From Publishers Weekly
Forman writes that being a movie director requires "innate arrogance," but the power and charm of his autobiography, written with Prague novelist Novak, lies in the absence of arrogance. He tells his astonishing life story with self-deprecation and a sense of the ridiculous. At the same time, the mind behind One Flew over the Cuckoo's Nest and Ragtime is passionately preoccupied with the fate of his fellow Czechs and their torn country. Born in 1932, Forman grew up in a totalitarian state where all art, especially cinema, was perceived as a propaganda vehicle or a threat. He lost both his parents in the Second World War. From then on, Milos was on his own, building his artistic life with his trademark use of little-known actors and allowing the film to make its own mark. From camping out in a bureaucrat's office in Prague to receiving the Oscar for Amadeus , Forman's is a wonderful political and artistic odyssey. He never loses sight of the contributions made by others to his career, creating loving portraits of Twyla Tharp, James Cagney, Jack Nicholson and Peter Shaffer, among others. The memoir is a treat for movie buffs, cultural historians and lovers of the American dream. Photos not seen by PW.
Copyright 1993 Reed Business Information, Inc.
--This text refers to an alternate
Hardcover
edition.
From Library Journal
Not many movie people can say they went to school with Vaclav Havel and had Milan Kundera as a teacher. But film director Forman can, and his experiences growing up in postwar Czechoslovakia constitute the liveliest part of this memoir, written with the help of Prague novelist Novak. Like most foreign-born directors who later make it big in the States, Forman's early movies-- Loves of a Blonde, Audition , and The Firemen's Ball-- are his most compelling. While the films he made here after he defected in 1968 are stellar (they include Oscar champs One Flew Over the Cuckoo's Nest and Amadeus ), his recounting of these shoots never achieves the excitement generated by his descriptions of dodging the Communist censors. Film buffs will enjoy the gossip around the bigger-name movies, and more serious students will glean some directorial insights but none to equal the more comprehensive and theoretical efforts by Bergman and Truffaut. For larger film collections.
- Judy Quinn, formerly with "Library Journal"Copyright 1993 Reed Business Information, Inc.
--This text refers to an alternate
Hardcover
edition.