Showing posts with label buster keaton. Show all posts
Showing posts with label buster keaton. Show all posts

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry Review

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry
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America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry ReviewThe National Film Registry is a fascinating endeavour. It collects, in the Library of Congress, what it deems the most important films in our history. NOT the best, necessarily (some of them are downright awful... Elia Kazan's "Wild River", anyone?); not necessarily the most famous (I'll wager there isn't a movie buff alive who won't find at least one or two films he/she's never heard of before). Even being a full-length film isn't required,(any number of 7 minute cartoons and, from earlier days, brief snippets like "The Kiss"). All that IS required is that the film, in some way or other, has contributed something unique to the history and/or art of film. What have each of the films in this book, the first 500 selections, contributed? THAT is what this marvelously readable compendium is all about! Indeed, I can't imagine ANY film fan worthy of the name who WOULDN'T want to read this.America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry Overview

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The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 Review

The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930
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The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 ReviewYou know you're dealing with a serious achievement when you read a book and can't conceive how one person was able to write it. Eyman does some amazing things in this book. He covers the BUSINESS side of the talkie revolution. He covers the TECHNOLOGICAL side of it. He covers the ARTISTIC side of it. And he covers the HUMAN side of it. Moreover, he does this in the context of a flowing narrative that drops some stories here and picks them up there, juggles one aspect with another; sets them aside, traces another development . . . without ever losing the flow, without ever losing the reader.I've read a lot of film books, and the skill and the intelligence of this one just amazed me. This is a dazzling piece of work, and it reads like a really good novel. I couldn't recommend a book more enthusiastically.The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 Overview

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American Silent Film Review

American Silent Film
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American Silent Film ReviewThis book, written by the late film expert William K. Everson, is one of the best that you will read on silent film. Everson covers the entire silent film era from its beginnings to the coming of sound. This book focuses on the artistic successes more than the business end of the topic. While he completely covers D.W. Griffith's career, he also champions other early directors like John Collins. He covers interesting topics like art direction (or the lack of) in many early films. While the scope of the book is American films, he devotes time to the influence of European films and filmmakers on American films.
This books is an excellent introduction to silent film, yet a person familiar with the topic will not be able to put it down either.American Silent Film OverviewPraised as the "best modern survey of the silent period" (New Republic), this indispensable history tells you everything you need to know about American silent film, from the nickelodeons in the early 1900s to the birth of the first "talkies" in the late 1920s. The author provides vivid descriptions of classic pictures such as The Birth of a Nation, Intolerance, Sunrise, The Covered Wagon, and Greed, and lucidly discusses their technical and artistic merits and weaknesses. He pays tribute to acknowledged masters like D. W. Griffith, Charlie Chaplin, Buster Keaton, Douglas Fairbanks, Mary Pickford, and Lillian and Dorothy Gish, but he also gives ample attention to previously neglected yet equally gifted actors and directors. In addition, the book covers individual genres, such as the comedy, western gangster, and spectacle, and explores such essential but little-understood subjects as art direction, production design, lighting and camera techniques, and the art of the subtitle. Intended for all scholars, students, and lovers of film, this fascinating book, which features over 150 film stills, provides a rich and comprehensive overview of this unforgettable era in film history.

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Silent Movies: The Birth of Film and the Triumph of Movie Culture Review

Silent Movies: The Birth of Film and the Triumph of Movie Culture
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Silent Movies: The Birth of Film and the Triumph of Movie Culture ReviewThis book is an absolute treasure. We're first seduced, of course, by the incomparable illustrations, many never published before--arresting movie stills, posters, lobby cards, promotional photographs. The stars, the directors, the cinematographers, the technological processes, the advertising stunts are all represented by artfully chosen items from the Library of Congress's extensive archives, and it's great fun to browse; while searching for favorite actors and films, we discover surprising images we never knew existed. But this is no slick coffee-table book. Peter Kobel is a brilliant writer whose clear, lively, graceful prose illuminates every aspect of the silent-film world. The book is thought-provoking, thoroughly researched, and substantive without ever being stuffy. Kobel has a light touch and his enthusiasm for his subject is compelling. He understands the films' creators and their audiences, and puts both masterfully into context. Silent Movies is a loving tribute that makes a strong case for increasing our efforts to save this endangered artistic legacy. A definitive, solid, and intoxicating book.Silent Movies: The Birth of Film and the Triumph of Movie Culture Overview

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Buster Keaton: Cut To The Chase Review

Buster Keaton: Cut To The Chase
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Buster Keaton: Cut To The Chase ReviewOn the positive side, this book talks about the lean years in Buster's life, including his second marriage, that are pretty much ignored in other books on Keaton. It offers a complete filmography at the end, and talks about what has happened to Buster's extended family in the years since his death. On the negative side, the author jumps to conclusions or offers her own opinions about what happened as facts. Like everyone else, I vehemently disagree with the functional illiteracy accusation. Did Buster lack formal education? absolutely. Was he illiterate? absolutely not, based on jobs he had at MGM that involved working on scripts and his own diary which prove otherwise. Buster was interested in his craft and had no use for going over contracts and legal issues with a fine-toothed comb, a character trait that was part of his undoing for sure, but not proof he couldn't have read them had he been interested.
The specific errors that the author makes include her claiming that by the late 50's Buster didn't even remember who Dorothy Sebastian was - part of her portrait of Buster as an emotional cripple. However, about the same time, Buster wrote, along with a ghost-author "My Wonderful World of Slapstick" in which he talks about the dilemma he was in when he met his third wife Eleanor while already involved with a woman with which he had an off-and-on relationship for the previous ten years, and how he wanted to break it off with this woman to pursue Eleanor without hurting the woman's feelings. He is obviously talking about Dorothy Sebastian here, but he comes from an era in which he doesn't want to "kiss and tell" and omits her name from the book. There are other erroneous conclusions in which the author totally misinterprets certain magazine articles to claim Buster is actually complaining about this or that. The point is, take this book with a grain of salt. Entertaining it is, entirely accurate it is not.
From reading this book - and others for that matter - the person who comes across as a total mystery to me is Natalie Talmadge - Keaton's first wife. Here again, the author adds her own conclusions about Natalie's attitudes that I can't see Natalie ever conveying to anyone who would have revealed them, but the following facts are inescapible:
a. Natalie spent a huge percentage of Buster's money on clothes she never wore and homes Buster really couldn't afford.
b. Natalie ceased sexual relations with Buster after the birth of their second child.
c. The effect of (a) was that Buster HAD to sign the contract with MGM in order to keep the money pouring in after his own studio closed.
d. The effect of (b) was that Buster looked elsewhere for female companionship.
e. The effect of (c) was that Buster became an alcoholic when he no longer had any creative control over his films and was reduced to a performer in movies he largely held in contempt.
f. Natalie ultimately divorced Keaton because of (d) and (e) and was seethingly angry with him for the rest of her natural life, when in fact her own actions ( (a) and (b) ) contributed to the whole cycle in the first place.
In spite of this obvious chain of events, Keaton never spoke evil of his first wife, a fact that even the author of this book admits. That truly makes him a class act in my book.Buster Keaton: Cut To The Chase Overview

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