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Chargement... The Big Sleep (BFI Film Classics)par David Thomson
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Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. David Thomas' book on The Big Sleep is everything I expect from a BFI Film Classics volume. As with any film from this period in cinematic history, the behind-the-scenes details are almost as important as what ends up on the screen, but this is even more so when dealing with Hollywood icons like Howard Hawks, Humphrey Bogart, or Lauren Bacall. Thomas is obviously aware of this, and so he takes us through the background of these larger-than-life personalities, and how their actions and interactions shaped what became so much more than an adaptation of a Raymond Chandler novel. Thomas also manages to do so without overshadowing the more clinical aspects of film criticism, and manages to pay just as much attention to the film itself, from it's narrative flaws to it's evolution (and eventual post-production redefinition) from book to film. Not only is every angle covered, but it is done so with the eye and voice of a true film lover. Even at its most clinical, the book never descends into academic posturing or mechanical dissections; Thomas' analysis of The Big Sleep remains organic and empathetic at all times, so that his insights always feel as if they are being shared with the reader, and not handed down in a lecture. ( ) aucune critique | ajouter une critique
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The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve. Released in 1946, Howard Hawks' adaptation of Raymond Chandler reunited Bogart and Bacall and gave them two of their most famous roles. The mercurial but ever-manipulative Hawks dredged humour and happiness out of film noir. 'Give him a story about more murders than anyone can keep up with, or explain,' David Thomson writes in his compelling study of the film, 'and somehow he made a paradise.' When it was first shown to a military audience The Big Sleep was coldly received. So, as Thomson reveals, Hawks shot extra scenes, 'fun' scenes, to replace one in which the film's murders had been explained, and in so doing left the plot unresolved. Thomson argues that, if this was accidental, it also signalled a change in the nature of Hollywood cinema: 'The Big Sleep inaugurates a post-modern, camp, satirical view of movies being about other movies that extends to the New Wave and Pulp Fiction.' Aucune description trouvée dans une bibliothèque |
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