Ebook Print the Legend: The Life and Times of John Ford, by Scott Eyman
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Print the Legend: The Life and Times of John Ford, by Scott Eyman
Ebook Print the Legend: The Life and Times of John Ford, by Scott Eyman
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Pressestimmen
"Eyman has emerged as one of the most distinguished and reliable of popular film historians. Print the Legend displays his broad knowledge, his tact, his willingness to credit other writers, his capacity to avoid sensationalism but not to flinch from difficult truths." --Robert Sklar, Washington Post Book World (Review)"Everything about this model biography is a pleasure." (Malcolm Jones Newsweek)"A quietly magnificent biography of an American original.” (Publishers Weekly (starred review))“A thorough, honest, empathetic biography that examines both the man and his towering achievements.” (Leonard Maltin)
Über den Autor und weitere Mitwirkende
Scott Eyman has written fifteen books, three of them New York Times bestsellers, including John Wayne: The Life and Legend. His most recent book is Hank and Jim. He has been awarded the William K. Everson Award for Film History by the National Board of Review. He teaches film history at the University of Miami and lives in West Palm Beach with his wife, Lynn.
Alle Produktbeschreibungen
Produktinformation
Taschenbuch: 640 Seiten
Verlag: Simon & Schuster; Auflage: Reissue (31. März 2015)
Sprache: Englisch
ISBN-10: 1476797722
ISBN-13: 978-1476797724
Größe und/oder Gewicht:
15,2 x 3,6 x 22,9 cm
Durchschnittliche Kundenbewertung:
4.6 von 5 Sternen
7 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 140.186 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
I read Print the Legend before I read Richard Schickel's review in the New York Times Book Review but I couldn't agree with him more. Scott Eyman is very careful in how he chooses to present situations in which John Ford behaved boorishly, which as it turns out happened quite often. The problem is that in not wanting to appear either soft on his subject or too harsh, Eyman ends up explaining away serious character defects as colorful personality quirks.The best parts of the book are, of course, the discussions of the films, but even these are not really as good as they should have been, especially since the one thing no one can deny about John Ford is that he made terrific films. I can't really argue about the merits of discussing all the silent film work, particularly since most of it is lost to posterity. However, films like Young Mr. Lincoln and Drums Along The Mohawk are barely touched upon which I think does a disservice to Ford's filmography. One of the reasons John Ford was such a great director was because he was not as one-dimensional as some may think. Eyman has not taken advantage of his opportunity to go into more detail on the lesser films instead of focusing on the films we've all seen like Stagecoach or the Grapes of Wrath. Even so, the passages on the filmmaking and the studio politics are worthwhile and the research pays off.One of the things I have noticed about biographies of notable figures who have not had the most endearing traits is that the reader tends to feel unsympathetic with the subject and therefore less inclined to want to know more about them. I think this is the opposite with Print the Legend. The more you come to realize that John Ford was a slightly less-than-reprehensible person with tremendous talent and flashes of humanity, the more you want to discover how he was able to achieve what he did.
I was eager to read this biography because I have seen most of the films directed by John Ford and was interested in knowing more about "his life and times." I learned a great deal. Eyman provides a wealth of information. However, given Richard Schickel's observation that Ford was a director who "delighted in incruelty, publicly humiliating his casts and crews, a man who carried petty grudges for punishing decades and someone whose wihdrawals and silences profoundly damaged his family," the title of one of my favorite Ford films -- They Were Expendable -- reveals more about Ford's human relationships than it does about a PT boat squadron during the first year of War War II. Does Eyman agree with Schickel? If so, he fails to explain what Schickel calls "the complicated truth" about John Ford in Print the Legend.
Since so many readers of Scott Eyman's wonderful Ford biography have seen fit to review the subject's character as opposed to his work,I will go on record thus---if I had been Robert Wagner during that humiliating pre-"Searchers" office interview,I would have told that damned old man he could go to hell and take his picture with him---but that is,perhaps,the essential difference between movie actors and the rest of us---and the Wagner incident(so beautifully described in Scott's book)goes a long way toward explaining how Ford got away with his abominable behavior.The actors needed the work.Harry Carey Jr. gave a vivid first-hand account of that in "A Company Of Heroes"(essential Ford reading,by the way).When Ford hollered,Harry jumped.It's a lot like the guy that manages the local Winn-Dixie---quaking with fear whenever the district supervisor comes through the door.The movie business was no different from any other corporate hell---then as much as now.The glamour of it's stars and "rebel" directors was pretty much a lie for the yaps in the audience.In the end,there wasn't even that great a distinction between Ford and all the actors he mistreated---they bore his abuse---he knuckled under to producers.Maybe that's why he treated underlings the way he did.It's great to be known as the master director---ripping pages out of scripts and chasing front-office big shots off the set(talk about printing the legend!)---but I suspect the truth is reflected more in the Zanuck memos Eyman excerpts---when Zanuck hollered,FORD jumped.Oh,and speaking of legends,consider how Ford's reputation might have survived without Zanuck---there's a lot of credit coming to Darryl that he'll probably never get.The legend is too strong---there's Ford in all those arresting production stills,chewing his handkerchief and baking under the hot sun of Monument Valley---then there's seedy Zanuck,recalled,if at all,by fuzzy wire photos,hanging from a makeshift trapeze during an otherwise sedate Hollywood gathering,or chasing Juliette Grecco around the continent while his aging wife sat home.Nobody wants to celebrate that kind of a life,and yet Zanuck was brilliant---what would "My Darling Clementine" be without him?John Ford may have publicly disdained his "artist" status and scoffed at would-be "serious" interviewers,but I suspect he thrived on the image,and would have been bereft without it(Scott tells about how Ford tried to manipulate various promotions and medals during his military service---that was illuminating).Don't get me wrong,though,I love John Ford---even when he's a sour old man biting the head off Peter Bogdanovich(after all,toadys like that always have it coming!)---and Scott Eyman is among the small handful of truly great writers on film---after you finish reading "Print The Legend",look up the rest of Scott's output---Ernst Lubitsch,Mary Pickford,"The Speed Of Sound"---then push that little button that says "Add To My Shopping Cart"---you'll learn more about picture history from this guy than any ten other writers,and you'll enjoy it more as well.
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