Reviews Books

I checked this book out of the library, and enjoyed it so much that I'm buying my own copy. Great pictures and really great stories. The mostly one-sided feud between Bette Davis and Joan Crawford is a great example. I love Bette Davis as an actor, her sharp mind and acid tongue, but, oh, what she was like to work with!

This book is not only beautiful to look at, it is so beautifully written! The text gives great insights into the genres of classic horror films and fills them with little-known details of how the films were made. Vieira understands that films are made by people and he explores the personalities behind some of the most indelible cinematic creations ever. For any fan of horror films, this is a must own, must read!

I read everything published on the horror movie genre, and a lot of it is repetitive (there is almost nothing new to be unearthed after so many decades), but Mark Vieira has written anecdotes and observations that are fresh and lively. With a slightly wicked delight in gossipy tales of professional jealousy and schadenfreud, he has also gotten access to the clearest most beautiful pictures I've seen on the subject. His interest and knowledge of photography is outstanding. Where did he get the juicy tidbits of personal knowledge he relates about the great figures of genre filmmaking?

It is one of the most familiar faces from Hollywood: huge, boxy forehead, heavy lidded eyes, railroad-track surgical scars, and bolt through the neck. Frankenstein (or more properly, Frankenstein's monster), in a gorgeous, detailed black and white photo (which for all the fussing over its production would have been called a glamour shot if the subject were someone else) stares from the cover of _Hollywood Horror: From Gothic to Cosmic_ (Harry N. Abrams) by Mark A. Vieira. In his Acknowledgements section, Vieira thanks his dad for letting him watch horror movies "on the Early Show, the Late, Late Show, and everything between." He also thanks him for making trips so he could buy _Famous Monsters_ magazines. One cannot doubt that he has a lifelong enthusiasm for his subject, and the format of his book makes this clear. It has large, glossy pages filled with black and white images of celluloid nightmares, and most of them are by the studio photographers (some of them famous, like Ernest Bachrach) who were responsible for the stills that would sell the film to the public. Although for many the pictures will be the show, Vieira's intelligent text and cataloguing of the films is worth reading on its own.

Vieira has chronologically divided the genre into the Gothic, Psychic, Atomic, and Cosmic. Boris Karloff's career stretches over them all, starting from his Frankenstein role, for which his costume weighed all of 48 pounds. Dracula and Frankenstein made lots of money, with violence and the sexuality (both of which seem wonderfully understated in our times) before the Production Code came out drew the "grandstanding censure of women's clubs, clergymen, and politicians." The Psychic section of the book is largely given to the films of Val Lewton, who refused to go along with any previous horror formula. Cutting in mere suggestions of horror into a love story about normal people was just what budget-conscious RKO went for. The Atomic years were a reaction to the atmosphere of the Cold War, and routine horror films "began to portray science as a tool more evil than Dr. Frankenstein had ever anticipated." The first of many films to show how nuclear devices could bring forth monsters was 1953's _The Beast from 20,000 Fathoms_, with a custom-designed dinosaur awakened by an atomic test. Vieira ends with the Cosmic films, paying most attention to a movie monster that is among the most realistic ever, and which has caused more serious analysis than even Frankenstein's monster: HAL the computer from _2001_. The years tick by and we have yet to make a machine nearly as smart (or fortunately, as diabolical) as HAL.

The final portion of the book also includes films that are quite dissimilar from the monster movies covered in other pages. In a book like this, one will always think of films that ought to have been included or excluded, but Vieira is calling the shots. He has included _Psycho_, which is not really a monster film but has plenty of terror. For real scares, read about how Alfred Hitchcock treated Tippi Hedren during the shooting of the filming of the climactic sequence of _The Birds_, or how Frank Sinatra treated Mia Farrow while she was making _Rosemary's Baby_. Also here are _Whatever Happened to Baby Jane?_ and _Hush... Hush, Sweet Charlotte_, in which the real monsters are the actresses Bette Davis and Joan Crawford, aging grandes dames of cinema, who were at each other's throats onstage and off. There are some eccentric choices here, but Vieira's book is a fine-looking survey of a genre of films that, like so many of their monsters depicted, just does not die, and if it does, it comes back with surprising transformations.

The horror movie has evolved from its origins in German Expressionism to our current day of graphic gore.Mr.Vieira is both entertaining and informative as he guides us along this shadowy path.We are offered behind-the-scenes anecdotes of the actors,directors,writers,producers and even the composers of some of the film scores.Quite fittingly we are given a glimpse of Universal's make-up wizard Jack Pierce.His painstaking creations persist more than sixty years later(even though we are told they did not look good in color).
All of the major as well as the lesser known works are covered.They are arbitrarily grouped under the titles of"The Gothic","The Psychic","The Atomic",and "The Cosmic".These unifying headings help the author to correlate relevant social and historical events with metaphorical images(eg 1950's Aliens as Cold War invaders).The section devoted to Val Lewton was especially enjoyable.I was able to better appreciate these artfully done low budget horror movies when viewing the recently released DVD collection.
I would highly recommend this book to the enthusiast and to the casual fan.Mr.Vieira obviously has a passion for this genre and it is infectious.An added bonus is the sumptuous black and white photographs many of which are rare studio stills.This is a book I was sorry to finish but I know I will be referring to it often in the future.

This book is really awesome!!!!! Its a great guide for It Girls. I am a teenager and I love old movies and this book was a great guide for me! The book has 100 classic must see movies. The book is divide into sections for example, some are called Pure Romance, Marriage, the look, get the kleenex, getting the guy, royalty, weddings, and musicals to name a few! This is a great book to take w/ you to the video store. All the movies have a little description. I really love this book!! I really hope Meredith Alexander comes out with another book because this is a really good book! It would be awesome if she made a volume 2!

LOVED IT! GOT IT AS A GIFT. BEST BOOK OF IT'S KIND OUT THERE. BOUGHT THREE FOR MY FRIENDS. MEREDITH ALEXANDER IS A GENIUS. I HOPE SHE COMES OUT WITH A GUIDE TO GETTING THE IT MEN OUT THERE.

Make this your winter of content by curling up on the couch with the It Girl's Guide to Video, and then pressing the power button on your VCR. Meredith Alexander has done us all a huge favour by "screening" the movies that define glam. No more need to hesitate over what to rent at the video store. The must-see films are all there in this must-have book. The It Girl's Guide to Video is not only a great resource, it's a great read.

BUT SERIOUSLY, HOW DID WE MANAGE AT THE VIDEO STORE WITHOUT THIS REFERENCE GUIDE? THIS BOOK IS VERY WELL DONE AND THE AUTHOR HAS AN ASTOUNDING KNOWLEDGE OF THE BEST MOVIES OF OUR TIME. IT MAKES THE PURRRRFECT COFFEE TABLE BOOK, THE COVER IS HOT PINK SO WE KNOW THAT IT WILL "WORK" IN ANY IT GIRL'S LIVING ROOM!

A wonderful guide to the classics that every It Girl needs to see. Take the book with you to the video rental store and start at page 1. The book includes great stills from the films, and fun descriptions of each. I love it. Just grab your box of kleenex and popcorn and you're set. Would love to see a second volume!

The book has many fun and interesting facts about Lewis and Clark. If you're using it for the classroom...the activities are creative and easy to do.

This is a perfect book for kids to learn about Lewis and Clark. Not only is it informative but also holds their attention by giving them useful and entertaining activites. A must for those not in the standard school system in the states.

I would have given this book five stars if there had been just a few more activities in it.

The book reads as non-fiction literature and is interspersed with good photos and interesting sidebars. There are also some useful activities for the child to do within the text to reinforce what is learned.

This book would be useful for all grades but can be read independently in the middle school grades. The book contains a glossary, index, web site suggestions, bibliography, listings of museums and parks and other handy references.

The Lewis and Clark Bicentennial is here, finally! If you are still on your own undaunted journey of discovery or plan to teach children about these two courageous men and their corps, then you NEED this book. It will be invaluable to any teacher of intermediate students.

I found "Lewis and Clark for Kids" to be an excellent source of information and activities for both children, parents and teachers. There is an abundance of information about the actual journey plus there are great activities for children to engage in to learn more about the various indian cultures that Lewis and Clark interacted with on their journey of discovery.

I did not think I would like this book when I started it. but as I got into it I found it to be very interesting. I loved the story about the twins and just how easy going life was back then it is a shame it is not still like that! this book will take you back to a very simple time when andy was growing up. you will learn a lot about Mt Airy. which is very very much like mayberry. any mayberry fan would like this book.

I recently moved to Mount Airy, the fabled Mayberry, and wanted a resource to help me learn a little bit about the "lore" behind this community. This was an excellent resource and a fun read at that. For me, it helped bring to life not only the ties of my new hometown to the TV show, but also to learn a little bit of history about this community.

My wife just purchased this book for me and it was very interesting, especially being in the first person from Jewell. Brings back so many memories from my wife's family. I will be sending it to my 92 year old mother-in-law to read and I know she will enjoy it. Thanks, Jewell, good talking with you. Bill Tarpley

Hardly anyone who has been exposed to television over the last forty years has not come in contact with the good people of Mayberry. Walk up to most people on the street and ask them to name three justices of the U.S. Supreme Court and you just might get a blank stare. Ask the same person to name three residents of Mayberry, North Carolina and very few people will have a problem. Andy, Barney, Opie, Aunt Bea, Otis, Goober and Floyd have become so much a part of American culture that to most of us they are just like family. Mayberry is as real to most people as Chicago or Los Angeles and almost everybody knows that you have to go to Mount Pilot to get Chinese food.

Mayberry of course is not a real place but is instead a product of Andy Griffith's mind. Griffith's mind was however heavily influenced by his hometown and Mount Airy, North Carolina has become to most people, the real Mayberry. Jewell Kutzer grew up in Mount Airy and is just a few years younger than Andy. This book therefore, depicts on a very personal level the Mount Airy that has become America's most famous small town.

Many of the stories that are related in this book had a very obvious influence on the happenings in Mayberry. One story involves a young man who went on a small crime spree that included throwing rocks through most of the windows at the school. The authorities kept catching the young man but he would escape from jail almost as quickly as they locked him up. It all sounds a lot like Earnest T. Bass to me. If you remember Barney's very off key rendition of, "Welcome Sweet Springtime" you will not be surprised to learn that this song was a favorite of Andy's grammar school music teacher. Over and over, as one reads this book, they will be reminded of some happening in Mayberry.

There are many stories in this book that do not relate to Mayberry at all but are personal reminiscences of the author. At first I felt like these stories should not have been included since I bought this book to learn about Mayberry. As I read however, I changed my mind for these stories add greatly to the reader's ability to relate to life in a small southern town. Thank you Mrs. Kutzer for giving us all the chance to feel like we grew up in Mayberry just like you and Andy.

Thousands and thousands of us faithfully watched the television classic, The Andy Griffith Show and its sequel, Mayberry RFD. We followed Sheriff Taylor, Barney, Aunt Bea, and the rest through 249 episodes from 1960 through 1968. From 1968 through 1971, we were treated to 78 episodes of Mayberry RFD. Watching these shows today is a heartwarming nostalgic experience. Why, there's even an active The Andy Griffith Show Rerun Watchers Club!

Mayberry has its roots firmly and deeply planted in Mt. Airy, North Carolina, a small town nestled in the mountains between Winston-Salem and the Virginia state line. Andy Griffith is celebrated there, along with all the traditions of hometown America, during community festivals and other events.

Jewell Kutzer grew up in Mayberry, just a couple of years behind Andy Griffith. She shares many of the memories that inspired Griffith to create Mayberry and the character of the popular television show. In Memories of Mayberry, she shares her experiences growing up in this now-famous small town. It's a pleasant, comfortable book to read, like having a conversation with a friend. Mt. Airy was a microcosm of life in a changing country, in a changing world. Lives were interwoven with the lives of others in the community. People were real, they were caring neighbors, they led simpler lives in the 1940s and 1950s. This book takes the reader back to those uncomplicated times.

Did I say uncomplicated? Well, compared to today's complex lifestyles. But for Jewell, growing up in a small town, life brought one adventure after another. Her tales of yesteryear are referenced to episodes in The Andy Griffith Show that relate to the memories. Readers will gain a deeper appreciation of how Griffith made the show so real in the earlier days of television.

Want a trip back to our roots? To the values on which our country was built? Pick up a copy of Memories of Mayberry to open your mind and heart to our wonderful past, not just in Mt. Airy, but in hundreds of other small towns across the land. Definitely designed for readers over 40 (we were there), but offers valuable insights for younger readers, too.

Yes, it's nearly 15 years old. Why a revised edition never surfaced is beyond me. Still, if you can forgive a total absence of recordings from the mid-90's onward, plus some notable exclusions of opera that have since gained in popularity, this is a must-own volume. I cannot think of another guide that discusses individual recordings so thoroughly.

The reviews are highly opinionated, but there is no question that each reviewer is an authority on the subject. I do disagree on some counts, particularly when it comes to some favorite singers. For instance, it matters not to me that Grace Bumbry is attacked for her lower register; she will always be the greatest Amneris in my book, if not in this one, so to speak.

I agree with my fellow Texan reviewer who described hours of pleasurable reading from this essential companion. No one guide can be all things to all people, but the strenghs of this one place it at among the two or three very best available.

This book is an older sister of the "Metropolitan Opera Guide to Opera on Video". Both are edited by P.Gruber, which at least partly explains their similar design, but feature different teams of reviewers (only few names overlap) and maybe this is the reason why this guide reads so much better than its video sequel. Nevertheless, it is not difficult to imagine that the main reason for this discrepancy is the medium itself: recordings play much greater a role in our musical lives than video (or DVD) and that's probably why it is easier to write about them with fondness. The reviews collected here are very human and it is clear that their authors not only lived with the reviewed recordings for quite a while, but were quite eager to share their comments with the broader public - I didn't have that impression while reading the MET team's generally sour video guide. This is a very likeable book! Most of the reviews are written with sympathy and warmth, not very common in this kind of critical writings. There is also a tendency to emphasize the good even in seriously flawed recordings. These are highly subjective reviews and there is no attempt at concealing it: the language is always very personal and leaves no doubt that in many cases some high emotions were involved - again a feature that I found missing in the video guide. To make the book even more "human", the editors thought about including some dozen charts presenting favorite opera recordings of some celebrities (for whatever it is worth to know Joan Rivers's tastes in operatic matters; other choices are less problematic since most of the people are to some degree professionally involved with opera or theater). This guide is of course outdated but this shouldn't make it less attractive to true opera lovers. What is very important with this kind of publications - apart from its obvious practical value - is the fact that they preserve in a compact form a selection of well written essays not only on opera recordings, but also on our musical life and they give the lie to a generally felt impression that music criticism is a dying art. However, on the strictly practical side, the MET's guide will never be quite outdated, since the reviews collected here apply NOT only to CDs, but also to vinyl discs, at the time of printing still a popular medium. Many of then LPs (some transferred from 78s) are being reissued now in all sorts of series of "legendary recordings" launched by the record companies. As to the new releases, we can only wish that the guide will be updated from time to time. A large section on baroque opera recordings would be an important feature of this imaginary "new edition" (I have to admit that in its current form, the guide doesn't have much to offer for the fans of early opera) But even without these changes, the MET's guide is a very important addition to the music library of any record collector - if not strictly as a guide, then simply as a collection of wonderful musical essays. One can agree with them or not, but they never leave the readers with an impression of having been written by people bored with the topic. Enjoy!

Anybody who collects opera on CD (or other formats) should own this tome; mine has long since separated into maverick fascicles from constant reference and casual browsing. Each contributor reviews, in some detail, virtually all recorded versions of a single work (then, incidentally and almost superfluously, offering recommendations). Standards of knowledge and of writing are gratifyingly high, and the thinking is refreshingly independent; I've been led to some wonderful disks that, going by received opinion, I wouldn't have poked with a ten-foot pole. But the book stops short in the early 90s; for anyone interested in state-of-the-art sound (not to mention some extraordinary performances), the Guide has quickly become seriously deficient. Also, it's time to rethink the operas included. Ginastera's Bomarzo, Argento's Postcard from Morocco and Musgrave's Mary Queen of Scots -- all unobtainable in any format -- can go, making room for, say, Schreker, Respighi, Chausson and Chabrier, Zemlinsky and Glass, among many others. Some composers need broader representation: Cherubini, Weber, Bellini (no Pirata!), Gluck (neither Iphigenia, no Alceste). Other commentators have suggested either a thorough-going update, or a second volume. I'd buy either without a second's pause.

Opera is a costly art. Producing recordings of operas is a costly business. Opera enthusiasts who wish to own recorded versions of their favorite operas, must thus expect to have credit cards that can call up large funds. Hence, the usefulness and value of another art form, one that developed in the C20th. This new art form is the guide to recorded opera, a collection of critical assessments and recommendations intended to help readers avoid wasting their money.

Of all such publications - and they can provide endless hours of absorbing reading even if the aim is not necessarily to get a well-informed recommendation - an outstanding example is The Metropolitan Opera Guide to Recorded Opera. Developed from an idea by Roland Gellat, and edited by Paul Gruber, it surveys and assesses virtually all opera sets on record up to 1993, the year of its publication. The roster of reviewers is impressive, comprising a team of twenty highly qualified contributors working in the USA and England.

Something I always look for in books of this type is a detailed index. The one here meets all my requirements. It enables me to find all references in the book to, for example, Dietrich Fischer-Dieskau, a singer you might think is represented in recorded opera sets more than anybody else. It is Placido Domingo, however, whose index entries occupy more space here than those of any other singer.

An alphabetical order of composers dictates where the recorded opera reviews are found. Once you have found "M" near the center of the book, for example, you can locate Mozart, and find his operas discussed in chronological order. There is also an index of opera titles, if you prefer that means of finding what you want. There are no illustrations, and pages are laid out in two-column format, so the book is reasonably compact and not too weighty.

Each reviewer is set the task of assessing all available recorded sets of a particular opera (a luxury few of us can enjoy) and providing a recommendation. Perhaps it is in the nature of opera, an art form with so many inter-relating components, that few single versions of a particular opera are found to excel on all counts. One of the few is the de Sabata "Tosca". Nevertheless the reviewers always attempt to "narrow the field" and indicate strengths and weaknesses along the way.

A "guide" to recorded opera is tricky. First of all, every opera critic is likely to have his or her own biases when it comes to singers, conductors, sound quality, etc. That being said, this book is an extremely fair, balanced, guide to the recordings of many operatic staples, as well as lesser-known works. Each opera's discography is reviewed by a single critic, so there's consistency. However, a problem arises when the different critics offer conflicting views of the same singer in different operas. Joan Sutherland is criticized by some critics for her poor diction and placid portrayals, but other critics choose to focus on the beauty of her voice and her impeccable technique. Who do you believe? It's your choice. Also, this book was written in 1993, so many recent studio recordings, historical releases from Naxos, and more "legitimized" pirates are not covered here. Overall, however, it's an entertaining, comprehensive guide to many famous recordings.

Moving Target succeeds in transforming what could be a pedestrian topic into a fascinating tale of discovery. Ron Arias manages masterfully to make the reader a committed member of the author's family and his relentless quest to uncover the truth.

Arias accomplishes this considerable feat with an effective approach composed of painful candor, suspense and clean, compelling writing.

Moving Target was one of the best books I have read ever. It was a moving story of a family and the hunt for a father they knew or didn't know. I was jealous of the young mother, wishing she had been mine. Later on I was glad she wasn't! Her death was an enigma. Her writings were truly unbelievable and know that's where Ron got his talent for writing. I read this book several months ago and it took this time for me to write. It is tragically moving, poetic with an uncanny melodic verbage. The quest to find this father again took Ron to many places, winding up in of all places, California. The perseverance to not quit gave this reader a gut-wrenching mystery that kept me riveted to my seat. Once you start you cannot put it down. I will read this book again. I hope Ron continues to write as he haa a talent that needs shared with the world!

Moving Target, by Ron Arias, is the story of an American family, but not your typical next-door-neighbor kind of family. This is the story of a military family from the perspective of a sensitive, intelligent boy. While fellow army-brats will nod their heads in recognition as they read this memoir, most civilians would be astonished by the impact war and the warrior culture of discipline and rootlessness can have on a marriage and family.

Once begun,this book is not easy to put down. It is a chronicle written in a clear, accessible style, and often reads like a mystery novel. It takes a trip through recent history, putting personal faces on the Korean Conflict and the Cold war. As the writer matures and explores his father's military career and his mother's aspirations and marriage, many questions emerge. I felt compelled to follow Mr. Arias on his search to find the "real" man who shaped his life. Both his parents are brought fully to life, and as a bonus, Mr. Arias shares his adventures as a journalist. It is a courageous, heartbreaking, intimate life story that I will not soon forget.

The author has captured the depth and spirit that keeps our POW's alive, knowing that we cannot forget them and the sacrifice that they have made for us. It does not matter if they are held three weeks or three years, we must keep them in our hearts, minds, and prayers. This book should be required reading by the Military and their families, and those that are quick to find fault with the men and women in uniform. I came away from each chapter as a member of the family and their ordeal after the war. We must remember that the families are just as much POW's!

I made the mistake of starting to read "Moving Target" before going to bed one evening; at 3 am I was still unable to put this book down. It's the memoir of Ron Arias, a staff correspondent for People Magazine. It starts out as a biography of Arias' parents. His father, Armando, is being held as a POW in Korea. His mother holds the family together until Armando's return. But this happy event is soon overshadowed by many troubles; Armando is being discredited by the Army, his promotion to captain is delayed (is it because he's Hispanic?) And he's a changed man, brooding, a strict disciplinarian but now with an edge since his return from near-starvation and survival of a Korean POW camp. Ron and his brothers find the household tense and troubling after Armando returns.

And there are more mysteries. Why does Ron's mother refuse to take communion at Sunday Mass? There is truth to be uncovered here, and Arias takes us on a young man's journey to find himself and his family.

The memoir also shows us Arias' development as a writer, from a chance encounter with Hemingway in Pamplona, to a course in English literature in Argentina from a Professor Borges (yes, Jorge Luis Borges.) And in Argentina, Ron begins a career as a journalist. We follow Ron through a stint in Peru as a Peace Corps volunteer and watch how a young and talented journalist develops. But the story of his family and his identity is an equally compelling thread.

This is probably one of the best memoirs I've read in years. The writing is crisp, the description of everyday details sharp and focused. Arias has the ability to go back and look out of the eyes of innocence and ignorance-we follow him along in the book as if we all were sent back in time in his life. If you liked "The Color of Water" or "Angela's Ashes" this book will resonate with you. You really should read it. I promise you won't be disappointed.

I don't have much to add to the excellent reviews already made of this book, but it's been 4 years since this edition came out; we desperately need a new one as in a few weeks we will have seen every movie in this tremendous book. There are so many bad movies out there and this book (and netflix) has helped us to miss most of them.

What a great book! It's wonderful to have on hand for reference and would make a really welcome gift for someone (with "like interests") at Christmas or any other gift giving opportunity. In addition, it's just plain fun to read. Movies I have never heard of, and/or wish I'd seem are there by the dozens. Anyone with a "mail" subscription to a movie outlet would be very happy to get it. I'm getting a couple more for "gifting".

I'm not sure I consider myself a film buff. Friends often ask me to recommend a film or DVD, claiming I see "everything" which is hardly the case. Some even call me a film buff but I believe I've never earned the title. Friends of mine who can name any actor/actress/director in films well known and obscure, as well as release dates, studios, and quote Pauline Kael the way some people quote scripture or Shakespeare are in my estimation film buffs. I'm only a dabbler in comparison. Yet when I purchased NEVER COMING TO A THEATER NEAR YOU, I realized how many wonderful films I have seen and became even more appreciative that I live in a major metropolitan area that still has a few good small theatres and a theatre that shows great independent films.

NEVER COMING TO A THEATER NEAR YOU will be enjoyed by anyone who is an enthusiast for film and anyone who wants to watch great films that were critically acclaimed and loved by audiences, albeit smaller audiences than the blockbusters. Most are easily available on DVD/video. The book is a collection of film reviews by Kenneth Turan, a critic for both NPR and THE LOS ANGELES TIMES. Turan does not use the book to lambaste the state of Hollywood or criticize the quality of the most popular films released today. Instead, he gives readers the opportunity to read reviews of films that are of good quality but may have been overlooked when they were released.

Most of the films included are contemporary independent and foreign films. Turan focuses on these films rather than the better known releases believing that reviews of these films, including reviews penned by Turan himself, are readily available. Most of the films he reviews in the book were released during his tenure as a critic though he does include a section on classics that were panned by critics but in time were deemed brilliant. He also includes some writings about miscellaneous film topics such as Yiddish films, films released by Hollywood before the code, and Chinese martial arts films (I haven't acquired a taste fro these as of yet).

This is a book I wished had been penned about ten years earlier, when I began building my video and now DVD collection. It will be a great guide for anyone interested in film or who is beginning to develop an interest in film or for anyone who loves a good story and enjoys being pleasantly surprised when discovering a worthy film in a video store.

This is a book that highlights movies that we, as a society, desperately need. They cover a wide range of emotions, topics, times and places and yet they all have one thing in common - they make us think. I could have added a few myself (Memento, Contact, Facing Southwest, etc) but the listed movies are enought to keep even the most avid fan busy.

Divided into four parts.types - English language, Foreign language, documentaries and Classics, each is interesting not only in its own right but how it relates to the culture from which it sprung. Thus, VERTIGO, originally panned and dismissed, has emerged in the running as one of the greatest movies of all time. Some of the descriptions are artistic statements in themselves - I am thinking of the almost poetic notes on Glenn Gould's 32 Variations or the Decalogue's Polish origins & interpretation. The author is quite catholic in his tastes, eschewing well-worn political or religious labels. THis is a good book, an important one and deserves a wider audience.

I live sort of in the sticks--nothing plays at the local theaters except the big blockbusters. So this books serves as a great resource to all the movies I missed: independent films, foreign films, and (my personal favorite) documentaries. After reading this book, I now have many more movies to add to my Netflix queue. I have already seen quite a few of the films Turan reviews in this book, and I enjoyed them all, so I feel I can trust the other reviews in this book.

The "retorespectives" section at the end of the book is also valuable, and will serve as a good introduction for me to several genres and oevres.

I do have one complaint about the book, in that it is already a couple of years out of date. I hope Turan comes out with an updated edition soon.

'Now You Know' pretty much sums up the content of this book and the epic motion picture that inspired it. Every page is a human story, a story of everyday people changed by the unspeakable horror of war. One cannot help but be moved by the sheer honesty of the reactions evoked by this film. With the royalties going to the National D-Day Museum let us hope that the messages of this film and book continue to be remembered, for the sake of our future, and for the people who gave their lives for our freedom...

(REVEALS INFO!) I thought this book was great but the movie was a lot better in my opinion. Saving Privite Ryan the novel was about a 4 on a 1-5 scale (5 being the best). My favorite character is Reiben because he carries a BeretaAutomaticRifle and he does not die. This book made me appreciate what the men of our country have done and I don't look down upon older people any more;I would like to thank them for it.

"Now You Know" is a first rate little hard-bound book concerning viewers' reactions to the movie "Saving Private Ryan." It is clearly a labor of love and all profits are being donated to the National D-Day Museum. Anyone who saw the movie and loved it as I did will want this book. The viewers' express their observations with heart-felt emotion and insight. It would be rare to find something like this anywhere else.

I teach a film history class and Saving Private Ryan is one of the films we watch and discuss. This collection of letters is very moving. The variety of reactions and emotions is very moving. The letters were impressive and they fit in well while teaching the film. If you teach a film class or plan to use Saving Private Ryan in the classroom I highly recommend this collection to supplement your teaching.

On June 6, 2000, The National D-Day Museum will open its doors in New Orleans, LA. It will be the only Museum in the U.S. dedicated to telling the stories of the amphibious invasions or "D-Days" of World War II. The royalties and earnings frm Now You Know are going to be dedicated to this Museum

The stories told in Now You Know will be mirrored in the Museum. Ordinary People who did the extraordinary. They came not to conquer, but to liberate, not to loot or destroy but to bring life and freedom.

Now You Know has helped me realize the debt that we owe that generation...a debt they never tried to collect. It has also helped me realize the opportunity I lost when my father died. A chance to say thanks.

Thanks.

Levy's book is an overwhelmingly good source of information on the intent of the framers of the Constitution and on the idea that original intent is not something we should rely on. Levy uses exhaustive examples on many topics ranging from jurisprudence, the Bill of Rights and the 1st, 4th, 5th and 9th Amendments. I do have a few critiques on the book though.

1- This book appears to be more a collection of essays. Many of the chapters repeat what was previously and exhaustively discussed in other chapters as if the others chapters did not exist.
2- Levy does not delve into the issue of why the founding fathers feared establishments in regards to religion. England used the Anglican church to get a tighter grip on the colonies. Many Anglican parsonage positions were given as rewards (or punishments) to members of the English government. Taxes went to pay for salaries of these appointees while they did no real work. Many were never seen in the church at all. Also, England used the church to excise taxes from the colonies. None of this was discussed in the section of the establishment clause.
3- Many of the terms are discussed before they are defined. This causes confusion while reading. One such term is ex post facto laws. This is discussed at length early on, but not defined until the 5th or 6th chapter. For someone with little legal background, this is troublesome.

Despite these critiques, this was a superb addition to my library. I would recommend it for anyone who is interested in the ideas of the founders and what they were thinking while they were at the Constitutional Convention.

Leonard Levy's book titled ORIGINAL INTENT AND THE FRAMERS'CONSTITUTION is a well written account of U.S. Constitutional History and a solid refutation that somehow the Framers had an original intent which in fact they did not have. As one reviewer commented modern critics have more confidence of the Framers original intent than the original Framers ever thought of when the Constitution was debated and written. Another reviewer had a good point when he posed a question of whose original intent. For those who claim that the U.S. Constitution was written and ratified in a historical vaccum, Levy's book disproves such bad thinking and bad history.

Levy's early comments dealt with the U.S. Constitution and U.S. diplomacy and foreign policy. Contrary to popular notions of an imperial presidency whereby the President is supposedly the sole arbitrator of foreign policy, Levy's historical probe demolishes this notion. Levy was clear that the Framers wanted members of Congress, especially the U.S. Senate, to handle diplomacy. Levy cited James Wilson of Pennsylvania whose comments on the Senate's dominant role regarding U.S. diplomacy. Among other sources for Levy's view, he cited THE FEDERALIST PAPERS number 69 regarding treaties and foreign policy. Article Six of the U.S. Constitution makes the U.S. Constitution the Supreme Law of the Land including honoring treaties. This inclusion in Article Six was in part a response to the Treaty of Paris, 1783 whereby the U.S. diplomats agreed to compensate the British Loyalists for wealth and property confiscated from them during the American Revolutionary War. Some state authorities tried to renege on paying these claims in violation of the Treaty. This may have been a smart move to keep the British from an excuse not to honor U.S. political independence.

Levy disproved the notion that somehow modern U.S. Supreme Court Justices have been activists (whatever that term means) while the Supreme Court Justices during early National U.S. History were not. In fact, Levy is clear that, from the historical record, early National History U.S. Supreme Court Justices were very active. Levy cited U.S. Supreme Court decisions as early as 1791 whereby the U.S. Suprmeme Court issued a series of decisions that demonstrated a very active Court. There were cases in 1791,1797, and 1797 that showed the U.S. Supreme Court was as active if not more so than the modern Supreme Court.

Levy not only dealt effectively with an early "activist" U.S. Supreme Court, he has good sections on Judicial Review. Many Americans thought that an unconstitutional law was null and void. However, the question was who was going to say so. The U.S. Supreme Court Justices said so in a badly written opinion in the case titled MARBURY VS MADISON (1803). While this was a badly written opinion, Chief Justice John Marshall (1755-1835) and his associate justices managed to set an effective legal precedent with a poorly reasoned deicison. The early U.S. Supreme Court made other important decisions involving civil cases regarding land disputes and the states. These cases showed a very active Supreme Court.

Those who argue that the U.S. Supreme Court did not have a good legal case for judicial review display a lack of knowledge of history. Levy mentioned very old historical documents limiting the power of kings and executive authority while protecting rights. Levy mentioned Magna Carta (1215), the English Petition of Right (1628), The Habeas Corpus Act (1679), The English Bill of Rights (1689), and the Act of Toleration (1689)as examples of historical documents that challenged the legal status quo while placing limits on what may be called unbridled excutive authority. Levy could have mentioned Henry II (1154-1189) who is known as the Father of the Common Law and started the grand jury system. Levy could have mentioned the layers of courts in Medieval England whose decisions along with the royal courts developed a body of law. Mention could have also been made the Catholic Canon Law with its concern for due process and start of a trial jury during the Fourth Lateran Council (1215). Levy also made a good case that early National state courts and jurists were very familiar with Judicial Review. These sources are clear that a concept of Judicial Review is old, tried, and true.

Not only does Levy deal with ratification of the U.S. Constitution and constitutional history, he also had good commentary on civil liberties. Levy was surprised that during early ratification arguments re the U.S. Constitution, little mention was made of civil liberties and due process. Such issues got attention only when the Anti-Federalists, those who opposed ratification of the U.S. Constitution, called attention to the lack of a Bill of Rights. Yet some of the state constitutions did mention civil liberties. Levy credited those who wrote the Constitution for Pennsylvania who substituted the words "shall not" for the "namby pamby" "ought not" regarding what state authorities shall not do in violation of individual rights. What corrected abuses re unreasonable searches and seizures was the use of civil law suits when legislative efforts failed.

The last two sections of the book undermine the notion that the Framers themselves were obsessed with Origianl Intent. The facts are that the Constituion Convention in 1787 was often poorly attended, and James Madison's NOTES are the only incomplete record of the debates. Readers should note that a few others made a few notes. Whatever the debates were, Levy was clear that we have at most one-fifth of the complete record if that much. Those who rely on Madison's NOTES should be careful. The fact is that James Madison did not want his NOTES published until much later as he did not want his NOTES to be taken as Original Intent. In other words, the Framers thought of the U.S. Consstituion as a guide rather than a legal document "etched in stone."

Thsi reviewer has little disagreement with Levy's book. As mentioned above, Levy could have mentioned Henry II's legal reforms in Medieval England and the legal reasoning among the Medieval Catholic Canon Law jurists. Levy's book is scholarly without being pedantic. Levy had no political ax to grind, and his book is important for anyone who has a serious interest in Constitutional Law and the Rule of Law as opposed to arbitrary will.

`Original Intent and the Framer's Constitution' is a collection of essays shoddily fitted together to make what are essentially two books. The first, discusses the Framer's (specifically, the members of the Constitutional Convention and the State Ratifying Conventions) ideas about various constitutional issues, including the President's powers, the Institute of Judicial Review, and the Bill of Rights. The second book is an attack on Originalist Jurisprudence, and particularly of the right-wing Originalists like Robert Bork and Edward Meese.

The essays about the original intent of the Framers are frankly quite dull. I don't think that's Levy's fault. What he does is collect basically every recorded reference about every issue he raises. That means we get endless citations from Madison, Mason, Hamilton, Jefferson, and scores of lesser known luminaries. The approach, mostly devoid of a narrative, does not make for lively reading.

Most impressive for me was the insight into the inner working of the Constitutional Convention. It is striking how much attention the Framers devoted to some issues (such as the President's powers on foreign relations) and how little attention was spent on some other parts (such as the clause forbidding the various states from interfering with Contracts). When reading about the Convention, one is again amazed how a handful of men - 39 finally signed the Constitution - created one of the most enduring, workable schemes for a government. Today, the equivalents of Madison and Hamilton would have had dozens of assistants and specialists about any issue under the sun - but in 1787, they wrote the entire basic law of the United States by themselves.

The story of how The United States got a Bill of Right is also interesting. A Bill of Right was left out of the constitution for no particularly good reason. Its absence proved the best argument against the constitution from the anti-Federalists. But there was a twist - the anti-Federalists didn't really want a Bill of Rights. Their real beef was with the Constitution's power over states, not over people. So when Madison actually brought forth a Bill of Rights, the Anti-Federalists did a volte-face and opposed it, realizing that its passage spelled the end of their states' rights platform.

Levy's other book is a strong attack on the new, Conservative Originalist movement. Although Levy can be harsh with Liberals - he accuses Justice William Brennan, the Liberal Icon, of "arrogance beyond belief" (p. 372) - his real targets are Conservative Originalists, particularly Robert Bork. Originalists claim that the Constitution has one, fixed meaning, given to it at the time of ratification, and that judges have to decipher what that intention was. Levy sees them as hypocrites, who promote sectarian agenda in the guise of impartial, Originalist rhetoric.

Levy makes some strong attacks about Originalism: First, he notes that Originalist Judges do a really bad job at it. What he calls "law-office" history is merely a collection of quotes, often taken out of context, to support one's position. As West Virginia's Chief Justice noted, people who believe in "historical scholarship as applied to the Constitution also probably believe in the Tooth Fairy and the Easter Bunny" (quoted on p. 320).

Furthermore, it's not clear whose opinion we should take into account. The Framers in the Philadelphia convention? The various ratifying conventions of the original 13 states? There are numerous problems with accepting each of these as authorities - for start, they rarely if ever had one mind on any question. Additionally, the documentation of the debates and discussions are very incomplete, so a full appraisal of the participants' views is impossible. Beyond that, the very act of searching for answers to specific questions in the historical record politicizes the Historian's quest. The result would make real history into "Law Office" history - marshalling evidence to support one's preexisting conclusion. This happened to first class historians while making their brief for "Brown vs. Board of Education". The idea that the judicial process is able to discover historical truths is doubtful.

Furthermore, it seems that at least some of the Framers of the Constitution wanted future generations to give their own text new meanings. Indeed, if one accepts Judicial Review of Federal legislation (as the Framers did not consistently do), then reading new meanings into such imprecise terms as "due process" and "cruel and unusual" is practically called for.

Finally, what we know about the Framer's intent envisions a United States radically different from modern day America. The changes cut across the Conservative/Liberal divide. The Framer's United States, 230 years out of date, imagines a completely different world, one that neither Liberals nor Conservatives could live with.

But Levy's attack is incomplete. First, Levy ignores attempts to read the constitution based on "Original Meaning" rather then "Original Intent" - that is, the meaning the constitution would have to a reasonable 18th century American Citizen. There are problems with this approach, but Levy hardly mentions it. Furthermore, Levy's description of the failures of Originalism in practice does not mean that it must fail in theory. To prove that all proponents of Originalism fail does not necessarily mean that Originalism as a doctrine must fail, at least for some cases.

Worse of all, Levy doesn't offer an alternative to Originalism. Do we really have to have completely unconstrained Justices? Are there no bounds to possible interpretations of the US Constitution? Levy hints that there may be, but fails to offer a positive program. I think that various approaches, including Ronald Dworkin's Rights based jurisprudence, Ely's ideas about securing democratic rights, and Israeli Supreme Court Justice Aaron Barack's Contextualism offer alternatives to Originalism, which may be more effective at constraining judges. As someone who leans towards Pragmatism, I think it may also effectively (if imperfectly) constrain judges. Regardless of what path one may chose, it is necessary to counter Originalism with more then nihilism.

There are a few books on strict interpretationlist theory about the Constitution by authors with historical credibility but Levy is a constitutional scholar so this is a respectable opinion.

This book was an exciting find. "A jurisprudence of original intent" is finally discussed here in an historically and compelling way. The author draws conclusions that are pragmatic and understandable. There were so many individuals who contributed to the authorship of the Constitution that there are as many different intents as there were contributing authors.

I think one unequivocal, absolute about our brilliant founding fathers is that they believed in freedom of speech and imagination free from oppression. This book demonstrates that there are two sides to this never-ending debate on jurisprudence boundaries. If you have read books and articles that seem compelling regarding "strict interpretation" then treat yourself to this book. The author digs into to the document to find answers on intent. His essays provide a well rounded tour of prevailing opinions during the historical infancy of the U.S. The book can help any one interested in understanding the issues of the debate make an educated decision based on both sides of the issue.

It has always seemed bizarre to me how the best arguments against original intent are made by...historians! This book does many things, the least of which is to offer a very penetrating argument againt original intent. It is a book, first and foremost, exploring the history of American contitutionalism. Was judicial review intended? How do we make sense of the limilts (if there are any) of the contract clause? And what in the world does the ninth amendment actually mean??

Levy has a true historians eye and quite simply, is great at what he does. In this collection of loosely connected essays exploring the histories of these and other problems in our constitution's history, he points out what judges should've known all along; there are as many intents as their were framers, ratifiers, and Supreme Court Justices. What's more, much of the 'history of intent' is simply a jumbled mess; ambiguuos, imcomplete, and imprecise.

The best essays of course are those focusing on whether original intent is a.) what was intended by the founders (isn't that ironic?) and b.) the doctrine we should actually be using. One thing I've learned in my study of the Constitution is that judges, as smart as they are, are simply bad historians. From Dred Scott to Bowers v. Hardwick, judges have botched history - whether deliberately as in Scott, or not, as in Bowers. One Justice Levy is particularly hard on is (one of my judicial heroes) Hugo Black - and for good reason! Black's history is narrow, reflects an overconfidence in the founders that they never even had of themeselves, and simply (particurly with the fourteenth amendmen) gets a lot of it wrong. He is hard on Robert Bork for just this reason.

In summary this is a great book. Levy doesn't take too many sides here, but is probably something akin to a Jeffersonian Democrat. He is rigorous, mindful of the burden of his task as historian, and illuminating. For another great argument by a historian on the difficulties of original intent, read Rakove's "Original Meanings". For an argument in favor of OI, the standard is Bork's "Tempting of America". Enjoy!

A great read. Much more practical and easier reading than some of the classics in the code inspection theme.

Practical is a key element of this book. Like Wiegers' other books, this one is well written and researched; it provides a concise guide to peer reviews along with a set of useful tools for the practitioner, or "assets" -- documents, procedures, and spreadsheets that you can implement right away to put reviews into practice.

It's amazing, but peer reviews are not a regular practice in many software organizations. Peer reviews are proven to save time, money and promote learning and understanding among project team members. Perhaps one reason for their lack of practice is that there has been, up until now, little in the literature that we can read and put into practice right away. Well, here it is!

One of the nice things about this book is that the author shows you how you can tweak peer reviews to make them work for your team or organization. He give due diligence, the psychological aspects of peer reviews. Wiegers explains all the roles involved, target work products to review, how to prepare for a review, what to record, what to measure, and even how to train on peer reviews.

The book includes a useful glossary, a set of troubleshooting review problems with symptoms and possible solutions, and those very useful assets on the author's web site(...). Example assets include: peer review process description, inspection checklist, spreadsheets for code and document inspection and a set of defect checklists.

Used in the context of careful reading of this book, teams can really do a lot to improve their products and relationships. This is a book to be read by analysts, developers, architects, project leaders and managers who care about the quality and cost of software.

I have attempted over the years to get various organizations to buy into peer reviews. We have lots of evidence why these reviews are highly worthwhile, but their implementation has not been anything to write home about. There's always many reasons why organizations don't buy in or give peer reviews half-hearted support.

In my opinion, this book is an important contribution to the field. I'm sufficiently impressed that I've passed copies of the book to a few busy software development managers, software engineers and business managers so far. They've taken the time to look at it, and they find the book talks to them -- it is clear, addresses their issues, offers practical solutions which they may not have considered before, and is persuasive. I believe the book will have a postive influence in their organizations.

I hope to see copies in lots more people's bookshelves.

Excellent up to date survey of the literature, excellent survey of the many methods and analysis of their differences. A rich insight into the area of peer reviews in general, including Inspections and their variations. Practical for the industrial user. Highly recommended.

Every developer I have known has experienced the phenomena of spending an inordinate amount of time searching for a bug only to have a colleague look at the code and find it almost immediately. Study after study has indicated that the worst review process for software is self-criticism and the best is to have other coders take a good look at it. Therefore, it is logical that a formal process for developers reviewing each others code be implemented. The problem is that the former is informal, making it "off the books" and not subject to review by decision makers. Being human, developers react differently when their livelihood is potentially at stake, which can cause problems and prevent adequate reviews of the code.
Creating a stable, scalable and structured peer review system is not something that can be done by fiat or in a short time. It requires clear managerial direction that inspires confidence and builds a sense of security for both the evaluator and evaluated. Creating such an environment is the key and that is the main point of value in this book.
Wiegers lays out in great detail how to create a culture where all involved are peers in the real sense. It is absolutely necessary that everyone in the review process understand that creating quality software is the only thing that matters. Therefore, posturing, ego tripping, ego inflating, ego protection and all related activities must be suppressed. These are the most difficult tasks for professional humans to engage in, and it requires a combination of carrying a big stick to move the process as well as a soft pillow for the necessary falls from perfection. Wiegers shows you how to do this with the skill of a counselor.
In my reading of the trade press, the recent rise in the concern for computer security has led to a great deal of coverage about errors in software. Responding to this pressure, Bill Gates has sent out a public memo noting that quality is now the number one priority at Microsoft. The best way to achieve this quality is to have an effective peer review process and in this book you can learn how to do that. In the new world order of software, your very survival may be at stake, so your plan of action should include a rendezvous with this book.