In Search of The Third Man (Limelight) Review

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(More customer reviews)I tell it to you straight. A terrific read. This book is lucid, well-researched, intelligent, and beautifully written. And it is supremely enjoyable. If you think the Third Man is one of the great films of all time (and I do), you will acquire more information on the context, the story-line, the dramatis personae, the music (THAT theme), and the politics, than you might ever thought you could need (ie, Joseph Cotten was a womaniser, Trevor Howard was a soak). And you will clear out of the mental attic of the PR mythologizing which has grown around it (ie, that super-ego Orson Welles was the true eminence grise - when he was hardly even on the set). Right wing, nationalist Americans won't like because it shows how the American side of the co-production was focused on how it should present Americans in the best possible light (ie, brave, smart, democratic, etc) and ended up 'dumbing it down' for the American release (presumably because they cynically thought that Americans couldn't deal with Greene's subtle script).
The author holds the director and prime motivator, Carol Reed, in the highest possible regard. Here is someone utterly lacking in pretension; utterly obsessive on the detail; humanistic; a real charmer -someone cute enough able to deploy those actors' inflated egos to help extract the best possible performances (and in some cases get them just to turn up) yet ultimately the workaholic consumate craftsperson. He also shows that while US producer Selznick was a bullying oaf, he also contributed ideas which provided some of the film's real strengths (ie, the last scene which ducks the predictable happy ever after ending).

It is more than a book about a film. It deals with one of the most fascinating periods in the affairs of men and how a host of really talented, sometimes warring, people can together produce true cinematic art.

Deserves to be very widely read, but, Health Warning to Republicans or other Americans with an inferiority complex towards Europeans, it will challenge your assumptions. For the rest of us film buffs a hugely illuminating book.

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Half a century after its opening, The Third Man remains an unquestioned masterpiece of film artistry and, for many, the greatest British movie ever made. Whether it is Harry Lime's magical first appearance or the celebrated cuckoo clock speech or the climactic chase through the sewers beneath Vienna or the haunting theme music of Anton Karas, the film contains some of the most memorable moments in screen history. Drawing on both contemporary documents and accounts of the people involved, In Search of The Third Man explores the many myths that over the years have grown around this extraordinary film, and seeks to unravel the facts from the fiction."...you'll want to read The Third Man...The story of the film's creation is as intriguing as the film itself" -Leonard Maltin, Playboy

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Film Noir Reader 4: The Crucial Films and Themes (Bk. 4) Review

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(More customer reviews)As Alain Silver explains in the book's Introduction, "Film Noir Reader 4" is different in purpose from the previous Film Noir Readers. It focuses on key films and key themes, rather than attempting to be inclusive or comprehensive. In that spirit, Silver has included a few lists of the most important film noirs according to himself and others in the Introduction. "Film Noir Reader 4" contains 23 mostly modern essays, many apparently not previously published, presented in two parts. The paper the book is printed on is pure white, instead of the off-white of previous volumes, so the black-and-white stills look better.

Part I, "Case Studies", includes 12 essays on key films. The films discussed are: "Double Indemnity", "Detour", "The Big Sleep", "Out of the Past", "The Unsuspected", "Gun Crazy", "D.O.A", "The Big Night", "Kiss Me Deadly", "The Big Heat", "The Big Combo", and "Touch of Evil". Glenn Erickson's enthusiastic and insightful essay "Fate Seeks the Loser: Edgar G. Ulmer's Detour" is particularly interesting. The same can be said for Kevin Hagopian's study of "The Big Sleep" and Stephen B. Armstrong's history of "Touch of Evil". Both films were radically altered by recuts, with the result of making them nonsensical. These carefully researched essays explain what was changed and why.

Part II focuses on "Noir Themes", although I don't think that most of these can reasonably be called "key" themes. Eleven essays discuss a variety of themes that can be found or projected upon classic noir films, including psychodrama, images of women, noir antecedents, horror-noir, war noirs, left-wing politics in noir and crime films, hybrid noir-westerns, and noir title sequences. In other words, Part II is a catch-all. "Cat People", "Rancho Notorious" (in comparison to "The Big Heat"), and "Double Indemnity" are discussed in the most depth.

I'm giving "Film Noir Reader 4" a lower rating than I gave the previous Film Noir Readers, because it is overwhelmed by the sort of absurd ideological readings that I haven't heard this much of since I studied film in college. The reader can't get far without running into dogmatic -and, I might add, eternally ill-defined- terminology like "patriarchal capitalism" and "misogyny". For grown persons to legitimize their socio-economic hang-ups by deliberately misrepresenting 60-year-old movies is pitiful. I am reminded of the reason director Fritz Lang left Germany: The Nazi Party liked his films so much that they offered Lang the opportunity to run the German film industry. His films were anti-fascist. Anyway, there are some good, informative, essays in "Film Noir Reader 4", and it's useful to present different interpretations. But these aren't so different, and I get the impression of scraping the bottom of the barrel.

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The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated and features essays by such respected film critics and scholars as Robin Wood, J.P. Telotte, R. Barton Palmer, and Robert Porfirio. All have as their purpose to explain why and how these classic films work; the way screenplay, direction, acting, cinematography, editing and all the other filmmaking crafts blended together to produce work that exemplifies both a particular movement in film history and the innovations that keep the noir style fresh and compelling.

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Cinema of Obsession: Erotic Fixation and Love Gone Wrong in the Movies (Limelight) Review

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(More customer reviews)Filmmaker Dominique Mainon and film journalist James Ursini present Cinema of Obsession: Erotic Fixation and Love Gone Wrong in the Movies, an in-depth discussion and analysis of modern cinema that revolves around the dark side of human attraction, from erotic obsession to heartbreak and jealousy to deception and even murder in the name of love. Black-and-white photographs illustrate Cinema of Obsession throughout, and the text offers commentary on numerous specific films including "Fatal Attraction", "Basic Instinct", "The Killers", "Wild at Heart", "Last Tango in Paris", "Vertigo", and many more. Accessible to lay readers and cinema scholars alike, Cinema of Obsession lives up to its title and is indispensable for connoisseurs of movies that deconstruct human romantic bonds.

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Cinema of Obsession traces the history of obsessive love and erotic fixation. Seminal works of obsession, The Blue Angel, Peter Ibbetson, and Phantom of the Opera are seen as setting the groundwork for films that follow. The book defines and surveys examples of the explosive nature of amour fou, issues of male control (no matter how tenuous), and the fugitive couple - love on the run - in such films as Romeo and Juliet, Last Tango in Paris, Vertigo, Basic Instinct, and Wild at Heart. Male masochism is explored through film noirs, including Criss Cross, The Killers, Gilda, and The Postman Always Rings Twice. The book shifts gears in its finale and concentrates on the female gaze, films of female obsession: Jane Eyre, The Piano, The Lover, Fatal Attraction, and Vanilla Sky.

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