paper 0-231-11095-2 Early sound film is revealed as a morally lax medium ready for the boundaries of the Code and the steadying presence of FDR. In the opening chapter, Doherty (American and Film Studies/Brandeis; Projections of War: Hollywood, American Culture, and World War II, 1993) sets the scene for the wild era, showing how the Great Depression and the transition to sound technology created nervous studios and cynical, antiauthoritarian audiences. He then surveys popular genres—adventure, gangster, horror, prison, and sex movies, comedies and newsreels, preachment yarns—and illustrates the antigovernment sentiment, sexual ambiguity, and vice that dominated the screen in films such as Wild Boys of the Road, Scarface, and The Sign of the Cross. Although the Production Code was introduced in 1930, it was not until 1934, with the threat of federal regulation and the “calming equilibrium” of President Franklin Roosevelt, that it was adopted by the film industry. For studios, the code’s effects were positive: immediately after the establishment of the Production Code Administration, movie attendance increased and studios rebounded. For pre-code headliners, the effects were mixed, as Doherty’s analyses of the Marx Brothers and Mae West attest. Just as the need for national unity during the Great Depression gave reason for the Production Code, so postwar prosperity allowed Americans the personal freedom and “wider selection of moral options” that killed it. Ironically, the death knell came from a Hollywood insider: Alfred Hitchcock, with Psycho (1960), the shocking film that left the Code “walking dead.” Scholarly but at ease with a Hollywood aside or period slang, this book sits in style between Andrew Bergman’s We’re in the Money and Stanley Cavell’s Pursuits of Happiness, two other codifications of film eras or genres. As for what was missed, why not have examined the pre-code continental wantonness of Lubitsch films, which make moral and criminal liberties second nature? Providing a nearly complete chronicle and casting unifying light on an unexplored era in film, this may become a standard. Useful appendices include the text of the Production Code. (67 b&w photos, not seen)
Pub Date: Sept. 1, 1999
ISBN: 0-231-11094-4
Page Count: 400
Publisher: Columbia Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2000
BOOK REVIEW
BOOK REVIEW
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorker staff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
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