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If you have ever dreamed of California, Lambert's books will inspire you, inflame you, and quell that bittersweet stirring in your soul for the golden state.
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"The Slide Area" is a more tender novel than "The Day of the Locust" but whose portraits are equally piercing. The book is divided into seven sections, and, taken on their own, stand as short stories to a larger collection; but I read the book as one novel. The narrator is a faceless and nameless script-writer who seems untouched by all that surrounds him. He is almost a neutral bystander to the proceedings he describes, in the way Nick is in "The Great Gatsby." Lambert describes the geography of Los Angeles, Hollywood and Pacific Palisades with a keen eye, catching all of the glorious detail of that area. The main character is drawn to the "Slide Area" of the book's title: the place, like the people, is in constant danger of crumbling and falling off into the ocean. The narrator struggles to keep his feet firm in this precarious terrain, as the people he does business with seem unable to keep their heads above water.
It's an ugly world Lambert depicts, but there is a heart at its center, and that is what I find so attractive about this novel. While the stories of what goes on behind the scenes of the film industry are told in frank and brutally honest ways, it's the heart at the center of this world that brought me pleasure. It's a sensitive story Lambert tells in these mini-stories. The pacing of the chapters is excellent. Just as I was sensing an end to one story, it would come to an end, the feeling of closure coming at just the right moment.
So, it is the same geography (both literally and figuratively) as "The Day of the Locust" but this book lacks the gruesome punch found in "Day." This is NOT a fault I have with the book; its tenderness endures long after one has finished it.
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This book provides a completely different picture of the woman behind the name. Her horrendous treatment as a child definitely molded her personality. An extremely talented actress, she earned her stardom on stage, screen and then stage again, inspiring many of the greatest playwrites of the early 20th century to write plays, many for her.
The author reveals much of Nazimova's sadness and disappointment in her personal life and career, her gullibility when it came to trusting friends with her money, and the vast number of women and the few men with whom she had love affairs.
Through exhaustive research of Nazimova's voluminous but unfinished (and unpublished) autobiography, interveiws with the few living persons who met her, and the letters and memoirs of a vast number of acquaintances and co-workers, the author has constructed a fascinating portrayal of a fragile, brilliant, yet tempermental child-woman who may well have been the greatest actress of at least the first half of the twentieth century.
Readers will be surprised to read the rave accounts of Nazimova's unparalleled talent her from Truman Capote, Ibsen, Shaw and Katherine Hepburn, as well as the doting love and companionship showered on the elderly Nazimova by her godaughter Nancy Davis, later Nancy Reagan.
I highly recommend this book to those who love silent films and bizzare, talented personalities.
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Antoinette", "The Women" and Idiot's Delight with Gable. Lambert has done his homework presenting "all you need to know" about Ms. Shearer. The book also deals in detail with the Thalberg career. This book is great for a quiet Saturday at home or a day at the beach. The lavish black and white photos are great!. Enjoy Norma Shearer in this excellently written book!
Norma was a star in the Silent Era who became a superstar when she wed movie mogul Irving Thalberg. The Thalberg marriage was solid in a sinking sand land of "Reno" divorces and juicy scandal. Lambert delineates the rise of Thalberg to boy wonder at MGM as Mr. Mayer's right hand man. Norma is lesser known than the other goddesses of the era but is someone you might wish to know better through her movies and this fine biography. Among the affairs she had as widow Thalberg were the ones she had with Mickey Rooney and George Raft! Enjoy this fun read for enrichment and nostalgic remembrance of the great era of MGM magic!
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His "outing" of the late Nicholas Ray is offensive and exploitive. Moreover, I find it difficult to believe that the explosively talented, sophisticated Ray took Lambert as a lover.
No one who wants to know about the British cinema, or one of the most remarkable creative talents Great Britain has ever produced, can afford to pass up this book.
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The Boys in the Band is the best-known of Mr. Crowley's plays: that's because, well, it IS the best, and also because there was an excellent movie made of it, which is as often seen as the play is read or seen on stage. The play is a brutal birthday party one evening in New York in 1969, and the guest of honor is guilt itself: eight gay men in their 30s gather and say horrible things to each other, which reflect more on themselves than on each other. Each in his own way is caught in the war zone between his homosexuality and the pressure from society to be something else (and goodness knows, the play opened just a few months before Stonewall). The most incredible thing about the play (in my opinion) is Mr. Crowley's evenness: you get the feeling that he is just showing life as he knew it, and not trying to judge or blame anyone or anything--rather a big feat for all the hate that had poisoned that life-as-he-knew-it.
One criticism has been consistently directed at The Boys in the Band over the years, that it depicts only guilt-ridden self-hating gay men who wish for all the world that they weren't gay. All I can say to this is, well, yes; but I am only 19 and I know exactly why these particular men are so guilt-ridden and self-hating, not because I grew up before Stonewall (I was still in diapers at the beginning of AIDS), but because it's STILL tough to be gay in America. This kind of guilt and this kind of self-hate haven't disappeared--I experienced them first-hand in the 1990s. If The Boys in the Band seems a bit narrow for focusing only on that, then it's remarkably deep in spite of its narrowness.
The other two plays in this collection are also quite good. They too are built on Mr. Crowley's cl! arity and evenness of vision, but it seems (unfortunately) that they'll always suffer in comparison to the first play. They're good reads. I recommend them highly.
I can't justify my claim to you that Mr. Crowley is one of the great American playwrights--how can just one person justify that? The claim, I hope, will justify itself as future theater-goers, movie-goers, and readers (you!!) match Mr. Crowley's clarity and get to know his plays. For all the depressing subject matter, the plays are gripping, quite funny, searingly intelligent, and very rewarding. He sees a lot.