The life and its biographer provide a landmark work on the cinema. Emerging from a childhood of nearly Dickensian darkness, David Lean found his great success as a director of the appropriately titled Great Expectations.
There followed his legendary black-and-white films of the 1940s and his four-film movie collaboration with Noel Coward. Lean's 1955 film Summertime took him from England to the world of international moviemaking and the stunning series of spectacular color epics that would gain for his work twenty-seven Academy Awards and fifty-six Academy Award nominations. All are classics, including The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago, and A Passage to India.
Kevin Brownlow, a film editor in his own right and author of the seminal silent film trilogy initiated with The Parade's Gone By. . ., brings to Lean's biography an exhaustive knowledge of the art and the industry.
One learns about the making of movies as realized by a master, but also of the highly personal costs of genius. The troubled Quaker family from which Lean came influenced his relationship with his son, his brother, and his six wives. Yet he showed in his work a deep understanding of humanity.
The vastness of this scholarly and entertaining enterprise is augmented by sixteen pages of scenes from Lean's color films, thirty-two pages from his black-and-white movies, and throughout the text a vast number of photographs from his life and location work.
After two producers, four directors, thirteen years, and uncounted rewrites, the movie version of John Irving's acclaimed novel, The Cider House Rules, at last made it to the big screen. Here is the author's account of the novel-to-film process. Anecdotal, affectionate, and delightfully candid, My Movie Business dazzles with Irving's incomparable wit and style.
John Gielgud tells the story of his life in the theatre, from the time of the great actor/managers like Tree and du Maurier and star actresses like Sarah Bernhardt and his own great aunt Ellen Terry, to his famous partnerships with Laurence Olivier and Ralph Richardson.
In spring 1953, the great director Alfred Hitchcock made the pivotal decision to take a chance and work with a young writer, John Michael Hayes. The four films Hitchcock made with Hayes over the next several years - Rear Window, To Catch a Thief, The Trouble with Harry and The Man who Knew Too Much - represented an extraordinary change of style. Each was distinguished by a combination of glamorous stars, sophisticated dialogue and inventive plots, and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts.
This book reprints a four-hour conversation between Mr. Schickel and Mr. Allen and includes a long essay of introduction by Mr. Schickel, which places Woody Allen's entire career in critical perspective, as well as a complete filmography. Readers will find Mr. Allen's reflections on his major preoccupations--the battle of the sexes; the conflict between reality and fantasy in his major films; mortality, religion, and the role that chance plays in the unfolding of our lives. The book also offers insights into Mr. Allen's working methods as a writer and the growth of his skills as a director.