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Steve McQueen: A Biography
 
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Steve McQueen: A Biography [Format Kindle]

Marc Eliot

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Descriptions du produit

Extrait

Chapter 1   I left home at the age of fifteen because there really was no home. . . ._I have had no education. I came from a world of brute force.   -Steve McQueen   Terrence Steven McQueen was born March 24, 1930, orthereabouts, in Beech Grove, Indiana, a suburban community in Marion County.1His middle name was a joke given to him by the father he never knew."Steven" was the senior McQueen's favorite bookie and the name Stevenpreferred, Terrence being a bit too soft for him. Terrence William McQueen,Bill or Red to his friends, was a onetime navy biplane flier turned circusstuntman who had no idea what fatherhood was beyond the losing bet on acareless roll with a blond-haired, blue-eyed flapper he called Julia, whosereal name was Jullian. He impregnated her the first night they met. He marriedher out of an uncharacteristic burst of honor, and an honest stab at normalcythat lasted all of six months. By then, the unusually handsome McQueen hadpacked his travel bags and left Jullian behind to take care of herself and thebaby.   Later that same year, unable to cope with singlemotherhood, Jullian took the infant back to her hometown of Slater, Indiana, inSaline County, where her parents, Victor and Lillian Crawford, lived. Theyagreed to help her as long as they were allowed to give the boy a strictCatholic upbringing.   After only a few months of being back with her family,Jullian grew tired of church, prayer, and chastity and returned to Green Grovewith young Steven. She still hoped to find a rich man to marry her and provideher with a comfortable life. But after three more years of struggling to keepherself and Steven warm and fed, she returned to the family farm-this time justlong enough to drop off the boy with her parents before leaving again to resumechasing her own dreams.   Abandoned now by both parents, Steven was again pushedaside when Victor's business failed and he was forced to move with his wife andgrandchild to live on Lillian's brother's farm in Missouri, about six hoursaway by train.   Claude Thomson took them in but did not make them feelespecially welcome or comfortable. He had no use for his sister or Victor, hermiserable failure of a husband, and blamed his failure on Victor's lazinessrather than the Great Depression. He agreed to help them out only because hefelt sorry for the cute little towhead. The boy was the only one, Claudebelieved, who was not responsible for his own misfortunes, and Claude wanted toredeem him by loving him as if he were his own. The boy's mother was neverspoken of on Claude's farm.   Claude, unmarried and childless, owned 320 acres of primeMissouri farmland dotted with thousands of head of free-roaming cattle andendless fields of corn. He also owned an intimidating reputation as a womanizerand possibly even a killer. Rumors ran rampant throughout the county that hehad murdered a man over a woman, but no one was ever able to prove such a storyabout this wealthy and devout Catholic farmer. His presence was imposing, hisbankbook fat, his political influence powerful. In a world where money talkedand influence talked tougher, Claude had plentiful amounts of both.   But he had a soft spot for Steven. Not that he spoiledhim in any way or gave him a free ride. From the time Steven could walk andtalk, Uncle Claude expected him to pull his load, and every day woke him beforedawn to begin his daily chores of milking cows and working in the cornfields.2It was hard work for the boy, but for the first time in his life, he felt hereally belonged somewhere and to someone.   When Steven tried to shirk his duties, such as cuttingwood, which for a boy of his small size was difficult, he was punished, but henever complained. He believed he deserved whatever he got, if not for being notstrong enough, then for his lack of determination. "When I'd get lazy andduck my chores, Claude would warm my backside with a hickory switch. I learneda simple fact-you work for what you get."   Claude wasn't a total martinet. He gave young Steven hisown room and a bright, shiny red tricycle, which Steven became so good atriding he challenged other boys to races and never failed to clean them out oftheir gumdrops. And Claude always gave the boy enough money for a weekly tripto the Saturday matinee at the local movie theater. Steven loved the movies,especially the cowboys-and-Indians westerns, with their six-guns that blazedfirepower every two seconds and shot the bad guys, who fell off horses with allthe fury and balance of Russian ballet stars. These films instilled in Steven alifelong love of films and guns: "When I was eight, Uncle Claude would letme use the family rifle to shoot game in the woods . . . to his dyin' day UncleClaude remained convinced I was a miracle marksman with a rifle."   The school he attended was four miles away from thefarmhouse and he had to walk it every day, regardless of theweather, but it wasn't the walk he hated, it was the school. His teachers soondecided the sullen little boy who never paid attention to anyone or anythingwas what was called in those days a "slow learner." Years later itwas determined that as a child Steven was probably slightly dyslexic, nothelped by an untreated hearing problem in his right ear that left him partlydeaf for the rest of his life. The boy would remember most about his schooldays that "I was a dreamer, like on cloud Nine."   He was a dreamer back at the farmhouse as well. YoungSteven would often drift away in thought, and when Uncle Claude inquired whathe was thinking about, Steven always replied by asking where his mother was.Uncle Claude would say nothing, just pat the boy on his head and move along.   Jullian was, in fact, busy marrying and unmarrying aseries of men. The final count remains uncertain. One day, when Steven wasnine, his mother suddenly showed up at the farm and politely informed Claudethat she was taking her son back. Claude put up no resistance. He took the boyaside for a few minutes and gave him the gold watch that he kept in his vestpocket, told him to always remember his uncle Claude, and sent him away withhis mother.   Jullian took Steven, whose nine-year-old lean physique,curly blond hair, and blue eyes perfectly matched hers, to Los Angeles, whereshe and her latest husband were living. However, Steven's new stepfather,Berri, hated having the kid around, wanted him gone, and out of frustration andanger beat him whenever he got the chance. Steven was more than happy toaccommodate him, and often spent days and nights away from the house, sleepingin back alleys when there was no place else available. Film documentarian RobKatz describes this period of time as the "black hole" of McQueen'sextraordinarily lonely and violent youth.   Within months he had joined one of the tough L.A. teenagegangs that regularly prowled the neighborhood, breaking into shops after dark.And the streets had something else for Steven. When he was thirteen, a youngneighborhood girl took him to heaven for the first time. He referred to thisevent years later in several interviews but never gave any details except thatshe was the first of many street girls who would dote over him and give himwhat he wanted because of his warm smile, blond hair, and blue eyes.   Unable to deal with her son's increasingly rebelliousbehavior and her husband's resentment of the boy's presence, a desperateJullian called Claude and pleaded with him to take Steven back. She didn't haveto cajole; he was more than eager to have him. During their phone conversationJullian was surprised to learn that Claude, now pushing seventy, had recentlymarried one of his young housekeepers, Eva Mae, thirty-three. Upon Steven'sreturn to Missouri, Eva Mae efficiently stripped the teenage boy naked andbathed him head to toe. There was no place like home!   One day a traveling circus came through town and Stevenwent by himself to see it. There he met a fast-talking carny who convinced himhe would see the world if he joined the traveling show. Steve never evenreturned home to pack his few belongings or to say goodbye to Uncle Claude andEva Mae. Taking only his uncle's gold watch that he was never without, thefourteen-year-old hitched a ride with the circus and rode with them out ofMissouri and into his future.   Claude, meanwhile, searched desperately for the boy,unaware that he had run away and fearing something terrible had happened tohim. After several days, he gave up and went back to the farm. If Steven wasfound alive, Claude vowed, he would never forgive him. If Steven was founddead, Claude would never forgive himself.   Life in the circus proved more sawdust than stardust forSteven when he discovered the constant traveling was taking him nowhere fast.He wanted out of the life but could not go home again to face Uncle Claude. Hetook once more to living on the streets, hitchhiking from town to town andriding the freight trains with the hobos until eventually he found himself backin Los Angeles, where he reluctantly showed up at Jullian and Berri'sapartment. His mother was happy to see him but withheld her affection out offear of setting off Berri, who greeted the boy with an indifference thatbordered on anger.   The street kids' greeting was not much warmer than that.They were always suspicious of members who came and went unless that revolvingdoor had bars on it. To make his bones and "win back the other kids'respect he meant to become the baddest ass of them all . . . ifthe gang leader decreed that ten hubcaps were to be stolen today by each gangmember, Steve would bring back twenty."   Besides stealing, the gangs frequently rumbled, fightingother gangs for cock-of-the-walk rights. Occasionally a police roundup wouldbring them to court. The first time Steven came before the local judge, infront of Steven's mother, he threatened to put the boy away for a long stretchif he ever saw his face again.   Jullian took him home, and Berri laid down a much toughersentence. He beat Steven mercilessly and finished him off by throwing him downa flight of stairs. When the boy was finally able to stand up, bruised andbloody, with Berri hovering over him, he stared into his stepfather's face andsaid, "You lay your stinkin' hands on me again, and I swear I'll kill ya."   Soon enough, Steven was caught with a bunch of other boystrying to steal hubcaps, and Jullian tearfully signed the court ordercommitting him to reform school. It was that or prison.   The California Junior Boys Republic at Chino was foundedin 1907 by Margaret Fowler, a wealthy widow who devoted her life to socialimprovement and helping troubled youths straighten their lives out. BoysRepublic was and still is located on 211 acres in the southwestern corner ofSan Bernardino County, a farm community that, besides the institution, alsohoused two state prisons, one for men and one for women. Boys Republic was oneof the more progressive reform schools for juvenile delinquents that sprang upduring the last years of the Industrial Revolution and was filled to capacityin the Depression and again during World War II, times when many boys who gotin trouble were either fatherless, gang members, or runaways. Steven was allthree. On February 6, 1945, five weeks before his fifteenth birthday, StevenMcQueen became number 3188.   The institution ran on a trust system operated by theboys themselves, supervised by adults. Steven twice escaped from the unfencedgrounds, but was quickly apprehended and returned. The other boys did notappreciate having their privileges taken away because of one bad apple, andalthough paddling was the preferred discipline by the authorities, they hadtheir own way of treating tough kids like Steven. "The place had a boardof governors made up of boys. They tried me and condemned me. They gave me thesilent treatment and all that jazz." And they kicked his ass. More thanonce, Steven was subjected to physical abuse. And on days when the"good" boys were rewarded with trips to the movies, Steven was heldback by those who didn't go and was forced to run the athletic track, over andover again. And when he still didn't break, they made him dig ditches all day.   He didn't care what they did to him because he wasalready planning another breakout, a great escape that would leave the othersin his dust. That is, until he first became aware of Mr. Pantier, one of theschool's superintendents, who disdained physical punishment in favor of talkingthings out. He believed that all boys were redeemable, including Steven. Mr.Pantier talked to him without talking down to him, and spent long eveningstrying to convince the boy he was worth more than the kind of life he washeaded for.   Pantier's kind words of encouragement touched somethingin Steven, and his transformation was swift. He became a model of good behaviorand soon enough was elected to the self-governing boys' council. That positionmeant a lot to him.   While Steven was inside, Jullian had undergone somechanges of her own, beginning with the untimely but not entirely unwelcomedeath of Berri, from a heart attack, even as Jullian was preparing to divorcehim and move by herself to New York City to find a new and better life. Aftershe buried Berri, she visited Steven one last time and told him that when hegot out he should look her up. However, despite her determination to do betterthis time, she quickly slipped back into the familiar world of drinking,smoking, and "entertaining" men.   In April 1946, having finished his full fourteen-monthterm at Boys Republic, sixteen-year-old Steven left for New York to be with hismother. What he didn't know was that one night while at a bar Jullian had metan old friend from Los Angeles by the name of Victor Lukens. They had quicklybecome lovers, and Lukens wasted no time taking Steven's place and moving intoher tiny Greenwich Village two-room cold-water flat.  

Revue de presse

“Most of us aren't really interested in the real McQueen, we just want the tough guy from Bullitt. Fortunately, author Marc Eliot isn't in that group. In Steve McQueen: A Biography, readers meet a complex, haunted man who might not make many most-admired lists….Eliot doesn't pass judgment on McQueen. Instead, he essentially retells the classic American drama: a man coming up from nothing and but for a quirk of fate — in McQueen's case, possession of a steely gaze that would do nothing on a stage but rivet a camera.”—USAToday.com, 3 out of 4 stars

“As Marc Eliot reminds us, Steve McQueen was just eight weeks older than Clint Eastwood. He might be alive still, as prominent, laconic, and anti-heroic a screen figure as Clint, and maybe even a notable producer and director. Eastwood has won just about every prize there is, and he has made the journey that probably appealed to him the most—from a working-class kid to a movie cowboy to one of the most esteemed figures and authentic stars remaining in American show business. Eastwood is an auteur and a respectable American. McQueen was none of those things…. [Yet] you can’t take your eyes off him. As an actor, he is more compelling and mysterious than Eastwood. “—David Thomson, The New Republic

“A fine biography that makes us feel like we know and understand its subject.” —Booklist

“McQueen’s life and the cultural context Eliot explores make for a good read.” —Library Journal




From the Hardcover edition.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 881 KB
  • Nombre de pages de l'édition imprimée : 370 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0307453219
  • Editeur : Aurum Press (15 octobre 2011)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ISBN-10: 1845137442
  • ISBN-13: 978-1845137441
  • ASIN: B0084DS0BQ
  • Synthèse vocale : Activée
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Amazon.com: 3.4 étoiles sur 5  42 commentaires
44 internautes sur 46 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Rehashed trash and riddled with mistakes 2 novembre 2011
Par Hamzy1973 - Publié sur Amazon.com
Format:Relié
Author Marc Eliot makes a lot of promises to readers that he offers "original material, rare photos and new interviews" but this is just a smokescreen for another "cut and paste" job. It's nothing more than a retread of other previous McQueen bios.

This offering is also riddled with mistakes, some of them pretty glaring. On page 6 he cites McQueen's birthplace as Green Grove, Indiana. It's Beech Grove. On page 16 he writes the Boys Republic in Chino was founded by socialite Margaret Fowler. That honor goes to William George and his wife Esther Brewer. On page 21, Eliot declares McQueen was stationed at Camp Pendleton in the Marines. He couldn't be more off. McQueen was stationed almost 3,000 miles away in Camp Lejeune, North Carolina. A famous mugshot of McQueen in the photo section says it was taken in 1966; the incident, which made national headlines, occurred in 1972. It's senseless mistakes like these that give the impression the author is out of touch with the subject matter and never left the confines of his home office to do research.

Eliot pads out the photo section with mostly publicity stills, lobby cards and movie posters and it's doubtful he interviewed more than a handful of people, some of whom have been interviewed countless times.

What's laughable is that Eliot insinuates in the author's notes that this is perhaps the definitive McQueen biography. This lazy, half-hearted attempt would have been the worst but Eliot is author Darwin Porter turned in a more putrid account.

Don't waste your time on this rehash trash.
22 internautes sur 23 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 I WAS HOME, HOW DID THIS HAPPEN? 16 novembre 2011
Par Richard Masloski - Publié sur Amazon.com
Format:Relié|Achat vérifié
I am half-way through the disturbing reading of "NEW YORK TIMES best-selling author" Marc Eliot's take on the life and career of Steve McQueen.

Why is this author a NY Times best-selling one? This is my first encounter with the work of Mr. Eliot - and so far this book seems to be a trimmed down retread of Marshall Terrill's vastly superior STEVE MCQUEEN: PORTRAIT OF AN AMERICAN REBEL. I understand Mr. Terrill came out recently with an updated version of his 1993 book. I wish I had purchased that instead of this book which is modelled on the skeleton of that better bio - except that this one has left off all the muscle and meat and so it never comes alive. Plus Terrill's book is by far the better illustrated.

As to this book, however. I can't stand when too many authors nowadays slap a book together, rush it through lazy proof-readers who - if they even exist - aren't worth spit, and then just sit back on their prior credentials and start counting the dough. Others in their reviews here on Amazon have pointed out some of the many errors in this hack job. Here are a few to add to that list:

On page 128, in his synopsis of SOLDIER IN THE RAIN, Eliot claims Jackie Gleason's character is killed in a bar-room brawl. He isn't.

On page 163 Eliot comes down fairly hard on the inaccuracies "in both time and place" in THE SAND PEBBLES, claiming that the movie plays "fast and lose with the facts." (Actually, the charge Eliot levels at this film apply quite spectacularly to his own negligence when it comes to facts!) "The movie takes place ten years earlier than the novel," says Eliot. "The book version of THE SAND PEBBLES is set in 1926," he further contends. The trouble is this: BOTH the movie and novel take place in 1926!!! Our un-astute historian goes on to argue about the only battle between the U.S. Navy and Asians as having taken place in 1937 and it was actually between Americans and Japanese - and he goes on to try to explain why the film switched the nationality of the attackers and....the point is he incorrectly and overly attempts to explain things that are not germaine to either the book or the movie and misses one major point that has its source within the film. Richard Crenna's Captain Collins (which, contrary to Eliot's pointless point, does NOT owe much to Bogart's Capt. Queeg in THE CAINE MUTINY) explains that history only becomes viable "when it goes down on paper." In refering to the earlier that day almost-mutiny aboard San Pablo he says "What happened today has not gone down on paper yet. It is not history until it goes down on paper." Enough said here.

Page 163 again: It is San Pablo and NOT San Pueblo as Eliot writes it twice. And where he gets the notion that the San Pablo - er, in his take San Peublo - is "known to the Chinese as the 'Sand Pebbles'" is completely beyond me. Richard Attenborough's character explains early on that it is the sailors who are, indeed, the Sand Pebbles.

Page 164: Eliot writes that "Holman's final words are 'I was home, how did this happen?'" Thank God Eliot didn't write the movie script! The actual last words of the mortally wounded McQueen as Jake Holman are "I was home. What happened? What the hell happened?"

Page 243-244: In the space of one long, stinking-to-high-heaven-with-factual-flatulence paragraph our flimsy author completely manages to mangle the story of the genesis of Sam Peckinpah's THE WILD BUNCH. There is not one fact in the twisted nonsense Eliot offers us about this matter that is correct. And what makes this especially egregious is that listed in Eliot's sources is David Weddle's outstanding biography of "Bloody" Sam entitled IF THEY MOVE...KILL 'EM! (Weddle's book, by-the-way, is an excellent example of how all biographies of film stars and filmmakers should be written.) If Eliot truly used Weddle's book as reference...how could he have gotten the story of how THE WILD BUNCH came to be so shamefully wrong? One is left with the obvious conclusion that Eliot did NOT even read his source materials - or if he did then he skim-read or was incapacitated in some way. One can only guess in what way. Suffice it to say, contrary to Eliot's Alice in Wonderland account of things, THE WILD BUNCH never began as THE DIAMOND STORY! I could not make this stuff up if I tried.

I am sure I will encounter more lazy writing as I complete my reading - but add the above to what others have mentioned in their own reviews and the point is this: how can we trust our esteemed, New York Times bestselling author if he cannot make certain of the things he is writing about BEFORE the book goes to press and sits on shelves waiting to be purchased??? Is it so much to ask??? With regards to Holman's last words alone, would it have broken Eliot's fingers to pop a DVD of the movie in to make certain of what those last words were before he writes them and they become history when finally published? Can't he read the opening title card of the same film and read that it clearly states the film is set in 1926 - and NOT the ten years earlier mis-informed nonsense that he spews forth in his footnote on page 163. It is a sad day when an author's footnote...needs a footnote to correct the errors in the original footnote! Also in this same footnote Eliot ponders if the Yanay incident has perhaps inspired the fictional attack on the San Pueblo (sic). In the very next sentence he goes on to now refer to the attack as having happened on the U.S. Panay! Which is it??? Footnote please!

The bio of the author on the inner back flap informs us that the author "divides his time among New York City; Woodstock, New York; Los Angeles; and the Far East." Bully for him. I am glad that all of the money he has made via his writing has enabled him to live in luxury at four different locations across the globe - while most folks struggle to keep but one roof over their heads! - but all I ask is that he and all authors that write faster than they think...please, please light somewhere when you write a book. Review it. Check it over painstakingly before you publish. Fine-comb it - and have truly professional people double-check it for you before it goes to print. Before it hits bookstore shelves. Before we, the public, shell out hard-earned money for YOUR work! Respect us - as much as we wish to respect you. By your work...we shall know you. Buy your work...and we shall know you as well.
15 internautes sur 16 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Houston, we have a credibility problem 10 novembre 2011
Par AbigailTrower - Publié sur Amazon.com
Format:Relié
I'll give this to Marc Eliot, he is consistent as an author for he has made an equal number of errors in his other books as he does in "Steve McQueen." But don't take my word for it, look at what other Amazon reviewers had to say about Eliot's sloppy work:

Paul Simon: A Life
Something So Wrong, January 14, 2011
By Dave Blanchard (Cleveland, Ohio) - See all my reviews
This review is from: Paul Simon: A Life (Hardcover)
Almost everything in this book, including every quote from and reference to Paul Simon and Art Garfunkel, comes from previously published material (dutifully cited by the author), which means Marc Eliot didn't so much write this book as type it. And what becomes clear is that he isn't much of a typist. Thus, the question becomes: If Eliot made that many mistakes in the simple process of transcribing the words and ideas of other writers, how well can we trust his conclusions as to what might have motivated Paul Simon throughout his life and his career?

Jimmy Stewart: A Biography
Too Bad, April 25, 2011
By BetsyBooth - See all my reviews
It's a shame that such a good actor could have such an awful book written about him. As other reviewers have stated, there are bizzare innuendos and silly deductions, not to mention grammatical errors, but I didn't really notice them for I spent more time trying to decipher what the author was saying (or trying to say, for that matter). It is hard to trust the validity of the biography when such falsehoods and simple mistakes are made. Truly terrible!

Cary Grant: A Biography
Terrible, September 5, 2011
By R. McCannon (Georgia) - See all my reviews
I bought this book long before I became a classic movie fan, and long before I became the Cary Grant fan that I am now, he being my favorite actor. If I could turn back time, I would never have bought this book at all. And if it weren't for the pictures that are in the book, I would burn it. I've discovered since reading this book that there are too many errors. One large glaring one is when Elliot is talking about when Cary received his Honor Academy Award. In this part Elliot says that Cary puts on his glasses and reads from notes . . . you can find this clip on youtube, and as you will see never once does he put on glasses or read from any notes. And there are many more such errors, even grammatical and spelling errors. Please, Dear God, do NOT waste your money on this, especially if you are just being introduced to Cary.

To The Limit: The Untold Story of the Eagles
Reads like a textbook, October 30, 2008
After reading Don Felder's whiny autobiography, I thought this might provide some objective views on the Eagles. It does for the most part, but there are glaring errors throughout that any person with cursory knowledge of the Eagles will see immediately.

And if you listen to this interview [..])Eliot continues his campaign of misinformation. He tells listeners that McQueen was in the Navy (he was in the Marines); that he was nominated for an Oscar in "Bullitt" (it was "The Sand Pebbles") and that is first wife Neile was much older than McQueen (she was three years younger). If this guy is a New York Times bestselling author, then I have some swamp land here in Louisiana I want to sell you.
5 internautes sur 5 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Just OK 24 janvier 2012
Par movie fan - Publié sur Amazon.com
Format:Relié
While there is some interesting facts on McQeen here, like others have said, lot's of errors. Regarding LOVE WITH THE PROPER STRANGER....Tom Bosley did NOT play Natalie Wood's father. He played her boyfriend. Hershal Benardi played her father. Did Eliot even SEE any of McQueens films? Also nothing said about the release or business of his last film THE HUNTER. Eliot makes it seem like TOM HORN was McQeens last film. He even states that fact. Another error. Please Mr. Eliot, if you write anymore bios, get ALL the facts right, or DON'T WRITE A BOOK...Period.
5 internautes sur 5 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 The work of Steve McQueen 5 novembre 2011
Par wogan - Publié sur Amazon.com
Format:Relié
This Steve McQueen biography can be an interesting perusal of his life through his work. There is little mentioned of his personal life except a bit about his youth and through the biographies of 2 of his wives, Neile Adams and Ali MacGraw. There are some quotes from Steve, and his friends/coworkers, mainly concerning relating to his work.
The book has a limited number of pages about his life before show business, but the main substance relates to his work in motion pictures, why and how he chose the roles he did.

There is a confusing recounting of the early stages of the movie `The Great Escape'. The author writes the prison camp, Stalag LuftIII was just outside Munich, then a few pages later states it was in Poland. He also claims the officers in the prison knew about D-Day and planned the escape to help divert German forces. The diversion is an historical fact, but it is never explained how these prisoners could have been aware of the date of D-Day???
The most surprising omission to me was that in the beginning of the book where Steve's time in the marines is recounted the author tells of McQueen being assigned to "scrub and repair asbestos-laden pipes". Nowhere is this referred to when he is diagnosed with mesothelioma.

One can see the business technicalities of the film industry in this biography. We also read of the many faults, the drug use and drinking and the violent tendencies at times, of McQueen to his wives and others; but we also are made aware of McQueen's extraordinary talent. There are some questions about the accuracy of what has been written in this book, but we do learn about the essential times and life of Steve McQueen.
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