100 books like Kieslowski on Kieslowski

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

Sidney Lumet directed Twelve Angry Men and The Verdict, among many others, and the beauty of this short book is just how practical he is about his craft. In the magazine interviews and hagiographies about directors, we seldom get a true sense of the working day on a movie set, or what happens long before shooting begins and months after it finishes. But here Lumet reveals why he always tried to schedule a very simple shot for the first set-up on day 1 of production, the value of a rehearsal period (if he was granted one) and that he took a lunchtime nap. From first being offered a script to the final sound mix, this is what a movie director really does.

Some Like It Hot, The Apartment, Double Indemnity, Sunset Boulevard… Billy Wilder is my favourite filmmaker. I like the elegance of his storytelling and his bittersweet wit. In Wilder’s final years, Cameron Crowe conducted a series of interviews with the writer-director. From fleeing Nazi Germany to his admiration for Ernest Lubitsch, from the trials of working with Marilyn Monroe or Raymond Chandler to the joys of collaborating with Barbara Stanwyck, Jack Lemmon, and Charles Laughton, from his successes to his failures and on to the secret of what makes a good writing partner, Wilder needs little prodding to tell movie-making tales from Berlin to Paris to Hollywood.

As perfectly tragic as one of his Jazz Age characters, Fitzgerald drank himself to death before finishing this novel which in my opinion, could have been his best. Like Gatsby, Monroe Stahr is an eloquent, rich, and isolated character, pining for a mysterious woman. He is a hugely successful movie mogul in the golden age of Hollywood, and Fitzgerald’s contempt for the studio system’s treatment of writers is here on full satirical display. The sparse prose sparkles with diamond-like harshness and clarity as the doomed love affair plays out. I’m sure it's his least known novel since it is technically “unfinished,” but most editions publish Fitzgerald’s unfinished future chapters, his pass at the ending as well as his notes and outlines, making this a master class in novel writing.

Early modern Europe is a ‘hot spot’ for queenship studies and there are countless individual biographies, works on groups of royal women and collections on key themes which I could have recommended. I’ve chosen this work as, like Earenfight, it is a great place to begin exploring what it meant to be a queen in this period. Unlike Earenfight, this book is divided up by key themes instead of working chronologically, exploring various facets such as royal weddings and ceremonial, motherhood and political agency. Kosior also brings together plenty of European examples to illustrate these themes and a distinctive feature is that she includes Polish royal women who are often missing in studies of queenship, which gives this book a unique and interesting angle.

Like my novel, 22 Britannia Road sheds light on refugees in England, starting after the war when Janusz and Silvana are reunited after six years’ separation. The narrative alternates between flashbacks to the wartime traumas they each endured, and the “present” story of their struggles to rebuild their lives. When Poland is invaded, Janusz joins the underground army and makes his way to France and finally England with the anti-Nazi forces. This mirrors the story of two characters in my own novel, based on my grandfather and uncle. Silvana meanwhile escapes into the forest to hide with her infant son. When she and Janusz meet up after the war, theirs is no glossy romantic reunion; they barely know each other and both harbor secrets that must eventually come to light. 

I was blown away by this book; each page is a composition of ethereal cyanotype images, photos, X-rays, newspaper clippings, history, and science. Curie's discoveries had great benefits as well as terrible consequences for humanity.

This book made me think about the paradoxes of life and how we reckon with the powerful forces unleashed by science and technology in our rapidly changing world. 

David Curtis’ copiously illustrated book is a wide-ranging yet detailed introduction to the world of artists’ film, with over 400 filmmakers discussed. The survey is rooted in the historical avant-garde of the 1920s and ‘30s but covers work up to the present day. While major figures such as Steve McQueen and Bill Viola are mentioned, equal space is devoted to little-known filmmakers from France, Poland, and elsewhere.

My Sister’s Mother is a family memoir set against the backdrop of forced evictions and deportations of Poles to forced labor camps in frozen Siberia. Russia invaded Poland two weeks after Germany did, and the two powers divided Poland between their countries. Soviet communists murdered thousands of Polish citizens, Polish military, and in 1940 deported hundreds of thousands of civilian Poles, in freezing cattle cars, to forced labor camps in Siberia.

Urbikas’ mother and older sister faced impossible circumstances imposed by Stalin’s brutal policies against Poles. The core theme focuses on motherhood, the relationship between a mother and her daughter, and how far a woman will go to survive and protect her child. Then, the story transitions into the epilogue of war for thousands of Poles: life in a displaced persons camp and growing up with inherited trauma and the challenges common to first-generation Polish immigrants.

Rynecki’s great-grandfather, Moshe, was a painter who documented moments of Jewish life in the interwar years: women sewing, children playing, wedding celebrations, men in prayer. When WWII broke out Moshe’s paintings were hidden, and afterward only a fraction were recovered. In this book, Rynecki recounted her decades-long quest to locate and archive the lost artwork. It’s a memoir about the lengths one will go to to ensure a lost family legacy will never be forgotten.