- Taschenbuch: 166 Seiten
- Verlag: Univ Pr of Mississippi (Dezember 2001)
- Sprache: Englisch
- ISBN-10: 1578063981
- ISBN-13: 978-1578063987
- Größe und/oder Gewicht: 22,8 x 15,1 x 1,6 cm
- Amazon Bestseller-Rang: Nr. 563.494 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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From Booklist
John Ford is one of the two most-written-about film directors (the other is Alfred Hitchcock). These 33 interviews, dating from a 1920 conversation (he had by then made more than two dozen films) to one conducted in 1973, when he was on his deathbed, allow those who esteem him to read his own words. Many come from obscure sources, such as local newspapers, and several published in foreign journals appear here in English for the first time. Ford was notorious for his uncooperative attitude--"I like making pictures, but I don't like talking about them," he told Peter Bogdanovich--yet was often surprisingly forthcoming. Moreover, his feisty personality--he was a self-cultivated curmudgeon--is a treat for the reader, though it probably wasn't for the unfortunate interviewer. Some of his claims need to be taken with a grain of salt. Like many storytellers, he couldn't resist the urge to embellish; but as the famous line from Ford's classic western The Man Who Shot Liberty Valance says, "When the legend becomes fact, print the legend." Gordon Flagg
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .
Kurzbeschreibung
Ford, unquestionably a giant of international film, was not a self-promoter, and remains a genius less recognised than his films - The Quiet Man, How Green Was My Valley, The Grapes of Wrath, Stagecoach, Fort Apache, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valance...Yet there were times he let the walls down and spoke openly, even generously. This book includes a dozen such lucid encounters, many reprinted for the first time, several French interviews (translated), and interviews newly discovered and not listed in any previous bibliography.
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Einleitungssatz
EVERY EDITOR IN THE country agrees that The Three Godfathers, recently presented to American fiction lovers through the medium of a weekly magazine, was an excellent story with wonderful dramatic possibilities; but...these editors overlooked the fact that as a film subject it stood out as a classic with unlimited possibilities. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
EVERY EDITOR IN THE country agrees that The Three Godfathers, recently presented to American fiction lovers through the medium of a weekly magazine, was an excellent story with wonderful dramatic possibilities; but...these editors overlooked the fact that as a film subject it stood out as a classic with unlimited possibilities. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Fascinating and frustrating, thanks to its subject
14. Februar 2008
Format:Taschenbuch
John Ford was one of the most elusive of men, as creative in inventing his life and thwarting efforts to know it as he was in making films. For the Ford entry in the University Press of Mississippi's Conversations with Filmmakers series, editor Gerald Peary has collected a slew of interviews, from a 1920 profile in the Cleveland News to a 1973 postmortem by Walter Wagner. Peary's introduction sets the stage for what's to come in an anecdote, all too typical, about a 1970 attempt by Joseph McBride to talk to a director he idolized and would later profile in several books. "Ford, almost immediately testy, pushed his interviewer off-stride by a seating at his deaf ear, forcing McBride to sacrifice momentum repeating questions." Ford's responses to queries about specific films were perverse and dismissive: Seven Women was "just a job of work"; The Searchers "a good picture." As for the interviews themselves, they're mostly dodgy efforts, battles-of-wills that Ford could easily win by pretending deafness, repeating a rehearsed anecdote, or simply ending the interview early. The poetry in Ford's nature came out in his work, not in his life, if these interviews are any indication. Even in the 1920 article, he discusses mostly the production circumstances of his recent film Marked Man. It may be more than simply because of the Cleveland News' word-count policy that this article runs a scant two pages, despite the author's daylong visit with Ford. Later interviews further this strange portrait of a man who insisted on calling himself, both ironically and as protective camouflage, a "peasant." Ford is most comfortable recounting anecdotes about the films and actors. While it's useful to have all these interviews in one place, Ford's evasiveness may frustrate the casual reader.
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