Download e-book for kindle: Agee on Film, Volume 1: Essays and Reviews by James Agee

By James Agee

My experiment at three hundred dpi, OCR'd, eight b/w photographs on the finish incorporated - quantity 2 comprises 5 movie scripts, a pdf already exists

Amazon quote: The lion's proportion of 'Agee on movie, vol. I', is dedicated to James Agee's paintings as a columnist for 'The Nation', the place he wrote approximately movie from 1942 to 1948. It isn't precisely transparent if this quantity comprises each column he wrote for that journal - nowhere is it pointed out somehow, and there are gaps within the dates attributed to the entries. which may be in simple terms simply because he didn't give a contribution to each factor, however it will be great to understand if this can be the entire fabric from this resource - an writer who premiums the Library of the United States remedy charges a whole assortment. different sections of this quantity comprise some of Agee's weekly movie reports for 'Time Magazine' from 1941 to 1948, a few miscellaneous articles for 'Partisan Review' and 'Sight and Sound', and 'Life Magazine' positive aspects - 'Comedy's maximum Era' and 'Undirectable Director'. the 1st of those positive factors offers with the comedians of silent movie - Chaplin, Keaton, Langdon, and Lloyd; the second one matters John Huston. [....]

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Paramount, in other words, has crashed through. It has covered itself, too, against any pink nigglers who might bring the accusation of dodging political issues. The speech in which Mr. Cooper mentions fascists and the grand old party so misleadingly does at least-and with abominably clumsy hindsight-go on to say that Spain, as the old phrase went, is a proving-ground, a dress rehearsal for a greater war. But even this has no more organic connection with the film as a whole than a Gideon Bible has with a hotel bedroom.

Farce, like melodrama, offers very special chances for accurate observation, but here accuracy is avoided ten times to one in favor of the easy burlesque or the easier idealization which drops the bottom out of farce. Every good moment frazzles or drowns. The most flagrant example is Jean Arthur, whose mugging and whinnying seemed to me as redundant and, at length, as uningratiating, as if a particularly cute monkey, instead of merely holding out his hat for a penny which I might gladly have made a quarter, insisted that he was working his way through Harvard.

The best of the patriotism is implicit rather than overt. The lovemaking is strictly churchsupper. The entertainment is best. Lack of space, libel laws, and a fondness for entertainers, all prevent any detail on the subject; but we can safely remember that every piece of entertainment, like every political speech or swatch of advertising copy, has nightmarish accuracy as a triple-distilled image of a collective dream, habit, or desire. My favorite few minutes was Gracie Fields's rendition of the Lord's Prayer as set, it sounded, by Stainer or more so.

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Agee on Film, Volume 1: Essays and Reviews by James Agee


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