Movies Books

This is a book that makes you think, the characters are not described within a few lines, divided into good and bad, like it's so often true in books selected for clubs across the country. Snip: (...)

In 1987, I read what is still one of my all-time favorite books--DAD, by William Wharton. When first his mother, then his father, become ill, John tremont attempts to sort out their affairs and obtain the best care he can for them. But the book is about so much more than that; it's about the relationships between fathers and sons, about coming to terms with a parent's infirmity and mortality, about letting go, accepting new roles within the family, and realizing that, when all's said and done, your parents are just people with flaws like everyone else. but most of all, DAD is about the final days of Jack Tremont, John's father, and how much John, and everyone else, loved him. Jack was portrayed so well that I loved him too, and I could tell John loved him the way I loved my Grandpa. Grandpa was diagnosed with cancer around the same time I read DAD, and I really identified with John and his feelings of grief, frustration, anger, helplessness, and his incredible love for his dad. It was the kind of book I wished would never end. A real tear-jerker!

This is a perfect book about what it means to be a father and what it means to be a son. The novel presents three generations of men who meet in a tragic moment when their wife, mother and grandmother had a heart attack. The main hero Jack had run away from America to France to follow his dream of becoming a painter but a message from his native California brings him back, to tend to his father who is clueless when his wife was taken to hospital. The two men estranged for years clumsily and slowly learn to live together and discover love they never managed or (as most men do) bothered to express.
This is an extremely personal book. William Wharton claims he could not publish it before the death of his parents. He wrote it to express his own feelings after his father's death. When the book was ready he invited his mother over. They met daily on the beach and he read the novel to her. When he finished they were both crying. You will be crying too.

Dad snuck up and bit me. I found it uneven. It is a book to be taken apart and studied in chunks. The sequence of the son caring for the parents was incredible; gritty and raw. So many questions raised: what IF you can't stand your own mother but you still have to live with her? What IF there is another and better dimension for your beleagured father? What do you do if you find your father has pooped his drawers? What if there is no nurse to bail you out? (The image of a middle aged man tranking out on pilched oxygen haunts me) Read this book and weep: this could be you and your life in a few years. Take what you have now and hug it tight. You will slowly but surely become your father. Wharton digs in and hands you the goods. No holds barred. I am a better though sadder person since I read his work.

This was a great book and i would recommend it to everyone. It's deeply upsetting, emotional but not whimsical or sloppy like other novls of this genre. This book steers clear of the protentious narrative [stuff]that we often find ourselves bombarded with. It's funny, sad and clever and should be read by all.

After reading The Witch's Daughter, I picked this up. WOAH! This one was really good, It was a very good addition to the series, I still don't understand why they cancelled this series after only 8 books!

Cade Merrill is seventeen years old and the owner of a website, theblairwitchfiles.com. After his cousin Heather disappeared while filming a documentary on the Blair Witch, Cade has used his site as a means of gathering information on the unexplained events that take place in Blair Woods.

When Cade is contacted by photography student Laura Morely he initially dismisses her claim that she feels she has a bond with Heather. However, Cade finds himself drawn to her, and soon he has invited her to Burkittsville. At first, Laura comes across as enthusiastic, intense and determined, but Cade quickly discovers that lurking behind his initial impressions, there is something wrong with Laura. A trip to the ruined house of a serial killer causes her to experience strange visions of the owner's childhood. The photographs she takes prove to Cade that she is telling the truth, but Laura's behaviour rapidly becomes more erratic and out-of-control. As her visions reveal more about the dark secrets in the past of murderer Rustin Parr, Cade must discover the link between Laura and the serial killer before tragedy strikes again.

The fact that I haven't seen the movie itself didn't stop me from enjoying this book. The story is faced-paced and suspenseful. I recommend it as a great horror story for teens, but it probably wouldn't be suitable for any kids under twelve years old. ....

i dont usualy read books but as soon as i read the blurb i couldnt put the book doun!it was amazing and it had wonderful diskriptions i felt like i was almost ther since i read the witches daughter i carnt get enouf of the files in fact it only took me 4 houers of one night to read!i hope there will be more books from cade merril because he is a wonderful writer and im shur many feel the same!!!!!!!!!!!!!!!

The Blair Witch Project leaves you wondering what really happened. This book does the same. What do you see, or is it all your imagination. The story is about a girl who does not understand why an old, recurring dream draws her to Burkittsville to go on a hike to Rustin Parr's house. A few good twists and an awesome look into the past events of Parr's life, if all of it is not just crazy hallucinations. Pick it up...!

I was unsure whether I was going to like The Blair Witch Files 2: The Dark Room because I hadn't read any previous books by author Cade Merill. But, as it turned out, I found this book to be simple to follow, its not like a sequel, just really one great book by itself. The writing is at times repetitive, but all elements of the story lead up to a well thought-out climax. All the characters have numerous sides to them, it gives you something to think about after reading a few chapters. And not to mention the freak factor! The Blair Witch Files 2: The Dark is probably the scariest book I have read in a long amount of time. You can see all the terror in your head after some chapters, but, like the characters, you're forced to keep going because it's the only way to find out the mystery.

This is a terrific look at downtown Detroit movie theatres. Excellent histories of each theatre & good photos. Better than other books in this series. You really learn about each theatre building. Two of my favorite theatres are included: the Wilson, or Music Hall, one of the best venues for presentation of 70mm giant curved screen motion pictures with world class sound--Lion in Winter seen here put New York City to shame, and the United Artists, more intimate & better proportioned than its Chicago and Los Angeles sister houses. Somehow Detroit built incredible movie theatres in its downtown. By the time I attended college there in 1967, downtown was all but deserted and not always safe. You knew these beautiful theatres could not last much longer. Here is a book that documents many of them.

I grew up near Detroit in the 1940's when those dazzling movie theatres exerted a magical allure on the streets, and inside were often a better show than what was on their screens. Authors Hauser and Weldon have done a wonderful job bringing it all back and I truly got lost in this book. Many thanks for this labor of love.

For some of Downtown Detroit's old theatres, thunderous applause is just a memory. For others, the ones which have been restored, it is still a reality. Also a reality is my applause for this book, and no, not just because I know co-author Mike Hauser personally. It is a thickly illustrated delightful read, a fun and informative way to spend an evening, and invites repeated referring-to. Having visited a number of these theatres myself in 1995, I may have an advantage, but even if you're not from Detroit or have never visited, here is a tasty introduction to one of the finest locations for surviving classic theatres anywhere.

When I reflect back on my years as a child growing up in marvelous Detroit, some of the strongest images are of the movie houses I used to frequent downtowm. This book evokes many of those sweet memories as it is loeaded with pictures, and written histories of those fabulous palaces. When it came to grandiouse movie houses Detroit was second to none. This book helps you trace the history of each theater from its building to - in some cases - it deomltion. Some of these grandious auditoriums were actually built by motion picture companies such as the Fox (Twentieth Century Fox) and the Untied Artist (United Artists), Many were not merely theaters but also were part of large office building housing industry related businesses such as booking agents and the likes. Many were build as vaudeville houses and later converted to movie theaters. Some have survived and hosts different venues today. Few are still showing first run movies as the characterless multi screen matchboxes of suburbia have taken over that venue.

This book is a joy. Before the '67 riot Detroit was always a big movie town. In the 40s there were more than 50 theatres in the city. A few of the neighbourhood theatres were quite extrodinary such as the Rivera or the Algiers but the downtown theatres were wonderful places to be. Back in the 40s, 50s & 60s just to go downtown was exciting with Hudson's & all the wonderful stores & restaurants & to top off the trip with a movie in one of the downtown theatres was, indeed, a treat. If the movie didn't please the theatre always did. The Fox, State, Music Hall, United Artist & Opera House (formerly Broadway Capitol/Grand Circus among other names) still stand. Some just barely. So it's wonderful to see photos of those that are gone. Photos which show just how lovely & unique they were. Each theatre had it's own character & aptmosphere. Most of all it's wonderful to see the Michigan Theatre in all its glory. She was the undisputed queen of the downtown movie theatres. She was the only place in Detroit where you could sit & actually feel you were in a real palace. It's lovely to have this book.

An excellent book and worth it for both native Cantonese speakers and people learning to speak Cantonese. I'm a native Cantonese speaker (and also fluent in English) and there are lots of slang phrases I have a hard time translating to English and this book helps with it. It should be noted that the vernacular in this book are often particular to the Cantonese in Hong Kong and may not reflect the vernacular of Cantonese spoken in Guangzhou.

There are a few mistakes in the book, however, but not a big problem. For instance, some characters that actually can be written in Cantonese are left "blank" (indicated by a square).

I recommend this book 100%

Excellent book. Though born and raised in Hawaii, Cantonese was my first language. During trips to Hong Kong and Guangzhou to visit family, my Chinese was understood perfectly and they marvelled at how well I spoke colloquial Chinese, but I never realized I wasn't speaking "proper" Cantonese, until I read this book. I highly recommend this book to anyone desiring to learn the usage and context of Cantonese as spoken on the streets of any Chinatown in the U.S. as well as Hong Kong & Guangdong.

Before you purchase a copy just remember this is a dictionary for CANTONESE slang. Cantonese being one of the many Chinese dialogues, obviously not every Chinese speaks Cantonese.
So having said that, I must inform everyone that Cantonese has the most vivid descriptions and usages of slang of the entire Chinese language (yet, being the least awful sounding). How do I know, because I was born in that wonderful city of Hong Kong! It's my native tongue, so trust me, we know how to slang in style~~ However, not all Cantonese slangs are entirely cruses nor are they offensive, you can use many of them safely in any environment. And this book presents the best of them in their original forms, including the usage of each slang and how to apply it within your speech. I am amazed by how accurate the dictionary truly is. The definations are all better than I thought they would be (as well as its entertaining value)! So if you are ever tired from repeating the same old phrases over and over again, then try adding a few Cantonese slangs into your speech to spice things up a little bit.

This is the type of cantonese colliquial I was looking for, one that doesn't just include all the usual phrases that are just slightly colloquial. This book goes all the way in terms of slang language. A lot of swearing and gangster talk is included. When I saw the book cover the first thing that came to mind was the hk movie 'young and dangerous'. Although I have to say ever since my mother brought another colloquial book from hk 'common cantonese colloquial expressions' I found that if you want the usual colloquial phrases like "ar chi don gum say" (ie pretending teeth to be used as gold - I highly take in/treausre every word you say) or "bou yee li" (ie cheating with another woman while married) it'll probably be better to get that book. This book is very slang although it does include many of the usual everyday phrases. The language in this book is probably not used by a majority of civilised hk people although many in hk do swear a lot but I guess they won't use that many variations of harsh expressions. I know this as I was born in hk myself and have visited hk once in a while as I live overseas. I myself do swear a lot in canto (although sometimes I try not to) so this book was suitable for me. It is good as a read for amusment and englightening to what can be said when hk people get pissed or are under pressure.. which is a lot of the time. The yale organisation of the book is very useful for those that can't read chinese as it is in alhapbetical order. It also helps you to pronouce the words if you figure out how to read with the sounding of the high and low tones. Overall I think that this book was well written and it isn't expensive for such a thick book as this I have to say.


hk.style

waited a long time for this to come out, and well worth it..the book is a fantastic contribution to Cantonese language study.
Cantonese is difficult anyway, and has very few good books for those learning the language, in contrast to Mandarin.
well done to the authors and publishers for sticking it out, anyone seriously studying Cantonese will need to learn the wonderfully rich and varied slang, and this really is a serious and valuable work, also rather amusing..thank you!.

The four volumes of the Raj Quartet overlap and complement one another, while at the same time forwarding the main storyline of the slow twilight of the British ascendancy in India, always with the rape of a white girl by Indian men as the central lodestone everpresent in the background, the nightmare which is seldom mentioned but which none can drive from their minds. Events occur, are discussed, witnessed as newspaper reports, court documents, interviews, vague recollections from years later, or perceived directly by the main characters. Then the next volume will take two or three steps back into previous events, and these same events will be perceived from another angle, perhaps only as a vague report heard far away across the Indian plain, or witnessed directly by another character, or discussed in detail long after their occurrence over drinks on a verandah. This may at times seem like rehashing, indeed as one reads the four volumes one will be subjected to the account of the rape in the Bibighar Gardens many times over; but what will also become apparent is that additional details, sometimes minor variations in interpretation and sometimes crucial facts, are being added slowly to the events discussed, as though the window to the past were being progressively wiped cleaner and cleaner with successive strokes of Scott's pen. In this way he draws the picture of the last days of the Raj not in a conventional linear fashion, but recursively, and from multiple angles. One gets the clear impression of life in India during the first half of the 20th century as similar in nature: Fragmented, multifaceted, largely dependent upon perspective and experience and never perceived whole or all at once.

Book 4 is the tour-de-force of the series, the longest and the one that covers the greatest distance, emotionally and chronologically. Into the Laytons' social set come Nigel Rowan, an officer in the political branch whom we have met before in Book 2 interrogating Hari Kumar some years after his imprisonment, and Guy Perron, a sergeant in the intelligence service who is "chosen" against his will by Ronald Merrick to serve in his unit. Merrick seems deliberately to surround himself with people who dislike him: Guy Perron, Sarah Layton, and before them Daphne Manners and Hari Kumar. Rowan and Perron, incidentally, are former schoolmates of Kumar's at the posh Chillingborough Academy in England. And they're not the only ones: The British in India seem constantly reminded that Kumar symbolizes the insoluble problem of India's Britishness. He's too British for the Indians and too Indian for the British. Perron is an excellent guide through the final days of the Raj, stolid and proper yet inwardly seething with intellectual outrage. An explosive yet sombre climax in 1947 details the very end of the British presence in India, the beginnings of the Hindu-Muslim riots throughout the country, and gives an expansive sense of just how far one has come from the small town of Mayapore and the darkly deserted Bibighar Gardens.

A DIVISION OF THE SPOILS by Paul Scott is the last book in his series known as the Raj Quartet. The four books are classics, that have been read and will continue to be read centuries from now as readers attempt to understand what happened during the last days of the British Raj in India. I read history but I am also a great fan of well written historical fiction and these books are extremely well written historical fiction. Having read them, I am much more enlightened about the struggles which continue today betweem Hindu and Muslim.

Many of the characters from the earlier books converge in DIVISION, and the book introduces a new character, Guy Perron, who is a Chillingborough-Cambridge educated historian whose "period" and place are mid-19th Century India. Guy's character is used to tie up all the loose ends.

After arriving in India as a British army sergeant (he has elected not become an officer although his education and class clearly warrent it), Guy has the misfortune to be "chosen" by the recently-promoted-to-LtCol. and very wicked Ronald Merrick as his aide-de-camp. Merrick is still riddled with class envy, and sees in Guy an excellent opportunity to abuse someone he despises. Fortunately, Guy is able to escape from Merrick through the graces of his Aunt Charlotte who pulls strings to have him released from the army.

Fortunately for Guy, he doesn't escape Merrick before he meets Sarah Layton. Their story is told in this fourth volume and certain elements of the tale bring to mind the earlier story of Hari Kumar and Daphne Manners. In fact, it is through Guy's meeting of Merrick, Sarah, and another Chillingburrian, Nigel Rowan (who interviewed Hari Kumar in prison) that he becomes interested in the events at Mayapore in 1942 and the subsequent consequences for all involved.

As with other great classics, in DIVISION things do not always evolve as the reader would have wished. This book is very realistic -- sorrow and joy are mixed. In JEWEL IN THE CROWN, the first book in the series, Lady Chatterjee says she does not want to go to a heaven that excludes joy and sorrow because being human requires one to feel joy and sorrow.

Perhaps it is because humans can experience sorrow they are capable of experiencing joy. In the end, the reader discovers Hari Kumar's fate and the identity of Philoctetes as well as the difference between Dharma and Karma. This is a powerful series and a fabulous ending to the tale.

The Raj Quartet comes to its spectacular conclusion with "A Division of the Spoils." Of the four books, I perhaps enjoyed this one the most. The main character (Guy Perron) is observant, funny, and human, so he's easy to like. He is a complete opposite of the story's antagonist, Ronald Merrick. The scenes in which they must work together (Perron is a sergeant and Merrick his officer) are some of the best. I could hardly put this book down and finished it in just a few days.

Please do not let the length of this series dissuade you from reading it! The books are all very compelling and well-written. If you like historical fiction, they are very much worth your time. I would recommend you watch the mini-series (I rented it from Netflix), read the 4 books, and then watch the mini again. You'll get quite a bit out of it that way.

Enjoy!

Anyone reading the reviews for the previous 3 books, knows I have struggled to read these series. However, Scott absolutely redeemed himself with this final book.

The first book focused on the British occupation of India during WWII and introduced us to the "Manners" case - the only interesting bit in a book that had long waffly passages describing India. Who needs to read a history book? This book would have done it... The 2nd book focused more on the "Layton's" and was much more readable as it was the changing India as seen through the eyes of a few key characters. The 3rd book was a boring repetition of the 2nd book and this last book, about the end of the British occupation and WWII was just brilliant!

Like his much more enjoyable 2nd book, this one is told almost exclusively through the eyes of key characters we met in previous books - and it introduces us to the rakish charm of Guy Perron. I always remember Charles Dance's interpretation of Guy Perron in the BBC series making a strong impression on me, but I found the character in the book even more engaging.

This last book in the series was absolutely stunning and made persevering through the whole series somewhat worth it. I say somewhat, because it has been a real trial getting through the denser parts of Books I and III and I wouldn't push this series on anyone, even though the last book is a literary accomplishment.

I try to think if this book is readable without having read the previous books, and although I suspect it is (Scott continues to go back over vast chunks of history from someone else's point of view), it would be a shallow interpretation without the reader gaining all the knowledge from the first 3 books.

This book is just as impressive as the three others of the Raj Quartet. Once again, the cast of interesting characters is huge; the atmosphere of the time is brilliantly captured and the variety of scenes/plots is well mastered. The book is instructive and yet enormously entertaining. The Raj Quartet is one of the most rewarding pieces of literature I have ever read.

This book is very interesting and I recommend that you read it. You should read Dude Ranch because it keeps your mind thinking what is going to happen next. The Camden family is trying to plan a family vacation and Lucy hears about this dude ranch that has been around for a really long time. So they think about this, and Lucy asks her dad. He says that she needs to get her family interested in it. So she goes upstairs and talks to her brother and sister about this, and then she goes and talks to her mom about the dude. Her mom asks who will watch the twins? Mary and Matt volunteer to stay home and watch the twins and then the family goes to the ranch. When they get there they go upstairs and put their things away. Then they come downstairs and they eat dinner. Now that they are there they have to work until they leave, but they are working for a good cause. They are there because they are trying to clean up the ranch, so they can open it up to visitors. I recommend this book to anyone who enjoys working for a good cause.

bmwgymnist

The Camden family goes to a ranch and the ranch has a few secrets, and the boy has a lost hand will lucy get to the botton of this? read to find out. I Love this book because I love 7th Heaven but also because Licy is a great person and I love the way she handels al the sichuations.

This story has a romantic twist to it. If you like the tv series 7th Heaven like me you will love it! It is the best one !

Dude Ranch is like the best book I've ever read. It has a lot of exciting parts in it. You just can't stop reading it. It's way too good. I couldn't keep my eyes off of it. There is also some romantic parts to it too. If you like 7th Heaven like me I know you'll enjoy it very much!! Dude Ranch is the best one out of like all of them.

Dude Ranch is an awsome book! If you like 7th heaven you should read it! There are new characters in it and it also isnt one of the episodes on tv! I read it in two days and I didn't want to put it down! I would give this book more then 5 stars! I cant wait till more new ones come out that are't from the tv episodes! 7TH HEAVEN ROCKS!!!!

Writing this book has been, obviously, a labor of love for William Mann, whose earlier books convinced me that henceforward, everything he writes is to be treated as the work of an immensely serious, politically committed and ethical scholar. And yet when all is said and done, and a hell of a lot gets said in this book, I remained singularly unconvinced. Unconvinced as to Schlesinger's talent--sure, he made some great movies, but he'd have to have made CITIZEN KANE for the scales of justice to swing back to normal in light of MADAME SOUZATCHKA or THE BELIEVERS. Unconvinced about the frame story, for it seems so pathetic to dwell and dwell and dwell on the miseries of Schlesinger's life after his debilitating stroke when he could hardly speak and seemed miserable in every encounter. Unconvinced even about the title, which seems to have been chosen to echo Schelsinger's greatest success, MIDNIGHT COWBOY, but in that acse why not just call it MIDNIGHT COWBOY? And then in the long run he seemed like a miserable man in every respect of life, looking back, he was never very happy nor does he seem capable of radiating either good will or basic charity. Added to this the contemptible misogyny which, in a Balzacian scene, Mann summons up by asking Schlesinger for his final, considered opinion of the late Penelope Gilliatt. It's unprintable here, and unpleasant even in context of whatever crime she was supposed to have committed.

Are authorized biographies ever a good thing? What's the point of advertising them in that way?

And yet taken as a whole the book is a splendid piece of work, and in giving us the extremely varied picture of a lot of filmmaking atmospheres, from the Angry Young Men scene of the late 1950s in England, to the New American Cinema that MIDNIGHT COWBOY may be fairly said to have begun, to a later day when stars and producers and test audiences made movie making difficult for directors, Mann excels. It's panoramic in sweep, extremely detailed. And maybe the "authorized" label encouraged many in Schlesinger's circle to speak with Mann, including--well, it seems just about everyone. A great story about Madonna's affectations begins the book, which I won't spoil here but it involves her belief that she had a shot in securing the lead role in MEMOIRS OF A GEISHA. Enough said, go for it!

Two lapses in sense made me doubt my hero Mann for a moment. In discussing the Austin Powers phenomenon, he pronounces that "We've come so far that rebels now go BACK in time rather than forward, when the youth culture borrows relics of the past and jumbles them together into a pastiche of expression and attitude." Surely this has been an attribute of youth culture at least since WWII? Blue jeans weren't invented in the 1960s, they were retrieved from a workingman's past in the 19th century.

And look at this sentence, which touches on the critical reception of MIDNIGHT COWBOY. "Stanley Kauffman in THE NEW REPUBLIC adored the film, using adjectives like 'dexterity,' 'intelligence' and 'perception' to describe John's direction." Okay, maybe I'm missing the forest for the trees, but on the other hand maybe "adjective" has a new definition: "noun"?

Edge Of Midnight: The Life Of John Schlesinger is the authorized biography of the filmmaker whose most famous works include "Midnight Cowboy", "Bloody Sunday", "Marathon Man", and "Day of the Locust". Written with the full cooperation of Schlesinger, his family, and his companion of 36 years Michael Childers, as well as with complete access to tapes, diaries, production notes, and correspondence, not to mention interviews with the actors, crew members, friends and colleagues who knew Schlesinger, Edge Of Midnight accurately traces the singularly amazing career of a dedicated and visionary man. Highly recommended for professional cinema researchers and intrigued lay readers alike.

William J Mann is interviewing famed movie director John Schlesinger at his home in Palm Springs. John has just had triple bypass operation followed by a stroke which has left him paralyzed on one side, confined to a wheelchair, and almost voiceless. Although his brain is far from crippled and he can nod, shake his head, and sometimes answer questions in a brief, unexpectedly pointed whisper.

They spend their days together looking out at the mountains which edge the city, and William sometimes talks with Michael Childers, John's lover and partner for many years. Friends of John's occasionally pop in for a visit - Julie Christie, and Brenda Vaccaro, all tearful and upset at John's seemingly hopeless condition.

Mann uses this sense of immediacy to great effect in Edge of Midnight: The Life of John Schlesinger. Each chapter begins with a sense of how John is declining and how the author is racing against time to find out as much as he can. By interweaving the present with the past, Mann traces richly varied accounts of John's early struggles and glory days.

The end result is of man who has led a creative, and artistically fuelled life, with Mann offering a poignant contrast between the figure who sits staring at the mountains beyond the window, adrift in silent internal exile, with the sound of his laughter on recorded tapes. John's creative energy and intuition, his penchant for mischievousness and naughtiness, and his willingness to take risks and really push the cinematic envelope for more than twenty years, are highlighted with a candid and sincere accuracy.

And John Schlesinger also gave us Julie Christie, whom Schlesinger chose for the character of Liz in Billy Liar. The world of cinema would indeed by dull without the gorgeous Julie. Much of the narrative talks about the tremendous international success of Darling, and how the movie, not only cemented Christie's stardom, but also allowed John to go on to make even riskier movies.

Mann talks about why Darling was so historically significant and the part it played in the cinematic sexual revolution, which in turn greatly affected the changing sexual habits and attitudes in much of the West. John was determined to raise the bar with onscreen frankness, and he often found himself stymied by the Hollywood old guard who were determined to promise their audiences "real stars looking glamorous in beautiful gowns in beautiful sets, no kitchen sinks, no violence, no messages."

But it was Midnight Cowboy and Sunday Bloody Sunday that really pushed the cinematic envelope: Sunday Bloody Sunday, with film's first same sex kiss, boldly rejects "moral" judgment in its account of the middle-class London doctor and the professional woman's feelings and presents both kinds of love as equally natural.

In Midnight Cowboy, Jon Voight's naive hustler from Texas foresees a future for himself in New York as a stud for affluent lonely ladies, but failure plummets him to the city's harsh and seamy underside instead. Midnight Cowboy proved that films, which overthrew convention, that dared embrace radical form and content, could also make money.

Schlesinger admits that he wanted to tell stories that dealt with the human condition, human difficulties, and even the illusions of love. His films were all about adult themes - the difficulties of maintaining relationships, abortion, extramarital affairs, and homosexuality. He wanted to make films about "people pushed on to an edge," and also people who were regarded as the underdog, the outsider in society.

He believed that films needed to be relevant, and that they needed to reflect the changing society. He also wanted his audiences to think, but more importantly, he wanted them to "feel," be it terror or revulsion or compassion or pity. In later years when he couldn't set up the films he wanted to make, Schlesinger damaged his reputation, then his heart and his arteries, by accepting too many potboilers in the desperate, unfulfilled hope of a box-office success that would enable him to work on his own terms again.

Glenda Jackson had a filthy sense of humor. John played a terrible joke on Julie Christie, which involved a feminine sex aid during the making of Far From the Madding Crowd. Sean Penn, although enormously talented, was a nightmare to work with. At the last minute, Brenda Vaccaro refused to show her nipples when doing the love scene in Midnight Cowboy.

The Hollywood brass turned their back on John after the colossal failure of Honky Tonk Freeway, Rupert Everett and Madonna gave the poor man hell on his final disastrous movie, The Next Best Thing - Madonna begging him to do for her what he had done for Julie Christie, while Everett was more concerned with rewriting the script as they were shooting.

William J. Mann has indeed written a formidable account of one director's life, a wonderful patchwork of tidbits including interviews with the people he helped make famous - Alan Bates, Julie Christie, Glenda Jackson. Martin Sheen, Ian McKellan, and Dustin Hoffman.

What evolves is a fascinating biography of a man who desired success, and ambition, and even lots of money. It's a portrait of a tormented man who had a quirky pessimism not withstanding and lived a life relatively free of personal demons. Comfortable with his homosexuality, and totally committed to making movies, "his art came not from discontentment with life, but rather from a love of it." Mike Leonard October 05.

Poor John Schlesinger. This gifted filmmaker never seemed happy, gave off more than a whiff of bitterness, and even seemed jealous of some of the people with whom he worked.

Most especially, the late Penelope Gilliatt, who authored his finest work, "Sunday Blody Sunday." There has been much misinformation regarding this film. Gilliatt was a brilliant film and theatre critic and a writer of fiction. She was orginally part of the greatly influential team of Kenneth Tynan and Gilliatt at the Observer (London). Schlesinger asked Gilliatt to write the sceenplay of Sunday Bloody Sunday. He thought she was the "right writer." Subsequently, the film was made and received rapturous reviews; it stands today as Schlesinger's finest work, along with his T.V. film, "An Englishman Abroad." The trouble started when Gilliatt received the vast majority of the praise for the film, back in 1971 -- I remember. Pauline Kael went so far as to say that Schlesinger had been inspired by the "delicate substance" of Gilliatt's script, which led him to do his finest work. (And Kael and Gilliatt were NOT friends.)
Perhaps, in addition to Gilliatt's brilliance as a fiction writer, Schlesinger chose the heterosexual Gilliatt to write the script because she had been a champion of civil rights for gays and lesbians in Great Britain in the 1950s, when she was only in her 20s, long before, say, Stonewall in the U.S.A., and fought so that GLBTs could have a place at the theatre and film tables of England under the repressive and homophobic Lord Chamberlain. At any rate, her much-honored script is what the film is remembered for. (Also, Sunday Bloody Sunday didn't get a Best Picture Oscar nod, whatever that silly thing is worth, not because of the subject matter, but because a major English studio was about to go bankrupt owing to the dreadful and dreadfully expensive movie bomb "Nicholas and Alexanda," so the Academy members rushed in to help, or at least tried to, with a Best Picture nomination for it to get the studio afloat.) On its release, SBS was not a commerical success.
Anyway, SBS was a major criticial success. The attention focused immediately on Gilliatt and her original screenplay. Schlesinger charged in one interview that Gilliatt had wanted him to film the scene in which Peter Finch and Murray Head kiss, in long-shot, with the two of them running toward each other in slo-mo and shot side-on. Gilliatt was a film critic of what has been described as sky-rocketing intelligence (at the Observer and at The New Yorker), who received threats for her theatre criticism in support of breakthrough playrights in England. I cannot believe that she ever, even once, suggested, as Schlesinger claimed, that she wanted Finch and Head to run toward each other in slow-mo longshot for their kiss. Read her dazzling reviews of Ingmar Bergman's The Passion of Anna and Face to Face to know that she was simply incapable of that sort of sentimentality. To my knowledge, Schlesinger never offered any proof of the charge, either. The problem was, as I remember the events, he and Gilliatt didn't get along and he simply seemed terribly jealous of the acclaim heaped on her. He called her an intellectual snob, apparently because she was largely self-educated and a genius. She had, according to her friends, a near-photographic memory, was the youngest person ever to pass the entrance exams to Oxford, spoke six or so languages, was a serious writer of fiction and criticism, and had a colossal knowledge of theatre and film. Schlesinger must have felt deeply intimidated. How could he hold his own with her?
The playwright Joe Orton, also gay, apparently had no problem with her erudition, as they were beloved friends, and Gilliatt had many, many loyal and faithful friends in the GLBT community. Anybody who has read her fiction will know the script is hers in its entirety, and she made changes only to repair some structural problems and to accomodate the line readings of the actors, with whom she worked closely throughout the film, especially Glenda Jackson. Peter Finch said her script was the most beautiful he had ever read. How all this must have galled Schlesinger, already a sometimes trying presence to those who knew him. At the end, he made one dreadful film after another, often blaming the result on the actors' interference, etc. In truth, Hollywood had become so infantilized that the work of serious filmmakers was largely abandoned long before Schlesinger's death. All the same, he made two magnificent works, Sunday Bloody Sunday and An Englishman Abroad, and one deeply flawed but beautifully acted film Midnight Cowboy. It's doubtful the rest of his work will survive. As for Gilliatt, her vast body of criticism (film and theatre) is used in university film and theatre classes around the world, many of her short stories will survive as masterworks of the form, her brilliant profiles of Bunuel, Godard, Renoir, etc., are among the best of their kind and will be read long after all of us are gone. And Schlesinger, apparently jealous to the end, will forever be indebted to Penelope Gilliatt for her contributions, and she made many, many more contributions to the film than her screenplay, for as long as he or his film is remembered.

I am lying in the sun in Hollywood and I have just devoured this splendid John Schlesinger biography. I recommend it to every movie fan the world over. It is a lovely book and worthy of its subject.

Being north of forty, it would be impossible to underestimate the importance of John Schlesinger's influence on my life as a gay man. Midnight Cowboy and Sunday Bloody Sunday were seismic movie going moments for me. Truly great movies in their own right, both have fully-dimensional gay characters as well as homo-erotic moments that lodged in my young brain and stayed. Jon Voight is a luscious Ken Doll in Midnight Cowboy. And Murray Head could be the poster boy for sexy 70's male in Sunday Bloody Sunday. Glenda Jackson watching Murray's perfect physique as he showered was thunderous for me because every day in Catholic high school I stood next to beautiful boys in showers and I couldn't stop staring and also could not forget none of them would ever be mine.

And thank you John Schlesinger for Julie Christie! The movie-going public will be forever in John's gratitude for giving us Julie.

They say that the music one listens to in our teenage years becomes "our" passion music-wise for our entire lives. Certainly, my life-long allegiance to Joni Mitchell and Aretha Franklin attests to that.

I feel the same way about Julie Christie. I was too young for Billy Liar and Darling when they came out. But both movies mean a great deal to me now. As do McCabe & Mrs. Miller and Shampoo and Return of the Soldier and Afterglow. I love watching this creature on screen. Julie is sexy to me even though I have no desire for her. And I am as much a fan now as I ever was when I first laid eyes on her. More of a fan probably.

Bravo to William J. Mann for painting a vivid portrait of one of our greatest film directors. And bravo John for your illustrious career!

This book was intended as a companion for the Bertolucci film Little Buddha, a sweet tale that verges on saccharine--but which offers a beautiful dramatization of the story of the Buddha and his enlightenment. Also: Keanu Reeves doing an Indian accent and trying to look enlightened--can't go wrong with that!

As an introduction to Buddhism, it is neither systematic nor comprehensive. What it does offer the reader is a chance to delve into the different strands of Buddhist spirituality and philosophy, which are represented pretty well here. It's a great book for somebody who only knows a little about the Buddha and Buddhism, and wants to know more without getting a biased or ax-grinding introduction from someone who definitely identifies with one school, tradition, or vehicle within Buddhism. It also contains enough gems--some really good essays and texts here--to satisfy readers who know about Buddhism and maybe even practice it, but are still seeking nourishment and knowledge.

All in all, a fine, well-stocked, somewhat eclectic book o' Buddhism.

This is an excellent introduction and intermediate level book on Buddhism. How can it be both? As an introduction, one would read each chapter through to gain an initial impression of the various key teachings and tenets of Buddhism. As one reads the book for the second or third time, one learns more and sees interconnectedness among topics, chapters, and ideas. Just as the teachers would have you do in their zendos, centers, and temples. If you are looking for a "what are the various types of Buddhism" book, then check out Nancy Wilson Ross' "Buddhism: A Way of Life and Thought." This book is more about the different teachings.

This hefty collection of sutras and essays by Buddhists from both East and West somehow seemed a bit leaden. Part of it are marvelous, including the famous illustrated "Ten Bulls" path to Buddhism, but other tortuous explanations of some of the schools of Buddhism (admittedly they don't deal with simple matters or distinctions) left me cold. In the end it felt like Bertolucci's film - a bit overblown.

This is an excellent collection of writings aimed at clearing up confusion one may have about basic buddhist doctorines and the different buddhist schools. It is not a good place to start for the total beginner, since this book seems to be aimed at those who have some knowledge of buddhism and wish to advance their understanding of it. It is not as cut and dry as some of the other buddhist primers available today. One gets a variety of writers with varied insights into the Buddha Dharma. Highly reccommended!!!

The publisher has reissued this book in the Shambhala Classics series under the title: THE BUDDHA AND HIS TEACHINGS.

The book is rather thin,but if you're a real lotr music fan,then you won't mind.
All of The Prophecy is included which makes for an interesting experience.
Many Meetings gives you Elrond's theme and a little bit of the Shire.
The beautiful songs Aniron and May It Be are little more than chords which is still better than nothing.
In Dreams is satisfying due to its accuracy and is hard enough to make it pretty.
Lament For Gandalf is really useless.It's just the same two unapealing music phrases for about 5 minutes.
I was rather disappointed with the lack of music from the movie such as Concerning Hobbits,The Bridge of Kazad Dum,and The Breaking of the Fellowship which they should have included.But I have to give it 4 stars just because I love the soundtrack and anything from it is worth getting.

This is an absolutely wonderful book of music. I am very into the piano, having taken lessons since I was five, and love it. In short, if you play the piano, love LOTR, and the music from the movie - buy this book! I am also a huge fan of both the books and movie trilogy, and Peter Jackson has my highest respect for staying more true to the books than any Hollywood movie does. Or any movie, for that matter.

It's books like this that made me wish I had the natural talent for music, or had at least studied and practiced hard enough to develop talent. The motion picture score that Howard Shore composed for The Lord of the Rings trilogy is absolutely brilliant, and while nothing can match his magnificent orchestra, there is something unique and incredible about hearing the same music played on a simple piano -- coming from your very own fingers.

The music on the pages can be described as intermediate level. Beginners will have trouble, but intermediates can slowly pick their way through, depending on their experience, and get better with practice.

The front cover is the same design as the DVD poster, and the original movie promotional art. Inside, 26 pages, including four front-and-back pages containing pictures from the movie.

The tracks you can play are:

- In Dreams, the end-credits song featured in the CD track "The Breaking of the Fellowship".

- The Prophecy, the never-used track that was, I believe, intended for the movie's prologue. The sheet music includes the Elvish lyrics, with the translation following at the end of the song.

- Aníron, the theme for Aragorn and Arwen, as sung by Enya. Again, the Elvish is provided in the music, and the translation at the end.

- Lament for Gandalf, featured in the Lothlorien track. It has the haunting sound that is used for the Elves at that part in the movie, but, as the title suggests, is almost a funeral dirge for Gandalf after the Elves learn of his death. Again, Elvish in the music, translation at the end.

- Many Meetings, the cerebral and heavenly theme for the Elven haven of Rivendell. Probably one of my favorite in the book, and one that, once you learn to play it through, will be something you'll want to play over and over.

- May It Be, the other end-credits song (actually, May It Be is the end credits song, and In Dreams is the *other* one) performed once again by Enya. The lyrics don't make a whole lot of sense, but it's still another quiet one to play. Since Enya only uses a smattering of Elvish in her song, the translation is provided within the music.

I think most fans will agree there were better selections that could have been made for the Fellowship of the Ring sheet music...the Hobbit theme, Moria, and the Bridge of Khazad-Dûm to name a few. But for the Lord of the Rings fans, lovers of gorgeous music, and people who are both, this book makes an excellent gift, or a just-for-you purchase!

This collection of songs from the soundtrack of the movie 'The Fellowship of the Ring' is a definite gem. The songs, in order, are 'In Dreams' [words and music by Fran Walsh and Howard Shore], 'The Prophecy' [text by J.R.R. Tolkien], 'Aniron' [words by Roma Ryan, music by Enya and Nicky Ryan] 'A lament for Gandalf' [text by Philippa Boyens], 'Many Meetings' [music by Howard Shore], and 'May it Be' [words by Roma Ryan, Music by Enya and Nicky Ryan]. Inside, there are also lots of beautiful pictures from the movie. This is a beautiful accompaniment for the soundtrack. The music is for 'piano, vocal, or chords', but other instruments could play along. I would DEFINETELY rate this 10 stars, only the limit is 5. I recommend this music for anyone who loves music, Enya, or The Lord of the Rings.

This has to be one of the most amazing books of sheet music I've ever seen. It's thrilling to play the beautiful songs featured in the Fellowship of the Ring. With favorite songs like "May It Be" and "In Dreams", it can be used for piano, guitar, or vocals. I was really pleased that the melody is worked into the piano music, so it sounds great with or without accompaniment. I would recommed it to everyone, even those who don't like Lord of the Rings!

"Five Stars" deserves five stars.

I read an early edition from Sutro Press, and "Five Stars" is truly a marvelous guide to making your dreams a reality, without any film school snobbery to weigh it down. The book surveys all the stuff you need to know to write credibly about movies, coaches you through the writing process, and even provides excellent tips on how to get your words published.

The author is a web entrepreneur, a seasoned magazine editor, and even a novelist, so he really knows what he's writing about, and that really comes through in the book. Whether you want to pursue film review as a career or even as an occasional hobby, or you just want to go see a lot of new movies and DVDs for free, this book is a fabulous way to start.

I love movies. I love to criticize movies. But I really just want to share my criticism with my friends, and I really don't care to be eloquent about it. Take the movie "Four Brothers" for instance. My review would run something like this: "WTF??? I gotta see that again!"

Now, if Christopher Null had written about how to become a food critic, I'd be all over that. I wonder if it would work to just replace words like "film" and "movie" with "food" and "eats", or "actor" and "actress" with "meat" and "potatoes". But then I would have to come up with all kinds of substitutes, and that would get complicated. Would I pick "flambe" or "brussel sprout" to replace "director", "chef" or "gourmet" for "producer", or "curry" or "whip cream" for "writer"? No I guess it wouldn't work.

Hopefully, Mr. Null has a food critic friend who will write a similarly great book entitled "Five Stars! How to Become a Food Critic, The Galaxy's Greatest Job." Let's face it, film critiquing may be great, but food critiquing, what could be better than eating for a living?

normally, i wouldn't want to be a film critic but christopher null makes you really think about it. a great critic...he's interesting and inventive--and has an appreciation for the out of the ordinary... just check out his wacky website. [...]

Other reviewers have gone into great detail about what's in this book so I won't repeat their efforts. Simply put, this book is written by a critic, Christopher Null, which knows movies and can put that knowledge on paper in an informative and still entertaining way. Each point he makes in this book includes at least one movie as an example and it's obvious by the movie titles he lists that he has watched thousands of them. This is a must buy for anyone that wants to be a film critic (or already believe they are one) and a highly recommended purchase for those of you, like me, that simply love watching movies.

If you're one of the millions who dream of turning your love of cinema into a lifelong vocation, you need to read Five Stars. This is the only book on the market today that tells you, step by step, exactly how to break into this business.

Without weighing you down with a bunch of worthless theory that means nothing in the real world, Five Stars quickly gets down to the nitty gritty. In this book, Christopher Null, one of the most widely published and respected movie critics on the internet, walks you through every phase of your personal development on the path to a successful career.

The tips in Five Stars clearly show you how to:
-Educate yourself about the larger world of cinema
-Become a smarter and more active movie goer
-Communicate your thoughts coherently
-Write lively, entertaining movie reviews
-Find outlets to publish your work

Even with the best guidance in the world, becoming a successful film critic isn't easy. But Five Stars will arm you with the knowledge you need to roll up your sleeves and put your talent to work. Whether you're a young upstart with a passion for movies or an established critic with years of experience, this book is a must-have for your personal library.