From Publishers Weekly
Thomson's love letter to Kidman is less a biography than a long and winding meditation on moviemaking and starmaking. Thomson attempts to chronicle the actress's personal life based on her statements to the media, her choice of roles and an interview with her, but the bulk of this account consists of his inferences and analysis, including the observation that actors project what they expect we, the public, want them to be. His angle on Kidman is a question: is she sincere in her actions and true to herself? The real question is, how much do we care? Following absorbing sections about her youth in Australia and beginnings as a talented newcomer in Hollywood, Thomson (
The Whole Equation: A History of Hollywood) constructs a time line of Kidman's movies, giving near-equal weight to her breakthrough in
To Die For and her Oscar-winning role as Virginia Woolf in
The Hours as to a string of duds (
Birth,
The Stepford Wives,
The Interpreter). For Thomson, the failures offer fertile—or, sometimes for the reader, tiresome—opportunities to reimagine casting, directing and story. Omnivorous movie buffs might appreciate Thomson's take on Hollywood, but
US Weekly readers won't have the stamina for his blend of star worship and criticism.
(Sept.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
There are star biographies, full of fluff, and then there are real biographies, full of substance. This is one of the latter. The author does give readers the kind of information they're accustomed to getting from the typical star bio--Kidman's feet are size 10, for example--but he also delivers lots of things you don't usually find in a book with a star's name on it. A legitimately critical appraisal of the star's work, for example. Or, in this case, a fascinating study of the rise of the Australian film industry and its impact on the North American box office, and an incisive analysis of today's top female actors and Kidman's place among them. Celebrity biographers tend to worry about the next interview or the next book deal and consequently do a lot of tiptoeing; Thomson, a noted film historian, says what he thinks. For example, he calls Don Simpson and Jerry Bruckheimer's films, such as
Top Gun and
Days of Thunder, "neofascist bombast." And he doesn't pull any punches when discussing some of Kidman's less-than-stellar film work. By putting his subject's life in its professional and historical context, and by shooting straight from the hip, the author gives us a full-size, honest portrait of Kidman--and a revealing look at Hollywood movies and the stars who make them.
David PittCopyright © American Library Association. All rights reserved