Page To Screen # 1

The honour of the first book to be reviewed is the breathtakingly beautiful Tarkovsky (edited by Nathan Dunne, published by Black Dog) a fascinating examination of the Russian director that straddles the fine line between serious academic work and coffee table masterpiece. Unsurprisingly, the book is chock full of amazing imagery from many Tarkovsky’s classic films that – even out of context – show the breadth and depth of the director’s artistic vision. Indeed, those just looking for a collection of photos would find their needs well served. But the book -  divided into sections ‘Russia and Religion’, ‘Art and Nature’, ‘Music and Modernity’ and ‘Memory and Awakening’ – provides a number of illuminating essays examining many aspects of Tarkovsky’s work. Particularly captivating are Vida Johnson and Graham Petrie’s discussion of Painting and Film in relation to Andrei Rubelev and Solaris and a wonderful piece by James Quandt entitled ‘Tarkovsky and Bresson: Music, Suicide, Apocalypse’ that contains many insightful comments. As always, the academic nature of the works on offer may prove an obstacle to some but those who adore the work of Tarkovsky will find this work indispensable.

Given that he co-authored the script of Shakespeare In Love with Tom Stoppard, Marc Norman knows the process of writing scripts in Hollywood like the back of his hand. He brings his first hand experience to the fore in his exhaustively researched work What Happens Next: A History Of Hollywood Screenwriting (Marc Norman, published by Aurum Press) that functions as both an impressive history of the studio system and as a brilliantly salacious work full of enough juicy gossip to make Peter Biskind green with envy. Beginning with DW Griffith the book takes us on a journey through the studios, the House Of Un-American Activities and the blacklists, the new wave of the 70s that saw many stars determined to re-write their parts – much to the writers chagrin to the modern era with the likes of Charlie Kaufman making their own screenwriting exploits into movies. There’s a relentless energy at work here, even if the determination to follow a narrative path sometimes gives the book a sloppy and disjointed feel. And for all his research, there are one or two errors that Norman has let slip through the cracks. But, flaws aside, this is an engaging piece of work that finally gives the writers their due. Because, as Norman makes clear, hardly anybody else does.

The Dekalog series is described as a ‘..new list of bi-annual publications dedicated to presenting serious and insightful criticism on a wide range of subjects across the full spectrum of contemporary cinema’ and, on the strength of the first book in the series, it looks as if it is fulfilling it’s aims tremendously. Dekalog 01: On The Five Obstructions (Edited by Mette Hjort, published by Wallflower Press) comprises articles examining Lars Von Trier’s collaboration with Jorgan Leth which saw Von Trier challenging his older mentor to re-make his short film The Perfect Human. There’s much productive work here, including some very interesting discussion on the role of games and play in society (and those who have sent the film will know how much of a mischievous player that Von Trier actually is) as well an enlightening interview with Jorgan Leth that reveals more about his working relationship with Von Trier and his controversial past. Of particular interest is the ‘Dekalog Re-View’ section which will solicit readers feedback and be published in subsequent editions, giving the series a chance to evolve over the coming years. A great start to what will hopefully be an important and diverse series of books examining the cinema.

From a series that is just beginning to one that has been providing insight for many years. The ‘Projections’ series has continually brought readers an eclectic series of essays and interviews focusing upon a particular theme and the latest volume  is no exception as Projections + The European Film Academy (Edited by Peter Cowie and Pascal Edelman, published by Faber & Faber) focuses upon 20 years of European cinema. Examining the state of European cinema today, the book contains satisfying interviews with the likes of Ken Loach, Michael Winterbottom and Francois Ozon and articles focussing upon trends prevalent in European cinema. The book also contains a foreword from Derek Malcolm (who makes some excellent points) and reflections from audiences across the continent who discuss their current favourite films. The very nature of the book ensures that it is an immensely entertaining read that never gets dull and is a fine addition to the ‘Projections’ canon.

Returning after a brief absence The TCM International Film Guide: 2008 (edited by Ian Haydn Smith, published by Wallfower Press) once again takes its rightful place as one of the most important reference books for those working in the film industry. The book provides a country by country breakdown of the film industry examining the successes and failures of the past year. With up-to-date contact details of national film agencies, a review of some of the most significant DVD releases and a breakdown of Box Office figures this is a phenomenally researched and essential purchase for anyone who needs pertinent information at their fingertips.

Given his attention to detail, Alfred Hitchcock would have been delighted with the amount of work that has gone into The Alfred Hitchcock Story (Ken Mogg, published by Titan Books). This is a chronological guide to the work of the ‘Master of Suspense’ from his very early years in the British film industry to the height of his Hollywood fame. The film pages – all illustrated with fabulous stills – contain pertinent and intriguing facts about the making of the films weaved with analysis of the themes prevalent in Hitchcock’s work. There are also chapters that deal with other aspects of Hitchcock’s career, including his work with other collaborators, a look at some of the (mainly god-awful) remakes of his films and – of course – a list of his cameo appearances. Add in a foreword from Janet Leigh and you have an amazingly comprehensive guide to Hitchcock’s work that is both informative and entertaining.

Just as comprehensive is The Complete Making Of Indiana Jones (JW Rinzler, published by Ebury Press) which does what it says on the tin really. Given that Lucasfilm is scrupulous about it’s archive, Rinzler has been given access to tonnes of material with never-before-seen storyboards, stills and other gems. There are also many exclusive interviews giving some great insight into the history of all the films including lots of new material for Indiana Jones and the Kingdom of the Crystal Skull. Whilst many ‘Making Of..’ books are nothing more than publicity brochures for a film’s release, the sheer amount of research and unseen material makes this into something more. Of course, given that’s it’s an officially sanctioned book, there’s no dirty being dished here but you’ll be so thoroughly engrossed that you won’t really care.

And when your Indy cravings are satisfied then perhaps The Making of Star Wars (JW Rinzler, published by Ebury Press) will prove just the ticket. Like the Jones Making Of, it’s a scrupulously researched work focusing on the early evolution of the film (including the idea of having Han Solo as a green monster), the fraught production process and the final glorious reception afforded to the film. Whilst it lacks the ‘coffee table beauty’ of many books of its kind it’s narrative more than makes up for it. Rinzler manages to expose the risks that Lucas and co took to produce the film and tries to put the success of Star Wars, which managed to have a seismic effect on American cinema, into some sort of context. Again, there are interviews with all the key players and a wealth of information that even the most hardened fan may find a bit too much to create an enormously satisfying read. My only gripe would be there isn’t an attempt to examine the re-release of the film with new special effects and the outcry that caused amongst the fan community.  Having said that, you can easily add “Greedo shoots first. WTF is that about?” in pencil if you so desire…

Finally, a quick look at new magazine Electric Sheep.  Promising a ‘deviant view of cinema’, the new magazine (print wise, as Electric Sheep has had a presence on the internet for years) has some brilliantly esoteric articles. The Summer ’08 issue,  entitled ‘The Cool World’, focuses on jazz and US Cinema and includes an interview with director Charles Burnett, a review of Roger Corman’s cult classic A Bucket Of Blood and an examination of the Chet Baker documentary Let’s Get Lost. Add in the usual DVD reviews, columns and festival news and you have a fine addition to the world of film magazines.Find out more at www.electricsheepmagazine.com