A STAR IS BORN: JUDY GARLAND AND THE FILM THAT GOT AWAY

A STAR IS BORN: Judy Garland and the Film That Got Away. Lorna Luft and Jeffrey Vance. Running Press; 2018. 

"Every song was attenuated to such a length that I thought I was going mad ... after we had endured montage after montage and repetition after repetition, I found myself wishing that dear enchanting Judy was at the bottom of the sea." -- Noel Coward.

This generously illustrated coffee table tome, co-written by Judy Garland's daughter Lorna Luft, takes an exhaustive look at A Star is Born and especially examines why a film that won much critical acclaim and should have had boffo box office, died on the vine after the studio cut the running time in order to fit in more screenings. This was to be Garland's big comeback film, and while she did do a couple of movies afterward, her days as a major film star were over. The book looks into the previous versions of the story, as well as the Barbra Streisand version (which was a commercial success), and recounts Garland's career and personal life both before, during, and after the making of A Star is Born. Luft is blunt about her father, Sid Luft, and his abilities (or lack thereof) as a producer. The final sections of the book delve into the reconstruction of the film, which is now available on DVD so the reader/viewer can judge for themselves if the film -- and Garland -- are overpraised or not. The section on Garland's gay fans is somewhat unintentionally comical and a bit dated all told. But this is a very good bet for Garland fans! And while I quite understand where Noel Coward was coming from (see quote above) I can't say that I agree. Some of the other individuals involved in the film, such as James Mason, might have come in for a little more praise. 

Verdict: Attractive, well-written volume on a classic motion picture and its tormented star. ***.

MIKE NICHOLS: A LIFE

MIKE NICHOLS: A LIFE. Mark Harris. Penguin Press/Random House; 2021. 

In this first-class biography of the actor-director, who worked in the theater even more than he did in films, we learn how Igor Peschkowsky came from Berlin to America in 1939 as an eight-year-old. Nichols entered show business as a kind of intellectual comedian, eventually partnering with Elaine May, then began directing for the stage. He made the switch to films by helming the cinema adaptation of Who's Afraid of Virginia Woolf? -- he followed this with The Graduate, Carnal Knowledge and others -- but continued directing for the theater, occasionally "fixing" shows behind the scenes. Nichols could be distinctly neurotic and unpleasant, and never quite made it to the front rank of movie directors, although he became a significant figure in the arts. With many interviews to bolster Nichols' story, biographer Harris explores Nichols' marriages, relationships, and career in compelling fashion. Harris also had access to Nichols and others when Nichols directed the cable adaptation of Angels in America, which was written by Harris' husband. While Harris doesn't necessarily shy away from detailing Nichols faults both as director and human being, others have noted that he does on occasion come off like a "fan-boy." 

Verdict: Even if you're not a major Nichols admirer, this bio has a whole cast of interesting supporting characters as well as the background stories of important filmic and theatrical productions. ***1/2. 

DARIO ARGENTO

DARIO ARGENTO. James Gracey. Kamera Books; 2010.

This interesting book looks at the oeuvre of Italian giallo  specialist Dario Argento, beginning with his work on The Bird with the Crystal Plumage and on to the appropriately named Giallo. Gracey is obviously a big fan of Argento's but he can also see the man's flaws and can readily confess that Phantom of the Opera is "an absolute mess of a film." Gracey divides the discussion of each movie into general comments on the production; the pictures'  themes; notes on its technical style; and the verdict on each movie. There are also sections on Argento's work for television and the films that he has produced, such as Demons. He recognizes Deep Red as one of Argento's most memorable films and also admires Trauma much more than others do (I think Trauma is easily the equal of Deep Red.)  Although there are times this sort of resembles a term paper, for the most part Dario Argento is a worthwhile, informative, and well-written study of a flawed but talented director's career and work. Contains an insert of black and white and color photographs.

Verdict: Recommended for fans of Argento. ***.

JENNIFER JONES: THE LIFE AND FILMS

JENNIFER JONES: THE LIFE AND FILMS. Paul Green. McFarland; 2011.

Author Green makes it clear at the outset that this is less a traditional biography of Jones than it is a study of her films. So while you might have to go elsewhere to read more intimate details of, say, her first marriage to Robert Walker, Green nevertheless provides most of the important facts of Jones' life story in a compelling fashion. Green examines all of Jones' movies -- including her early Republic period as Phylis Isley when she appeared in such cliffhangers as Dick Tracy's G-Men and made little impression -- from The Song of Bernadette to Carrie [in which she gave one of her all-time best performances] to The Towering Inferno, providing critical and audience reaction, behind-the-scenes notes, and a discussion of how effective Jones may or may not have been in a particular role. Green also includes chapters on her stage work, TV appearances, and parts that she nearly played but didn't, as well as abortive film projects. This is packed with info, intelligently presented, for the Jones fan. Foreword by Robert Osborne of Turner Classic Movies.

Verdict: Excellent, very readable book on a somewhat neglected movie star. ***1/2.

BARBARA STANWYCK: THE MIRACLE WOMAN

BARBARA STANWYCK: THE MIRACLE WOMAN. Dan Callahan. University Press of Mississippi; 2012.

If you were hoping this would be an in-depth major biography of Barbara Stanwyck, the disappointing news is that this isn't really a biography and has only a few, non-revelatory details about her private life. The good news is that Barbara Stanwyck: The Miracle Woman is still a highly entertaining book written by someone who is an obvious enthusiast for the actress and her work. Callahan has chosen to focus strictly on Stanwyck's work and films, and fortunately he's a good enough and knowledgeable enough writer to make his dissection of the movies and Stanwyck's thesping in them be absorbing. The book is divided into chapters that look at different phases in her career -- say the western phase or the film noir phase -- or films are grouped together by directors, such as Frank Capra. Of her later period, Callahan writes about Stanwyck's wonderful delivery of her heart-rending speech to Father Ralph in The Thornbirds. You won't agree with everything in the book -- he dismisses Lionel Barrymore as a "dreaded ham thespian" and uses the supposedly cute term "dyke-alicious" [when will people realize that "dyke" and "fag" are "n words" for the gay community] for a sequence in Night Nurse. Overall, however, this is a good book and a good bet for Stanwyck fans.

Verdict: Very worthwhile for Barbara Stanwyck fans. ***.

STAN AND OLLIE

STAN AND OLLIE: The Roots of Comedy -- The Double Life of Laurel and Hardy. Simon Louvish. Thomas Dunne/St. Martin's Press. 2002.

Excellent dual biography of the great comedy team of Laurel and Hardy explains their importance and influence in the world of comedy, analyses their working methods, acting approaches, and various films, and delves into their often tumultuous private lives as well, all in literate prose that keeps you happily turning the pages. Louvish investigates the boys' backgrounds and family histories and separates facts from rumors and legend. Both Stan and Ollie had more than one unhappy marriage, and their trials and tribulations with their assorted wives, divorces, infidelities, alimonies, lawyers, and jealous females often read like a script for one of their zanier movies, and indeed these real-life episodes often informed their comic on-screen antics. Along the way Louvish also educates the reader with facts and anecdotes about the early days of filmmaking, movie comedy, and the famous players who intersected Stan and Ollie's inexorable but not always smooth journey towards fame. Many wonderful black and white photographs are included in the thick, scrupulously-researched volume, which is informative, entertaining, and a great read. You'll want to get your hands on every L & H movie you can find, even the lesser ones!

Verdict: Excellent! ****.