It all goes back to growing up in the 1970s, when PBS would show the same handful of classic foreign movies over and over—Bergman, Truffaut, Fellini. And there was the rest of TV, too, where I discovered John Ford, Orson Welles, Hitchcock, Billy Wilder, and much more. On the late late show, you could usually find Casablanca. I saw Kubrick’s 2001 a few years after it came out and was knocked out by the first mainstream movie that asked its viewers to wonder—to actively speculate in awestruck fashion about what was happening on screen. The movies have always been a passion for me. The movie screen is where we dream and float away and sink within ourselves all at once. As the critic David Thomson put it, “Not even heroin or the supernatural ever went this far.”
Stanley Kubrick by David Mikics has been called by Dwight Garner of the NY Times "A cool, cerebral book about a cool, cerebral talent.” “Mikics is an adept student of Kubrick’s uncanny art. He unpeels the way that Kubrick’s movies, packed as they are with impieties, challenge, infuriate and entertain,” Garner wrote, and “ “Mikics has a flair for nailing a performance.”
Kubrick grew up in the Bronx, a doctor’s son. From a young age, he was consumed by photography, chess, and, above all else, movies. He was a self-taught filmmaker and self-proclaimed outsider, and his films exist in a unique world of their own outside the Hollywood mainstream. Obsessed with rebellion against authority, war, and male violence, Kubrick was himself a calm, coolly masterful creator and a talkative, ever-curious polymath immersed in friends and family.
Drawing on interviews and new archival material, David Mikics for the first time explores the personal side of Kubrick’s films.
David Thomson can outmatch any film critic I know for sheer pungent accuracy, as well as passion. He knows every director, every actor, every movie, and he always has something valuable—and often something essential—to say about each one. Thomson’s New Biographical Dictionary of Film, now in its sixth edition, is a continuous delight, a perfect book for browsing. A required purchase for every film buff.
With more than 100 new entries, from Amy Adams, Benedict Cumberbatch, and Cary Joji Fukunaga to Joaquin Phoenix, Mia Wasikowska, and Robin Wright, and completely updated, here from David Thomson—“The greatest living writer on the movies” (John Banville, New Statesman);“Our most argumentative and trustworthy historian of the screen” (Michael Ondaatje)—is the latest edition of The New Biographical Dictionary of Film, which topped Sight & Sound’s poll of international critics and writers as THE BEST FILM BOOK EVER WRITTEN. 3/7
Molly Haskell, like Thomson, is one of my idols. Her pioneering feminist account of how Hollywood depicted women from its golden age to the late twentieth century is also a monument to its supreme women actors, including Stanwyck and Davis, Hepburn and Bergman, and Monroe. Haskell is an expert at understanding how art shapes and responds to its era, and how film actors refine their roles.
A revolutionary classic of feminist cinema criticism, Molly Haskell's From Reverence to Rape remains as insightful, searing, and relevant as it was the day it was first published. Ranging across time and genres from the golden age of Hollywood to films of the late twentieth century, Haskell analyzes images of women in movies, the relationship between these images and the status of women in society, the stars who fit these images or defied them, and the attitudes of their directors. This new edition features both a new foreword by New York Times film critic Manohla Dargis and a new introduction…
If I had to pick the two most basic, and most enthralling, essays for understanding American movies, they would be Warshow’s "The Westerner" and "The Gangster," both included in this book. Warshow, who died tragically young, also gives us the two finest pieces ever written about Chaplin, in which he argues that the flaws and stresses in Chaplin’s film art somehow make it more, not less, impressive. Add Warshow’s properly skeptical account of Soviet cinema—he is appreciative, but also aware of how Communist ideology distorted Soviet film—and you have the very best from a star among the New York intellectuals.
This collection of essays, which originally appeared as a book in 1962, is virtually the complete works of an editor of Commentary magazine who died, at age 37, in 1955. Long before the rise of Cultural Studies as an academic pursuit, in the pages of the best literary magazines of the day, Robert Warshow wrote analyses of the folklore of modern life that were as sensitive and penetrating as the writings of James Agee, George Orwell, and Walter Benjamin. Some of these essays--notably "The Westerner," "The Gangster as Tragic Hero," and the pieces on the New Yorker, Mad Magazine, Arthur…
Wood’s book Hitchcock’s Films made the case that Hitchock was a major artist, not merely a manipulative “master of suspense” but someone who reflected profoundly on human limits, power, and authority, comedy and tragedy, men and women. He paved the way for later critics like William Rothman, who demonstrated that Hitchock’s films were richly rewarding frame by frame. Wood is always attentive to the human value of the movies he discusses, inquiring into the world of each film and wondering what it has to tell us. His book is great fun, but at the same time, it takes Hitchcock seriously as one of our deepest contemporary artists.
When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's own development as a critic. This new revised edition of "Hitchcock's Films Revisited" includes a substantial new preface in which Wood reveals his personal history as a film scholar - including his coming out as a…
Virtually any volume in the BFI Film Classics series—now sadly defunct--is worth recommending. But I’m especially fond of this one, about Jean Renoir’s masterpiece The Rules of the Game (La Règle du Jeu)--my favorite movie along with Kubrick’s 2001 (a very different kind of film!). Perkins explores each of the film’s characters, bringing out the full dimensions of Renoir’s humanism, his grand comic flair, and the bittersweet aura of this great movie completed as World War II was about to engulf Europe.
Renoir's famous and controversial comedy of manners has a troubled history. Victor Perkins presents here a sensitive socio-historical study of Renoir's revised edition of the film, released 20 years after its premiere; shaped by the profundity and originality of its form.
It began with a dying husband, and it ended in a dynasty.
It took away her husband’s pain on his deathbed, kept her from losing the family farm, gave her the power to build a thriving business, but it’s illegal to grow in every state in the country in 1978.
It even brings her first love from high school back; the only problem is that he works for the FBI. Will their occupations implode their romance, or will the opposite happen?
A second chance at love, opposites attract, rags to riches heroine trope story.
It began with a dying husband and it ended in a dynasty.
It took away her husband’s pain on his deathbed, kept her from losing the family farm, gave her the power to build a thriving business, but it’s illegal to grow in every state in the country in 1978. It even brings her first love from high school back; the only problem he works for the FBI. Will their occupations implode their romance or will the opposite happen? A second chance at love, opposites attract , rags to riches heroine trope story.
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