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In the spring of 1950, when New Yorker staff writer Lillian Ross heard that John Huston was planning to make a film of Stephen Crane's The Red Badge of Courage, she decided she would follow the movie's progress "in order to learn whatever I might learn about the American motion-picture industry." What resulted was Picture, which Newsweek has called "the best...more
Paperback, 288 pages
Published
June 6th 2002
by Da Capo Press
(first published November 30th 1951)
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I loved this insiders look at the making and marketing of John Huston's film The Red Badge of Courage (based on the novel by Stephen Crane). Embedded journalism is about the coolest (and most enviable) form of writing there is, and Lillian Ross pulls it off with a great deal of skill. There are many things to like about this narrative (which originally appeared as several long-form pieces in The New Yorker): its close attention to several main figures (rather than an intensive character sketch o...more
Jon
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Fine book in the NEW YORKER magazine's classic deadpan style, about the making and eventual evisceration of John Huston's could've-been-great adaptation of Stephen Crane's RED BADGE OF COURAGE. (Huston couldn't stop the studio bigwigs from destroying his film because he was in Africa shooting THE AFRICAN QUEEN after completing his cut of RED BADGE.) Interesting to compare Ross' unobtrusive approach to Dwight Macdonald's essay "No Art and No Box Office", about producer Dore Schary (who ...more
This book, an immediate classic upon its publication in 1952, has long been considered one of the great works of reportage about the inside workings of Hollywood movie-making in the golden age. I'm happy to report that it retains its front-rank status.
In the early 1950s, New Yorker magazine reporter Lillian Ross did something that no one before her had ever done: write a full-length true-life narrative about the making of a Hollywood movie from the first germ of its origin to the aft...more
In the early 1950s, New Yorker magazine reporter Lillian Ross did something that no one before her had ever done: write a full-length true-life narrative about the making of a Hollywood movie from the first germ of its origin to the aft...more
Então, eu sempre gostei de cinema. Quero trabalhar com isso algum dia, provavelmente quando nada mais der certo pra mim. Daà meu professor, que sabe da minha paixão, me mandou ler esse livro e disse "é um retrato interessante da indústria".
É exatamente isso.
Um diretor com a ideia, não tão fixa, de fazer uma obra-prima, um produtor que acredita e confia em seu diretor e uma empresa que se importa mais com o lucro, são os elementos que completam esse conto de Lillian Ross, qu...more
É exatamente isso.
Um diretor com a ideia, não tão fixa, de fazer uma obra-prima, um produtor que acredita e confia em seu diretor e uma empresa que se importa mais com o lucro, são os elementos que completam esse conto de Lillian Ross, qu...more
The most famous and one of the first insider accounts of the making of a motion picture. Very good capsule profiles of some of the people involved in the making of the film with Dore Schary not coming off so well. The book suffers for having its most interesting character, John Huston, exit the story for most of the last quarter.
Aine
is currently reading it
Lillian Ross has a specific aura that is not common in journalists. She is the most human and absorbant creature I have come across yet in the world of journalism. At the same time as her brilliance I find it sightly difficult to not fall asleep after reading it for a while.
This book is an amazing account of Hollywood in the 1950s. Ross writes with aplomb and her nuanced descriptions of every feeling and thought of these larger-than-life characters strike one as both perfectly representational and beautiful, possibly what every journalist aspires to create. My one disappointment was ending with Schenck and not with Huston--it just didn't have quite as much punch as I would have liked for such an exciting read. That aside, the book reads very quickly and is very fun...more
Ross experiences what it is like to make a movie in the old hollywood system. She laches on to John Huston as he makes the Red Badge of Courage. Originally written, I believe, for the New Yorker.
This is a terrifying story about a film based on The Red Badge of Courage, directed by one of the best directors, John Houston, is ruined by the studio heads of Hollywood.
Ross does John Huston, Louis B. Mayer and the "Red Badge of Courage.'' Picture-perfect.
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