A terrific encapsulation of the philosophies and techniques behind the cinematic masterpieces of Robert Bresson, from the...
Reflections of a cinematic grandmaster.
Robert Bresson (1901-1999) was one of the few directors of France’s cinematic old guard to be taken up by the iconoclastic French New Wave filmmakers, as the upstarts admired his exacting and poetic aesthetic and his commitment to the idea of pure cinema. In these short interviews, Bresson, who was given to such gnomic proclamations as, “sound cinema invented silence,” proves to be a deeply analytical thinker who nonetheless puts a premium on intuition and instinct. In landmark films including Pickpocket (1959) and The Trial of Joan of Arc (1962), the director famously eschewed theatrical notions of “acting,” casting nonprofessionals in the interest of capturing authentic behavior. Measured, austere, and elegant in their simplicity, Bresson’s films produce profound emotional effects. The extent to which the filmmaker was conscious of every aspect of his craft in achieving those effects, as well as his enduring, passionate dedication to better understanding and expanding his tools, is on illuminating display in these conversations. Most compelling is an extended exchange with New Wave enfant terrible Jean-Luc Godard, whose interrogation of Bresson reveals a penetrating and nuanced appreciation of the older man’s films and provides a poignant reminder of the heady, collaborative, intellectual community that was the film culture of the mid-1960s. Bresson’s monklike devotion to his idea of “pure” cinema wavers not a bit over the course of the four decades represented here, but it is his optimism and faith in his medium that inspire the greatest admiration. The book ends with this statement from Bresson, made in 1983, with 40 years of revelatory cinema behind him: “The cinema is immense. We haven’t done a thing.” That’s not an admonition; it’s an invitation.
A terrific encapsulation of the philosophies and techniques behind the cinematic masterpieces of Robert Bresson, from the man himself.Pub Date: Nov. 8, 2016
ISBN: 978-1-68137-044-6
Page Count: 296
Publisher: New York Review Books
Review Posted Online: Nov. 19, 2016
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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