1 comments about Bridges of Madison County: The Film.

1. I like many others was impressed by this movie. Some 12 months or so ago I came across the book for a bargain price and snapped it up.The book focuses on the making of the movie but also contains superb photography of a very pretty part of the US. A book for fans and lovers of nature.

3 comments about Jerome Robbins: His Life, His Theater, His Dance.

1. All in all, I'm touched by Deborah Jowitt's well meaning and comprehensive biography of Jerry Robbins. She digs under the surface of his ballet and Broadway work and finds a whole lot more than I had ever imagined. Again and again she returns to the paradox of the name, how "Jerry Robbins" was a fake, all-American and showbizzy place name for the real, suffering, inward, outcast Jerome Wilson Rabinowitz, and how Robbins could never be happy knowing this. He loathed himself from the inside out and the outside in: no wonder he treated others so terribly. Deborah Jowitt's years of research into the Robbins papers, those revealing scrapbooks and journals, have really paid off, for although I think in general Greg Lawrence's biography better in most ways, Jowitt's contains innumerable examples of revelation right from the horse's mouth, scraps of diaristic strip-tease that really pay off in almost every case. We can see how, in Gypsy, there had to be a strip-tease number in which three women explain, "You Gotta Have a Gimmick," because Robbins realized early on that was the path to artistic greatness--not the gimmick per se, but the emotional and psychological undressing.
   
   Along the way Jowitt sketches in many portraits, some of them ravishingly done. Leonard Bernstein has never seemed so much himself before. John Kriza, the gadabout dancer from Ballet Theater days, seems as "Fancy Free" as the roles he created in Robbins' early work. Jowitt's greatest "creation" as it were is Tanaquil Le Clercq, the tragic, French-born ballerina who came down with polio while Balanchine's fourth wife. Le Clercq is the real heroine of the book: everything we think about, oh, say, Audrey Hepburn was really Tanaquil Le Clercq gone commercial: gorgeous, radiant, utterly chic, loveable, wildly talented in many different areas. I had just barely heard of her before and now I want me my Tanaquil Le Clercq! I'm going to have to go down to the Robbins Foundation and watch some primitive kinescopes of her. Jowitt actually saw her dance and has apparently never gotten over it. Her next book should be all about "Tanny"!
   
   I did think that Jowitt is a bit sklmpy in her treatment of the HUAC thing. Growing up, I got the sense that Robbins' naming names made hum utterly despised. Even I, as a child of five, knew what he had done made him scum. And yet you never get a sense of what it was like for Robbins living, if not with guilt, then with the simple fact that thousands of people abhorred him. Likewise I think Jowitt isn't exactly the right person to write about Robbins' sex life, and when AIDS enters the picture, she seems bound and determined to avoid the glum subject once and for all. Finally, her lack of editorializing is all very well, but I for one do not believe that the later, experimental work is on a par with INTERPLAY, THE GUESTS, THE CAGE, AFTERNOON OF A FAUN or THE CONCERT. Why not? We don't get an explanation. It was the sixties, pretty much, and Robbins started taking the drugs and stopped wearing suits. But there must have been more to it. WATERMILL is no picnic.



2. Any valid bio of Robbins would have to result in a narrative of the development of dance and musical theatre in America, since the 1940s. While Jowitt gives us the, often sad, milestones in this man's life, her major thrust throughout this long and always exciting book is on his work. She delves into virtually every creation of his, including his generally poorly received occasional forays into non-musical theatre. Detailed attention is given to both concept, creation and execution of his prolific endeavors. Her in depth analysis of each of his works, often quite technical, VIVIDLY recall many great performances of these masterpieces.
   While not necessarily for those with a casual interest in dance, the facts of his life, as well as the cavalcade of his shows and ballets, makes for a read that is always more than just factual. Interestingly, Jowitt seems never to editorialize on Robbins' work. But then again, why attempt to laud a universally acclaimed genius ?



3. Jerome Robbins was a hard act to follow. Deborah Jowitt's Jerome Robbins: His Life, His Theater, His Dance should be placed upon every public library shelf, alphabetically, before William Shakespeare, for only he could. Robbins is to 20th Century American Modern Dance Theater what Shakespeare was to the Elizabethan Stage, an author of infinite variety, a man for all ages.
   
   Ms. Jowitt gives us a scholarly blueprint for amateur, musical theater lover, and balletomane; one that should be made available to all engaged in the academic pursuits of the Arts, Letters, and Sciences. Jerome Robbins, legendary theatrical genius, is brilliantly extolled in exacting detail and rendered with the loving care of a biographer dedicated to communicating this great artist's "message." He was the least difficult of men. All he wanted was boundless love.
   
   Deborah Jowitt's Jerome Robbins is written in a trenchant prose style, a cross between WCBS TV celebrity correspondent Walter Cronkite's You Are There, and Leo Tolstoy's War and Peace.
   
   Her tone is one of a high-powered sports newscaster delivering to her audience a polished blow-by-blow description of celebrity "plays." These are not professional precision ball passing reports; they are larger than life descriptive interactions of 20th Century Show Business's great personalities Robbins knew and loved.
   
   Jowitt presents us with an eyeful. It were as though she uses a high definition, technicolor, movie screen attached to a time machine to fly us, like a motion picture director's crane, throughout multiple three dimensional scenes Jerome Robbins choreographs, before our eyes. In Jerome Robbins: His Life, His Theater, His Dance, Deborah Jowitt has delivered a state-of-the art biography that goes beyond the intricate prose of great fiction.
   
   Jowitt instantaneously captures "the moment," and translates into words that in effect rolls a continuous major motion picture before us, without skipping a beat. One can almost hear the music that Robbins brilliantly illustrates. Jowitt delineates visions of Robbins forging The Great White Way for talented choreographers to follow: Bob Fosse, Michael Bennett, Twyla Tharp.
   
   Jowitt's dance training and choreographic practice is revealed in her ability to poetically describe Robbins at work. "...he excelled at the artificed use of the apparently accidental. When a moment in a Robbins ballet looks contrived, it can be because one is not simply moved by it but aware of how the choreographer calculated its effect...."
   
   A culmination of five years of writing, and an historical perspective of thirty-five years of looking at the dance, Deborah Jowitt has emerged as America's Dean of 21st Century Dance; following in the tradition of a great poet's translation of classical ephemera, the work of Edwin Denby, a chronicler of The New York City Ballet. Her Jerome Robbins is a masterpiece. Deborah Jowitt's Jerome Robbins: His Life, His Theater, His Dance should remain on the public library shelf beside William Shakespeare's The Complete Works for all time.

5 comments about The Bennetts: An Acting Family.

1. This biography of the generally forgotten acting dynasty, the Bennetts, is a tour de force. While father Richard Bennett is long forgotten, daughters Constance and Joan Bennett are still accessible through a number of classic films ("What Price Hollywood" and "Topper" for Constance and "Scarlet Street" and "The Woman in the Window" for Joan, among others).
   
   The author has captured the personalities of each Bennett. So many biographers fall into the trap of providing superficial detail around a chronology of the subject's life, but not so Mr Kellow. He has managed to bring alive the autocratic Richard Bennett and his 3 daughters, the troubled alcoholic Barbara, the mercurial, opportunistic Constance and the refined but passionate Joan. The book moves between each of their lives and Kellow benefited from the co-operation of many surviving members of the family. He has also created a vivid sense of the period in which the story is evolving from the girls rebellious behaviour in the roaring twenties, through career highs for Constance in Hollywood in the thirties and Joan's emergence as a femme fatale in the forties to both actresses move to the stage in the fifties as film work dried up. They were much married and all the details about their stormy relationships are vividly recreated, not in a gossipy tone but creating portraits of intelligent woman who were not afraid to take risks, particularly Constance.
   
   This is a very clever well written book.



2. This well researched and presented book is a fine addition to anyone's library of books about Classic Hollywood or about the Broadway stage. The Bennett family were hard-working and talented performers, extremely famous in their day, but not as well-remembered today as they deserve. Their stories are full of human drama and Brian Kellow tells them in detail, without any wiff of the snide, nasty edge far too many show business books have today. He's honest about the faults of his subjects, yet compassionate about their humanity.



3. For anyone interested in Hollywood's golden era, this book is a must! Far superior than The Bennett Playbill which was published in the 1970's with Joan and a ghost writer, this book is exhaustively researched and provides a much fuller picture of father Richard and daughters Constance, Joan and the ill fated Barbara. Fans of the tv show Dark Shadows will remember Joan, but probably a lot fewer remember Constance who was one of the top film stars in the early 30's only to be washed up in films by the end of the decade. Joan had a much longer film career, though it took awhile for hers to catch fire. All the marriages, scandals and career highs and lows are covered in depth and Kellow provides a critical evalution of their many film roles. The narrative does skip back and forth between family members, but Kellow does a good job keeping the narrative flowing and after a few chapters the reader will adjust to it. The Bennetts may not have ranked as high as the Barrymores, but they rank right up there with other Hollywood dynasties.



4. Brian Kellow has done a wonderful job in telling the personal and professional stories of the acting Bennett Sisters and their father theatrical legend Richard Bennett. This book really fills a gap and is so well done that it would be difficult to imagine a better book about the Bennetts unless there were individual books on Constance, Joan, Barbara, and Richard Bennett. I would have liked a listing of the various plays that particularly Constance Bennett starred in. This versatile and glamorous star appeared in the Cole Porter musical "Silk Stockings" and this was not discussed in the excellent text. This is a small complaint and I think this book is a must for fans of Joan and Constance Bennett and for great books about show business. There are also some wonderful photographs and that alone should induce the reader to buy this book!



5. At long last, someone has tackled the fascinating story of the Bennett family. The result was well worth the wait. Kellow's book is enthralling, nicely balanced, objective, and well-researched. Anyone interested in Joan or Constance Bennett or even in film history will enjoy this book.

No comments about Ozu's Tokyo Story (Cambridge Film Handbooks).

2 comments about The Matchmaker A Farce in Four Acts.

1. Although many plays have convoluted antecedents, most pale in comparison to THE MATCHMAKER. The story originated with A DAY WELL SPENT, a short 1835 comedy by English playwright John Oxenford, and was then translated, adapted, and expanded by Austrian playwright Johann Nestroy into the 1842 comedy EINE JUX WILL ER SICH MACHEN. American novelist and playwright Thornton Wilder (1897-1976) came to the material in the 1930s and made it his own with the 1938 THE MERCHANT OF YONKERS--which proved a dismal failure with critics and audiences alike, running all of 49 performances before the theatre doors closed.
   
   Even so, many people who knew the play had faith in it, and in the 1950s actress Ruth Gordon and producer-director Tyrone Guthrie urged Wilder to revisit the material. The most significant change Wilder made in his 1938 version pertained to the supporting character Dolly Levi, which he greatly expanded and which became the leading lady of the piece. Re-written, re-staged, and re-named, THE MATCHMAKER opened in 1954 with Ruth Gordon in the title role and proved a hit, running well over 400 performances. The play's success did not end there. It was well-filmed in 1958 with Shirley Booth in the leading role, but it was even more successful when adapted to the musical stage as HELLO, DOLLY!
   
   The popularity of HELLO, DOLLY! has tended to overshadow Wilder's own script, but even so THE MATCHMAKER remains a favorite around the world on its own merits. The story, of course, concerns an enterprising matchmaker Dolly Levi, who sets her sights on one of her own clients, the irascable Horace Vandergelder of Yonkers. Under the pretext of finding him a bride, Dolly leads Vandergelder a merry chase through the streets of New York, drawing every one from his store clerks to his lovelorn niece into the comic confusion. But just as she has created chaos, Dolly also restores harmony at the end, sorting out the lovers in time for the curtain call.
   
   Written in four acts, THE MATCHMAKER does not shy away from its earlier incarnations, and indeed it is written to reflect the older theatrical traditions from which it comes. There is broad farce, there is a touch of melodrama, and the characters occasionally address the audience in short speeches to comment on events and ideas that occur during the action. While THE MATCHMAKER is not a deep play in the sense of Wilder's OUR TOWN or a groundbreaking one like his THE SKIN OF OUR TEETH, it is an utterly charming play, expertly written, witty, clever, and extremely entertaining.
   
   With the exception of acting scripts published by Samuel French Inc., THE MATCHMAKER is not really available available as a stand-alone title to the reading public. It is, however, available in the collection THREE PLAYS, which also includes OUR TOWN and THE SKIN OF TEETH, and which includes a production history of the play. Whatever the case, recommended in any form.
   
   GFT, Amazon Reviewer



2. The epic story of Dolly Levi and her attempt to catch the heart of the grouch, Horace Vandergelder. Who has fallen for the city-girl, Irene Maloy, who has just, in a moment, fallen in love with Cornellious Hackle who....well all I can say is that this book is one of the most interesting plots that this bookworm has ever read. If your not a big reader then you should see the movie adaptation, "Hello, Dolly!". I give this book two glorious thumbs up.

5 comments about The Young Duke: The Early Life of John Wayne.

1. What a wonderful and insightful book this is. My husband and I truly enjoyed all the details and great photos. I highly recommend this book to all John Wayne fans, even if you don't know you are one!



2. I ordered this book for my husband who has always liked John Wayne and is particularly interested with the history of such favorites. I was very happy with this purchase and delighted to get it for him for Christmas.



3. The IMDB has it's own inaccuracies. I found the information in this book to be quit accurate and interesting. Because of in depth research that was obviously done, this attention grabbing book gives you details about John Wayne's life that you might not read anywhere else. I suggest that if you are a John Wayne fan, you read the book for yourself.



4. This book was a big, big, and I do mean big disappointment, the inaccuracies are numerous. And what's more is that most of them could have been caught and corrected had they indeed done some research just on IMDB alone. So pass this one by and don't look back.



5. I personally knew Chuck Roberson, John Wayne's stunt double known as the Fall Guy. This became highly informative to me after knowing the background of Chuck, his falling horses and his making of western and other movies with John Wayne.

5 comments about Duende: A Journey Into the Heart of Flamenco.

1. There are a lot of reviews on this book but I want to throw in my two cents. I picked this up some what reluctantly as it seemed like it might veer into the realms of a romance novel. Well, it doesn't, but it is still a romanticized look at Flamenco and the surrounding culture. It is also a great read for those of us that are not ever going to head off to Spain, find a flamenco teacher and worry about food and shelter later. I always find stories of people that blindly chase their dreams very interesting, combined with my strong interest in Flamenco and this makes for good stuff! Don't take it as some sort of serious expose on Flamenco; it's an interesting story about an outsider, a directionless college grad in the grimy world of musicians (that happen to be Flamencos) that are trying to get by in the world. They are tied to their music by tradition and birth as much as the love of the music.



2. I have been the Flamenco correspondent for Classical Guitar magazine for a decade, and for Guitar International for a decade before that; and everything Jason Webster says about Flamenco here seems to me absolutely accurate, with the piffling exception of a couple of misremembered names. (I think the Pedros Habichuela and Pinto should both be Pepes, but that could just be my ignorance).
   
   But if your object is to find out about Flamenco, then this is not the book to read; the classic in that regard is Donn Pohren's The Art of Flamenco.
   
   The present book is less about Flamenco than it is about the author, but I don't regard that as an obstacle. What is certain is that he is a born story-teller; and if his narrative ends up portraying him as rather self-centred, at least he has the grace to realise it and the honesty to admit it.
   
   Jason Webster is not the first to have found life in the anglophone world empty, and to have sought its meaning in Flamenco. He is, however, the first (as far as I'm aware) to write such an account after the Spanish way of life changed so drastically (following the death of Franco).
   
   If your budget will run to it, read Gerald Howson's The Flamencos of Cádiz Bay first, and then this. Both are unputdownable.



3. Maybe it takes a Spaniard to fully appreciate this book. I thought it was absolutely hilarious! Webster's understated British humor and Spain and the Spaniards...wonderful! The Spaniards are a beautiful, passionate, fascinating and naturally funny people. Webster found the heart and soul of Spain and the Spaniards. Some things cannot be explained. You either get them, or you don't. To those of you who don't, you have my sincerest sympathy. !Viva Espana!



4. I enjoyed this book. I think he does a good job of making you feel like he has come full circle in search of this duende that he seeks. To read his story of leaving everything just to follow his dream of living and breathing Spain and the music of flamenco is an intriguing story only because it is such a frightening and exciting thought. How many people uproot themselves and move to a foreign land to live and barely scrape by all because of the love of music.



5. This book is very interesting, but don't expect to find the real duende or understand flamenco any more than you might already, after all, it's not something that could be described in books anyway. Jason gives an excellent perspective of an outsider in relation to flamenco and how guiris like us relate to it, and that's the beauty of his story.

   There aren't that many white boys and girls looking for the real stuff, that which is not sold at tablaos for foreigners. His encounters with people, his search for flamenco action, and his ultimate lessons about the culture of the gypsies and their invariable connection with flamenco make this book worthwhile.

   This book is a very light read; it's entertaining, frustrating, sad and funny. But above all, it's one man's adventure, it's his diary, and being a devout fanatic of flamenco myself, I feel fortunate that someone as crazy about flamenco as I has shared his experience.

5 comments about Elvis and You: Your Guide to the Pleasures of Being an Elvis Fan.

1. "Elvis & You", A comprehensive book like this deserves just a short review as it contains within it vast scope it's own recommendation. Elvis fans will be delighted with it's in-depth research, and the less scholastic will enjoy the eccentric humorous nature of the book as a whole. A work to explore at leisure and delve into for those important links to all things Elvis. A bargain for the photos alone!

   As a discerning fan of the late Elvis Presley since 1957 yours truly has read a library of Elvis books-this one is amongst the very best.




2. I finally got my hands on a copy of this amazing book. It has lived up to everything I've heard about it from my fellow Elvis fans. First of all it's huge. It's 626 oversized pages of nothing but Elvis. It has over 500 photos ( I stopped counting at 500). Many of the photos were completly new to me. If you were from another planet and didn't know anything about Elvis this book would bring you up to speed. I predict this book will become "the bible" of Elvis fans all over the world.

   The book is divided into 33 chapters. Each chapter focuses on one aspect of Elvis and his fans. Some of the chapter titles: Elvis music, Elvis and family, Elvis and the Army, Elvis and romance, Elvis and the martial arts, Elvis and food, Elvis impersonators, Elvis and animals, Elvis in person, Collecting Elvis, Elvis in cyberspace - It's sort of a "how to" book on being an Elvis Fan. It's like a Peter Guralnick book with a sense of humor and a lot more photos.

   Not only does it tell you everything you want to know about Elvis himself, it tells you about what has emerged in the 25 years since he's been gone. At the end of every chapter is a section called " The Elvis and You Experience." This is where the author's suggest things to do to enhance your enjoyment of Elvis. The suggestions are a lot of fun. Some are really silly. Just like Elvis!

   My favorite chapter is "The Pilgrimage". It lists all the important places to see in Memphis during tribute week. A lot of stuff only Elvis insiders know. I'm studying up to get ready for Tribute week 2002. If you're going to the 25th anniversary Elvis week in Memphis this August. I have one thing to say about this book. Don't leave home without it!




3. Probably because the book is this massive it is printed on very thin paper. Especially because this guide will function as a reference book often, this is a pity. We bet there will be only a few in perfect condition after a couple of weeks. Also a lot of the pictures used in the book deserve more than the exposure they get now, also due to the poor paper-quality. On the other hand: this work on quality paper might hardly be affordable for a lot of people, so the choice is understandable. Let's see if the content is good enough to hope for a "deluxe version" someday.As we always do with new books, we thumbed through it looking for new pictures. On first sight it looked a little complex, with a lot of repeats, we thought. Well, we weren't completely wrong about that, but starting from the beginning we soon found out it has a reason, and a well considered one. All chapters are build in the same way: a more or less short essay about the subject, facts ("Essential Elvisology"), references ("Your Elvis Education") and tips how to enrich your own experiences regarding the subject ("The Elvis And You Experience"). This consistent design makes it pretty easy to find what you want, most of the time. Unfortunately there is no index to this guide, so when you are looking for something really specific... it can be a very hard job.During the acknowledgements it becomes clear that the book has "a heavy Internet base". The reader familiar with the Elvis-scene on the Internet will recognize a lot of the names. Of course this results in a lot of references to the Internet throughout the book.The book is split up in 33 chapters, starting with the man himself: a short biography, mainly a time-line of important dates, his death, his records, his movies, his TV-work, his shows and his personal interests. There are a couple of chapters that are devoted mainly to the fans: Collecting, The Pilgrimage, Your Elvis Shrine, Impersonators and such. As stated before, all chapters start with an essay. Those essays are very well written, and even though nothing new comes up, the point of view from the authors makes them very enjoyable. The guide part of these chapters is very good, directing the reader towards the more important available works. Because the Internet-addresses (the so-called URL's) are often very long and hardly readable, the references to the sites look pretty cluttered. A better solution would have been to list just the site-names, with an alphabetic overview including the URL's in the back of the book. Since this book has its own site (that is: they are constructing the site, so far it looks like they only registered the URL), it might be a nice idea to include all links used in the book on that site, if possible per chapter. Since the Internet is evolving constantly, this might be a good idea anyway. Before such a list returns from the printer it may be outdated already.In general we can say the Elvis part of the guide is reliable, there are some mistakes, but they are in every book it seems, and we didn't find real major misses. The "You"-part is often going towards the ridiculous, especially the chapters we mentioned before. This certainly doesn't mean you can easily skip them. Again, the essays are well written, including a lot of wit and the "tips" are often so ridiculous it gets really funny (e.g. the "Dos and Don'ts of Impersonation" and "How to get started impersonating"). Having met all kinds of people ourselves (especially on the Internet), we know it's not complete nonsense written in those chapters, but sometimes we can't help but think it's too crazy to be true. In opposition to the main media, that love to use those exceptions to stereotype the average Elvis fan, this book shows it in a light-hearted, funny way. Probably the poor souls suffering the "handicaps" in these chapters won't even recognize it and take it seriously, so they'll be happy too.  Our conclusion is that this guide is really what it claims to be: "the guide to the pleasure of being an Elvis fan". Interesting, well researched and very enjoyable, thus it gave a lot of pleasure. We can only say that supported by a well maintained website it certainly deserves a "deluxe edition". "So now let's have a tremendous hand for a very nice book"



4. One of the most useful, fun and interesting Elvis books around. A must-have for Elvis fans and scholars because of the breadth and depth of its information. The photos are great as well. This book will be read and used for a long time. I only wish it had been around when I wrote my Elvis book - would have made my work much easier!



5. This book is by far the absolute best book that will ever be written about Elvis. The authors are sincere Elvis fans who have done their homework, and it truly shows in this masterpiece. Whether you are a lifelong Elvis fan, or an "outsider looking in", this book is a must read. If you are an Elvis skeptic, read this book and you will be smitten for good. Kudos to the authors!!!

2 comments about Hand Shadows and More Hand Shadows.

1. I got this book to entertain my toddler. I was hoping for more animals, but it should do.



2. Henry Burcill, the author of Hand Shadows, was my great-great-grandfather. He was a sculptor by trade and his statues stand in London to this day. The most famous of these are the four great lions in Trafalgar Square, which he created with Sir Edwin Landseer. Written in an era when people lived by candle-light and gas lamp - hand shadowing was a popular entertainment. Henry Burcill's Hand Shadow books are treasures from a bygone age. I hope they never go out of print.

5 comments about The Good, the Bad, and the Very Ugly: A Hollywood Journey.

1. Rarely have I ever read a more honest, powerful, moving and funny book. I read the book in two days and was sick the entire time, but was unable to put it down and rest myself. My only wish is that this will be made into a movie...Sondra, god bless.



2. But she is bright enough to keep it at bay. Sandra Locke is the beautfiul southern actress I admired since I was a child for her unique beauty.
   
   I bought this knowing that it took two to Tango and I stay with it. She sounds bitter and like she does live to be a victim.
   
   If my memory serves me correctly, she had limited success and she made her name in the 70's through Clint Eastwood. She did not have this great success she claims before him. Now that her meal ticket is closed off, she is resounding victimhood. What she denies in the book is actually what she is doing.
   
   Save the money and watch the Lifetime channel to hear how women are victimized on a daily basis.



3. This book was fascinating, mostly because of precious Gordon and Sondra's interesting encounters with synchronicity. I wish she would write more about it. I was especially fascinated because my mother and I wrote a mystery novel and screenplay about synchronicity titled "Fireworks" (Stargate Press, 2003). I know I was led to read Sondra's book! I wish she and Gordon would produce a movie from our screenplay! How can I reach Sondra?? I'm at www.stargatepress.com



4. My whole family watches the Clint Eastwood movies, we like them very much and think Mr. Eastwood is a great actor. Sondra Locke is just telling a bunch of lies just because Mr. Eastwood did not want to marry her, I can see why also. If Mr. Eastwood was such a cold hearted weirdo, why does he have seven kids and has been married twice? Anyway, don't buy this book, if you want some good laughs rent it from The Libary. Go out and buy 'High Plains Drifter'.



5. The Good, the Bad & the Very Ugly is an excellent book written by Sondra Locke showing the 'other-side' of the coin, the public doesn't see, of the imperfect 'icon'. Her book has flair, reads smooth and is written with 'class'. Having watched many of Eastwood's films, the most memorable line to me, of all his famous quoted lines, is the one his 'ghost' character articulates in High Plains Drifter - "... it's what a man knows of himself, that makes him afraid..." I hope Eastwood learns what caring and consideration is all about. Caring is an extension of Unconditional Love...something that seems to be drastically missing from his life.
   Reviewed by Stephen R. Sulik, author of "Color of Laughter, Color of Tears."