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One thing I wonder about is this: why do the authors of books about funny people,naturally assume they themselves are the comic event of the decade? ( Please,leave the comedy to the professionals.). Mr.Ross is no more a comedian,than Geoffrey Guiliano is a musician. Mr.Ross's overly long decriptions of every Python episode,are like being trapped in a pub with a drunken neo-Python fan,intent on retelling every joke to you until you laugh at it.
Frankly,if you wanted a run down of cast and crew for any Python film,you could run it down on the Internet Movie Data Base.( And more than likely see the information spelled correctly as well.).Obviously all Mr.Ross had to do,was pay someone to surf for the information,and copy it down for his book.
This book would benefit from being,simply,the facts. Most "encylopedias" tend to state facts,rather than personal opinions. As a Python fan,I frankly don't care if Mr.Ross laughs at the same jokes I do,or "gets" the social ramifications of certain subjects.We all laugh differently,and Python offers much to laugh about.
Instead of having every film,ruined by a full out synopsis that kills every joke,why not give just a general overview? Instead of merely listing the albums,why not list the variants? ( And yes,original Python vinyl came with extras!). Instead of going over every episode with a fine tooth comb,why not give just a season intro?
Mr.Ross wants too hard to be Kim Johnson,and fails.
The book provides a chronology starting with John Cleese's birthday in 1939 to 1997. There is also a list of videos and books as well as addresses for the British and American fan clubs.
The focus for the entries is on the Monty Python cast. For instance, not a lot of information is given on the movie "Silverado," but there is quite a bit of information about John Cleese's role in the movie.
Unfortunately, there are not a lot of pictures in the book. Personally, I think that would be a grand addition to this work.
I would recommend this for diehard fans of Monty Python.
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I appreciate the organization of the book. If you want to study a chapter out of sequence, the opening page tells you which earlier chapters are necessary to understand the new one. The exercises in each section are progressive - you can understand the topic with the first few problems, and by the time you work through the section you will REALLY understand it.
I used the fourth edition, published in 2000, so perhaps there are some inaccuracies in the earlier edition. I found few examples of wrong answers.
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But I found this book incredibly tedious.
At first I thought it was due to the fact that I'm American and Americans haven't seen as much of Hill's work as his British audiences. But I've read bios of comedians that detail work they did that I never viewed and I loved those books. This is a book crammed with research, whether it's about his early years -- how his comedy style came together -- or his years as the King of British TV, then American syndicated TV...and his sad fall as a victim of the relentless armies of political correctness.
The book reads like a collection of detailed research notes and staid business articles. There seems to be little passion (and when there seems to be passion it's a weird dispassionate passion!) for the subject, unlike the GREAT books done by authors on Laurel & Hardy, Abbott and Costello, Chaplin, and most certainly, The Three Stooges. Those books make you want to go out and see more of their work, even if you don't like them. This book summarizes and informs -- and can bore a diehard fan.
It's so very sad because Hill was so incredibly funny. As an American I didn't like many of his verbal skits -- and certainly NOT his songs -- but his silent segments bordered on comedic genius a la Ernie Kovaks or (I know some will be furious at this) Chaplin.
This book is so clinical it took me a LONG TIME to finish it. I'm talking about MONTHS where I had to read other books to get back to and through it. Ross, who wrote a critically acclaimed book on Monty Python's Fying Circus, certainly did excellent research. There's a ton of info you can't get anywhere else -- inside information about each step of Hill's career and why he did what he did at pivotal times; who was in his corner, keeping him on t.v., and who didn't like him.
But I can only recommend this to die-hard Hill fans who want every single thing available on him -- NOT to anyone seeking a book that tells about Hill and communicates the joy and (until the end)uncensored craziness of his comedy. Today his comedy lives on in video tape, despite the enemies that ended his career and, some say, finally broke his heart.
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It seems to be the ambition of many historians to make their subject as dry and inaccessible as possible. I mean, why write a sentence like 'Then Bob rode his horse into the sunset' when you could write 'following, Robert employed his most favored mode of transport, equestrianism, to progress toward the sun, which was setting, as it had done ever since the Earth had formed from a rotating disk of hot dust, and was expected to do in the foreseeable future, every night."
Ross seems to struggle with the 'concise' aim of the book on a number of levels. First, as I've alluded to, he wastes a great deal of space with sentences like "He was succeeded by Balthazar Johannes Vorster, often, and surprisingly, anglicized to John, who was relatively junior in the cabinet and unforgiven by its elder members for his participation in the Ossewabrandwag, in the course of which he had spent some years in gaol during the war for nazi sympathies.' And, perhaps my favorite: 'Nevertheless, the cultures that have been developed are only local when, as is the case with certain of S. Africa's ethnicicities, they have been created in almost conscious rejection of values, which within the confines of S. Africa, are universal.' If you found those sentences clear and riveting, rush right out and buy this book.
Second, he seems bent on covering relatively minor occurrences with a single (run-on) sentence that has no real context and assumes that the reader has previous knowledge of the event. Combine that with the fact that there are no good maps to refer to and no glossary to consult when you forget the difference between an 'inboekelinge' and a 'dorp', and you have a book that seems almost intentionally obscure.
So why not one star? Ross's scholarship is undeniable, and he is as unbiased as can be reasonably expected.
The bottom line, though, is that I had to fight with this book to get anything out of it. The benefit of its conciseness was negated by my wandering mind and the fact that I had to re-read sentences constantly. Go with Leonard Thompson's 'History of South Africa' which, though twice the length, appears to have been written with the goal of actually informing and entertaining the reader.
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If you are more interested in behind-the-scenes and trivia then don't buy this book - there is hardly any. Most of the goodies section is about what happens in each episode, which any fan of the goodies knows anyway.
Disappointing.