The Real Life of Laurence Olivier (Hardcover)

~ (Author)

Editorial Reviews

From Library Journal

This month, Applause is releasing biographical studies of two of the modern theater's most important?and famous?stars (along with a reprint of a work on Ralph Richardson). The simultaneous printing is appropriate, as they were friends, collaborated on several productions, and set a standard of theatrical acting (some fortunately preserved on video) that will influence future generations. The Gielgud book is an autobiography, and the actor proves himself to be a storyteller of the highest order, making this essential reading for theater lovers. Lewis's book, written in a nonscholarly style at times bordering on the idiosyncratic, was first published in England last year. While readers may not agree with Lewis's opinions, they will certainly not be bored. Lewis enjoys exploring the details that make up such a rich life?Olivier seemed to have met everyone, known everyone, and played every major role in existence. The indexing and photographs are quite good; indeed, this book has many more photos than Gielgud's, and Olivier's makeup and costume are so incredibly diverse that he often doesn't look at all like himself. Both books are recommended for public and academic libraries.?Susan L. Peters, Emory Univ. Lib., Atlanta
Copyright 1997 Reed Business Information, Inc.

Review

He entangles illuminating criticism with anecdote, digression, and metaphysics in a manic, scattershot manner that sometimes resembles Pauline Kael on amphetamines. But he persuasively shoots down the homosexual rumors (Olivier and Noel Coward or Danny Kaye), dissects the troubled second marriage to Vivien Leigh, and conveys the ferocious energy, supreme confidence, and embattled self-divisions of the greatest actor of the century. -- Entertainment Weekly

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Product Details

• Hardcover: 284 pages
• Publisher: Applause Books (April 1, 2000)
• Language: English
• ISBN-10: 1557832986
• ISBN-13: 978-1557832986
• Product Dimensions: 9.3 x 6.3 x 1 inches
• Shipping Weight: 1.5 pounds (View shipping rates and policies)
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon.com Sales Rank: #2,405,912 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

22 of 22 people found the following review helpful:

3.0 out of 5 stars Uneven, January 12, 1998

By A Customer

This is a better book than Lewis's biograpy of Peter Sellers, if only because it is much, much shorter. But the some of excesses that marred the prior book are here, too. Lewis suffers from foodnote-itis; they can go on for pages and break up the rhythym of reading the book terribly. Either he should integrate the material into the text or he should use notes at the end of the book. He still can't resist inserting himself into the book and making snide and tedious wisecracks, though compared to the Sellers book, he has definitely toned this element down. But the out-of-left-field rhetorical question habit is worse here. My absolute favourite: When discussing the film of Olivier's "Hamlet", he says, "Finally, am I alone in thinking the curtains of Gertrude's bed are spead like the lips of a giant vagina?" Doh! I rather think you are, pal. Either the aforementioned comment is a put-on, or the editor was asleep at the--forgive me--swatch. Speaking of sex, Lewis doesn't like to speak of it, at least directly. He gives it a series of coy, creepy nicknames: "rumpy-pumpy", " and (another favourite) "the bedspring Sonata". What is it with the British, anyway? (That rhetorical question thing is catching).(P) It is also a bad sign that Lewis can't immediately let go of Sellers, and the first part of the book is loaded with references to him and comparisons to Olivier. Apples and mangoes, friends. (P) But studded throughout these excesses, like jewels in *&%!, is some brilliant writing on Olivier's preformances and what excited him about acting. You will just have to hold your nose to enjoy them. (P) And Olivier was great. He was an indifferent father, a poor husband, a jealous colleague, and a manipulative friend, as Lewis makes clear. His love, his energies, his reality went to acting. He was not one of these modern actors who feel obliged to give dumb interviews about the whorishness of the acting profession, and how it is not really suited to a man. Olivier loved and respected his profession, and this book rightly celebrates his triumphs in unlikely ("The Betsy"), small (his wonderfully hostile and whiney Morarity in "The Seven-Per-Cent Solution"), classical ('Richard III'); modern ('The Entertainer') and comedy ("Moscow Nights"). My favourite Olivier performance is none of the above, however. When I was a teenager, I stumbled upon a television showing of William Wyler's "Carrie" (an adaptation of Dreiser's "Sister Carrie." This is an early fifties movie that was a terrible flop when released and was almost immediately forgotten. Olivier is cast as Hurstwood. His fate is horrifying, but such is the power of the performance Olivier gives, you watch until the very last frame. Sometimes this book can convey in words--fleetingly--what Olivier did on the screen. So, in spite of the author's self-indulgences, I recommend it.