An enthusiastic, well-observed, fresh look at old favorites that makes a compelling case for the genius of American film...
An affectionate chronicle of a century of laughs from the silver screen.
Austerlitz (Money for Nothing: A History of the Music Video from the Beatles to the White Stripes, 2008) offers a breezy survey of American film comedy, from the sublime artistry of Charlie Chaplin to the disarmingly sweet juvenile antics of Judd Apatow. Largely unconcerned with academic explorations of the nature of comedy or the larger socio-historical contexts in which the films exist, the author comes off as an eloquent superfan celebrating his heroes and pinpointing favorite moments in their work. This approach works just fine, and the book, a compulsively readable reference for the confirmed comedy fan, will inspire readers to rewatch classics and delve deeper into the oeuvres of such legends as W.C. Fields, Ernst Lubitsch and Billy Wilder. It’s heartening to see underappreciated talents like Albert Brooks and Harold Lloyd receive the same careful attention as Woody Allen and Buster Keaton, and the affection and respect Austerlitz feels for his subjects is palpable. The author makes some interesting comparisons between such ostensibly unlike entities as screwball maestro Preston Sturges and the austerely artful Cohen brothers, or august auteur Robert Altman and mockumentary pioneer Christopher Guest (a freewheeling approach to performance and emphasis on ensembles), and he finds room to discuss the comedic legacies of such unlikely subjects as John Wayne and Meryl Streep. There are a few infelicities—Austerlitz likes the word “erstwhile,” but seems a little unsure of what it actually means—but overall, the author provides a delightful roll call of the funny men and women who have distinguished the cinema of laughter, and an indispensible listmaking tool for the Netflix generation in search of a good guffaw.
An enthusiastic, well-observed, fresh look at old favorites that makes a compelling case for the genius of American film comedy.Pub Date: Sept. 1, 2010
ISBN: 978-1-55652-951-1
Page Count: 576
Publisher: Chicago Review Press
Review Posted Online: May 27, 2010
Kirkus Reviews Issue: June 15, 2010
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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
BOOK REVIEW
BOOK REVIEW
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