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Print the Legend: The Life and Times of John Ford [Englisch] [Taschenbuch]

Scott Eyman
4.8 von 5 Sternen  Alle Rezensionen anzeigen (9 Kundenrezensionen)

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Kurzbeschreibung

März 2001
Borrowing his title from dialogue in John Ford's classic Western, THE MAN WHO SHOT LIBERTY VALANCE - 'when the legend becomes fact, print the legend', Scott Eyman heeds this advice in his splendid study of Ford, finding a convincing balance between the gruff image Ford cultivated and the sensitive man he really was. The result is a definitive biography which benefits greatly from Eyman's full access to the Ford family archives. Arguably one of the greatest American filmmakers of the Twentieth Century, Ford projected a facade of belligerence yet engendered more loyalty among his crew and stock players (notably John Wayne) than any other director. Witty and contradictory, John Ford loved to tell stories about himself, and didn't much care whether they were true or not. Scott Eyman details Ford's turbulent relationship with Katherine Hepburn, his stand for freedom of speech during the McCarthy Witch-hunt, his debilitating alcoholism, and his heroism in World War II.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

Produktinformation

  • Taschenbuch: 688 Seiten
  • Verlag: The Johns Hopkins University Press (März 2001)
  • Sprache: Englisch
  • ISBN-10: 0801865603
  • ISBN-13: 978-0801865602
  • Größe und/oder Gewicht: 22,9 x 15,7 x 2,8 cm
  • Durchschnittliche Kundenbewertung: 4.8 von 5 Sternen  Alle Rezensionen anzeigen (9 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 809.210 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Borrowing his title from dialogue in John Ford's classic Western, The Man Who Shot Liberty Valance ("When the legend becomes fact, print the legend"), Scott Eyman heeds this advice in his splendid study of Ford, finding a convincing balance between the gruff image Ford cultivated and the sensitive artist that Ford truly was. The result is a to-date definitive biography, occasionally prone to indelicate critical assessment while benefiting greatly from Eyman's full access to the Ford family archives. Arguably the greatest American filmmaker of the 20th century, Ford protected himself with a façade of belligerence yet engendered more loyalty among his crew and stock players (notably John Wayne and Ward Bond) than any other director. Eyman illuminates the Ford legend while focusing on fact--on a complex genius who would berate even the most vulnerable actor and then "apologize without apologizing," a binge drinker who never let alcohol interfere with his closely-guarded artistry, and a stalwart Navy captain whose service in World War II became his primary source of pride.

Print the Legend essentially confirms Ford's brief affair with Katharine Hepburn, but Eyman emphasizes Ford's deep, abiding affection for his wife, Mary, who valiantly tolerated his absolute devotion to filmmaking. While hundreds of interviews yield a comprehensive account of Ford's working methods (which the director was loathe to discuss), Eyman expertly navigates around Ford's own penchant for autobiographical embellishment. What emerges is likely to remain the most thorough portrait of a cinematic master who recognized his own greatness without parading it, and whose human flaws were ultimately forgivable by those--and they were many--who loved him. Readers should look elsewhere for more astute studies of Ford's films, but Eyman has captured Ford the man with lasting authority. -- Jeff Shannon -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

Pressestimmen

"When the legend becomes fact, print the legend". This line comes from director John Ford's film, The Man Who Shot Liberty Valance, but it also serves as an epigram for the life of the legendary filmmaker. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

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4.8 von 5 Sternen
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Format:Gebundene Ausgabe
Since so many readers of Scott Eyman's wonderful Ford biography have seen fit to review the subject's character as opposed to his work,I will go on record thus---if I had been Robert Wagner during that humiliating pre-"Searchers" office interview,I would have told that damned old man he could go to hell and take his picture with him---but that is,perhaps,the essential difference between movie actors and the rest of us---and the Wagner incident(so beautifully described in Scott's book)goes a long way toward explaining how Ford got away with his abominable behavior.The actors needed the work.Harry Carey Jr. gave a vivid first-hand account of that in "A Company Of Heroes"(essential Ford reading,by the way).When Ford hollered,Harry jumped.It's a lot like the guy that manages the local Winn-Dixie---quaking with fear whenever the district supervisor comes through the door.The movie business was no different from any other corporate hell---then as much as now.The glamour of it's stars and "rebel" directors was pretty much a lie for the yaps in the audience.In the end,there wasn't even that great a distinction between Ford and all the actors he mistreated---they bore his abuse---he knuckled under to producers.Maybe that's why he treated underlings the way he did.It's great to be known as the master director---ripping pages out of scripts and chasing front-office big shots off the set(talk about printing the legend!)---but I suspect the truth is reflected more in the Zanuck memos Eyman excerpts---when Zanuck hollered,FORD jumped.Oh,and speaking of legends,consider how Ford's reputation might have survived without Zanuck---there's a lot of credit coming to Darryl that he'll probably never get. Lesen Sie weiter... ›
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4.0 von 5 Sternen Worth it for the films, not for the man 11. Januar 2000
Format:Gebundene Ausgabe
I read Print the Legend before I read Richard Schickel's review in the New York Times Book Review but I couldn't agree with him more. Scott Eyman is very careful in how he chooses to present situations in which John Ford behaved boorishly, which as it turns out happened quite often. The problem is that in not wanting to appear either soft on his subject or too harsh, Eyman ends up explaining away serious character defects as colorful personality quirks.
The best parts of the book are, of course, the discussions of the films, but even these are not really as good as they should have been, especially since the one thing no one can deny about John Ford is that he made terrific films. I can't really argue about the merits of discussing all the silent film work, particularly since most of it is lost to posterity. However, films like Young Mr. Lincoln and Drums Along The Mohawk are barely touched upon which I think does a disservice to Ford's filmography. One of the reasons John Ford was such a great director was because he was not as one-dimensional as some may think. Eyman has not taken advantage of his opportunity to go into more detail on the lesser films instead of focusing on the films we've all seen like Stagecoach or the Grapes of Wrath. Even so, the passages on the filmmaking and the studio politics are worthwhile and the research pays off.
One of the things I have noticed about biographies of notable figures who have not had the most endearing traits is that the reader tends to feel unsympathetic with the subject and therefore less inclined to want to know more about them. I think this is the opposite with Print the Legend. The more you come to realize that John Ford was a slightly less-than-reprehensible person with tremendous talent and flashes of humanity, the more you want to discover how he was able to achieve what he did.
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At the end of "The Man Who Shot Liberty Valance," the newspaper reporter interviewing James Stewart discovers that Stewart's hero didn't really kill Lee Marvin's villain. His response is: "When the legend becomes fact, print the legend." That's just what John Ford did in all 140 of his films over five decades. Ford used a fledgeling medium and created it into an art form. In doing so, he reformulated the American "legend," how we understand our past. Much of how we see ourselves as Americans, for better or worse, has its basis in the film depictions that Ford created. There have been numerous books on Ford and his films, but Scott Eyman's is undoubtedly the most comprehensive treatment of a brilliant artist who was also a deeply flawed man. Previous biographies of Ford have either concentrated on the meanings of his films or on his personal life. Eyman's book does both, but he also looks at how Ford directed actors, how he related to them and how he elicited such great performances from them (sometimes gently and sometimes harshly). No other book on Ford has done this to the same degree, and this is what makes the book so good. Also, Eyman interviewed dozens of Ford's peers from the silents through the sixties. The book is well written, comprehensive and fair in the treatment of its subject. More importantly, like a good Ford movie, it never ceases to hold your attention. I came away from this book with a better appreciation for the films, and a healthy respect for an often difficult yet gifted director. Orson Welles was once asked who he thought were the three greatest American directors. His response was "John Ford, John Ford and John Ford." Whether you agree with Welles or not, Eyman's biography is a great read.
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Die neuesten Kundenrezensionen
5.0 von 5 Sternen One of the best film bios - a "must"
I'm not sure why Amazon let so many reviews of the subject - rather than the book itself - post. Listen, if you're a film buff (whether or not you're a John Ford buff), student or... Lesen Sie weiter...
Veröffentlicht am 15. Juni 2000 von Won Hong Lo
5.0 von 5 Sternen A scenic trip through Hollywood's golden era
This book is like a Christmas basket, full of delicacies. Not only do you get Ford, the man, the drunk, the son-of-a-sea-cook, the genius, but you also get Will Rogers, John Wayne,... Lesen Sie weiter...
Am 7. Februar 2000 veröffentlicht
5.0 von 5 Sternen A masterful job in every respect
Shickel, as usual, misses the point. He clearly hates Ford and his work, and can't understand why Eyman doesn't hate him too. Lesen Sie weiter...
Veröffentlicht am 14. Januar 2000 von James Curtis
4.0 von 5 Sternen Why?
I was eager to read this biography because I have seen most of the films directed by John Ford and was interested in knowing more about "his life and times. Lesen Sie weiter...
Veröffentlicht am 9. Januar 2000 von Robert Morris
5.0 von 5 Sternen A superb biography of a great American artist.
There are five great "classic" American directors( excluding foreign born figures such as Wilder and Hitchcock): D.W. Lesen Sie weiter...
Veröffentlicht am 1. Dezember 1999 von Joseph Harder
5.0 von 5 Sternen The legend becomes truth. . .
To some, John Ford's films might seem like simplistic chunks of overly sentimental, Irish blarney, and there are times when they steer dangerously close to those shores (just try... Lesen Sie weiter...
Veröffentlicht am 25. November 1999 von J. D. Heise
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