5 comments about The Art of The Fellowship of the Ring (The Lord of the Rings).

1. If this book was a DVD, it would be brimming over with extras. As an artist and a LOTR groupie(yeah I was one of those middle earth crazed fans) the book is very complete and satisfactory. The paintings, drawings, sketches and maquettes are really fun because they along with the writings chronicle the development process. Rather than skimming the surface of the movie art for profit it cuts the art department in two and looks at its insides. It doesn't have every detail(sans storyboards) but it is most definitely a quality tome and worth the price for any fan or for those interested in art.



2. I got the The Art of The Lord of the Rings, because I loved the look of the Movie and wanted to see how the designers created the costumes and set. I recommend this book for anyone who wants to know more about it.



3. The Lord of the Rings;
   The fellowship of the Ring

   By, J.R.R Tolkien

   "It's a strange business walking out your front door; you step out onto the path, and if you don't keep your feet on the road there's no knowing where you'll be swept offto." To Frodo Baggins of the Shire, these words had relatively no significance, but when he found himself in a crucial position in the salvation of Middle Earth; he came to comprehend the meaning of this proverb more thoroughly. In J.R.R Tolkien's epic novel The Fellowship of the Ring, readers are propelled into the breathtaking fantasy world of Middle Earth and introduced to young Frodo Baggins of The Shire. Throughout this spellbinding epic, readers accompany Frodo on his rugged road of hardships and dilemmas leading up to the destruction of the ring of power and the liberation of Middle Earth.
   Frodo Baggins was just a typical Hobbit who coexisted peacefully and quietly in his secluded environment in the Shire. He was a normal citizen who was very naive with regard to the many happenings of Middle Earth. However, Frodo's serene life was short-lived, for he soon discovered that the all mighty ring of power was in his household. This book is about how Frodo most leave behind his beloved home and set out to destroy the ring of power once and for all. Along his quest, he faces many arduous circumstances and he sometimes longs for his familiar home. Often, IR.R Tolkien makes the readers really ponder whether Frodo has enough willpower to continue his quest and if he will ever truly overcome affliction. The author does an outstanding job creating this believable yet surreal world and making you really get interested in the characters and events. In my opinion, he is one of the most innovative authors of all time.
   Perhaps even more alluring than the predominant storyline are the strong underling themes and messages that permeate the book. Even though this book is a fantasy, it has some extremely important messages that are universally significant. For instance, one of the most dominant themes of this book (and the whole trilogy) is the concept of small people being strong enough to overcome great adversity. At some instances, you can really see that Frodo is a brave person and that he has enough determination to overcome the malice and hatred of the enemy. Another central theme is the notion that fate intervenes with an individual's life. For instance, when the ring of power fell into the hands of Frodo, was it really misfortune or was he meant to be the destroyer of the ring and savior of Middle Earth? I found myself pondering such questions over and over again in my mind and definitely think that this added great intrigue to an already outstanding book.
   All in all, you can see that I enjoyed exploring Middle Earth and experiencing the many thrilling events described in this amazing piece of literature. I think that this is an essential read for anybody who is interested in fantasy stories and I strongly recommend it to everyone who has the stamina to persevere through some of the more complicated and confusing parts. This is my favorite book that I have read thus far and I believe that J.R.R Tolkien is one of the most creative and gifted authors of American literature.




4. I found that the Art of the Fellowship of the Ring was extremely interesting. The sketches and composites were all very detailed and unique. Many of the drawings included, of course, never made it to the film, so it is brilliant to see some of the artists' original conceptions of Professor Tolkien's work.

   As a fan of both architectural and fashion design I found the sections on 'Locations' and 'Costumes' particularly fascinating. For instance, I never realized that the basic outline for the Elven clothing was taken from the shape of leaves, nor the intricacy of the detail put into places as seemingly simple as Bag End.

   Many of the sketches contained in this volume are of things that never made it to the film, not even to the extended version. In summary, The Art of the Fellowship of the Ring is an exhilerating insight to the LotR for both those interested in art...and I am sure for those who simply revere it, as well. ^^




5. This book is an excellent coffee-table sized hardcover edition containing hundreds of paintings, digital mat scales, pencil renditions, computer-generated and conceptual images that served as concept art.

   The book includes works by Alan Lee and John Howe, noted Tolkien artists who assisted Peter Jackson in creating the wonder and awe that comes across in the massive cinematic scale that we see in the movie trilogy from New Line Cinema.

   Compiled by Gary Russell, it also includes explanations and descriptions by special effects supervisor Richard Taylor, and designers Grant Major, Ngila Dickson and Paul Lasaine among others.

   The sketches include everything from sets such as Isengard, the Shire, the mines of Moria and the Dwarven dwellings of Khazad-Dûm, and the Elven land of Lothlórien to sketches and layouts of costumes for hobbits, Rangers, warriors, orcs, Elves, and Dwarves. Also included are armor drawings and conceptual art for everything from heroes to evil creatures, as well as the vast array of swords and weapons incorporated in the films.

   You can see it through the pages, these guys sincerely cared about getting this series right, and staying true to the spirit of Tolkien's beloved trilogy for the millions of fans who expect it.

   Make sure you want this book, though - it's $35 and definitely does ruin some areas of the film. (Not only spoilers, but descriptions of composite shots, as in "with added background" and "without added background" comparisons)

   For a big fan of Lord of the Rings, I rate this 9 out of 10 stars, quality-wise.

2 comments about It.

1. Look, this is a highly theoretical, academic study of celebrity. Given the topic, and the sexy cover art, some may be tempted to buy it who won't get much out of It. (See the adjacent 2-star review.) For my money, Roach offers a more compelling model for discussing the historical dynamics that imbue certain performers with It better in a previous book, i.e., his discussion of Elvis in Cities of the Dead: Circum-Atlantic Performance (New York: Columbia UP, 1996). But I'm quibbling. It is a provocative study of celebrity that magnanimously synthesizes the insights of a broad range of performance theorists (e.g., Marvin Carlson, Michael Quinn) and folks in the business (e.g., publicists from the early years of Hollywood). And if you don't mind consulting a dictionary every once in awhile - and one shouldn't! - It is a witty pleasure to read . . . ok, if you're a Ph.D.Cities of the Dead



2. In this book Roach takes some fascinating subject matter - the mystery of celebrity, what's behind the magic, and how we interact with it - and drops snippets of it in a meandering, barely organized elegy to Samuel Pepys, Charles II, and Elinor Glyn. He is far too much in love with these people to be objective, and waxes romantic about romance when he should be analyzing it. His terms are often weakly defined - I've had to do several involved research sessions to determine how he might be possibly using phrases like "the It-Effect" and "synecdochical." The book is interesting and provokes a lot of thought, and is worth reading if you're willing to slog through it, but have a dictionary handy and be prepared to slog.

5 comments about Mark Kistler's Imagination Station: Learn How to Drawn in 3-D with Public Television's Favorite Drawing Teacher.

1. While aimed at kids, this is a great place to start at any age. If you have been looking at other drawing books, and the books you have seen before only make it harder, your search is over. Mark makes it easy for anyone at any age to get basic drawing skills, the building blocks you need to get started. He teaches the skills that other books make seem complex, without the stress or making it go over your head. His way of teaching is simply the easiest method a person can have to start drawing. And if the books are good, his old show on PBS and his videos are even better. Mark makes drawing so fun kids beg to use the book again and again. He does not start by intimidating you with the completed project, in fact you don't always know what you are drawing until you are done. He takes you one line, circle, or square at a time and before you know it you have a fun drawing. I also reccommend you try the books from Ed Emberly, or check my lists on Amazon for kids that want to learn to draw, or be a cartoonist or animator.



2. I bought this book to relearn how to draw properly. While the book is directed at a young audience, adults-at-heart like me will benefit from the drawing principles such as foreshortening, placement, size, overlapping, shading and shadowing, contour and horizon (plus 1 and 2 point perspectives). My disappointments were that a few later lessons repeat previous lessons and that it uses blank pages after each lesson for you to practice on. I suggest you use a separate sheet of paper to do this so you can pass this book to your kids and their kids and so on and so forth. Despite these, I still rate it 5 stars.

   I can now draw simple everyday objects both as cartoons and as realistically as I can. They're not professional quality yet, the book recommends daily practice until they are and that's exactly what I'm doing.

   This isn't the only book you should buy though if you want to draw artistically. In my case, I'd like to draw comics-style characters and objects so I can move on to animating them later. I got Tom Alvarez's "How to Create Action, Fantasy and Adventure Comics" (separately reviewed) which is also an excellent how-to book.




3. Mark Kistler's books are EXCELLENT for anyone who want to learn to draw. The layout of the book is fun easy to follow. Although it is geared toward children it is appropriate for a beginner adult. It starts with simple concepts and gradually builds on what you've already learned. Anyone at any age will be impressed by what you will be drawing in a short amount of time. I bought this book for my children and was so impressed , I started drawing myself. My children love this book and so do I.



4. Mark Kistler's books are wonderful, entertaining books that canteach anyone (of any age) how to draw! I bought his books for my sons,and I quickly became a devoted fan and an avid drawing maniac myself! The book is packed with pages of fun drawings, as well as 'story starters' in which kids are asked to complete the story. Mark's enthusiasm for drawing and story-telling just bubbles up out of the pages of this book. As a mom, I appreciate his encouragement for kids to watch less tv, say NO to violent video games and drugs, and to expand their brain power by getting involved in art. This book is a 'must have' for all teachers and parents who would like to see their kids motivated to express their creativity and feel good about their drawing ability.



5. If you think you stink at drawing, think again! Mark Kistler shows you how, step by step, to draw pictures that really look like something and tell a story besides!

5 comments about Smoke Signals.

1. Not surprisingly, as in any culture, there are many voices speaking for and about American Indians, representing them from many points of view. Alexie's is one, and the director of "Smoke Signals," Chris Eyre, is another. Reading the extensive notes at the end of this screenplay, where Alexie describes the creative decisions that went into the making of the movie, you can see how each of them pushed for a different vision of the material. And the end result is a moving and humorous film about damage done and the journey that leads to healing - a theme certainly appropriate to a story about American Indians but also relevant to people of all cultures.
   
   The debate among Alexie's readers is expressed dramatically in the movie, "The Business of Fancydancing," in which a writer who makes a career for himself outside the reservation (not unlike Alexie himself) is received coldly by old friends who feel that he's betrayed his people. The violence in that film (against a stranded white tourist) is a darker vision of Indian rage, the seeds of which are represented in the character of Victor, in "Smoke Signals." Looking at just these two stories from the same author, you can see something of the competing points of view that can produce either praise or derision for this film, where "It's a good day to die" is wryly transposed into the wonky observation, "It's a good day to be indigenous."
   
   I can think of really only one reason for reading this book. For screenwriters, it reveals how a screenplay is transformed in the process of making a movie, in this case by the director, the performers, Miramax's Harvey Weinstein, preview audiences, and in particular the editor. Scenes were shifted or eliminated, and dialogue has been added to patch over some of these structural changes. The result is arguably a very different film from the one Alexie originally wrote.
   
   Anyone else should simply buy or rent the DVD. And then follow it up by reading the wonderful collection of stories the film is based on, "The Lone Ranger and Tonto Fist Fight in Heaven." Also recommended: Adrian Louis' darkly humorous and angry novel set on the Pine Ridge reservation in South Dakota, "Skins."



2. In this book about the reservation is full of caricatures of Native Americans. I find it hard to believe that a person who has not grown up on a reservation can write about reservation life and it's people. I am native american who grew up on the reservation, never have I seen people represented in this book in real life. The characters and situations remind me of what a non-native would think how natives act. If you really look around at other movies and stories, you will see these characters or I should say caricatures. This book and it's movie is on the level of the movie of Suzanne of the Rockies. If you really want to read a good book on Natives and Reservation Life read Skins by Adrian C. Louis, a person who has lived on the reservation. "Who's your favorite Indian?", "It's a good day to be Indigenous" come on Sherman, who really says that ?



3. I work as a psychotherapist with adolescents and young adults. I use "Smoke Signals" with them by assigning them to rent and view the movie, which is always enjoyable because it's witty, humorous, wise, and significant. The movie poses two essential questions: 1) If someone else has mistreated, hurt, abandoned, or disrespected you, is it possible to forgive them if they've NEVER asked forgiveness, never done anything to "put it right," never returned in atonement to undo the damage, and never begtun to deserve it? And 2) if it *is* possible--and it may not be--SHOULD you? Because if you do, doesn't that just make you a willing victim by letting them "get away" with what they did, and pretending the relationship is okay again?

   Victor lives in the tension of this dilemma. As a 12-year-old youth, he witnessed the effects of alcohol on his family. His father vascillated between being loving and instantly "turning" to become hostile, violent, and humiliating to the young boy. Victor finds himself becoming more deeply embarrassed by his family's domestic abuse and alcohol use, even defiantly scolding his own father that his favorite Indian is "Nobody...nobody...nobody!"

   Victor's mother awakens the next morning to see Victor angrily smashing his father's beer bottles on the back of his father's picup truck (the two things he believes his father loves more than him), and the epiphany stuns the mother, who insists on an immediate end to family drunkenness. Proving Victor's fears true, the father--forced to choose between alcohol and family--flees the family, and never returns. It is within that unchanged arrangement that his father dies, 8 years later, having never returned home.

   Victor and his oddball companion Thomas make a side-splittingly funny journey south from Idaho to Phoenix together to make arrangements for the father's possessions, confronted by the racism, peculiarities, and hostilities of the non-Indian "outside" world. Thomas, having never seen the dark side of Victor's father, irritates Victor with incessant stories and tales about the dad's greatness.

   Victor, having been so deeply wounded and sold-out by his father's abandonment, has become tough, fierce, aggressive...and lonely. "You can't trust anyone!" he scolds. "People will walk all over you!" His mistrust poisons his friendships, family, and feelings about his father. He's become just another tough guy, hardened by family violence and substance use.

   In Phoenix, Victor finds an essential artifact of his father's life: a worn-out photo with "HOME" written sloppily on it. At once, Victor begins to realize that his father's fatal flaw was COWARDICE: the father could confess his sins to new companions a thousand miles from home, but could never return home and undo the damage he'd caused. And so his son has suffered for 8 years. Victor begins to realize that he himself is allowing his actions to damage others, and that it is cowardice, not manly independence, that controls his decision to remain distant and fierce.

   Victor slowly begins to repent of his own abusive toughness, cutting his hair in symbolic repentance (traditional hair-cutting is done either in grief, or in repentence for shameful behavior). The process of discovery continues when Thomas angrily confronts Victor about Victor's own behavior: remaining cold and distant from his own mother, acting forceful and ruthless to others, etc.

   Victor ends the film by freeing himself of his 8-year hostility toward his unforgiven father, and in that final act of forgiveness we find that the greatest benefit is for VICTOR, who becomes kinder, funnier, gentler, and more confident in his friendships. The significance of forgiveness, he learns, isn't to let someone else off the hook, but to let one's own self off the hook of the pain caused by another, rather than carrying that pain inside for years.

   In the final scene, this release of aged anger is represented by the cathartic release of his father's ashes into a river, meaningfully shown in film montage as expanding in power from streams into torrents, much like the energy of either a person enraged or a person set free.

   It is at the end of the film that we really begin to understand Thomas' original cryptic remark at the beginning, "Some children aren't really children at all. They're just pillars of flame that burn everything they touch. And some children are just pillars of ash, and they fall apart as soon as you touch them."

   Not one single person yet who's watched this film at my urging has disliked it.




4. Every now and then I find a book or a movie, ostensibly about a culture not my own, that does more than educate me; it reaches into my heart and shows me what we share instead of where we differ. This movie was one of those experiences. Anyone who has had a difficult relationship with their father will relate to this story. Beautifully acted, and some very funny moments too.



5. What can I say about an author that evokes so many emotions in one time. This movie ranks in my top 5 of all time, right beside Stand By Me, Dances with Wolves, and Schindler's List. This is classic Alexie at his best: thought provoking and haunting at times, yet also witty and even hysterical (especially the song about John Wayne's teeth-I had to stop the movie for about 5 minutes I couldn't stop laughing!). He captures both good and dark perspectives in his own unique brand of writing. He is a highly talented author and a truly unique human being.

4 comments about Pygmalion and Major Barbara (Bantam Classics).

1. Before I read Pygmalion everythin I knew was, that is was connected to the musical 'My fair lady'. So first of all I was scared because musicals arer not the kind of entertainment I prefer. But while reading it the manipulation of a poor an first mentally weak girl in the name of science an in a sadistic and somehow abusing way kept me in suspense to go on reading. And beside that human-despising experiment a little love story evolved to a happy end. To conclude I want to justify the 'just' three stars: I don't like love stories.



2. Shaw masters satire in Pymalion his play with a double edged sword. A superficial examination of the play reveals it to be a self-rightoues lesson in grammar. But a deeper inspection shows it tobe a toungue in cheek comedy (albeit a critical one) that reveals much about the British society of the time (particularly linguistically speaking). Henry Higgin's unabashed condescending attitude provide many laughs while Eliza's emotion filled responses are also humorous and no less insightful. The prolougue although irritating to most, gives the play a unique voice and the epilogue although considered by many to be a literary fallacy says true to Shaw's style. I have only one complaint about this book that I can rant on about to no end, that fact that he say's English is the language of the Bible. Is English the lanuguage of Crime and Punishment or Metamorphosis because it was translated in English? Please, don't insult us. But aside from that it is a Brilliant play!



3. This was, all in all, a charming little book. I loved the Pygmalion and the manipulative male lead, Professor Higgins. Major Barbara, on the other hand, was as boring as could be. The preface? Don't even bother reading. It was absolute boredom, and completely unaffective on the reading of Major Barbara. The Pygmalion, while I did not particularly enjoy the epilogue (I'm a romantic), was very clever and yes, probably the real aspect of how things turn out. So, all being said, read the book! It is a delightful little sample of Shaw's work.



4. The worst thing I found was Shaw's ending epilogue after the Pygmalion. He went too far, too deep and too preachy in his imagination of how things were to turn out. His lengthy preface to Major Barbara may well reflect sentiments at the turn of the century, but he never looked at the question "whether he imagined the impoverished becoming like him or him becoming like the impoverished" when he talked idealistically against the tyranny of poverty. He showed no comprehension of basic economics, social evolution nor human nature. Had he lived longer, he might have seen it in the collapse of communism in eastern Europe. That is not to say Shaw was espousing communism, and it can be argued that the communism was an imperfect implementation of a perfect solution. The same then can be said of a lot of other things, including Christianity, the Church, the Salvation Army, nationhood, law enforcement as well as the judiciary. None set out to commit the sins they did. At the end of the day, helping feed a single individual may cause no more harm than helping no individuals but sitting down and espousing fine rhetorics and theories and ideals which lead to establishment of institutions modelled after them which affect thousands instead.

5 comments about Directing for the Stage: A Workshop Guide of 42 Creative Training Exercises and Projects.

1. This book provides a step by step guide to becoming a great stage director. You can learn so much from this book, then after you think you know it all, you go back and find deeper meanings, or different ways to do each excercise that only adds to your directing abilities! Very easy to use and helpful to both beggining directors and advanced alike!!!



2. The book should appeal to teachers of both directing and acting in its systematic, comprehensive approach. I had the good fortune to work with Terry Converse in WSU's Theatre Program for several years, and we pioneered a combined directing and acting course where directing students and acting students worked and learned together. Now that I am teaching at another university I had the opportunity to teach a combined Directing and Acting course, using his book. At first, I thought the directing students might benefit the most, but I discovered the exercises he developed benefitted the actors as well. The actors developed their craft through many of the silent scenes and justifying movement exercises that led them to examine the fine points of their characterizations. The directing students learned how to work with actors and develop a comprehensive approach to directing a scene, and our work culminated in an inspiring Ten-Minute Play Festival at the end of the semester. This book is well written with numerous examples, practical exercises, and assessment guidelines at the end of each chapter--a good, hands-on approach.



3. Mr. Converse has written with this helpful introductory course, a fine textbook for introducing one to the craft of directing. When viewed in that context, this book serves its purpose well. Having used this text in conjunction with William Ball's superb book "A Sense Of Direction", in the directing class I teach, I have found Converse's excercises to be helpful and precise (if rather dry) in building craft. Especially helpful is Converse's chapters on blocking and creating pictures. His suggestions and activities designed to teach one how to communicate and direct traffic are most helpful. If one is looking for a great read, this is not the book to use. For that I again suggest Ball or Clurman's fine "On Directing". But for some "hands on" activities in the dramatic classroom or for the director just starting out on their own, this will work just fine- as long as you have someone else to bounce your ideas off of.



4. In 10 years of teaching high school drama, this is the first book where the theory of directing is embodied in a series of lessons which can be taught sequentially or mixed and matched. I have used the open scripts in acting class with junior students and amended the lessons to my own ends in picturization, focus, tempo, pathway, subtext and a myriad of other directing skills which need to be built upon.



5. This book is simple, concrete, and to the point. It will help you develop various directing techniques, and it will leave the rest up to you. Its purpose is not to try and train you into some special type of director, but to give you the basic technical skills that will allow you to find your own artistic style. It is most certainly a great book to start with, and its exercises would likely help more advanced directing students hone their skills.

3 comments about Roles In Interpretation.

1. I've taught Oral Interpretation of Literature for 5 years with the Yordon text. I switched from the Gura & Lee text that I found too wordy and theoretical for the community college. I like this text because it concisely explains the craft and ways to perform literary texts as an interpreter. Sections in the text that particularly connect include sensory showing, smelling, hearing or feeling sensory passages prior to reading them. Also, the criteria for what makes a "literary" text as opposed to merely "prose" is excellent, outlining qualities of universality, individuality & suggestion. The chapter on criticism in particular really stands out as an effective tool, even for those not pursing drama. No matter what field a student may pursue, the ability to give effective criticism is a real gem. The literary selections in each chapter are, for the most part, excellent. William Carlos Williams' short story "The Use of Force" provides much food for discussion. For instructors, Yordon's test bank is extremely helpful. I liked this book so much that I wrote the author a letter and received a phone call from her. She has really done an excellent job of distilling the information succinctly and clearly. Enjoy!



2. Judy Yordon's ROLES IN INTERPRETATION is a great text to use and read for an oral interpretation of literature class. The book is organized in a very direct, coherent, and distinctive way. The main ideas are clearly illustrated and supported and the chapters are arranged in a sequential manner. The book is divided into 10 different chapters with an appendix and a glossary. I absolutely loved the oral interpretation class I had and we used this text. The book augmented all the things our professor taught us and it was a great tool and makes for a nice reference for the future (especially if I ever do some professional storytelling or when I have to teach a high school speech class).



3. Chapters follow logical order; examples were excellent; and good literary selections.

5 comments about Something Like An Autobiography.

1. Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."



2. The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.



3. One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.
   
   There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".
   
   Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)
   
   I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.



4. Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?
   
   Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.
   
   Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.
   
   During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.
   
   Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."
   
   This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."



5. Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

1 comments about Tuesdays with Morrie.

1. My 15 year old daughter gave me a list of books she wanted, this one on the list. I ordered not seeing that it was a version created for a play (He:..... She:.....). I don't recall the description identifying it as such however I might have overlooked it. I did go back and still didn't see this in the description - just a warning to be sure you know what you are ordering.

5 comments about Times We Had.

1. M[[ASIN:034532739X "Times We Had]"]Marion Davies
   
   A most fascinating detailed account of a talented actress and a complex man William Randolf Hearst



2. Okay so Marion Davies couldn't act. She was a great humanitarian. Read this book and find out. This book is well written and covers everything you would ever want to know about Marion Davies life. Highly recommended.



3. Not the most well written, but it follows through fairly well and y0u get a good dose of the glorious times of Hollywood



4. I liked the book quite a bit, I seem to have a slight fascination with Marion Davies and Wm. Randolph Hearst so this was a must when I read the other reviews. I am just surprised that Marion Davies just didn't seem to have any focus or passions in life. She just bounced around in life and let it happen, which maybe is the way it's supposed to be??? Lots of nice photos and it certainly seems to be a truthful book.



5. 
   A flimsy, repetitive and disjointed book that manages to mildly entertain at first, before the ennui sets in. It's a series of vignettes rather than a narrative, and whilst I don't think Marion herself would have made any grand claims for it, the editors (whose presence is constantly felt) seem to be trying to elevate Marion Davies to a level of literary and historical importance that just isn't justified.