Sam Neill Books

It's impossible to say that I enjoyed this book. How can one enjoy a book about the end of humanity? Most of the people in the world are already dead when the book begins and those remaining in southernmost Australia, South America and South Africa are just waiting for the inevitable fallout to get to them. They know it is coming and there is nothing they can do about it. This is the depressing part. The upbeat part, if you can really call it that, is the way the inhabitants of Melbourne go on with their lives - working at jobs that really don't matter anymore, planting gardens they will never be able to harvest, building fences to keep in livestock that will soon be gone, going to school to learn skills they will never be able to use, etc. They don't just roll over and play dead. They don't go looting all the stores and stealing everything. If fact, merchants more often than not just let people have what they need without payment at all. To me the best part of this book is the grace with which most of the people accepted their fate. Though I still like 'Alas Babylon' better, this is a very good book too.

Other reviews give a synopsis, so I'll skip that and go straight to an analysis/critique.

I first read Nevil Shute's On the Beach when I was a teenager--about the same time as I read Pat Frank's Alas, Babylon--and I've retained a morbid fascination with it ever since. As science fiction it's not all that great, since it isn't really SF at all. Instead, it is more of an allegory with a heavy touch of absurdism thrown in. Think about it: the denizens of a functioning civilization go about their business with near-normality, behaving one minute as if everything is fine while in the next acknowledging (usually with a large degree of detachment) that a sword is hanging over their heads. This description fits both the book and the actual nuclear/Cold War world of the late 1950s. The only difference is that in the book the blade is already, and inescapably, whistling downwards, while in the real world (and this is Shute's point) the danger might be avoided, if people act right away.

Indeed, Shute goes to great pains to get his original readers to identify with the characters and civilization in On the Beach. The Australian setting is accessible to the English speaker, as a South American or African setting wouldn't be. Aside from the gasoline shortage, which he mentions cursorily on occasion, the characters seem discommoded almost not at all by the war (Moira has to darn Dwight's socks; Dwight has to drink Australian whiskey), and Shute greatly downplays even the travel problems, making them seem only a modest inconvenience. Government and the market both appear to function normally, only beginning to falter a bit at the very end. In fact, most people behave even in the final days as if everything were going to continue. A clerk insists on giving Peter Holmes a receipt for a purchase even though the store is about to shut down; the admiral discusses in some detail the reimbursement procedure that an admittedly-nuked Washington, D.C. will follow for the Australian upkeep of the U.S. submarine even as radiation sickness forces him to bolt for the bathroom. These people know the end of the world is days, even hours, away; they aren't deluding themselves; but still, they can't let go. This fabric of functionality and forced normality makes the world of On the Beach resonate with the real Cold War world: in each the danger, while quite real, is remote from everyday circumstance, leading to an almost schizophrenic existence. (Think "Duck and Cover" commercials airing during a "Leave it to Beaver" episode and you get the idea.)

The characters' ultimate, and universal, reaction to the approaching end of the world further strengthen the allegorical nature of the book. British apocalyptic fiction has always been more fatalistic and pessimistic than its American counterpart, and in no case is this more true than in On the Beach, which is perhaps the most devastating work of its kind. Shute's post-holocaust characters--in fact the entire civilization--simply give up. From an American perspective--the sort that produced the contemporary Alas, Babylon--this is frustrating and unrealistic. To paraphrase a statement of Colonel Graff in another famous American SF work, Ender's Game, our genetic heritage simply doesn't allow us to give up without a fight. But that's exactly what Shute's world does, without even any show of resistance. In the entire book there are only two, or perhaps three, real outbursts of emotional reaction to what's happening. No drastic mobilization to prepare a bunker to wait out the twenty year period of radiation, no desperate attempt to continue the species at any and all cost, as in When Worlds Collide ("Waste anything but time!"); just passive acquiescence and, in the end, mass suicide. This fact--this long, drawn-out, and ultimate loss of hope, which few other works can match--is what makes the book so important. In sum, Shute asked the Cold War reader how s/he will respond to a threat that, unlike the one in On the Beach, was still only potential. Peter Holmes, in his deathbed speech, suggests education. The book's meaning and purpose is best summed up in the closing shot of the original film; the banner proclaiming to an empty Melbourne "There is still time, brother."

On a literary level the book leaves much to be desired. Particularly grating to this American is the terribly contrived American dialect of Dwight Towers, the American sub commander. But despite this, On the Beach is a classic of the genre--if you can stomach it.

Read every Nevil Shute you can get your hands on. Period.

He's a cuppa tea on a Sunday Afternoon read. Every single one of his books are worth reading. They draw you in and then engross you.

I think he's a Master. No big flashing lights, no bodice ripping, no gimmicks - just good old fashioned story tellin about good and interesting people. He's a soothing and wonderful read.

Read him. Read every single thing you find of his.

I was searching for fiction similar in tone to McCarthy's 'The Road' and came across this older title. Very haunting read. Showcases believable common people and how they would conduct themselves while facing the impending nuclear doom. A great cautionary tale in our often uncertain times. Schools should make novels like this required reading moreso than some of the removed literary 'classics' in my opinion.

I read this novel when I was a kid, and felt that it was one of the most depressing books that I had ever read. I then recommended it to all of my friends as a must read. I still feel that way about the book, and have re-read it several times as an adult. Very powerful and well written. For those who like the book, the original movie with Gregory Peck is every bit as good, and should not be missed. Note that there was a remake a few years ago that really didn't make the cut.

Early test of the R rating and what it meant to the content of a film. It also brought out the practicing part of medical practice. Dyan certainly tested the scope of what a female actress could do in a movie in a somewhat dark but humorous genre.

This movie is smart, fun, and funny. I'd never heard of it before catching it on TV a few months ago, but I couldn't change the channel! It's got great lines with great delivery. Smart, fun, and funny. I just don't know how else to describe it. Travolta is excellent from the start, and Bill Pullman, though he only arrives halfway through the movie, is hilarious. Tim Roth and Lisa Kudrow are also very funny in their roles. The dialogue is easy to follow, but sometimes the humor is quick and subtle, so pay attention! Here are a couple of my favorite lines, but believe me there are a bunch:

Jerry the bookie: I mean Jesus Christ himself can't rig the state lottery...unless, unless Jesus had a buddy down at the TV station.

Crystal: And I want that ticket back. And I want Dick Simmons dead, you hear me!?
Gig: Fine, fine.
Crystal: And I want his head cut off so I can hang it from my rear view mirror!
Gig: Now that's just your anger talking.

We watched about half before losing interest and going to bed. No laughs and very generic characters that are boring, unrelatable, and pathetic. Poorly defined, a total waste of time.

This is a great John Travolta comedy that was probably inspired by a true story in Pittsburgh Pennsyvania back in 1980,when a local popular television celebrity "Nick Perry" was allegedly involved in a televised lottery fix and had to serve prison time.Anyway,it's an interesting must see movie !!!!!

I don't know why this movie didn't do better, and why some reviews are ONE STAR reviews. It is certainly much better than ONE STAR. Nevertheless, I found this to be up with GET SHORTY, very dialogue driven movie, which I personally love.

Very funny moments, characters and story. Tim Roth, Michael Rapaport, Ed O'Neil, Bill Pullman and Michael Moore all add great funny performances. I generally don't like Travolta, but both this and GET SHORTY is the exception.

This, like 29th Street is an underrated movie that I think people had too high expectations and therefore the possible disaapointment. I laughed almost through the entire movie. What people will do for money!

Dear Quentin,

How are things going, man? I heard about the new film with Uma. Sounds great.

Did you see my newest film "Lucky Numbers"? I play Russ Richards, the local celebrity weatherman in Harrisburg, Pennsylvania. Russ has adoring fans, his own table and omelet at Denny's, and a snowmobile dealership. Due to uncommonly warm weather, his dealership is about to go under, crumbling his entire financial empire. Out of desperation, he pays a visit to Gig (Tim Roth), the owner of the local strip club. Gig suggests that Russ and his `friend' Crystal (Lisa Kudrow) rig the state lottery. Crystal works at the same station and pulls the numbers out for the lottery. Crystal is all for the idea. She has also been dating Dick Simmons (Ed O'Neil), the station manager and he has been neglecting her. Her share of the winnings will help her break free. Everything, of course, gets complicated.

Funny, huh? It has it's moments.

Quentin, you know that I like to work with people I know. It makes me feel comfortable. Acting is hard, man. I need comfort to help me create my characters. Nora Ephron directed the film. She and I worked together on "Michael", which was pretty successful, so I was hoping lightning would strike twice.

I really enjoyed reading the screenplay. Basically it combines elements of dark comedy and farce. People act weird, some people die, people are mean to one another. But they also act really silly. I haven't done a lot of farce but I laughed when I read the screenplay. My track record with comedy is spotty, but if someone has the $20 million and a decent script, I'm game.

Lisa and I are great together. She plays someone that is very different from her well-known persona on `Friends'. Crystal is very different from Phoebe. Crystal has an edge, a determination that makes her very interesting. Crystal has a few moments that also make her seem real, a very important factor in a farce. If the character doesn't have at least a tiny grounding in reality, the farce doesn't work. Lisa gets this and makes it work. I get it, too, and made it work during the scene in the Denny's... In the scene in the snow mobile dealership... In the scene at the television studio when they reveal that someone was killed... In the... Well, I know I made it work somewhere. I'm no film historian, but it works.

The supporting characters are top notch. Michael Moore plays Crystal's dimwitted cousin. He is very funny. Tim Roth is good, but doesn't have a lot of laughs. But that's OK. He's primarily a dramatic actor anyway. Actors should play to their strengths. Michael Rappaport plays a local thug. He's all over the place. Hell, most of the supporting cast is all over the place. That's OK, because this is a farce, right?

I know reviewers will pick up on the fact that everyone in the film is greedy, unlikable and they really don't like each other. There isn't really anyone to care about. That's OK. These characters are based on real people. They don't need to be likable. They need to be funny. They are funny. Aren't they? Sometimes? Yes. They have some funny moments.

Nora is a great director. She has a good hand at comedy, especially farce. Every farce I have ever seen has too many laughs. You're laughing when another joke happens. You can't keep track of it all. Thankfully, Nora has slowed everything down... Quite... A... Bit. Her pacing is glacial. But I like that. I have the ability to laugh at the jokes.

Quentin, I'm just not sure. I've had a string of dogs lately. I'm not a good actor. I'm a movie star. I am a persona that draws people into the movies. They shouldn't expect my performance to be subtle or even well-modulated. If I'm playing a local celebrity weatherman, I'm going to play it for all the smarminess I can. I'm going to mug and grin at every character that recognizes me. I'm going to wear the local fame on my sleeve and when things start to go wrong, I'm going to shake, rub my head, run around in circles, really frustrated. I can play characters. But lately, people haven't been coming to the films. "Battlefield Earth" was a disaster, but to save face, I told some news people that I thought it was good and will make a sequel. I am a powerful star, a member of the $20 million dollar club. I can't go back to the under $10 million club. I just can't.

Quentin, you are the king of creating comeback vehicles. Can you start thinking of another comeback vehicle for me? I know you can. I think that I may need another comeback in a year or two. Start watching the old videos, OK, pal? For me, Quentin?

Thanks, buddy.
John

This movie is smart, fun, and funny. I'd never heard of it before catching it on TV a few months ago, but I couldn't change the channel! It's got great lines with great delivery. Smart, fun, and funny. I just don't know how else to describe it. Travolta is excellent from the start, and Bill Pullman, though he only arrives halfway through the movie, is hilarious. Tim Roth and Lisa Kudrow are also very funny in their roles. The dialogue is easy to follow, but sometimes the humor is quick and subtle, so pay attention! Here are a couple of my favorite lines, but believe me there are a bunch:

Jerry the bookie: I mean Jesus Christ himself can't rig the state lottery...unless, unless Jesus had a buddy down at the TV station.

Crystal: And I want that ticket back. And I want Dick Simmons dead, you hear me!?
Gig: Fine, fine.
Crystal: And I want his head cut off so I can hang it from my rear view mirror!
Gig: Now that's just your anger talking.

We watched about half before losing interest and going to bed. No laughs and very generic characters that are boring, unrelatable, and pathetic. Poorly defined, a total waste of time.

This is a great John Travolta comedy that was probably inspired by a true story in Pittsburgh Pennsyvania back in 1980,when a local popular television celebrity "Nick Perry" was allegedly involved in a televised lottery fix and had to serve prison time.Anyway,it's an interesting must see movie !!!!!

I don't know why this movie didn't do better, and why some reviews are ONE STAR reviews. It is certainly much better than ONE STAR. Nevertheless, I found this to be up with GET SHORTY, very dialogue driven movie, which I personally love.

Very funny moments, characters and story. Tim Roth, Michael Rapaport, Ed O'Neil, Bill Pullman and Michael Moore all add great funny performances. I generally don't like Travolta, but both this and GET SHORTY is the exception.

This, like 29th Street is an underrated movie that I think people had too high expectations and therefore the possible disaapointment. I laughed almost through the entire movie. What people will do for money!

Dear Quentin,

How are things going, man? I heard about the new film with Uma. Sounds great.

Did you see my newest film "Lucky Numbers"? I play Russ Richards, the local celebrity weatherman in Harrisburg, Pennsylvania. Russ has adoring fans, his own table and omelet at Denny's, and a snowmobile dealership. Due to uncommonly warm weather, his dealership is about to go under, crumbling his entire financial empire. Out of desperation, he pays a visit to Gig (Tim Roth), the owner of the local strip club. Gig suggests that Russ and his `friend' Crystal (Lisa Kudrow) rig the state lottery. Crystal works at the same station and pulls the numbers out for the lottery. Crystal is all for the idea. She has also been dating Dick Simmons (Ed O'Neil), the station manager and he has been neglecting her. Her share of the winnings will help her break free. Everything, of course, gets complicated.

Funny, huh? It has it's moments.

Quentin, you know that I like to work with people I know. It makes me feel comfortable. Acting is hard, man. I need comfort to help me create my characters. Nora Ephron directed the film. She and I worked together on "Michael", which was pretty successful, so I was hoping lightning would strike twice.

I really enjoyed reading the screenplay. Basically it combines elements of dark comedy and farce. People act weird, some people die, people are mean to one another. But they also act really silly. I haven't done a lot of farce but I laughed when I read the screenplay. My track record with comedy is spotty, but if someone has the $20 million and a decent script, I'm game.

Lisa and I are great together. She plays someone that is very different from her well-known persona on `Friends'. Crystal is very different from Phoebe. Crystal has an edge, a determination that makes her very interesting. Crystal has a few moments that also make her seem real, a very important factor in a farce. If the character doesn't have at least a tiny grounding in reality, the farce doesn't work. Lisa gets this and makes it work. I get it, too, and made it work during the scene in the Denny's... In the scene in the snow mobile dealership... In the scene at the television studio when they reveal that someone was killed... In the... Well, I know I made it work somewhere. I'm no film historian, but it works.

The supporting characters are top notch. Michael Moore plays Crystal's dimwitted cousin. He is very funny. Tim Roth is good, but doesn't have a lot of laughs. But that's OK. He's primarily a dramatic actor anyway. Actors should play to their strengths. Michael Rappaport plays a local thug. He's all over the place. Hell, most of the supporting cast is all over the place. That's OK, because this is a farce, right?

I know reviewers will pick up on the fact that everyone in the film is greedy, unlikable and they really don't like each other. There isn't really anyone to care about. That's OK. These characters are based on real people. They don't need to be likable. They need to be funny. They are funny. Aren't they? Sometimes? Yes. They have some funny moments.

Nora is a great director. She has a good hand at comedy, especially farce. Every farce I have ever seen has too many laughs. You're laughing when another joke happens. You can't keep track of it all. Thankfully, Nora has slowed everything down... Quite... A... Bit. Her pacing is glacial. But I like that. I have the ability to laugh at the jokes.

Quentin, I'm just not sure. I've had a string of dogs lately. I'm not a good actor. I'm a movie star. I am a persona that draws people into the movies. They shouldn't expect my performance to be subtle or even well-modulated. If I'm playing a local celebrity weatherman, I'm going to play it for all the smarminess I can. I'm going to mug and grin at every character that recognizes me. I'm going to wear the local fame on my sleeve and when things start to go wrong, I'm going to shake, rub my head, run around in circles, really frustrated. I can play characters. But lately, people haven't been coming to the films. "Battlefield Earth" was a disaster, but to save face, I told some news people that I thought it was good and will make a sequel. I am a powerful star, a member of the $20 million dollar club. I can't go back to the under $10 million club. I just can't.

Quentin, you are the king of creating comeback vehicles. Can you start thinking of another comeback vehicle for me? I know you can. I think that I may need another comeback in a year or two. Start watching the old videos, OK, pal? For me, Quentin?

Thanks, buddy.
John

This is a fantastic resource. Many of the best arrangements are in this version. I have 4 versions of O'Neill's: Krassen, Walton's, Ryan's, and Jim O'Neill's. I use them all, but especially Krassen and Waltons. Do not believe the dicouraging remarks. This is one of the best. Get them all and compare the tunes. Each has strengths and weaknesses. Taken together they give you the best of all worlds.

The problem isn't only that a lot of tunes have been left out that were in the original edition offered by Daniel Collins. But Krassen has altered many tunes so that instead of presenting piping versions -- which the original offered -- we now have simplified fiddle-friendly versions. Many pipe ornaments have been lost. Krassen has lost much of the magic.
O'Neill was a piper and many of the versions of tunes he saved came from pipers. This is also true of the earlier collections of tunes from which O'Neill drew for many of his tunes, such as Ryan's Mammoth Collection. In Krassen's version a lot of the classical, 19th. Century pipery flavor has been sacrificed for "cleaner," presumably "modern" versions. This is the last edition of O'Neill's one should consider buying. I play fiddle, flute, and concertina, I've lived in Ireland for years, and have been playing Irish traditional music for over thirty years. I know this sounds terribly opinionated. But even if you play fiddle and learn from the dots you should use a tune-book closer to the source than this. Get the big yellow Collin's edition or the slim white-covered "condensed" O'Neill's collection. You'll be happier in the long run.

O'Neills contains hundreds of well known and not so well known tunes collected around the turn of the 20th century. This is an excellant source book to find traditional settings for tunes. Though this revision is geared towards the fiddle player, any musician will find this a wonderful reference. There is a previous version of O'Neills that contains some tunes that were lost in the revision by Mr. Krassen. Some people prefer this earlier edition.