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Edge of Midnight: The Life of John Schlesinger: The Authorised Biography Hardcover – June 28, 2005


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Product Details

  • Hardcover: 628 pages
  • Publisher: Billboard Books; First Edition ~1st Printing edition (June 28, 2005)
  • Language: English
  • ISBN-10: 0823083667
  • ISBN-13: 978-0823083664
  • Product Dimensions: 9.4 x 6.3 x 1.6 inches
  • Shipping Weight: 2.3 pounds
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #3,595,633 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

"There never was anything else," British film director John Schlesinger confided about his life's work. Frail and slowed by a stroke in 2000, the subject of this moving, comprehensive and at times dishy biography shared these pearls with Mann just before his death in 2003. A prolific filmmaker and prominent figure of the British "New Wave," Schlesinger was a born director, according to his siblings. He was both iconoclastic-openly gay before it was fashionable or the least bit acceptable-and fortunate enough to begin his career at a time when British cinema was mining the gritty world of the working class. Amid the recollections of swinging London in the '60s and the descriptions of Schlesinger triumphs, such as Darling (1965), Midnight Cowboy (1969), Marathon Man (1976) and Cold Comfort Farm (1996), Mann covers a prolific career that encompassed film, theater and television. (Schlesinger cut his cinematic teeth on BBC programs.) The author also explains with both detachment and empathy Schlesinger's efforts to bring homosexuality to the screen with a kind of eloquence typically only afforded to heterosexual love affairs. Schlesinger did so with Sunday Bloody Sunday, A Kind of Loving and, through subtext, Midnight Cowboy, which won him an Oscar but was summarily trashed by the old Hollywood guard, who feared the continuation of the celebration of sleaze. The trashing certainly didn't harm Schlesinger's social life, however. His home remained a salon for Hollywood's biggest stars, as well as literary legends and infamous party hounds. Mann writes with a tenderness and admiration about a director who only occasionally enjoyed great success but maintained a great talent for exploring human relationships no matter how unconventional or untidy. 30 b&w photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author

William J. Mann is the author of two previous Hollywood history best-sellers, Behind the Screen: How Gays and Lesbians Shaped Hollywood and Wisecracker: The Life and Times of William Haines, as well as three novels. He lives in Provincetown, MA.

More About the Author

I live in two of the most beautiful places on the planet ' Provincetown, Massachusetts, with its exquisite light and ever-shifting dunes in the summer and the fall, and Palm Springs, California, with its majestic mountains and invigorating desert air in the winter and the spring. I am indeed blessed.

Customer Reviews

4.6 out of 5 stars
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Enough said, go for it!
Kevin Killian
Mr. Mann most obviously is besotted by Mr. Schlesinger and why shouldn't he be?
H. F. Corbin
I recommend it to every movie fan the world over.
Tom O'Leary

Most Helpful Customer Reviews

8 of 9 people found the following review helpful By H. F. Corbin TOP 1000 REVIEWERVINE VOICE on March 11, 2005
Format: Hardcover
The writher Michael Cunningham (THE HOURS) said that seeing SUNDAY BLOODY SUNDAY "saved" his life. Peter Finch (on the same movie) remarked that when he did the close-up "liplock" with Murray Head that he just closed his eyes and thought of England. When Princess Margaret and her then husband Lord Anthony Snowdon saw SUNDAY BLOODY SUNDAY, she said within earshot of both Schlesinger and his lover Michael Childers, that she thought the movie was "horrific. . . "Men in bed kissing!" (This from a woman who had an affair with a man 18 years her junior and was caught on film topless with him-- while married to Snowdon.)This film, the director said was his most personal and was about his own affair with a young man; but he labeled THE DAY OF THE LOCUST his "greatest achievement, something that few critics, however, would say. Bob Dylan wrote "Lay, Lady, Lady" for MIDNIGHT COWBOY but didn't get it finished in time to be used in the movie. Schlesinger hated exercise and opined that when he thought about it, he just lay down until the moment passed. Although he lived for many years in the U. S. he felt that many Americans lacked manners, particularly when they went to movies. "'Audiences talk incessantly. . . They run up and down and eat all the time, because that is what they are used to doing at home.'" (We all can tip our hats to this gentleman for that attitude.) Mr. Mann's robust biography of John Schlesinger is chock-full of these and similar details. He had access to everything about this great director: tapes, diaries, family and friends and Mr. Schlesinger although only after he had had a stroke.

Although Mann's work is the "authorized" biography, he assured both Schlesinger and Childers that he would tell the whole story, the "low points and highs.
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3 of 3 people found the following review helpful By Midwest Book Review on September 10, 2006
Format: Paperback
Edge Of Midnight: The Life Of John Schlesinger is the authorized biography of the filmmaker whose most famous works include "Midnight Cowboy", "Bloody Sunday", "Marathon Man", and "Day of the Locust". Written with the full cooperation of Schlesinger, his family, and his companion of 36 years Michael Childers, as well as with complete access to tapes, diaries, production notes, and correspondence, not to mention interviews with the actors, crew members, friends and colleagues who knew Schlesinger, Edge Of Midnight accurately traces the singularly amazing career of a dedicated and visionary man. Highly recommended for professional cinema researchers and intrigued lay readers alike.
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2 of 3 people found the following review helpful By Tom O'Leary on April 2, 2005
Format: Hardcover Verified Purchase
I am lying in the sun in Hollywood and I have just devoured this splendid John Schlesinger biography. I recommend it to every movie fan the world over. It is a lovely book and worthy of its subject.

Being north of forty, it would be impossible to underestimate the importance of John Schlesinger's influence on my life as a gay man. Midnight Cowboy and Sunday Bloody Sunday were seismic movie going moments for me. Truly great movies in their own right, both have fully-dimensional gay characters as well as homo-erotic moments that lodged in my young brain and stayed. Jon Voight is a luscious Ken Doll in Midnight Cowboy. And Murray Head could be the poster boy for sexy 70's male in Sunday Bloody Sunday. Glenda Jackson watching Murray's perfect physique as he showered was thunderous for me because every day in Catholic high school I stood next to beautiful boys in showers and I couldn't stop staring and also could not forget none of them would ever be mine.

And thank you John Schlesinger for Julie Christie! The movie-going public will be forever in John's gratitude for giving us Julie.

They say that the music one listens to in our teenage years becomes "our" passion music-wise for our entire lives. Certainly, my life-long allegiance to Joni Mitchell and Aretha Franklin attests to that.

I feel the same way about Julie Christie. I was too young for Billy Liar and Darling when they came out. But both movies mean a great deal to me now. As do McCabe & Mrs. Miller and Shampoo and Return of the Soldier and Afterglow. I love watching this creature on screen. Julie is sexy to me even though I have no desire for her. And I am as much a fan now as I ever was when I first laid eyes on her. More of a fan probably.

Bravo to William J. Mann for painting a vivid portrait of one of our greatest film directors. And bravo John for your illustrious career!
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3 of 5 people found the following review helpful By Terry on April 9, 2006
Format: Hardcover
Poor John Schlesinger. This gifted filmmaker never seemed happy, gave off more than a whiff of bitterness, and even seemed jealous of some of the people with whom he worked.

Most especially, the late Penelope Gilliatt, who authored his finest work, "Sunday Blody Sunday." There has been much misinformation regarding this film. Gilliatt was a brilliant film and theatre critic and a writer of fiction. She was orginally part of the greatly influential team of Kenneth Tynan and Gilliatt at the Observer (London). Schlesinger asked Gilliatt to write the sceenplay of Sunday Bloody Sunday. He thought she was the "right writer." Subsequently, the film was made and received rapturous reviews; it stands today as Schlesinger's finest work, along with his T.V. film, "An Englishman Abroad." The trouble started when Gilliatt received the vast majority of the praise for the film, back in 1971 -- I remember. Pauline Kael went so far as to say that Schlesinger had been inspired by the "delicate substance" of Gilliatt's script, which led him to do his finest work. (And Kael and Gilliatt were NOT friends.)

Perhaps, in addition to Gilliatt's brilliance as a fiction writer, Schlesinger chose the heterosexual Gilliatt to write the script because she had been a champion of civil rights for gays and lesbians in Great Britain in the 1950s, when she was only in her 20s, long before, say, Stonewall in the U.S.A., and fought so that GLBTs could have a place at the theatre and film tables of England under the repressive and homophobic Lord Chamberlain. At any rate, her much-honored script is what the film is remembered for.
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