Packed with fascinating information, this is an impressive labor of love that should appeal to all Broadway fans.
What happens when Broadway’s musicals try to go Hollywood?
Mordden (On Sondheim: An Opinionated Guide, 2015, etc.) is probably the authority on the American musical and the perfect person to write about the important role of American songwriters and composers who looked west to ply their trade in Hollywood. As the author makes clear, these plans didn’t always work out. Hollywood had its mogul, control-freak producers who didn’t necessarily appreciate musicals, forced too many writers to work on a film, frequently cast the wrong people, and were fond of eliminating way too many songs in order to make a “better” movie. When silent films became talking films, they were able to add music and songs, little by little. The Jazz Singer showed it could be done. Irving Berlin’s great songs in films made audiences happy, but they still remained “Berlin-catalogue films” rather than true musicals. Realizing they needed the quality and prestige of the Broadway songwriters, Hollywood started hiring. The Gershwin brothers, George and Ira, brought consummate artistry to these new films. Top Hat, Shall We Dance, and Porgy and Bess showed what could be achieved, almost—Berlin was rarely involved in “planning or executing a project.” Then came Rodgers and Hart, whose Love Me Tonight is one of the great Hollywood musicals, perhaps the “greatest of all.” Here the songwriters’ art merged beautifully with “cinema’s ability to mash time and space together.” Jerome Kern’s Show Boat has both “epic” story and music. In 1962, Hollywood filmed with “respect” to Broadway by keeping Robert Preston for The Music Man. The pace picks up as Mordden describes a series of good film musicals, from Gypsy to The King and I to The Sound of Music. He’s not, however, much impressed by the many bio-musicals made about these songwriters. De-Lovely, about Cole Porter, is an “excrescence.”
Packed with fascinating information, this is an impressive labor of love that should appeal to all Broadway fans.Pub Date: Dec. 1, 2016
ISBN: 978-0-19-939540-8
Page Count: 304
Publisher: Oxford Univ.
Review Posted Online: Sept. 6, 2016
Kirkus Reviews Issue: Sept. 15, 2016
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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