Here are 11 of his best book-to-movie adaptations. The result is brilliantly original fiction as profound as it is playful. A horrific mass murder invades the lives of victims and victimizers on both sides of the law. Beautifully edited and translated, but it unfortunately stops just before 1968. Eisenstein for the new millennium. Now Charley must choose which contract to honor: the one to his wife or the one on his wife.”, “The astounding yet true rags-to-riches saga of a homeless father who raised and cared for his son on the mean streets of San Francisco and went on to become a crown prince of Wall Street.”, “Relentless, remorseless, and inspirational, this “horrific, hope-filled story” (Newsday) is certain to haunt a generation of readers. She has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. The Brechtian Aspect of Radical CinemaMartin Walsh, edited by Keith Griffiths, BFI, 1981. Magisterial. And wasn’t the 1970s the period of cinema she loved best? Surrealism, not as a set of dogmas, but as a life lived. I would restrict my choice to the various editions (the fifth, I believe, is forthcoming) of David Thomson’s A Biographical Dictionary of Film. When the rights to a book sell, it doesn’t guarantee a book will appear on the screen, but it’s usually a good gamble for studios to grab them in case the book does well. Borges called the plot “perfect” – if it was good enough for him, it’s good enough for me. Films and Feelings makes it because its extended chapter on the history of Franco-Anglo-American film criticism, ‘Auteurs and Dream Factories’, has yet to be bettered. If debarred, then the 2000 edition of the Time Out Film Guide, being less bulky than it has since become. Highly informative when read innocently, highly entertaining when read for the implied drama: the hero-worshipping young man (who is no dummy, mind), paying court to the urbane old master who seems to give so much away, and yet, cunning trickster/shaman that he is, really yields nothing that could be used in court against him. that has never left my desk is David Thomson’s A Biographical Dictionary of Film. A loving anthology, with commentary, on the silent cinema. True Grit is his most famous novel–first published in 1968, and the basis for the movie of the same name starring John Wayne. Before arriving at this 720-page definitive compendium, I came very close to selecting the 1977 640-page The Compound Cinema: The Film Writings of Harry Alan Potamkin by a leftist intellectual of the 1920s and ’30s with a truly international grasp of cinema – and the first critic ever to write about film cults. This is probably my favourite of the many books on Welles. “To despair was to wish back for something already lost. Over the years countless perished trying to find evidence of his party and the place he called “The Lost City of Z.” In this masterpiece of narrative nonfiction, journalist David Grann interweaves the spellbinding stories of Fawcett’s quest for “Z” and his own journey into the deadly jungle, as he unravels the greatest exploration mystery of the twentieth century.”, “In their youth, Florentino Ariza and Fermina Daza fall passionately in love. From Caligari to Hitler: A Psychological History of the German FilmSiegfried Kracauer. Cinema: A Critical DictionaryEdited by Richard Roud, Secker & Warburg, 1980. Basil E. Frankweiler, The Lost City of Z: A Tale of Deadly Obsession in the Amazon, Unbroken: A World War II Story of Survival, Resilience, and Redemption, Wild: From Lost to Found on the Pacific Crest Trail. Bresson’s notorious contempt for acting is explained here in the distinction he draws between cinematography (pure writing with images) and mere cinema (still beholden to the mimetic fakery of theatre). For ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), a jazz standard of an essay that writers have riffed on (and ripped off) ever since. Geoff Andrew , Michael Atkinson , Peter Biskind , Edward Buscombe , Michael Chanan , Tom Charity , Ian Christie , Michel Ciment , Kieron Corless , Mark Cousins , Paul Cronin , Chris Darke , Maria Delgado , Richard Dyer , Olaf Möller , Christoph Huber , Lizzie Francke , Philip French , Chris Fujiwara , Graham Fuller , Charlotte Garson , Tom Gunning , Philip Horne , Kevin Jackson , Nick James , Kent Jones , Richard T. Kelly , Mark Le Fanu , Toby Litt , Brian McFarlane , Luke McKernan , Geoffrey Macnab , Adrian Martin , Peter Matthews , So Mayer , Henry K Miller , Kim Newman , Geoffrey Nowell-Smith , Michael O’Pray , John Orr , Nick Roddick , Jonathan Romney , Jonathan Rosenbaum , Sukhdev Sandhu , Jasper Sharp , Iain Sinclair , David Thompson , David Thomson , Kenneth Turan , Catherine Wheatley , Armond White Updated: 8 May 2020, This is an unabridged version of the Film Book poll published in the June 2010 issue of Sight & Sound, Geoff AndrewMichael AtkinsonPeter BiskindEdward BuscombeMichael ChananTom CharityMichel CimentKieron CorlessMark CousinsPaul CroninChris DarkeMaria DelgadoGeoff DyerThe Ferroni BrigadeLizzie FranckePhilip FrenchChris FujiwaraGraham FullerCharlotte GarsonTom GunningPhilip HorneKevin JacksonNick JamesKent JonesRichard T. KellyMark Le FanuToby LittBrian McFarlaneLuke McKernanGeoffrey MacnabAdrian MartinPeter MatthewsSophie MayerHenry K. MillerKim NewmanGeoffrey Nowell-SmithMichael O’PrayJohn OrrTim RobeyNick RoddickJonathan RomneyJonathan RosenbaumSukhdev SandhuJasper SharpIain SinclairDavid ThompsonDavid ThomsonKenneth TuranCatherine WheatleyArmond White, Head of film programme, BFI Southbank, UK. Keep an eye on your inbox. Bachlin was a Marxist, and this was the first rigorous analysis of the industry I’d discovered that made real sense to me. A cool gaze at a cool world. Has anyone ever managed that balance as well? Beauty and the Beast: Diary of a Film by Jean Cocteau, The ‘I’ of the Camera: Essays in Film Criticism, History, and Aesthetics By William Rotman. Akira by Katsuhiro Otomo. Full of important things, like Manny Farber on Val Lewton and Roger Ebert on Russ Meyer, and evaluations of previously obscure films (Thunder Road) and film-makers (Sam Katzman). But when World War II began, the athlete became an airman, embarking on a journey that led to a doomed flight on a May afternoon in 1943. Or Dan Talbot’s eclectic Film: An Anthology (1966), a stirring alternative to Ernest Lindgren and Paul Rotha, which first introduced me to writings by Manny Farber, Parker Tyler, Gilbert Seldes and Erwin Panofsky. The book that really opened my eyes to some of the more obscure corners of global film culture. It seems symptomatic that the book has never been translated into English – neither has the film writing of the Italian Marxist Umberto Barbaro (which I read in the translation published in Cuba by the ICAIC). Vicious threats? Two exemplary ways of making sense of a national film culture: the first is an encyclopedia that invites the seeker to find his or her own way through a labyrinth of myriad relationships; the second offers creative criss-cross readings of topoi and obsessions through various decades, genres and political systems. Crime novel of astonishing detail and scope written by the bestselling author the! 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