Pocket Essentials is a dynamic series of books that are concise, lively, and easy to read. Packed with facts as well as expert opinions, each book has all the key information you need to know about such popular topics as film, television, cult fiction, history, and more. This is a guide to the reconfiguration of film noir, featuring films like Sexy Beast, Reservoir Dogs and Blood Simple. Film noir is a genre of mid-century black and white urban crime thrillers populated by mysterious women and tortured, hard-bitten PIs. Film soleil is its adaptation for late-century tastes, using as its most common setting sun-beaten highways cutting mercilessly through the desert, its women in cowboy boots, and its men deranged by their biological drives.
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Editorial Reviews
Review
These miniature guides are packed to the margins with important facts and enlightening commentary. -- Publishers Weekly
About the Author
D. K. Holm has written for Willamette Week, PDXS, among other publications, and now has columns at Kevin Smith's MoviePoopShoot.com. He edited an anthology of Robert Crumb interviews for the University of Mississippi Press and has a forthcoming book on Guy Maddin. He is the author of Pocket Essentials on Quentin Tarantino and Robert Crumb.
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Holm strikes a new chord,
By Andrew Mede (New York, NY) - See all my reviews
This review is from: Film Soleil (Pocket Essential series) (Paperback)
I found Film Soleil to be a very good and quick read. Holm describes and defines a whole new genre with imaginative and deft strokes. For film noir buffs it's a must, if only to understand the parallels and the distinctive differences between these two genres.
4.0 out of 5 stars
Faulty Premise, "Soleil" provides little light,
By
This review is from: Film Soleil (Pocket Essential series) (Paperback)
This book is well researched and well written affording considerable information
about films the author has designated as "Film Soleil." Unfortunately it is also a hodgepodge of contradictions. Holm spends the first chapter attempting to characterize this "mutated" variation of film noir as somehow distinctive. The films he describes, as well as their antecedents, are virtually indistinguishable from film noir or neo noir, depending on the date of original release. The example he offers as the exemplar of Film Soleil, "Blood Simple," is a very dark film whose setting is not urban and is shot in color. If that is to be the definition of Film Soleil, fine, but Holm introduces many additional elements frequently not present in the films he includes within his newly created genre. "Neo Noir," while also a very problematic term/genre, is really what he is talking about.
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