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Dark Star: A Biography of Vivien Leigh (English Edition) Kindle-editie
Vivien Leigh was perhaps the most iconic actress of the twentieth century. As Scarlett O'Hara and Blanche Du Bois she took on some of the most pivotal roles in cinema history. Yet she was also a talented theatre actress with West End and Broadway plaudits to her name. In this ground-breaking new biography, Alan Strachan provides a completely new full-life portrait of Leigh, covering both her professional and personal life. Using previously unseen
sources from her archive, recently acquired by the V&A, he sheds new light on her fractious relationship with Laurence Olivier, based on their letters and diaries, as well as on the bipolar disorder which so affected her later life and work. Revealing new aspects of her early life as well as providing glimpses behind-the-scenes of the filming ofGone with the Wind and A Streetcar Named Desire, this book provides the essential and comprehensive life-story of one of the twentieth century's greatest actresses.
Over de auteur
"What makes this account of a familiar story outstanding is that Strachan wins the reader's trust ... As an experienced man of the theatre, he suggests, qualifies and adds interesting views of his own." --The Spectator
"[Vivien Leigh's] life, lived to the full at every second, will never be better told than it is in these pages." --The Sunday Times
"A gripping new biography." --The Daily Mail
"Strachan's meticulously researched, elegantly written volume is an eye-opener. Strachan's attention to detail is striking ... a valuable, authoritative record that supports [Leigh's] status as a great stage and screen actress." --Daily Herald, Chicago
"This is a well-written biography of a much-loved star. Strachan achieves that rare thing of exposing his subject whilst maintaining their integrity. Leigh, who was fiercely private, would have been proud of this book." --The Lady
"Alan Strachan does a fine job in reasserting [Vivien Leigh's] status, not merely re-examining her stage work, but also becoming the first biographer to give due attention to the underrated films she made." --Country Life--Deze tekst verwijst naar de paperback editie.
- ASIN : B07MV48863
- Uitgever : I.B. Tauris; 1e editie (25 oktober 2018)
- Taal : Engels
- Bestandsgrootte : 6135 KB
- Tekst-naar-spraak : Ingeschakeld
- Schermlezer : Ondersteund
- Verbeterd lettertype : Ingeschakeld
- X-Ray : Niet ingeschakeld
- Word Wise : Ingeschakeld
- Printlengte : 501 pagina's
- Plaats in bestsellerlijst: #169,407 in Kindle Store (Top 100 in bekijkenKindle Store)
Beste recensies uit andere landen
Therein lies a problem for the reader, at least up to about chapter 12. Strachan, thankfully, is so keen to share this material that the text suffers from a swarm of parenthetical (round bracketed) passages, which infest virtually every page, and even quoted speech. Tortuously long asides run amok and if not in parentheses then they are flanked by hyphens, peeling off from the original path of the sentence like wild horses, though eventually returning home but usually long after you recall what the author was trying to say in the first place.
This textural noise turns the paragraphs into the consistency of treacle; it’s tiresome to read at the pace of a London traffic jam. But the details here are important: it’s just that the sentences that carry them need to be re-cast. However, the writing and flow improve noticeably in following chapters, which hum along in a higher gear altogether. Chapter 18 and the Epilogue are very good, with Strachan bringing his book to a cracking finish with an extract from Stevenson’s ‘We Thank Thee’, which he found in Vivien’s Commonplace Book.
Furthermore, particularly given that he is dealing with two volatile and gifted protagonists, he maintains a great fairness and balance throughout the narrative whether he is dealing with them or the many friends and colleagues who colour their world; and this is a significant and laudable achievement. Most importantly, he brings to the proceedings that special perspective of one steeped with long experience of theatrical directorship. This inside track matters to the reader or student because it illuminates many aspects of the film and theatre world, not the least of which, for example, is just how much exhausting effort is needed by actors, actresses and technicians to bring to stage or screen a play or film script.
Can the Oliviers be summed up? Probably not. Each was made of a different metal and each shone it to a different lustre. For what it’s worth, it seems that Vivien truly loved Olivier, even through to and during her last years at the beautiful if lonely Tickerage Mill. Here, her declining self-worth, and a natural character so burdened by TB and Bipolar disorder, may well have impacted her approach to her health with obvious tragic consequences. Vivien, would seem to claim the top spot as a true star of film — just in the film 'That Hamilton Woman', who is not bewitched by the transition of her reaction into an unblinking stare of disbelief, held for several seconds, when told of Nelson’s death?
Olivier probably didn’t love Vivien, at least not deeply and persistently. His self-obsessed nature combined with a whiff of spite, active or passive, lacked the scope for him to do so: the crass stain reference at Vivien’s death is so mean and unnecessary. Strachan brushes this away by indicating that Vivien would have understood — sure, she may well have said ‘Typical’, but my guess is she would have selected something a lot more Anglo-Saxon from the third letter of the English alphabet, as she had done before.
Alan Strachan’s book must be now the definitive biography of this couple. Drawing particularly on material from the Vivien Leigh archive newly acquired by the V & A museum and combined with numerous other sources, it is likely to remain so for a long time — and what a tale he tells in such a balanced, workmanlike and informative manner. [4* 0220]