An exuberant celebration of empowered women.
A history of women who held prominent positions in Hollywood from 1930 to 1950.
In a fresh, lively examination of women’s places in film history, Smyth (History/Univ. of Warwick; Fred Zinnemann and the Cinema of Resistance, 2015, etc.) has uncovered abundant evidence for their significant roles as producers, writers, agents, editors, designers, union leaders, and, of course, performers. Besides focusing on a few well-known actresses—e.g., Bette Davis and Katharine Hepburn—the author brings to light scores of women whom many film critics and historians have relegated to “obscure footnotes.” By focusing on “director-auteurs and glamorous stars,” these critics fail to account for the diverse, collaborative nature of film production. “Nearly two dozen women worked as producers or associate producers,” writes Smyth, and more than 60 as film editors. They served on executive committees of the Screen Writers Guild (where they made up a quarter of the membership), the Academy’s Board of Governors, and the Women’s Press Club, among other organizations. The author identifies many women whose influence was well-known by their contemporaries: in 1938, newspaper columnist Ida Koverman, feisty assistant to Louis B. Mayer at MGM, was “one of the most powerful personages in the entire motion picture industry; when she pulls the strings, world-famous stars dance, like puppets.” In 1942, prolific screenwriter Mary C. McCall Jr. was elected as president of the Screen Writers Guild, where she demonstrated “a take-no-prisoners commitment to collective bargaining.” Fired from Warner Bros., where she was one of only two women writers, she happily moved to Columbia Pictures, where Harry Cohn eagerly promoted women’s careers “at all levels of production.” Although the infamous “casting couch” and sexist attitudes posed challenges, the women Smyth profiles “proved that Hollywood was not a man’s world and that hard work, mental toughness, and professionalism were not inherently masculine.” The studio system offered “a negotiable artistic hierarchy” in which women’s perspectives were welcomed and rewarded. Even “classic patriarchs” like Sam Goldwyn admitted “Women Rule Hollywood.”
An exuberant celebration of empowered women.Pub Date: April 2, 2018
ISBN: 978-0-19-084082-2
Page Count: 304
Publisher: Oxford Univ.
Review Posted Online: Jan. 7, 2018
Kirkus Reviews Issue: Feb. 1, 2018
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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