Essential reading for fans of the epochal (and reportedly soon to be remade) movie as well as movie-history and Western...


Muscular study of Sam Peckinpah’s groundbreaking 1969 film, “the last Western.”

Texas journalist, historian, and poet Stratton (Floyd Patterson: The Fighting Life of Boxing’s Invisible Champion, 2012, etc.) charts the evolution of Peckinpah’s classic and perhaps best-known movie at the half-century mark. Peckinpah had had glimmerings of the story years before making it, with a script and cast that grew and changed considerably owing to several influences, not least of them the violent time in which it was finally made. Stratton pulls together big strands of story: the history of the Mexican revolutionary period, Peckinpah’s own fascination with Mexico, the history of U.S.–Mexico relations, the history of moviemaking itself. On the latter, the author draws a straight line from John Ford’s 1939 film, Stagecoach, to The Wild Bunch 30 years later, both for its less-than-virtuous heroes and its paving the way for “a stampede of Western movies with increasingly sophisticated characters and plotlines.” Peckinpah wrote the movie with Lee Marvin in mind as the central figure, Pike Bishop, but Marvin’s agent wasn’t enthusiastic; in any event, Paramount lured Marvin with an unheard-of $1 million fee for another Western, the painfully terrible Paint Your Wagon. Peckinpah and his producer, Stratton reveals through some careful filmic detective work, considered Robert Mitchum, Sterling Hayden, and Charlton Heston before landing on William Holden, “a first-rate actor but also a deeply troubled man, a real-life killer himself.” Holden wasn’t the easiest actor to work with, but with Robert Ryan, who had “a deeply lined face that seemed to be cut from boot leather,” he anchored what Stratton doesn’t hesitate to brand “a love affair between two men”—a “bromance," that is, one that broadened to include such players as Ernest Borgnine, L.Q. Jones, Strother Martin, Jaime Sánchez, and Ben Johnson. And a blood-soaked, protest-inducing bromance at that….

Essential reading for fans of the epochal (and reportedly soon to be remade) movie as well as movie-history and Western buffs generally.

Pub Date: Feb. 12, 2019

ISBN: 978-1-63286-212-9

Page Count: 352

Publisher: Bloomsbury

Review Posted Online: Nov. 12, 2018

Kirkus Reviews Issue: Dec. 1, 2018

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This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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