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Two Weeks in the Midday Sun: A Cannes Notebook by Roger Ebert: Used
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eBay-objectnummer:404321135702
Specificaties
- Objectstaat
- Publication Date
- 2016-04-06
- Pages
- 200
- ISBN
- 9780226314433
- Book Title
- Two Weeks in the Midday Sun : a Cannes Notebook
- Publisher
- University of Chicago Press
- Item Length
- 8.5 in
- Publication Year
- 2016
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.4 in
- Genre
- Performing Arts, Biography & Autobiography
- Topic
- Film / General, Entertainment & Performing Arts, Film / History & Criticism
- Item Weight
- 9.5 Oz
- Item Width
- 5.6 in
- Number of Pages
- 200 Pages
Over dit product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022631443X
ISBN-13
9780226314433
eBay Product ID (ePID)
21038264161
Product Key Features
Book Title
Two Weeks in the Midday Sun : a Cannes Notebook
Number of Pages
200 Pages
Language
English
Topic
Film / General, Entertainment & Performing Arts, Film / History & Criticism
Publication Year
2016
Illustrator
Yes
Genre
Performing Arts, Biography & Autobiography
Format
Trade Paperback
Dimensions
Item Height
0.4 in
Item Weight
9.5 Oz
Item Length
8.5 in
Item Width
5.6 in
Additional Product Features
Intended Audience
Trade
LCCN
2015-034611
Dewey Edition
19
Reviews
Two Weeks in the Midday Sun feels timeless. The names of the films and the people who made them are different, but aside from the vendors hawking cheap movies on videotape and Ebert's difficulties getting his copy back to his editors in Chicago, it's hard to imagine that the festival going on now is significantly different from the one Ebert saw. No one else will ever see it or write about it the way Ebert did, though. He's been gone three years, but reading this makes me miss him all over again., A lighthearted trip through the 1987 festival, filled with celebrity interviews, casual encounters, and general commentary about the film and film-reviewing industry. The mood is lightened even further by his endearing quickie sketches of celebs and locals interspersed throughout the text. Ebert wasn't much of a draftsman--Princess Diana never looked more boxy and tanklike than in Ebert's hands. But he loved drawing, loved writing, and loved movies, and all of that is consistently, entertainingly present on the page. Here's the thing, though: Tucked amid all that lighthearted traipsing through a French film festival is also a fairly serious and deliberate study of brows high, low, and middle--and Ebert's appreciation of all three., I stumbled upon this gem a few weeks ago while scouring the web for unique, Chicago-centric Father's Day gifts. The 'notebook,' which is a first-person account of Ebert's experience at the 1987 Cannes Film Festival, has recently been reissued with a new foreword from Martin Scorsese, and a new postscript from Ebert himself, which, coincidentally or not, revolves around a particularly memorable dinner the critic shared with Marty. The book hits a few sweet spots for me: travel writing; film criticism; observing people from quaint French cafs . . . I've already downloaded it on my Kindle, but wisely opted to save it for a trip I'm taking to the South of France next month. And hey, maybe I'll buy a hard copy for Dad, too. Unless he's reading this. In which case, I'm, uh, totally just kidding., A lively blend of prose and pen-and-ink sketches. . . . With a sharper eye for gossip and more detours into philosophical speculation than his reviews and interviews tend to exhibit, the author talks to such stars as Barbara Hershey and John Malkovich, attends packed and frenzied premiers, and hangs out over espresso at sidewalk cafés watching the famous, the nearly famous, and the hangers-on stride gaudily past. . . . Ebert's prose style is fresh, his observations both witty and sharp., I stumbled upon this gem a few weeks ago while scouring the web for unique, Chicago-centric Father's Day gifts. The 'notebook,' which is a first-person account of Ebert's experience at the 1987 Cannes Film Festival, has recently been reissued with a new foreword from Martin Scorsese, and a new postscript from Ebert himself, which, coincidentally or not, revolves around a particularly memorable dinner the critic shared with Marty. The book hits a few sweet spots for me: travel writing; film criticism; observing people from quaint French cafés . . . I've already downloaded it on my Kindle, but wisely opted to save it for a trip I'm taking to the South of France next month. And hey, maybe I'll buy a hard copy for Dad, too. Unless he's reading this. In which case, I'm, uh, totally just kidding., A lively blend of prose and pen-and-ink sketches. . . . Ebert's prose style is fresh, his observations both witty and sharp., Witty and beautifully observed, embracing the absurdities of cinema's most famous festival amidst the chaotic, sleep-deprived parties and screenings. Many of the movies covered have been forgotten, but Ebert's journalistic joie de vivre transcends the topics discussed. If only we had more than two weeks to read about., A lively blend of prose and pen-and-ink sketches. . . . With a sharper eye for gossip and more detours into philosophical speculation than his reviews and interviews tend to exhibit, the author talks to such stars as Barbara Hershey and John Malkovich, attends packed and frenzied premiers, and hangs out over espresso at sidewalk cafs watching the famous, the nearly famous, and the hangers-on stride gaudily past. . . . Ebert's prose style is fresh, his observations both witty and sharp.
Dewey Decimal
791.43/0944/941
Synopsis
A paragon of cinema criticism for decades, Roger Ebert--with his humor, sagacity, and no-nonsense thumb--achieved a renown unlikely ever to be equaled. His tireless commentary has been greatly missed since his death, but, thankfully, in addition to his mountains of daily reviews, Ebert also left behind a legacy of lyrical long-form writing. And with Two Weeks in the Midday Sun , we get a glimpse not only into Ebert the man, but also behind the scenes of one of the most glamorous and peculiar of cinematic rituals: the Cannes Film Festival. More about people than movies, this book is an intimate, quirky, and witty account of the parade of personalities attending the 1987 festival--Ebert's twelfth, and the fortieth anniversary of the event. A wonderful raconteur with an excellent sense of pacing, Ebert presents lighthearted ruminations on his daily routine and computer troubles alongside more serious reflection on directors such as Fellini and Coppola, screenwriters like Charles Bukowski, actors such as Isabella Rossellini and John Malkovich, the very American press agent and social maverick Billy "Silver Dollar" Baxter, and the stylishly plunging necklines of yore. He also comments on the trajectory of the festival itself and the "enormous happiness" of sitting, anonymous and quiet, in an ordinary French café. And, of course, he talks movies. Illustrated with Ebert's charming sketches of the festival and featuring both a new foreword by Martin Scorsese and a new postscript by Ebert about an eventful 1997 dinner with Scorsese at Cannes, Two Weeks in the Midday Sun is a small treasure, a window onto the mind of this connoisseur of criticism and satire, a man always so funny, so un-phony, so completely, unabashedly himself., Two Weeks in the Midday Sun records Ebert's impressions of the 1987 Cannes festival--"Disneyland for adults"--running through his two weeks of encounters with actors and directors, going to screenings, cafes, bars, restaurants, and parties in this marathon of over-stimulation. "If the Super Bowl were two weeks long," he writes, "that would be more like Cannes." Screenings start at 8:30 every morning, while the (third round of) parties started at midnight the night before. "The only constant will be my battle with my computer. . . . If I am lucky, however, something extraordinary will happen to me during the festival. I will see a film that will make my spine tingle with its greatness, and I will leave the theater speechless." The book is funny and passionate, a memoir/travelogue/love letter to the movies. This reprint includes Ebert's pen & ink sketches as well as Martin Scorsese's new foreword and a hilarious appendix by Ebert describing a dinner in Cannes with Scorsese in 1997., A paragon of cinema criticism for decades, Roger Ebert--with his humor, sagacity, and no-nonsense thumb--achieved a renown unlikely ever to be equaled. His tireless commentary has been greatly missed since his death, but, thankfully, in addition to his mountains of daily reviews, Ebert also left behind a legacy of lyrical long-form writing. And with Two Weeks in the Midday Sun , we get a glimpse not only into Ebert the man, but also behind the scenes of one of the most glamorous and peculiar of cinematic rituals: the Cannes Film Festival. More about people than movies, this book is an intimate, quirky, and witty account of the parade of personalities attending the 1987 festival--Ebert's twelfth, and the fortieth anniversary of the event. A wonderful raconteur with an excellent sense of pacing, Ebert presents lighthearted ruminations on his daily routine and computer troubles alongside more serious reflection on directors such as Fellini and Coppola, screenwriters like Charles Bukowski, actors such as Isabella Rossellini and John Malkovich, the very American press agent and social maverick Billy "Silver Dollar" Baxter, and the stylishly plunging necklines of yore. He also comments on the trajectory of the festival itself and the "enormous happiness" of sitting, anonymous and quiet, in an ordinary French caf . And, of course, he talks movies. Illustrated with Ebert's charming sketches of the festival and featuring both a new foreword by Martin Scorsese and a new postscript by Ebert about an eventful 1997 dinner with Scorsese at Cannes, Two Weeks in the Midday Sun is a small treasure, a window onto the mind of this connoisseur of criticism and satire, a man always so funny, so un-phony, so completely, unabashedly himself.
LC Classification Number
PN1998.E24 2016
ebay_catalog_id
4
Copyright Date
2016
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