Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts

The Soused Cinema Library: Hellraisers

>> Monday, December 14, 2009

Greetings, fellow inebriates,

If you're looking for a gift this holiday season for a soused cinema enthusiast (hint, hint), a new title from Macmillan's Thomas Dunne Books looks promising.

Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O'Toole, and Oliver Reed by Robert Sellers is described as "The Boozy Biography of the Four Greatest Actors to Ever Walk--Or Stagger--Into a Pub."

I haven't gotten my hands on a copy yet (double hint, hint), so I can't provide a formal review here. However, knowing a bit about the four actors in question, the tome is sure to be filled with astonishing stories of Herculean alcohol intake.

Cheers,
garv (the boy who put the "X" in Christmas)

Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O'Toole, and Oliver Reed (Hardback)

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The Soused Cinema Library: The Thin Man - Murder Over Cocktails

>> Wednesday, September 16, 2009

The Thin Man: Murder Over Cocktails
by Charles Tranberg
©2008 BearManor Media
307 pages

In the realm of classic movie series, the Thin Man films stand alone in terms of quality. Unlike B-programmers like the Charlie Chan, Saint, or Boston Blackie films, the Thin Man pictures starred A-list actors, had comparatively large budgets, and had stories and screenplays by the best writers in the business. They also weren’t cranked out in quick succession, as was the general rule for popular films with series potential. Only six Thin Man pictures were ever produced, with a two to three year interval between series entries.

The Thin Man (1934) and its sequels also had a greater influence on popular culture than other series films. The witty, tipsy, husband and wife team of Nick and Nora Charles, as played by William Powell and Myrna Loy, were an instant hit with audiences. It was only natural that a sequel would follow, which eventually spun into a string of periodic reunions of the actors as the sophisticated (yet down-to-earth) soused spouses. William Powell and Myrna Loy set the standard for sleuthing couples, and the elements that made the series great--sparkling banter, playful sexuality, labyrinthine mysteries, and copious cocktails--were imitated again and again, with and without the names of Nick and Nora attached.

Considering the impact that the Thin Man series of the 30’s and 40’s had on film, radio, and television history, it is astounding that it took until 2008 for someone to produce a book entirely devoted to the series. Nick and Nora had received a handful of chapters in film references such as Tom Soter’s Investigating Couples: A Critical Analysis of The Thin Man, The Avengers, and The X-Files (2001) and in James Harvey’s outstanding and essential Romantic Comedy in Hollywood: From Lubitsch to Sturges (1987). However, author Charles Tranberg and small press publisher BearManor Media become the first to commit an entire tome to Nick and Nora’s forays into film with their release of The Thin Man: Murder Over Cocktails.

The book begins with concise, chapter-length biographies of series stars William Powell and Myrna Loy. The only other actor to appear in all of the films, Skippy, who played Asta, the Charles’ Wire-Haired Terrier, doesn’t rate a chapter of his own. However, the dog does receive a brief bio and is the subject of anecdotes later in the book. Following the biographies are individual chapters on each of the six films in The Thin Man series. Each of these chapters follow the same format--1) Cast and production credits; 2) An in-depth synopsis of the story; 3) A representative line or two of witty dialogue; 4) Brief biographies of key members of the production staff, such as the director and writers; 5) Behind-the-scenes stories of the production of the film; 6) Additional biographies of several members of the supporting cast; 7) And finally a selection of excerpts from reviews of the picture. Each chapter contains a few film stills or advertising materials from the specific film discussed, and the book wraps up with a photo gallery of character actors that added color to the series.

Fans of The Thin Man and its sequels have been waiting for a book like this for a long time, but after reading The Thin Man: Murder Over Cocktails, they will probably wish they had a book “like this” rather than the actual book that they hold in their hands. All-in-all, the book is unexceptional. Charles Tranberg fulfills his meager goal of providing a guide to the six movies in the popular series, without really giving readers a feel for what set the films apart or for the impact they've had on motion pictures and entertainment as a whole.

On the positive side, one comes away from the book feeling that they have truly gotten to know Powell and Loy through the biographical chapters and anecdotes scattered throughout the book. Tranberg has also gathered together many amusing behind-the-scenes stories from a variety of previous publications and interviews. Finally, film fanatics are bound to appreciate the capsule biographies of the series’ supporting cast members, including many of the greatest character actors to ever appear on celluloid, such as Edward Brophy, Sam Levene, Joseph Calleia, George Zucco, and Marjorie Main. Most of these familiar faces have not rated full-length biographies of their own, so these mini bios are appreciated. However, the cast and crew biographies also prove to be a liability, because they represent about half of the volume’s 307 pages. Many readers will grow weary waiting for the author to get back to the actual Thin Man films, as they wade through pages of acting and production credits from the films’ participants.

Another failing of the book is that Dashiell Hammett, the author of the novel upon which the series was based (as well as the writer of the storylines of the first two sequels) doesn’t receive much coverage. The personalities of Nick and Nora, as well as many of the best lines in the original film, were lifted directly from Hammett’s novel; so both the pulp master and his novel deserved more exposure in Tranberg’s film guide. Thin Man fans would have been interested in an exploration of the similarities and differences between the novel and the 1934 film, as well as a discussion of details about the characters that were left out of the movie (such as the fact that Nick Charles is the son of a Greek immigrant and that his real last name is Charalambides). Readers also would have likely been interested in the fact that Hammett’s story for the first sequel, After The Thin Man (1936), has been published (1986, The New Black Mask, Nos. 5 and 6), but his story for Another Thin Man (1939) has yet to appear in print. One comes away from the book wondering how much Tranberg actually knows about Hammett, as he refers to the author’s series character, the Continental Op, multiple times as “the Continental Ot.”

“The Continental Ot” is likely a typo, which is another mark in the book’s negative column. Throughout The Thin Man: Murder Over Cocktails there are examples of poor editing. In addition to misspellings, there are missing words, bits of contradictory information (for example, Another Thin Man is described as both Sheldon Leonard’s “film debut” and “his fourth film”), and inaccuracies (character actor Lloyd Corrigan is misidentified as Edward Brophy in a photo from The Thin Man Goes Home). While most of these errors are minor, they cast doubt on the accuracy of other information in the book.

Finally, and most disappointing, is the fact that the book displays little feeling for the impact that the Thin Man films had upon pop culture. Apart from a single paragraph in the foreword--which mentions that the film spawned movie imitations, led to a brief two-year Thin Man television series, and went on to influence TV shows such as Hart to Hart--the book sticks strictly to the six films in the movie series. It is surprising that a book celebrating the Thin Man films would fail to mention that William Powell and Myrna Loy reprised their roles as Nick and Nora in Lux Radio Theater adaptations of the first two films or that the movies inspired a radio series with other actors entitled The Adventures of the Thin Man, which enjoyed a nine-year run (1941-1950). There is also no mention of the Dick and Dora Charleston parody in Neil Simon’s Murder by Death (1976); the failed Broadway musical, Nick & Nora (1990), which ran a dismal nine performances; the sleepwear company that adopted the names of the tipsy twosome; or the homage to the Charles’ in the title of the recent film Nick & Norah's Infinite Playlist (2008).

All of these quibbles aside, I ultimately have to recommend The Thin Man: Murder Over Cocktails for die-hard fans of The Thin Man and its sequels. Fans of Nick and Nora are likely to find information in Charles Tranberg’s book that is new to them, and they won’t want to miss the amusing behind-the-scenes anecdotes concerning the making of one of the most satisfying film series in movie history. It’s just a shame that Charles Tranberg’s book isn’t nearly as satisfying as the films it celebrates.

The Thin Man: Murder Over Cocktails (Trade Paperback)

The Complete Thin Man Collection (The Thin Man / After the Thin Man / Another Thin Man / Shadow of the Thin Man / The Thin Man Goes Home / Song of the Thin Man / Alias Nick and Nora)

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The Soused Cinema Library: The Comedy of Charlie Chaplin - Artistry in Motion

>> Sunday, July 19, 2009

The Comedy of Charlie Chaplin: Artistry in Motion
by Dan Kamin
©2008 The Scarecrow Press, Inc
219 pages

There have been dozens of books written about filmdom’s first megastar, Charlie Chaplin, from Chaplin’s own My Autobiography to Walter Kerr’s landmark study of silent film comedy, The Silent Clowns, to David Robinson’s definitive biography, Chaplin: His Life and Art, to Jeffrey Vance’s beautiful coffee table book, Chaplin: Genius of the Cinema. While these books and many others have been excellent, they tend to fall into two basic categories--biographies or film studies. Dan Kamin’s new book, The Comedy of Charlie Chaplin: Artistry in Motion, is something different altogether. It is a examination of Chaplin’s art, focusing on what made his films so compelling to audiences of the time and what continues to make his work captivating to new generations experiencing his silent films in the modern era. This is not merely a film study. It is a study of Chaplin’s performances and the way he used the motions of his body to create timeless comedy. The author is uniquely qualified to analyze and break down Chaplin’s body movements, as Dan Kamin is a professional comedian and mime who developed the physical comedy sequences for the films Chaplin (1992) and Benny and Joon (1993) and who trained both Robert Downey Jr. and Johnny Depp for their roles.

Through Mr. Kamin’s in-depth analysis of Chaplin’s body movements, The Comedy of Charlie Chaplin: Comedy in Motion had an effect on me that no other book on Chaplin and his films has produced--it made me look at the comedian’s work in a new way. Just as the outtakes presented in the Kevin Brownlow and David Gill’s breakthrough documentary Unknown Chaplin provided a new understanding into the way Chaplin improvised and directed his films, Mr. Kamin’s book provides new insight into the comedian’s compelling performances. Of course, the book is much more than a detailed examination of Chaplin’s movements. It also features coverage of the comedian’s theatrical work and how he utilized and adapted his stage training when entering the movies, a detailed examination of the comedian’s gags (including a breakdown of eight specific categories of Chaplin’s signature transformation gags in which he treats one thing as another), a look at the comedian’s evolving character and the changing cast of characters that surrounded him as his films became more mature, an extensive analysis of how Chaplin dealt with the problem of adapting his comedy to the new medium of sound films, and a brief overview of the challenges Mr. Kamin encountered in trying to train Robert Downey Jr. to move like the great comedian for the film Chaplin. Taken as a whole, I found The Comedy of Charlie Chaplin: Artistry in Motion to be the best examination of Charlie Chaplin’s art in book form.

While I can find no criticism to level against Mr. Kamin’s masterful analysis of Chaplin’s art, I have one small gripe when it comes to the book itself. The publisher has chosen to only publish the title in a library-bound edition, which has been priced for the library market. While the book is solidly bound to last beyond a single lifetime and the laminated hardback cover is resistant to spills that would damage books made of lesser materials, the $65 price tag may discourage many readers from picking up this beautiful, insightful book. However, since this is a reference that film lovers will want to revisit again and again, the care that went into producing the book is appropriate. I hope that fans of Charlie Chaplin will overlook the hefty cost, because those that make the investment will find their money well spent.

Finally, I should mention that The Comedy of Charlie Chaplin: Artistry in Motion will also be of great interest to soused cinema enthusiasts, because Mr. Kamin delves deeper than previous authors into Chaplin’s soused slapstick. A complete chapter, “Drunk Again,” is devoted to Chaplin’s sozzled solo performance in the brilliant short One A.M., and many of Chaplin’s other alcohol-related classics such as Mabel’s Married Life, The Cure, Payday, The Idle Class, City Lights, and Limelight receive in-depth coverage. Mr. Kamin explores the seeds of Chaplin’s drunken characters in the fabled “Mumming Birds” sketch that Chaplin performed prior to film stardom when traveling with Fred Karno’s theatrical comedy troupe; and he examines how Chaplin used balance and body motions to play such an effective drunk.

Fans of “booze movies” and lovers of film comedy should consider Dan Kamin’s book an essential read. It receives my highest recommendation.

The Comedy of Charlie Chaplin: Artistry in Motion (Hardcover)

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The Soused Cinema Library: Hollywood's Hellfire Club

>> Sunday, August 10, 2008


Hollywood's Hellfire Club: The Misadventures of John Barrymore, W.C. Fields, Errol Flynn and the Bundy Drive Boys
by Gregory William Mank with Charles Heard & Bill Nelson
©2007 Feral House
384 pages

Most booze movie aficionados are familiar with "The Algonquin Roundtable" and "The Rat Pack" -- two informal social clubs of famous inebriates. However, between those two groups, there was a forgotten gang of celebrity souses -- The Bundy Drive Boys. Boasting a roster of Herculean hooch-hounds including actors John Barrymore, W.C. Fields, Errol Flynn, John Carradine, and Anthony Quinn; writers Gene Fowler and Ben Hecht; painter/art forger John Decker; and bohemian pants-wetter Sadakichi Hartmann; this boozy bunch was easily the most alcoholic and scandalous assemblage in Hollywood history.

Although the escapades of the Bundy Drive Boys had previously been documented by member Gene Fowler in his 1954 book Minutes of the Last Meeting, Fowler had felt obligated to overlook the more sordid stories of the group out of loyalty to his friends and their families. Gregory William Mank and his collaborators were not restricted as Fowler had been. Consequently, Hollywood's Hellfire Club is an uncensored, pull-no-punches account of the alcoholism, sexual scandals, depression, financial woes, and madness within the group. At the same time, this well-illustrated page-turner paints an affectionate portrait of each of these great men; and the authors focus as much on the talent, wit, and accomplishments of the Bundy Drive Boys as on their difficulties and immoral behavior.

Hollywood's Hellfire Club is well-researched and does an excellent job at separating fact from legend, which is no easy task when your subjects include celebrated liars such as Fields, Barrymore, and Flynn. Certainly some of the stories contained between the covers have been exaggerated in re-tellings over the years, but that just adds to the fun. I think you'll find that reading this book is as entertaining as hanging out in a bar listening to a bunch of old-timers swap stories about Hollywood's golden days. In short, it's highly recommended.

Hollywood's Hellfire Club: The Misadventures of John Barrymore, W.C. Fields, Errol Flynn and the Bundy Drive Boys (Paperback)

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The Soused Cinema Library -- An Explanation


I'm beginning a new feature today at Booze Movies. The Soused Cinema Library will consist of capsule book reviews of recommended reads on the subjects of alcohol-related film and the great personalities who bent the elbow onscreen and off. I may even feature a novel occasionally, as long as it has ties to the world of soused cinema.

Think of "The Soused Cinema Library" as your hundred-proof alternative to "Oprah's Book Club." The first review will be up shortly.

Cheers,
garv

W C Fields (Paperback)
The Way You Wear Your Hat: Frank Sinatra and the Lost Art of Livin'
The Real Nick and Nora: Frances Goodrich and Albert Hackett, Writers of Stage and Screen Classics

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About Me

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I like to drink. I like to watch movies. I like to watch movies about drinking. I like to write about the movies I’ve watched, but only if I’ve had a drink first.

All text including the title "Booze Movies: The 100 Proof Film Guide" Copyright William T. Garver

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