Schell's reality check will surely spoil lots of sincere, if vapid, dreams out there, but if Hollywood is indeed the dream...
Schell (Mandate of Heaven, 1994, etc.) explores ``the depths of our collectively imagined Western version of Tibet as it seemed on the brink of reemerging in popular culture'' through the mythmaking of overheated reports sent home from travelers and in the technicolor fantasies of Hollywood.
Schell concentrates on the two vehicles that he believes have delivered a virtual Tibet to our modern consciousness. One is made up of the narratives written by visitors to the rooftop of the world (``a corpus of romantic transferences''); the other is Hollywood's confection as served forth in such films as Kundun and Seven Years in Tibet. Schell's historical overview, not surprisingly, is terrific: a lightfooted, sentient presentation of material from first colonial and missionary contact to Alexandra DavidNeel and the adventures of Heinrich Harrer. Each produced descriptions that spun an illusion of paradise built on a yearning for the poise, dignity, and spirituality that Tibet supposedly counterposed to the travails of modern Western life. This is the Tibet of Lost Horizon and ShangriLa. Hollywood's version, as experienced by Schell primarily through his attendance on the set of Seven Years in Tibet, reeks of glamour, tawdry sensationalism, and narcissism. By his own admission, Schell is sucker-punched by the glitter machine: at one point he is as eagerly awaiting Brad Pitt to be ``revealed'' to him as the Dalai Lama was revealed to Tibetan commoners way back when. Schell fortunately keeps on his feet long enough to explain just how little celluloid and the real Tibet have in common.
Schell's reality check will surely spoil lots of sincere, if vapid, dreams out there, but if Hollywood is indeed the dream merchant (as Schell acknowledges even by his own starcrossed lights), that can't be all bad, or bad at all.Pub Date: May 17, 2000
ISBN: 0-8050-4381-0
Page Count: -
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2000
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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