Fans pick 100 books like La Règle Du Jeu

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.

When I first read this book over twenty years ago, I thought, finally, someone who sees what I see in classic Hollywood films—dynamic and exciting women. She traces American women onscreen: from the flappers of the 1920s (It girl Clara Bow) to the European goddesses Greta Garbo and Marlene Dietrich to the sultry Mae West in the 1930s, to the fast-talking Dames Barbara Stanwyck, Katharine Hepburn, Carole Lombard, and to Marilyn Monroe and her postwar millionaire-seeking pals.

Her multi-decade analysis contemplates what changed in the 1970s-80s; as American women earned greater equity in real life, their onscreen representation paled compared to their pre-WWII sisters. A quarter into the twenty-first century, female star-driven Hollywood films remain an anomaly. Read this book to find out why it was the inverse more than ninety years ago.

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.

With the exception of the prefatory material, which one can skip, this is one of the very best books on Hitchcock.

It is beautifully written and attentive to cinematic details and larger themes. It offers rich interpretations of several central films, with the first half focused on close interpretation and the second half, written later in Wood’s career, more orientated toward Marx, Freud, and gay studies.

Though the book is uneven, it contains some of the best analyses one will ever read of Hitchcock’s major films.

This one I listened to. I normally read.

A story of one young woman drafted into Churchill’s overseas spy network, aiding the French Resistance behind enemy lines and working to liberate Nazi-occupied Paris. London, 1941: Due to Rose Teasdale’s fluency in French, she is recruited for the Special Operations Executive, a secret British organization that conducts espionage in Nazi-occupied Europe.

Rose parachutes into France with a new codename: Dragonfly. Posing as a cosmetics saleswoman in Paris, she ferries messages to and from the Resistance. (Of course, typically in fiction,) she falls for a French Resistance fighter who has also dedicated himself to the cause.

At first sight, the title evokes a certain Gallic hauteur, but it does not take long to see that this is simply a foretaste of the rich exploration of the myths of Paris – how the great city has been depicted, imagined, and perceived over time. This is the story of Paris as the capital of modernity, art, fashion, revolution, sex, pleasure, science, and crime. With writers, artists, poets, and visitors as witnesses, and lavishly illustrated, this is a colourful meander through the myths and illusions that have shaped the many images of Paris. 

Whatever the actual realities beneath these multiple faces, asks Higonnet at one point, ‘who could, in our culturally unanchored world, imagine life without this city?’    

How Parisians survived Nazi Occupation—to what extent they resisted or collaborated—has been debated for decades but Sebba looks through a new lens: What did Parisiennes, specifically, do during these years? She was just in time to interview some key women who, having survived concentration camps, went on to live defiantly long lives. Others wouldn’t speak, still traumatised by their experiences. But Sebba has plenty to work with, and the pace at which she pulls it all together propels this book’s sense of importance. One can’t help but feel relieved that these stories have now been told. Some of it is shameful, sure, but you ultimately remember the tales of until-now-unsung heroines, whose fierce love for their city, above even their own welfare, makes them well deserving of a place in Paris history.

A funny and moving account of life in occupied Paris by two young sisters, one sensible and studious, the other fun-loving. Written in diary form by each sister in turn, hence the ‘four hands’. Some signs of touching up with hindsight before publication in 1962. There is an English translation, ‘Diary in duo’ (1965) but currently out of print.

I knew I’d love this book even before I read it, as I’ve read almost everything by this author and loved all her work. What a treat to find that she had written a WW2 novel with heroic characters inspired by the SOE agents Diana Rowden and Violette Szabo!

But I particularly loved this book because it brings to life a disturbing event that has haunted me since I visited the French concentration camp Natzweiler-Struthof in 2018.

This camp was primarily for male political prisoners, but in 1944, four women were brought there and put to death by lethal injection and then cremated in the camp’s oven. Diana Rowden was one of those four agents.

It’s a stretch to say I “loved” the fact that this book brought this horrific scene to life through the Diana Rowden character. No, I didn’t “love” it–but it chilled me to the bone and… show more.

Emmanuel Carrère just thinks differently! Sometimes described as the #1 non-fiction writer in France, this deeply personal memoir from him touched me with its sensitivity and embrace of awkwardness.

I don't know how else to describe it except to say: wow, this guy truly lives. I feel jealous of him as a writer, yet also different enough that it doesn’t really bother me. Instead, I just end up inspired.