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Shooting Water: A Memoir of Second Chances, Family, and Filmmaking
The highly acclaimed debut is Devyani Saltzman's remarkable story of reconnecting with her mother, award-winning filmmaker Deepa Mehta, in India and Sri Lanka during the production of the Oscar®-nominated film Water .
In Shooting Water , Devyani Saltzman recounts her experience straddling the separate worlds of her divorced parents in Canada and India—navigating between two religions (Hindu and Jewish), two traditions, two cultures, and two people—belonging to both and to neither at once. This cross-cultural memoir chronicles her life-changing experiences in India and Sri Lanka, the struggle to produce the controversial Oscar®-nominated film, and the emergence of a deeper understanding between mother and daughter.
This trade paperback edition features a reading group guide that includes an interview with the author and discussion questions. 16 black-and-white photos, maps.
In Shooting Water , Devyani Saltzman recounts her experience straddling the separate worlds of her divorced parents in Canada and India—navigating between two religions (Hindu and Jewish), two traditions, two cultures, and two people—belonging to both and to neither at once. This cross-cultural memoir chronicles her life-changing experiences in India and Sri Lanka, the struggle to produce the controversial Oscar®-nominated film, and the emergence of a deeper understanding between mother and daughter.
This trade paperback edition features a reading group guide that includes an interview with the author and discussion questions. 16 black-and-white photos, maps.
304 pages, Paperback
First published January 1, 2005
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87 people want to read
About the author
Devyani Saltzman
2 books1 followerDevyani Saltzman is a Canadian author and daughter of film directors Paul Saltzman and Deepa Mehta.
She is the writer of Shooting Water, a memoir, as well as articles for The Globe and Mail, Marie Claire and The Walrus Magazine.
Her debut book Shooting Water (2005) was published in Canada, the US and India and received “starred reviews” in both Publisher’s Weekly and the Library Journa and was called 'A poignant memoir' by the New York Times. Shooting Water is a memoir of a mother-daughter relationship that was rekindled during the filming of Water. Touching on Saltzman’s history with her mother and father, the book delves into her yearning for love and belonging. The majority of the book takes place between India and Sri Lanka
Her freelance writing subjects include interviews with Pico Iyer, Sarah Polley, Floria Sigismondi and articles on India, long-term care facilities and immigrant domestic workers.
Saltzman received her degree in Human Sciences from Hertford College at Oxford University in 2003. She specialized in sociology and anthropology.
She is the writer of Shooting Water, a memoir, as well as articles for The Globe and Mail, Marie Claire and The Walrus Magazine.
Her debut book Shooting Water (2005) was published in Canada, the US and India and received “starred reviews” in both Publisher’s Weekly and the Library Journa and was called 'A poignant memoir' by the New York Times. Shooting Water is a memoir of a mother-daughter relationship that was rekindled during the filming of Water. Touching on Saltzman’s history with her mother and father, the book delves into her yearning for love and belonging. The majority of the book takes place between India and Sri Lanka
Her freelance writing subjects include interviews with Pico Iyer, Sarah Polley, Floria Sigismondi and articles on India, long-term care facilities and immigrant domestic workers.
Saltzman received her degree in Human Sciences from Hertford College at Oxford University in 2003. She specialized in sociology and anthropology.
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Displaying 1 - 22 of 22 reviews
June 3, 2015
This reader was drawn to Devyani Saltzman’s memoir, Shooting Water, because I had seen the film Water in Saskatoon at the Broadway Theatre at a matinee one sunny spring day in 2006. My friend the writer Leona Theis and I went together—we emerged from the cool dark of the old movie theatre, the darkness of the film’s story, the darkness (and light) in men’s souls, into bright, warm sunlight, both of us sobbing. Our hearts were drowning in both sorrow, and in hope. Tears poured down our wet faces, and we embraced in that bright sunlight, held each other close on the sidewalk as we made the harsh transition between inside and outside. The movie changed me deeply, changed how I thought, how I felt; changed what I had believed, and what I now had to believe. Images from Water will stay with me always.
Now, many years later, I heard that the daughter of Deepa Mehta (who made the film Water after encountering great difficulties on many levels), was coming to live in Banff. At a reading at The Banff Centre I saw Shooting Water on a book table, and I was keen to read it.
Shooting Water is subtitled “A Memoir of Second Chances, Family, and Filmmaking”: shooting refers of course to the shooting of the film Water (the third in the Elements trilogy and following Fire, and Earth) made by Saltzman’s mother, seen through the eyes of Devyani, who was hired on as a photographer’s assistant. One of the things the film addresses is the plight of widows—some has young as seven years old—in India. (When a man dies, his wife is considered to be half his corpse. If her family does not care for her she lives worse than a beggar--the ones Devyani met were cloistered underground, hungry, heads shaved, unacknowledged, uncared for beyond barely enough food to keep them alive.) Water had a long and difficult birth process—because of the politics in India, there was a great uproar when the film crew arrived to make the film; eventually, in the face of grim and distressing threats—the burning of Mehta’s effigy, for example—the filmmakers reluctantly abandoned the project. Mehta returned to Canada; Devyani, 20, went to London to go to university, and the movie wasn’t revived until four years later, when the Sri Lankan government agreed to let them shoot there. What was lost was found; what had been deemed impossible was now possible, and the production crews were regrouped and gathered in Sri Lanka, which could be made to resemble India with carful set construction and casting of extras.
The loss of the Benares, India, location for shooting the film was huge for Mehta, but also for Devyani, through whose eyes we view the story, for the making of the film involved hope for a lasting reconciliation with her mother, with whom she longed to be emotionally closer. But their personal history stood in its way. Devyani, the daughter of Deepa Mehta and filmmaker Paul Saltzman, had as a child chosen to go with her father when the marriage broke up, and the choice the child had made was a sword thrust into Mehta’s heart.
One of the things that struck me about Saltzman’s writing is her honesty and clarity. She unflinchingly details what went wrong with her relationship with her mother, and her own sorrow at its disarray, without ever becoming maudlin or overly self-indulgent. She doesn’t wallow in self-pity—she gives enough that the reader understands, enough that the reader is reminded of her own difficult relationships with people she loves, the way any living person’s heart feels bruised, damaged by those loved most deeply, when emotional and physical distance cause harm.
Saltzman explains the complex, convoluted landscape of Indian political system with a clarity essential for the uninitiated to grasp in order to comprehend the difficulties encountered when trying to make a film, especially a film made by a woman, in a country that seems to thrives on innuendo and rumour.
I knew next to nothing about the filmmaking process before reading this book, and here, too, Saltzman gives us just the right amount of information and insight. She is in a perfect place to write from—both inside and outside a world—she understands creativity and what it requires in the medium of film, she comes to understand, along with the reader, the complexities physical, emotional, logistical, practical, that are involved as she becomes more deeply involved.
While reading Shooting Water I was reminded of the title of a short story called “Waters of the Heart,” and how that phrase can be seen to reflect the themes of this memoir. Water, which both sustains and destroys life; the heart, full of sorrow, joy, hope, loss, misunderstanding, and challenges of every conceivable kind. Water, which cools, warms, washes, soothes, kills, and is essential to sustaining life.
By the end of Shooting Water the film Water has been made; exhausted hearts have found each other again and begun, tentatively, to heal; Devyani has completed the transition from young woman to woman; and the reader is left with a tremendous sense of hope—hope for the film, hope for the widows of all ages in India, hope for the relationship between Devyani and her mother, hope for Devyani, and hope that the film Water would eventually be shown in India.
Now, many years later, I heard that the daughter of Deepa Mehta (who made the film Water after encountering great difficulties on many levels), was coming to live in Banff. At a reading at The Banff Centre I saw Shooting Water on a book table, and I was keen to read it.
Shooting Water is subtitled “A Memoir of Second Chances, Family, and Filmmaking”: shooting refers of course to the shooting of the film Water (the third in the Elements trilogy and following Fire, and Earth) made by Saltzman’s mother, seen through the eyes of Devyani, who was hired on as a photographer’s assistant. One of the things the film addresses is the plight of widows—some has young as seven years old—in India. (When a man dies, his wife is considered to be half his corpse. If her family does not care for her she lives worse than a beggar--the ones Devyani met were cloistered underground, hungry, heads shaved, unacknowledged, uncared for beyond barely enough food to keep them alive.) Water had a long and difficult birth process—because of the politics in India, there was a great uproar when the film crew arrived to make the film; eventually, in the face of grim and distressing threats—the burning of Mehta’s effigy, for example—the filmmakers reluctantly abandoned the project. Mehta returned to Canada; Devyani, 20, went to London to go to university, and the movie wasn’t revived until four years later, when the Sri Lankan government agreed to let them shoot there. What was lost was found; what had been deemed impossible was now possible, and the production crews were regrouped and gathered in Sri Lanka, which could be made to resemble India with carful set construction and casting of extras.
The loss of the Benares, India, location for shooting the film was huge for Mehta, but also for Devyani, through whose eyes we view the story, for the making of the film involved hope for a lasting reconciliation with her mother, with whom she longed to be emotionally closer. But their personal history stood in its way. Devyani, the daughter of Deepa Mehta and filmmaker Paul Saltzman, had as a child chosen to go with her father when the marriage broke up, and the choice the child had made was a sword thrust into Mehta’s heart.
One of the things that struck me about Saltzman’s writing is her honesty and clarity. She unflinchingly details what went wrong with her relationship with her mother, and her own sorrow at its disarray, without ever becoming maudlin or overly self-indulgent. She doesn’t wallow in self-pity—she gives enough that the reader understands, enough that the reader is reminded of her own difficult relationships with people she loves, the way any living person’s heart feels bruised, damaged by those loved most deeply, when emotional and physical distance cause harm.
Saltzman explains the complex, convoluted landscape of Indian political system with a clarity essential for the uninitiated to grasp in order to comprehend the difficulties encountered when trying to make a film, especially a film made by a woman, in a country that seems to thrives on innuendo and rumour.
I knew next to nothing about the filmmaking process before reading this book, and here, too, Saltzman gives us just the right amount of information and insight. She is in a perfect place to write from—both inside and outside a world—she understands creativity and what it requires in the medium of film, she comes to understand, along with the reader, the complexities physical, emotional, logistical, practical, that are involved as she becomes more deeply involved.
While reading Shooting Water I was reminded of the title of a short story called “Waters of the Heart,” and how that phrase can be seen to reflect the themes of this memoir. Water, which both sustains and destroys life; the heart, full of sorrow, joy, hope, loss, misunderstanding, and challenges of every conceivable kind. Water, which cools, warms, washes, soothes, kills, and is essential to sustaining life.
By the end of Shooting Water the film Water has been made; exhausted hearts have found each other again and begun, tentatively, to heal; Devyani has completed the transition from young woman to woman; and the reader is left with a tremendous sense of hope—hope for the film, hope for the widows of all ages in India, hope for the relationship between Devyani and her mother, hope for Devyani, and hope that the film Water would eventually be shown in India.
January 21, 2008
You won't enjoy this book as much as you should if you don't first see the absolutely gorgeous film, Water. Once you have, this memoir takes on so much meaning. I'm not sure how Devyani Saltzman remembered the intimate details that she did about her surroundings, but her descriptions paint a languid, almost heavy picture -- both external (smells, textures, etc.) and internal (the lanscape within).
April 9, 2008
On first glance, I must confess, Shooting Water seemed like an attempt to probably piggyback ride on the enormous curiosity generated by Water. Also, I had already read Bapsi Sidhwa’s book, Water – an adaptation of the screenplay, so another book on the same film -even if it was by filmmaker Deepa Mehta's daughter seemed like a stretch. But having gone through it, I will say that this proved to be one of the most engaging reads for me in a long time.
It's ‘selling point’ of course is the whole Water fiasco in Benaras which happened in 1999, when members of the RSS vandalized the shooting, until the whole film was scraped. It’s an episode that Devyani vividly describes and her disgust for the BJP government, which gave her mother so much heartburn, comes across clearly. A particularly interesting episode in the book mentions how Deepa Mehta had a meeting with head of RSS, K S Sudharshan to see if he could intervene and stop its various wings like Vishwa Bharat Parishad etc to back off and let the film’s shooting continue.
Narrating the episode, Devyani writes: Mr Sudarshan sat down and told her (Deepa) not to have any preconceptions about the RSS’s ignorance… “
Why did you make a film like Fire? It’s not what our culture is about,” he said in a calm, measured voice.
‘The Ganga is very precious to us,’ he said.
‘Have you read the script for Water?’ Mom asked.
Mr Sudharshan placed a copy of the script on the table.
‘Where did you get that?’ she asked.
Only one script had been submitted outside of the production, and that was to the Ministry of I&B. Mr Sudharshan replied, ‘After all, whose ministry is it anyway?’
It seems the RSS chief added that the script was good and with some minor changes there would be no more problems. But obviously, Deepa and her crew’s joy was short-lived, as the UP government pulled out support.
The second part of the book looks at how the film was revived again in Sri Lanka. Again, an interesting bit here is about Deepa deciding to change her entire cast this when she revived the project. Devyani talks about how Nandita could not be cast as the young and innocent Kalyani anymore and Shabana was too high profile and the producers didn’t want her in the film.
‘In fact, that was one of their conditions’, she writes in the book. ‘Mom’s decision not to cast Nandita cost them their friendship,’ she says.
While the book is primarily about Water and how it got made inspite of insurmountable problems, there’s a very sensitive, tumultous personal layer that Devyani reveals.
Not able to completely recover from the divorce of her parents and the choice she made (she chose to stay with her father when she was asked who she’s like to live with), Devyani says she found refuge in books and traveling. The coming together of mother and daughter during the shooting of Water was an emotional moment for both of them. Devyani writes about how her mother had probably never forgiven her, so in many ways, the revival of Water, she says, was the renewal of their relationship as well. Whatever issues they may have had, it’s abundantly clear that Devyani is fiercely protective about her mother and that element comes shining across.
I find it particularly interesting the way she defends her mother on the issue of her ‘selling India to the West by choosing controversial themes’
“After 250 years of British rule, it was clear that India still had a love-hate relationship with the West, eating up its pop consumer culture while at the same time pandering to it… all nations indulge in a bit of myth-making to bind their people together. Water was one of the casualties of maintaining that myth’
Quite refreshingly, Devyani makes no attempt to put a show of neutrality while discussing the BJP and the whole Water experience. In fact, she describes a scene when the entire Water team celebrated when BJP lost the election in 2004.
Her tumultuous relationship with her mother aside, one gets a glimpse into Devyani’s inner self when she so movingly describes the intense feeling of love she experienced for a member of the crew. She is besotted with Vikram, a well-read, intelligent, wannashine director and follows him to Mumbai, even though he tells her that he is engaged. These portions are marvelous and it’s touching to see how Devyani manages to be so unflinchingly honest about her emotional lows.
There are also interesting bits about her interaction with filmmaker Anurag Kashyap, who was helping Deepa with the Hindi version of the script. Devyani, being just 19 then, Kashyap instantly gave her an affectionate handle ‘Chutku’ which stuck on for some time.
All of the parts and characters mentioned above make Shooting Water a tantalizingly interesting read. However, I would not say that about the whole book.
A self confessed perfectionist, Devyani gets into tedious details of inconsequential events. This is done almost naively, presuming the reader would be interested in gathering every tid-bit about the production of Water. I found myself sifting through most of these pages. The second part of the book is especially lackluster with an excess of these particulars.
All in all, I liked Devyani’s earnestness and vulnerability that comes across clearly through her narrations. Also, there’s no doubt that she is a wonderfully gifted and sensitive writer. Shooting Water will hopefully not be the last we will hear from this talented writer.
-Sandhya Iyer
It's ‘selling point’ of course is the whole Water fiasco in Benaras which happened in 1999, when members of the RSS vandalized the shooting, until the whole film was scraped. It’s an episode that Devyani vividly describes and her disgust for the BJP government, which gave her mother so much heartburn, comes across clearly. A particularly interesting episode in the book mentions how Deepa Mehta had a meeting with head of RSS, K S Sudharshan to see if he could intervene and stop its various wings like Vishwa Bharat Parishad etc to back off and let the film’s shooting continue.
Narrating the episode, Devyani writes: Mr Sudarshan sat down and told her (Deepa) not to have any preconceptions about the RSS’s ignorance… “
Why did you make a film like Fire? It’s not what our culture is about,” he said in a calm, measured voice.
‘The Ganga is very precious to us,’ he said.
‘Have you read the script for Water?’ Mom asked.
Mr Sudharshan placed a copy of the script on the table.
‘Where did you get that?’ she asked.
Only one script had been submitted outside of the production, and that was to the Ministry of I&B. Mr Sudharshan replied, ‘After all, whose ministry is it anyway?’
It seems the RSS chief added that the script was good and with some minor changes there would be no more problems. But obviously, Deepa and her crew’s joy was short-lived, as the UP government pulled out support.
The second part of the book looks at how the film was revived again in Sri Lanka. Again, an interesting bit here is about Deepa deciding to change her entire cast this when she revived the project. Devyani talks about how Nandita could not be cast as the young and innocent Kalyani anymore and Shabana was too high profile and the producers didn’t want her in the film.
‘In fact, that was one of their conditions’, she writes in the book. ‘Mom’s decision not to cast Nandita cost them their friendship,’ she says.
While the book is primarily about Water and how it got made inspite of insurmountable problems, there’s a very sensitive, tumultous personal layer that Devyani reveals.
Not able to completely recover from the divorce of her parents and the choice she made (she chose to stay with her father when she was asked who she’s like to live with), Devyani says she found refuge in books and traveling. The coming together of mother and daughter during the shooting of Water was an emotional moment for both of them. Devyani writes about how her mother had probably never forgiven her, so in many ways, the revival of Water, she says, was the renewal of their relationship as well. Whatever issues they may have had, it’s abundantly clear that Devyani is fiercely protective about her mother and that element comes shining across.
I find it particularly interesting the way she defends her mother on the issue of her ‘selling India to the West by choosing controversial themes’
“After 250 years of British rule, it was clear that India still had a love-hate relationship with the West, eating up its pop consumer culture while at the same time pandering to it… all nations indulge in a bit of myth-making to bind their people together. Water was one of the casualties of maintaining that myth’
Quite refreshingly, Devyani makes no attempt to put a show of neutrality while discussing the BJP and the whole Water experience. In fact, she describes a scene when the entire Water team celebrated when BJP lost the election in 2004.
Her tumultuous relationship with her mother aside, one gets a glimpse into Devyani’s inner self when she so movingly describes the intense feeling of love she experienced for a member of the crew. She is besotted with Vikram, a well-read, intelligent, wannashine director and follows him to Mumbai, even though he tells her that he is engaged. These portions are marvelous and it’s touching to see how Devyani manages to be so unflinchingly honest about her emotional lows.
There are also interesting bits about her interaction with filmmaker Anurag Kashyap, who was helping Deepa with the Hindi version of the script. Devyani, being just 19 then, Kashyap instantly gave her an affectionate handle ‘Chutku’ which stuck on for some time.
All of the parts and characters mentioned above make Shooting Water a tantalizingly interesting read. However, I would not say that about the whole book.
A self confessed perfectionist, Devyani gets into tedious details of inconsequential events. This is done almost naively, presuming the reader would be interested in gathering every tid-bit about the production of Water. I found myself sifting through most of these pages. The second part of the book is especially lackluster with an excess of these particulars.
All in all, I liked Devyani’s earnestness and vulnerability that comes across clearly through her narrations. Also, there’s no doubt that she is a wonderfully gifted and sensitive writer. Shooting Water will hopefully not be the last we will hear from this talented writer.
-Sandhya Iyer
August 12, 2019
So interesting to read of the controversial filming of Water - it’s a beautiful film and I was never aware what a struggle it had been to tell this story. I enjoyed the parallels of the mother-daughter relationship and their own struggles to relate to each other. The writing can be a bit stilted and awkward though, and more of bare statement of fact rather than being especially insightful.
January 14, 2023
Interesting true story. Took awhile to get into the book. I like that the author is Canadian based.
September 2, 2011
I bought this book on recommendation from the store owner. She said this was one of the favorites books of almost everyone at the bookstore. Who could resist a book like that.
To understand this book, you have to watch the movie water first. Only then would you would be able to grasp the relevance of it. Since water was a movie revolving on the plight of the widows of Vanarasi who dedicate their life to the temple, there were many problems while shooting. The author covers the difficulties they had to face while shooting the movie (they eventually shot most of it in Srilanka) and the relationship between herself and her mother.
Some sections of this book were very interesting and some were not. I remember it dragging at places. I wouldn’t say I loved the book but I liked a lot,enough to remember it even 3 years after I read it. It’s definitely different and something that will leave a lasting impression on you.
To understand this book, you have to watch the movie water first. Only then would you would be able to grasp the relevance of it. Since water was a movie revolving on the plight of the widows of Vanarasi who dedicate their life to the temple, there were many problems while shooting. The author covers the difficulties they had to face while shooting the movie (they eventually shot most of it in Srilanka) and the relationship between herself and her mother.
Some sections of this book were very interesting and some were not. I remember it dragging at places. I wouldn’t say I loved the book but I liked a lot,enough to remember it even 3 years after I read it. It’s definitely different and something that will leave a lasting impression on you.
June 17, 2009
I loved Water and this book allowed me to better understand and appreciate the film. I would recommend seeing the film before reading the book, otherwise you will miss a lot of the references.
Throughout the book, I liked Devyani, even though her writing style is a bit awkward and self-indulgent at times. Reading this book enhances the experience of the film, and gives you a behind-the-scenes perspective.
Saltzman succeeds at her portrayal of the tense relationship between her and her mother. I also enjoyed her observations on the complexities of having a background of Hindu-Indian, Ashkenazi Jewish, and Canadian.
This book is a pleasant, interesting read overall. I recommend this for anyone who is interested in contemporary Indian politics and foreign cinema. It's a must for Mehta fans!
Throughout the book, I liked Devyani, even though her writing style is a bit awkward and self-indulgent at times. Reading this book enhances the experience of the film, and gives you a behind-the-scenes perspective.
Saltzman succeeds at her portrayal of the tense relationship between her and her mother. I also enjoyed her observations on the complexities of having a background of Hindu-Indian, Ashkenazi Jewish, and Canadian.
This book is a pleasant, interesting read overall. I recommend this for anyone who is interested in contemporary Indian politics and foreign cinema. It's a must for Mehta fans!
November 7, 2009
I'm not going to finish this book, and it's my deal, as well as the writer's. When I start counting words in a sentence because my reading mind thinks the length is all the same, it's time to stop reading. Bookjacket claims this is a "captivating memoir" of an estranged daughter's effort to relight a relationship with her mother. There is little of that ignition here. There are some bright literary moments; just not enough. My age is apparent: I have little interest in stories about pursuing a boy, especially in a book with a subtitle of "A Memoir of Second Chances, Family and Filmmaking."
August 25, 2011
If this was a mother/daughter journey, then it was a boring,whiny one. I get that she was asked to choose which parent to live with at age 11 and that it warped her life, but I never felt anything for her. Her writing was example after example of, "this happened, and this is what it made me think of". I did get a better handle on some of the issues in the seething caldron that is India, not to mention issues in Sri Lanka. The film "Water" might be worth seeing after reading about its long gestation.
July 29, 2008
Water is one of my favorite movies and I was interested in learning about the process of making it, however, Devyani Saltzman's book seemed to drag in several places. It's worth reading for fans of the movie, but the information about Saltzman's personal history just wasn't interesting. She's writing a novel now...perhaps her writing will be better when it's allowed to open into fiction.
July 17, 2007
At times well-written and insightful, but also clearly a first novel of a rather young woman. It was interesting to learn about how the film Water was made and all of the controversies surrounding its making. (If you haven't seen the film, see it. The cinematography is amazing.)
August 12, 2007
I went to see the movie "Water" and there was a trivia question that I knew the answer to and I won this book. I loved the movie and enjoyed reading this book about all of the hoops they had to jump through to film it.
April 10, 2008
Deepa Mehta's daughter wrote a memoir about working with her mother on the movie "Water," and also about her troubled relationship with her mom and how the (also troubled) movie-making was a redemptive experience for them.
February 13, 2009
This book gives a really excellent depiction of what it is like to be a 19-to-25-year-old young woman. Really! I think that's worth something. And the story of how these folks (eventually) managed to shoot a controversial feminist film in India is also quite compelling.
Read
August 11, 2011I love this movie so it was interesting read to see what actually transpired during the making of this film. Which took several years and was eventually made in Sri Lanka. I enjoyed it. It was a quick read and not bad for $3.99 :D
August 20, 2008
Well written, but it didn't keep my interest towards the end, i just wanted to be done with it. A good read about success and mother/daughter relationships.
August 6, 2008
I learned a bit about film making in a foreign country. I also discovered the world of mother and daughter, sacrifices, growing up and love.
August 26, 2010
Fascinating look at what went on behind the scenes while making Water - a film that a few times almost did not get made.
August 10, 2011
This book was honest. I have met and spoken with the author a few times. The film was beautiful and it was great to continue that experience from a different perspective.
April 10, 2012
Great! Haven't been able to read much, but this hooked me. The bonus is finding a bunch of films that I would like to see...I sort of dropped out of the film scene when I has kids.
November 6, 2012
Has reminded me I want to see the movie. Now on reserve at the library
September 17, 2012
Didn't really hold my interest.
Displaying 1 - 22 of 22 reviews