Showing posts with label classic comedy. Show all posts
Showing posts with label classic comedy. Show all posts

Man on the Flying Trapeze: The Life and Times of W. C. Fields Review

Man on the Flying Trapeze: The Life and Times of W. C. Fields
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Man on the Flying Trapeze: The Life and Times of W. C. Fields ReviewLouvish seems to spend about a third of the book on Fields' life, another third criticizing Robert Lewis Taylor's earlier Fields biography, and a final third relating the history of the English Music Hall circa 1895-1915. (Pages and pages of this with no mention of Fields whatsoever!)
Taylor's book may be innacurate-but as another reviewer noted, it's a heck of a lot more entertaining.
Man on the Flying Trapeze: The Life and Times of W. C. Fields Overview

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The Making of Stan Laurel: Echoes of a British Boyhood Review

The Making of Stan Laurel: Echoes of a British Boyhood
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The Making of Stan Laurel: Echoes of a British Boyhood ReviewThis surprising little book is not a typical celebrity biography. Rather, it tells of the early years of film comedy legend Stan Laurel and his subsequent struggles to establish his career as a performer. In the process, it also insightfully highlights the correlations between Laurel's boyhood in England and motifs that appear in some of his films produced during his very successful career with Oliver Hardy. The book is well researched and supported with photos and other documents that enliven the narrative of Laurel's early years. Author Danny Lawrence--who was born and raised in Laurel's boyhood home of North Shields--is obviously proud of his hometown's most famous former resident, and his analysis is compelling without being clinical. "The Making of Stan Laurel: Echoes of a British Boyhood" will appeal not only to those interested in the life and career of Stan Laurel, but also to those interested in the history and evolution of the performing arts (theater to vaudeville to motion pictures to television) and most especially to those intrigued by the search for the source of creative and artistic inspiration. By uncovering a new dimension of Stan Laurel through the story of his boyhood and early years as a performer prior to his success in Hollywood, Lawrence deftly proves: "You can take the boy out of North Shields, but you can't take North Shields out of the boy." Ultimately, readers will be reminded of the comic genius of Laurel. And, like me, I suspect most will be prompted to watch a Laurel and Hardy movie (or two)--not just to confirm Lawrence's analysis, but also to enjoy some laughs with a new understanding and appreciation of the North Shields boy who became Stan Laurel, one of Hollywood's most influential and enduring stars.The Making of Stan Laurel: Echoes of a British Boyhood OverviewAs an adult, Stan Laurel (1890-1965) lived in the United States. As a boy, he lived in north-east England, the son of a prominent local theatrical figure. This ground-breaking biography examines Laurel's family background, his formative years and his struggle to establish a show business career. Stan retained the emotional bonds forged in his youth throughout his life and visited his boyhood homes during his UK tours with Oliver Hardy. Describing Stan Laurel's key roles in making his films with his partner Oliver Hardy so successful internationally, the book analyzes how Stan's boyhood experiences are often echoed in those films. It also notes his influence on successive generations of comic actors who, to this day, still pay fulsome tribute to him. Included is a selection of photographs relevant to Laurel's boyhood, some related to themes in the Laurel and Hardy comedies.

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Abbott and Costello on the Home Front: A Critical Study of the Wartime Films Review

Abbott and Costello on the Home Front: A Critical Study of the Wartime Films
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Abbott and Costello on the Home Front: A Critical Study of the Wartime Films ReviewAs a long time fan of this great team, books are rare on the duo. I think you can count all the books written about this great team on one hand. I found this to be an enjoyable study of there films. Yes, it does delve more into the 1941 to 1946 period, hence the title, but it does cover all of them as well. I also have to agree with Mr. Nollen on one point. The duos most underrated films (Little Giant and The Time of Their Lives) were two of there best.
A Good Read!
Abbott and Costello on the Home Front: A Critical Study of the Wartime Films OverviewAs two of the most popular entertainers of the mid-century film industry, comic greats Bud Abbott and Lou Costello offered an essential balm to the American public following the sorrows of the Great Depression and during the trauma of World War II. This is the first book to focus in detail on the immensely popular wartime films of Abbott and Costello, discussing the production, content, and reception of 18 films within the context of wartime events on the home front and abroad. The films covered include the service comedies Buck Privates, In the Navy, and Keep 'Em Flying; more mainstream comic relief films such as Pardon My Sarong and Who Done It?; and post-war experiments such as Little Giant and The Time of Their Lives. More than 120 stills and lobby cards from the author's personal collection illustrate the text, including many showing outtakes or deleted scenes.

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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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