David Lean
£4.90
In the course of his career, David Lean created some of the most unforgettable images in cinema history: the terrifying opening graveyard sequence in Great Expectations, the poignant railway farewell in Brief Encounter, the shimmering desert of Lawrence of Arabia and the frozen expanses of revolutionary Russia in Dr Zhivago.
Film-maker and historian Kevin Brownlow spent many hours with Lean, who talked openly about a career which lasted over 50 years. Furthermore, Lean’s family and friends – from the son from whom he was estranged, to the women who loved him – talk frankly about his complex personality: a man who was charming, self-deprecating, autocratic and ruthless, and yet surprisingly generous. Brownlow’s definitive biography of Lean leaves the reader with an understanding of the man and an appreciation of his cinematic achievement.
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Additional information
| Publisher | Faber & Faber, Main edition (17 Nov. 1997) |
|---|---|
| Language | English |
| Paperback | 832 pages |
| ISBN-10 | 9780571191680 |
| ISBN-13 | 978-0571191680 |
| Dimensions | 17.4 x 4.7 x 24.6 cm |
by Amazon Customer
I am looking forward to reading this book. However, I didn’t check to see how large it was and how heavy! I bought it to read on my holidays but it was far too cumbersome. Nevertheless I will enjoy reading it in the dar, cosy Winter nights.
by K. Walters
Amazingly detailed book, about a truly inspiring film genius and story teller. Written by somebody who really understands the film industry.
by Jocular
A massive book written with David Lean’s cooperation by someone who knew him very well over a long period. Brownlow spoke to many of his subject’s friends and colleagues as well as spending hours with Lean discussing his life and work in the course of writing this well illustrated, definitive account. Although it is long, it is never boring and I found it difficult to put down.
by Nicholas Casley
This is a review of the paperback edition, published in 1997. The book comprises fifty chapters. There is nine-page introduction by the author, Kevin Brownlow, that sets out how he came to write the biography and why he adopted the oral style that he has. Only Peter O’Toole refused to speak to him.
The oral style that Brownlow adopts – not only with Lean but when interviewing his lovers and friends, his colleagues and acquaintances – brings a more personal feel to the story. For instance, “When I asked David to tell me about `The Passionate Friends’, his reply was prefaced by a scowl like thunder and an immensely long David Lean Silence.” (Note the initial capitals.)
Brownlow had extensive conversations with Lean prior to his death and so is able to convey Lean’s life from his subject’s point of view. But this is no hagiography; Brownlow is critical where he needs to be. As indeed is Lean himself: he tells Brownlow, “I’ve always been convinced I was a second-rater … I’ve always thought, `This is some sort of fluke’.”
As well as tales of triumph and of woe, there is much humour too, such as when making `Hobson’s Choice’ in Salford, a shout went out declaring “Mr Lean wants more scum”. As for woe, Lean himself seems to have had a different woman for each film, excusing himself by asserting that, “If you want to make a good movie, get yourself a new, wonderful woman and that movie will be fifty if not seventy percent better.” Lean’s meanness is also on display, crossing names off credit lists because he did not particularly like the persons concerned.
Thankfully, there is more time spent than usual on a biographer’s subject’s early years. Thus, it is only in chapter three that Lean gets to see his first film, in 1921 when he was thirteen. (I did not realise David Lean had such strong Cornish ancestry, but this should not have been such a surprise considering the contours and look of his face.)
By chapter ten, each chapter is oriented to a certain film, and the book becomes less a personal biography of the man and more a history of the making of his films. At the same time, we learn about the personalities involved as well as the skills and tricks involved in his film-making that make his oeuvre so distinctive. The great films receive multi-chapter attention: there are two chapters each assigned to `Kwai’ and `Ryan’s Daughter’, three for `Lawrence’, four for `Zhivago’. There are two also assigned to the ill-fated `Bounty’ project.
Despite its size and detail, this biography never sags. This is partly due to the subject-matter of course, with its larger-than-life film producers, the constant stream of women, and the fall out from Lean’s own working methods. But the book’s strength also lies in how Brownlow has put his story together. This is no dry biography; like Lean’s own films, Brownlow’s words help narrate a life that was epic in scale.
There are illustrations in the text, but it is the separate plates that really catch the eye. The book also contains the expected filmography, as well as a bibliography, endnotes. and full index.
by David McAlpine Cunningham
The best biography of a movie director ever written.
by Andrew Leisk
A brilliant biography, almost too detailed, but oh what a horrible person. Sorry David you are still my favourite director but you are not a nice person. Great book, it’s a lengthy tome but well worth reading if you are into David Lean.
by edwin m okeefe
Hard work to start with but stick with it – it’s worth it!
by Wingate
Kevin Brownlow has written an excellent biography of Lean,who comes across as self indulgent,selfish,self centered and an egomaniac.So excellent qualification to be a film director.He was often generous but equally could be mean spirited to his wives.His problem seemed to be that elephants overtook his films.He became pampered by producers and when his films didn’t perform they wouldn’t give him what he wanted.For Nostromo Spielberg got him $20million from Warners he then asked for a further $10 million so Warners walked away.For this he blamed Spielberg and wouldn’t talk to him.Lean was an unpleasant man.