Movies Books

My 2 year old daughter loves this book. We have seen this episode of The Backyardins countless time and I have now read this book countless times. She picks it every night as one of her bed time stories.

My 3 year old loves the Backyardigans and really likes this book. The story is about a good and bad switch on the robots. The flaps are fun for him to open. The show is successful because of the music but this book works well. At the end I always make sure to flip the good switch on on my son, it cracks him up!

Our two year old grandson LOVES "Cops and Robots". Not only does he share it with anyone who will read it to him again, but, he will also just sit by himself for long periods of time going through the pages and lifting all the little windows.

What a wonderful book to have for my grandaughter age 16 months. She loves the colors, she recognizes the t.v. characters & the pages are easy for her to flip.

My grandson loved this book. It is nice and colorful.

How can crime be bad and yet so good! Look inside the cover of these pages for the answer. Not much reading required but plenty of illustrations. And what illustrations!! Cigarettes, dangling from shadowey faces, killer guns begging for victums, and behind every crime there's a "good" women to lead him on to both heaven or hell. These images can usually sum up the classic Crime Movie Poster. In cronological order the images take us from the birth of this gendre to it's present. This is no small feat, as the first poster is dated 1913! That's how many years? Page after page is loaded with poster art that grabs the eye and makes you want to view the film. Vivid coloring shows the excellent printing quality of this volume. One only needs to turn the pages to discover "the stuff dreams are made of".

Absolutely stunning! Superb graphics of some of our favorite movie posters! Highly recommend.

How can crime be bad and yet so good! Look inside the cover of these pages for the answer. Not much reading required but plenty of illustrations. And what illustrations!! Cigarettes, dangling from shadowey faces, killer guns begging for victums, and behind every crime there's a "good" women to lead him on to both heaven or hell. These images can usually sum up the classic Crime Movie Poster. In cronological order the images take us from the birth of this gendre to it's present. This is no small feat, as the first poster is dated 1913! That's how many years? Page after page is loaded with poster art that grabs the eye and makes you want to view the film. Vivid coloring shows the excellent printing quality of this volume. One only needs to turn the pages to discover "the stuff dreams are made of".

Every last shot heard in the world of motion pictures is displayed here. From Pre-code films like LADIES THEY TALK ABOUT to the Code-in-your-face PULP FICTION, Bruce Hershenson captures the poster art of these films in splashy high quality color. A bonus is that Bruce always includes lobby card art, cherished by many a collector, but not displayed often.

Everyone has their own favorite film genre (animation, action and adventure, science fiction, etc.). This one is mine. If you are the least bit interested in the jaw-dropping beauty of what has become a lost art -- the exercise of drawing images associated with the advertising of a Hollywood film -- this is the book to have. No other genre, in my opinion, was more dark and foreboding and in turn experienced a burst of creativity than posters associated with the film-noir period of Hollywood, which roughly ran from the mid-1940s to the mid-1950s. This book is part of movie poster maven Bruce Hershenson's exhaustive multi-volume series of books highlighting the history and beauty of what much of mainstream America has only in the last ten years begun to recognize. And that is movie posters are a "popular art" form that can stand proudly next to all other styles of art from gothic to modern, from expressionist to impressionist. Great film art borrows from all of these styles and this volume, which focuses only on posters associated with crime and film-noir films, is my favorite. It illustrates innumerable examples of the ranges in style, despite the superficial expectation that all art from this genre was the same. It was not. From Gilda to This Gun For Hire, Hershenson and Allen have built an incredible archive of images in all of his books, capturing a period (when all posters were drawn by hand and then printed, as opposed to today's method of using a montage of photos and manipulating them digitally and printing them by the thousands) that would otherwise be lost forever. A fine book for any collector (get the hardcover edition if you can, it's harder to find; if Amazon doesn't have it, it's available from Mr. Hershenson directly at mail@brucehershenson.com.

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.

This is a beautiful book filled with all of my children's favorite characters in magical stories. I love it as much as they do!

This book has a ton of shortened versions of classic Disney stories, from Lady & the Tramp through Aladdin and they are all just long enough to make a good bedtime story (or two) and short enough that you don't have to slog through an entire novel. Our two kids (2 1/2 and 4 1/2) ask for a story out of this book at least once per day and often 3 times per day. (That is my wife's only complaint, that it gets requested so often!)

My daughter loves to pick out the stories by the picture in the table of contents. She knows most of the stories but wants to read them again and again. The stories are a nice length... not too long and not too short. The pictures are nice and help tell the story.

My child loves to read the Disney collection books. Instead of forcing him to read he now loves to read.

I agree with the first reveiw. This is a fantastic compilation. There are great illustrations on every page (a requirement for a three year old!),
the text is large and fairly simplistic, just right for beginning reading. The stories are long enough to entertain at bedtime but not too long, and the stickers are an extra bonus. All in all this is what I've been waiting for. Another book I received recently that has become a favorite is CLASSIC FAIRY TALES. It's a little more advance in terms of storyline but has absolutley gorgeous illustrations by Scott Gustafson.

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.

I have always loved the movie, and was very curious when I heard there was a novelization of it written by the man who wrote the screenplay of the film. I had heard that it was far superior to the movie, going into a lot more detail and character development than the film could afford.

And so...I made it my mission to get my hands on said book.

I was not disappointed.

It really does go into a lot more detail, and is much more fleshed out. And in the end, I ended up loving this novel so much more than the movie itself...that I rarely watch the movie anymore, and simply read the book instead (I still love the movie, and still think it was fantastic).

If you're curious about this novelization, then don't hesitate to get a copy. It's well worth it!

I am a hugely ardent fan of the movie... and I think I have to admit that is even better. It goes into a lot more depth, and it is darker - this is apparently what Pogue really wanted to do with the screenplay but couldn't. You get tons more about character here too and the whole story is filled out. There are some very funny bits (Gilbert's first encounter with Draco par example...), and some haunting dark passages - a lot of Einon's thoughts... It's just a beautifully written, very emotional story. In the end it's good vs evil, but heroism is never simplistic here. The main characters are incredibly strong, memorable... not to mention working wonderfully as dramatic foils for each other :)

And everything describing Draco and his thoughts is just beautiful. There's a bit near the end where he wants a last flight and sunshine which breaks my heart every time.

I used to get this book out of the library on a regular basis until I finally tracked down a second-hand copy. The sort of book I will gladly stay up all night reading, and have done.

(Note: this review was written about the book, not audio cassette edition...)

Ijust have to say that I love this book!! Also the movie is Awesome!!!!

DragonHeart was a great movie, and this book is even more! It is about a dragon, Draco, but it is also about morals, codes, ethics, choices, and it was a story that makes you think. It also adds onto the movie, because the book goes much more into depth about the characters and their histories, thoughts, and dreams in a way I think the movie only touched on. I recommend this book to anyone who loves fantasy, adventure, dragons, or the stars.

I read this book because of an article I read in which Charles Edward Pogue claimed that his screenplays for Dragonheart & Kull were savaged by their Directors. To give the man a fair shake, I read his Dragonheart Novel. I can see why he was so upset! Wherever the film takes a wrong turn, the Novel goes in the right direction. Everything that is wrong about the film is RIGHT in the Novel. The writing, while now and then a little spare [which is better than overwriting] and a little too modern, is, overall, exceedingly literate [some of the dialogue is close to Tad Williams level]. The characters are believable and involving. The story explains itself and it's world. I HIGHLY recommend buying a copy of Dragonheart!

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!