Robert Gottlieb has been the Editor in Chief of Simon and Schuster and of Knopf, and the Editor of The New Yorker. His most recent book is a collection of essays, Near-Death Experiences…and Others. (November 2018)
The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox
by Vanda Krefft
20th Century Fox 21st Century Fox Fox Entertainment Group Fox News Channel Fox Broadcasting Company Fox Movietone Fox Music Foxtel… Yes, but who or what was Fox? We know a lot about such giants of the early film business as Louis B. Mayer, Samuel Goldwyn, Adolph Zukor, Cecil B. DeMille, …
How did it come about that an Irishman, Sebastian Barry, has written one of the most illuminating and moving recent novels about America—and nineteenth-century America at that? And what odds would you have given that it would be published in the United States within weeks of that other superb novel …
There are novels that grip you despite inconsistencies of plot, failures of tone or characterization, lack of depth—you may not even like them, but you have to go on reading: their sheer force and urgency are irresistible. The Three Musketeers and Uncle Tom’s Cabin are not Middlemarch or Proust, but …
Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936
by Edward Sorel
The Purple Diaries: Mary Astor and the Most Sensational Hollywood Scandal of the 1930s
by Joseph Egan
Lucile Vasconcellos Langhanke was born in 1906. “Mary Astor” was born in 1921—that was the name that went up in lights for the first time, at Manhattan’s Rivoli Theater, where, not yet sixteen, she was playing in a short film called The Beggar Maid. Soon her Madonna-like face was spotted …
Noriko, in Ozu’s Tokyo Story, is the quintessential Setsuko Hara character: she’s the archetype of the post-war, modern young woman. Yet she also embodies the virtues of the traditional Japanese woman: loyalty, self-sacrifice, suffering in silence; she’s the perfect daughter, wife, mother. She was utterly real, yet she represented an ideal…the ideal.
The new film version of Jane Eyre isn’t all bad, but it’s all wrong. The story, despite a confusing flashback structure, is coherent. The dialogue is satisfying. The look is convincing. What’s lacking is Jane Eyre itself—Charlotte Brontë’s feverish inner world of anguish and fury.
All bio-pix are by definition ridiculous since their subjects have to be manifestly unique people—why else would the movie be made?—while what makes them unique is exactly what’s so impossible to convey. (Creativity is invisible, hence unfilmable.)