interview transcripts and other scattered sources, and the narrative frequently feels choppy, with strangely abrupt transitions. Still, Luft, a former boxer and test pilot, has a winningly direct and confident authorial voice. A Hemingway-esque man’s man, he doesn’t delve too deeply into psychology, but Garland fanatics will gobble up his detailed, insightful backstage accounts of Garland’s classic late productions and gossipy tidbits about their social circle, which included Humphrey Bogart and the Prince of Wales. The story ends darkly, as Garland falls under the sway of agents Freddie Fields and David Begelman, who, according to Luft, ruthlessly manipulated Garland into excising him from her career and personal life. On the evidence here, that was a terrible mistake.
A revealing look behind the curtain—if not the persona—from the man who helped Garland reclaim the limelight after Hollywood let her down.Pub Date: March 1, 2017
ISBN: 978-1-61373-583-1
Page Count: 480
Publisher: Chicago Review Press
Review Posted Online: Feb. 5, 2017
Kirkus Reviews Issue: Feb. 15, 2017
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 19, 2010
Kirkus Reviews Issue: July 15, 1998
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
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.
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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