John Hughes: A Life in Film (Anglais) Relié – 25 février 2015
|Neuf à partir de||Occasion à partir de|
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Les clients ayant acheté cet article ont également acheté
Description du produit
Présentation de l'éditeur
"I stumbled into this business, I didn't train for it. I yelled "Action!" on my first two movies before the camera was turned on." John Hughes
John Hughes wrote 46 movies, produced 23, and directed 8. He never went to film school, never spent time studying film and its history, but was unusually adept in three key areas writing, directing and producing.
Classics like Mr. Mom; Sixteen Candles; The Breakfast Club; European Vacation; Weird Science; Pretty in Pink; Ferris Bueller's Day Off; Planes, Trains, and Automobiles; Uncle Buck; Christmas Vacation; Home Alone; and Beethoven will forever live on in the history of film. Launching the careers of Andrew McCarthy, Molly Ringwald, Anthony Michael Hall, and James Spader, and working with greats like John Candy and Chevy Chase, John Hughes's influence can still be felt today.
John Hughes: A Life in Film, by Kirk Honeycutt, former chief film critic at The Hollywood Reporter, is the first complete illustrated tribute to the legendary writer and director, and includes fresh interviews and never-before-seen glimpses into John Hughes' work and life.
Biographie de l'auteur
As the chief film critic at The Hollywood Reporter for many years, Honeycutt reviewed films from its home office in Los Angeles and at major international film festivals such as Sundance, Cannes, Berlin, Busan, Mill Valley and Toronto. He oversaw the expansion of The Reporter s international reviewing staff and coordinated the reviews for the various festival show dailies around the world.</div> <div>
A member of the prestigious Los Angeles Film Critics Association for over 36 years, he previously reviewed films for the Daily News of Los Angeles. He appears regularly on television and radio shows.</div> <div>
A graduate of the theater arts department of the University of California at Los Angeles, Honeycutt reported on the film industry for The Hollywood Reporter from 1992 to 1999 before being appointed chief film critic, a post he held until he left the publication in December 2011.</div> <div>In the past, he was a regular contributor to the New York Times, a columnist for the Los Angeles Times and wrote for such publications as Cosmopolitan, the Christian Science Monitor, Newsday, Movieline, Premiere and American Film.</div>
In 1992 his screenplay, Final Judgment, was made into a motion picture starring Brad Dourif, Isaac Hayes, Karen Black and Orson Bean.
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.
Détails sur le produit
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
|5 étoiles (0%)|
|4 étoiles (0%)|
|3 étoiles (0%)|
|2 étoiles (0%)|
|1 étoile (0%)|
Commentaires client les plus utiles sur Amazon.com
Right off the bat, the book admits in its opening pages that the Hughes family as well as some of his closest friends all refused to be interviewed, immediately squashing any hope of getting some in-depth insight into Hughes and his departure from Hollywood. Also, the book is loaded with typos and errors. For example, on page 3, a set photo of Hughes, Molly Ringwald and Michael Schoeffling on the set of SIXTEEN CANDLES is misidentified as being from the set of PRETTY IN PINK. While this error may seem minor and mistakes do indeed happen, one would think an editor would try to ensure that at least the first ten pages are near perfect, for if the author demonstrates in the first three pages that he apparently cannot tell the filmmaker's films apart, why should the reader believe he is worthy of writing an entire book on the man?
The opening chapters about Hughes working as an ad man at Leo Burnett while moonlighting as a joke writer and magazine editor were thankfully fulfilling. I always wanted to learn more about his start, and how he maintained his career from Chicago. However, the examination of Hughes's films are incredibly uneven, and disappointing as a result. While both SIXTEEN CANDLES and especially Hughes's most famous film THE BREAKFAST CLUB are richly profiled (23 pages are dedicated to the latter alone), other beloved Hughes classics like PLANES, TRAINS AND AUTOMOBILES are restricted to only a few pages. Hughes's screenplays are some of the most enjoyable reads because they often include extensive material--scenes, characters and at times even entire subplots--that were subsequently cut from the final film. While Honeycutt includes some of these interesting omissions for some films, he neglects to detail them for others (He neglects to mention a draft of PLANES, TRAINS AND AUTOMOBILES that reveals John Candy's Del Griffin has actually been manipulating some of the film's events so that Steve Martin's Neil Page will be forced to spend the holiday with him. A revelation that would've totally changed the nature of the character). This uneven approach gets even more frustrating as it moves into Hughes's family-centric comedies of the 90s. Only two light pages are dedicated to Hughes's final directorial effort CURLY SUE, and some of his late films are relegated to a couple paragraphs. For a 90s kid, these films were just as much a part of one's childhood as his classic teen comedies of the 80s, and I wanted more. Some of Hughes' films are more or less skipped. EUROPEAN VACATION is reduced to a sidebar, and perhaps Hughes's least known film, REACH THE ROCK is mentioned in only a few brief sentences.
Also, Honeycutt's tendency to insert his own personal criticism of a number of the films proves tedious, and at time calls into question how much he personally enjoyed Hughes's filmography. While the man is certainly entitled to his opinion, (I agree with his negative review of PRETTY IN PINK, but disagree with the same opinion of SOME KIND OF WONDERFUL), he dismisses CHRISTMAS VACATION as "a tepid affair" that "wastes an unusually fine cast" with "predictable and contrived" slapstick that "falls short--no pun intended." All this despite its 7.5 rating on IMDb and current status as a holiday classic that often plays for a 24-hour stretch on Christmas. Again, he is entitled to his opinion, but a coffee table book dedicated to a specific filmmaker hardly feels like the proper venue to voice it, unless he was that desperate to fill these 200 pages.
But the biggest letdown is the surprising lack of examination into Hughes's post-Hollywood life. For this reason specifically, I would personally recommend David Kamp's lengthy VANITY FAIR article "Sweet Bard of Youth," that was published in March 2010, which is a far more satisfying examination of Hughes's departure from public life than this book. Unlike Honeycutt, Kamp managed to interview Hughes's two sons, John III and James, who provided a picture of how Hughes continued to write endlessly during his retirement, and even profiles his final days and morning in great detail with a poignant ending. Unfortunately, Honeycutt devotes only a few brief pages to this segment of Hughes's life, the chapter I'd imagine the majority of fans are most curious about.
It's a pretty book, and it possesses a superficial overview of Hughes's work. For that I shall keep it on my shelf for any of my fellow Hughes fans to thumb through, but I continue to pine for that definitive and insightful book on one of my favorite filmmakers.
I learned a lot of information about John Hughes.