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While overlong, (I could do with less of the many sub-plots behind "Breaking the Sound Barrier" and un-fulfilled projects such as "The Bounty"), we get an interesting glimse behind the scenes at the filmaker and his great works. Lean comes off a thin-skinned combination photographer/artist/editor technocrat and generous melagomaniac. Maybe that's what is needed to make an epic.
In any case, the tidbits about the making of the many classic Lean films including: "Brief Encounter", "Great Expectations", "Summertime", "Bridge on the River Kwai", "Laurence of Arabia", "Doctor Zviago" and "Ryan's Daughter" are entertaining and engaging. Patrick W. Brown
Brownlow begins with Lean's roots as a restless youngster in the London suburb of Croydon. His lack of curiosity and penchant for traditional school learning coupled with the stolen hours he spent sitting inside darkened theaters in a state of fascination revealed where his adult years would be spent.
Once that Lean began following his dream he quickly became established as Britain's foremost film editor. In that context Brownlow expunges a canard that was carried all the way to obituaries after the great director's death in 1990 that Noel Coward gave the aspiring director a leg up in teaming up with him to co-direct the brilliantly done war film about the British Navy, "In Which We Serve," in which Coward also starred along with Celia Johnson and John Mills. It turned out that Coward's move proved to his personal benefit as Lean did most of the directing and Coward was concerned mainly about his own scenes, after which he would generally leave the set, entrusting the basic direction of the film to Lean. We also learn that Lean, unlike Sir Carol Reed and other prominent British directors, turned down a chance to begin his directing career on low budget "quota quickies," deciding instead to wait for a major opportunity, which came with "In Which We Serve." Later that same year one of Lean's greatest films, the epic love story "Brief Encounter" with Trevor Howard and Celia Johnson, hit the screens and the young director's career was away in a flourish.
After achieving prominent worldwide status as a great international director, Lean's sensitivity resulted in overreacting to the criticism of tart New Yorkers at a Round Table session at the Algonquin Hotel. Lean was sharply criticized for "Ryan's Daughter," which American critics such as Richard Schickel and Pauline Kael believed was well below the high standard he established with "Brief Encounter" and continued with other films. According to Brownlow, Lean was sufficiently wounded to take a sabbatical before doing his last film, the highly acclaimed Indian epic "Passage to India" based on the E.M. Forster literary classic.
Brownlow does a superb job of depicting the period and the films from Lean's prolific career. Lean's was a mastery of style and entertainment, enriching story telling with beautiful visual imagery and word economy in the best sense, making the language all the more meaningful. This book does his career justice while enhancing our knowledge of a great man.
April 24, 2003 - I still refer to this book. Often re-read sections of it. It is still 5 out of 5
This is not a book that deals much about soft issues. It is not a fuzzy warm feeling book about the people side, nor is it a motivational "you can do it" book. It is a frank easy to read book about simple steps and simple ideas that make plants great. It explains the people issues and the fact that unless working teams make the decisions and changes Lean will not happen. It is a long book, more of handbook length, but much easier to read.
Lean Manufacturing: A Plant Floor Guide fills the space between a detailed "How To" text and an overview. It provides coverage of every key issue in moving to Lean Manufacturing, offering rationale, plans and encouragement.
Perhaps most importantly, it offers reliable advice on overcoming resistance and building an effective team.
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