David Thomson – författare

“A marvelous bombshell of a book, by one of our most formidably knowledgeable and insightful writers on film, it is filled with surprises and witty asides. Though Thomson is quick to pounce on the hypocrisies and historical omissions of some of these war movies, there is nothing compromised about his own daredevil judgments. We are in the hands of a master critic/essayist.”—Phillip LopateFrom one of the greatest living writers on film, a magisterial look at a century of battle depicted on screen, and a meditation on the twisted relationship between war and the movies.In The Fatal Alliance the acclaimed film critic David Thomson offers us one of his most provocative books yet—a rich, arresting, and troubling study of that most beloved genre: the war movie. It is not a standard history or survey of war films, although Thomson turns his typically piercing eye to many favorites—from All Quiet on the Western Front to The Bridge on the River Kwai to Saving Private Ryan. But The Fatal Alliance does much more, exploring how war and cinema in the twentieth century became inextricably linked. Movies had only begun to exist by the beginning of World War I, yet in less than a century, had transformed civilian experience of war—and history itself—for millions around the globe. This reality is the moral conundrum at the heart of Thomson’s book. War movies bring both prestige and are so often box office blockbusters; but is there something problematic at how much moviegoers enjoy depictions of violence on a grand scale, such as Apocalypse Now, Black Hawk Down, or even Star Wars? And what does this truth say about us, our culture, and our changing sense of warfare and the past?

From one of the greatest living writers on film, a magisterial look at a century of battle depicted on screen, and a meditation on the twisted relationship between war and the movies.Thomsons own genius is his ability to remain one of the leading authorities on cinematic history, without shying away from the controversial. Cinephiles seeking provocative arguments will appreciate his work.Library JournalInThe Fatal Alliance the acclaimed film critic David Thomson offers us one of his most provocative books yeta rich,arresting, and troubling study of that most beloved genre: the war movie. It is not a standard history or survey of war films, although Thomson turns his typically piercing eye to many favoritesfromAll Quiet on the Western FronttoThe Bridge on the River KwaitoSaving Private Ryan.ButThe Fatal Alliancedoes much more, exploringhow war and cinema in the twentiethcentury became inextricably linked. Movies had only begun to exist by the beginning of World War I, yet in less than a century, had transformed civilian experience of warand history itselffor millions around the globe. This reality is the moral conundrum at the heart of Thomsons book. War movies bring both prestige and are so often box office blockbusters; but is there something problematic at how much moviegoers enjoy depictions of violence on a grand scale, such asApocalypse Now, Black Hawk Down, or evenStar Wars? And what does this truth say about us, our culture, and our changing sense of warfare and the past?

Woodbrook is a rare house that gives its name to a small, rural area in Ireland, not far from the old port of Sligo. It has been owned since the seventeenth century by the Anglo-Irish Kirkwoods. In 1932, David Thomson, aged eighteen, went there are a tutor. He stayed for ten years.This memoir, acknowledged as a masterpiece, grew out of two great loves - for Woodbrook and for Phoebe, his pupil. In it he builds up a delicate, lyrical picture of a gentle pre-war society, of Irish history and troubled Anglo-Irish relations, and of a delightful family. Above all, his story reverberates with the enchantment of falling in love and with the desolation of bereavement.

Set in the 1920s, this marvellously sensitive autobiography recreates the varied community of Nairn, with its fishermen and townsfolk, its crofters and its prosperous upper-middle-classes. Nairn has witnessed many of the triumphs and tragedies of Scottish history, and these are recalled with intuitive understanding. But it is also the scene of David Thomson's formative years when he suffered an eye injury which nearly blinded him and shaped his whole future.Winner of the McVitie's Prize and the first NCR Book Award For Non-Fiction

A history of Europe since Napoleon, covering all of the main topics of that period.

In this triumphant work David Thomson, one of film's greatest living experts and author of The New Biographical Dictionary of Film, tells the enthralling story of the movies and how they have shaped us.Sunday Times, New Statesman, The Times, Guardian, Observer and Independent BOOKS OF THE YEARTaking us around the globe, through time and across multiple media, Thomson tracks the ways in which we were initially enchanted by this mesmerizing imitation of life and let movies - the stories, the stars, the look - show us how to live. But at the same time he shows us how movies, offering a seductive escape from the everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless citizens trying to pursue happiness by sitting quietly in a dark room. Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this great adventure of a book. A passionate feat of storytelling that is vital to anyone trying to make sense of the age of screens - the age that, more than ever, we are living in.

This is possibly the most entertaining, surprising and enjoyable film book ever written. Thomson set himself the near-foolhardy task of writing one page each on 1000 of the films that he has particularly liked – or in some cases, abhorred. Some half-million words of funny, vigorous, wayward prose later, we are all the happy beneficiaries of his deranged labour. Always unexpected, never repetitive, ‘Have You Seen…?’ can be read consecutively – from Abbott and Costello Meet Frankenstein to Zabriskie Point – or dipped into over many years, and it is a masterclass in how to write about films and how to love them. Sometimes Thomson will be interested in the director, sometimes in the culture that made such a film possible at such a time, sometimes in the stars (always in the stars, to be honest), and sometimes even in the outrageous cynicism and corruption of most financial backers. ‘Have You Seen…?’ is crammed with great love stories, westerns, musicals, war stories, comedies, and dramas. It is as in awe of film noir as of silent farce, and adores Hollywood but also favours British, Japanese and European cinema: camp disasters, kitsch and pretention hold no fears. If Thomson has a bottom line it is his incredulity that so much that is so enjoyable and moving and worthwhile was ever made at all – and that thanks to DVD we can now watch it forever. ‘Have You Seen…?’ will redirect how you spend your evenings for the rest of your life – for the better.

'Ingrid Bergman was far more than just a sweet, virtuous, "natural" Swedish girl - she was a dark sensualist over whom many men might go mad. Her very gaze delivered a climate of adult romantic expectation.'Adored by millions for her luminous beauty and elegance, at the height of her career Ingrid Bergman commanded a love that has hardly ever been matched, until her marriage fell apart and created an international scandal. Here renowned film writer David Thomson gives his own unique and original take on a woman who was constantly driven by her passions and by her need to act, even if it meant sacrificing everything.

'She could look demure while behaving like an empress. Blonde, with eyes like pearls too big for her head, she was very striking, but marginally pretty and certainly not beautiful ... But it was her edge that made her memorable - her upstart superiority, her reluctance to pretend deference to others.'Bette Davis was the commanding figure of the great era of Hollywood stardom, with a drive and energy that put her contemporaries in the shade. She played queens, jezebels and bitches, she could out-talk any male co-star, she warred with her studio, Warner Bros, worked like a demon, got through four husbands, was nominated for seven Oscars and - no matter what - never gave up fighting. This is her story.

'Cooper was heroic, of course, in his own mind as much as in his scripts. He was manly, tall, ruggedly handsome. He was a man for a fight.'On screen he was the ultimate all-American hero: lean, laconic and masculine, a lone sheriff battling his enemies in High Noon, or a tough individualist in The Fountainhead. Off screen he bedded a host of leading ladies and carefully honed his image, making hundreds of movies and winning two Oscars in the process. Acclaimed film writer David Thomson explores the career and the contradictions of 'Coop', the star who lived the dream in the golden age of Hollywood.

'Look, I'm hardly pretty, he seems to say. I sound like gravel; I look rough and tough; and, honest, I don't give you the soft, foolish answers the pretty boys will give you. You may not like what I say, but you better believe it.'He became a legend as 'Bogie', the world-weary, wise-cracking outsider, but in reality Humphrey Bogart was plagued by doubts and demons. He was born upper-class yet made his name playing mavericks, drank with the rat pack and met four wives on set - including his great love, Lauren Bacall - yet always mistrusted stardom. Here David Thomson, one of film's most provocative writers, reveals the man behind cinema's greatest icon.

In this triumphant work David Thomson, one of film's greatest living experts and author of The New Biographical Dictionary of Film, tells the enthralling story of the movies and how they have shaped us.Sunday Times, New Statesman, The Times, Guardian, Observer and Independent BOOKS OF THE YEARTaking us around the globe, through time and across multiple media, Thomson tracks the ways in which we were initially enchanted by this mesmerizing imitation of life and let movies - the stories, the stars, the look - show us how to live. But at the same time he shows us how movies, offering a seductive escape from the everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless citizens trying to pursue happiness by sitting quietly in a dark room. Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this great adventure of a book. A passionate feat of storytelling that is vital to anyone trying to make sense of the age of screens - the age that, more than ever, we are living in.

Much more than a word list, the Oxford American Writer's Thesaurus is a browsable source of inspiration as well as an authoritative guide to selecting and using vocabulary. This essential guide for writers provides real-life example sentences and a careful selection of the most relevant synonyms, as well as new usage notes, hints for choosing between similar words, a Word Finder section organized by subject, and a comprehensive language guide. The text is alsopeppered with thought-provoking reflections on favorite (and not-so-favorite) words by noted contemporary writers, including Joshua Ferris, Francine Prose, David Foster Wallace, Zadie Smith, and SimonWinchester, many newly commissioned for this edition.The third edition revises and updates this innovative reference, adding hundreds of new words, senses, and phrases to its more than 300,000 synonyms and 10,000 antonyms. New features in this edition include over 200 literary and humorous quotations highlighting notable usages of words, and a revised graphical word toolkit feature showing common word combinations based on evidence in the Oxford Corpus. There is also a newintroduction by noted language commentator Ben Zimmer.

From cinema’s most distinguished and ‘The best writer on film in our time’ (Michael Ondaatje) comes a masterful assessment of the whole sweep of movie history‘The movies traded on the liberation of secret desires—drive that car as fast as you can; turn your humble abode into a palace; conquer all the mean spirits in the world; be as free and winsome as the Tramp yet as rich as Charlie … Every lowlife can be a Corleone.’Every flicker of light has its shadow. In this masterful reassessment of the whole arc of movie history, David Thomson, film’s wisest and most penetrating critic, shows us how cinema has entranced and transported us, but also profoundly changed us.From the earliest days of the first picture shows to the screens of today, Thomson glories in the great movies. Sharp, arresting readings of films from Metropolis to Rear Window, The Godfather to Anora can be found in these pages. Yet there is unease, too, at how cinema suckered us into a fantasy neverland that only looks like life. Hungry for spectacle and happy endings, submitting to voyeurism and villainy, we have let films change the way we experience reality; a habit of passivity that may have even betrayed our culture and our politics.As Thomson says, ‘This is our history, and our show.’ The result of a lifetime of immersion and reflection, this book is a reckoning and a testament from a writer who sees like no other.

A provocative, highly engaging essay on the art of pretending on the stage, on screen, and in daily lifeDoes acting matter? David Thomson, one of our most respected and insightful writers on movies and theater, answers this question with intelligence and wit. In this fresh and thought-provoking essay, Thomson tackles this most elusive of subjects, examining the allure of the performing arts for both the artist and the audience member while addressing the paradoxes inherent in acting itself. He reflects on the casting process, on stage versus film acting, and on the cult of celebrity. The art and considerable craft of such gifted artists as Meryl Streep, Laurence Olivier, Vivien Leigh, Marlon Brando, Daniel Day-Lewis, and others are scrupulously appraised here, as are notions of “good” and “bad” acting.  Thomson’s exploration is at once a meditation on and a celebration of a unique and much beloved, often misunderstood, and occasionally derided art form. He argues that acting not only “matters” but is essential and inescapable, as well as dangerous, chronic, transformative, and exhilarating, be it on the theatrical stage, on the movie screen, or as part of our everyday lives.

A renowned movie critic on film’s treatment of one of mankind’s darkest behaviors: murder  “[Thomson’s] analysis of death in Hitchcock movies is gorgeous. His restlessness is palpable. There is an anxiety in this brief, hurried book that suits these political and medical times.”—Lisa Schwarzbaum, New York Times Book Review  Included in the New York Times Book Review’s “Best Books to Give” holiday list, 2020  How many acts of murder have each of us followed on a screen? What does that say about us? Do we remain law-abiding citizens who wouldn’t hurt a fly?  Film historian David Thomson, known for wit and subversiveness, leads us into this very delicate subject. While unpacking classics such as Seven, Kind Hearts and Coronets, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process.  By turns seductive and astringent, very serious and suddenly hilarious, Murder and the Movies admits us into what Thomson calls “a warped triangle”: the creator working out a compelling death; the killer doing his and her best; and the entranced reader and spectator trying to cling to life and a proper sense of decency.

Behind the scenes at the legendary Warner Brothers film studio, where four immigrant brothers transformed themselves into the moguls and masters of American fantasyWarner Bros charts the rise of an unpromising film studio from its shaky beginnings in the early twentieth century through its ascent to the pinnacle of Hollywood influence and popularity. The Warner Brothers—Harry, Albert, Sam, and Jack—arrived in America as unschooled Jewish immigrants, yet they founded a studio that became the smartest, toughest, and most radical in all of Hollywood.  David Thomson provides fascinating and original interpretations of Warner Brothers pictures from the pioneering talkie The Jazz Singer through black-and-white musicals, gangster movies, and such dramatic romances as Casablanca, East of Eden, and Bonnie and Clyde. He recounts the storied exploits of the studio’s larger-than-life stars, among them Al Jolson, James Cagney, Bette Davis, Errol Flynn, Humphrey Bogart, James Dean, Doris Day, and Bugs Bunny. The Warner brothers’ cultural impact was so profound, Thomson writes, that their studio became “one of the enterprises that helped us see there might be an American dream out there.”

A deep—and darkly comic—dive into the nature of disasters, and the ways they shape how we think about ourselves in the world  “In this brilliant book, David Thomson tells the story of how we came to make disaster and catastrophe our best friends—how we let terror cocoon and take over our imaginations to avoid seeing the things that really frighten us. Riveting and totally original.”—Adam Curtis, BBC filmmaker and political journalist  “Erudite. . . . Engaging. . . . A cri de coeur about art’s struggle to keep up with reality.”—Kirkus Reviews  Audiences swell with the scale of disaster; humans have always been drawn to the rumors of our own demise. In this searching treatment, noted film historian David Thomson examines iconic disasters, both real and fictional, exposing the slippage between what occurs and what we observe. With reportage, film commentary, speculation, and a liberating sense of humor, Thomson shows how digital culture commodifies disaster and sates our desire to witness chaos while suffering none of its aftereffects.  Ranging from Laurel and Hardy and Battleship Potemkin to Cormac McCarthy’s The Road, and from the epic San Andreas to the intimate Don’t Look Now, Thomson pulls back the curtain to reveal why we love watching disaster unfold—but only if it happens to others.

How many acts of murder have each of us followed on a screen? What does that say about us? Do we remain law-abiding citizens who wouldn't hurt a fly?Film historian David Thomson, known for wit and subversiveness, leads us into this very delicate subject. While unpacking classics such as Seven, Kind Hearts and Coronets, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process. By turns seductive and astringent, very serious and suddenly hilarious, Murder and the Movies admits us into what Thomson calls "e;a warped triangle"e;: the creator working out a compelling death; the killer doing his and her best; and the entranced reader and spectator trying to cling to life and a proper sense of decency.

A leading film critic on the evolving world of streaming media and its impact on society  The city at night under lockdown, a time of plague and anxiety. It is an exciting new age of television, the light that flutters in every cell in the city. But no one seems to be asking: What is the endless stream doing to us?  In Remotely, the most innovative writer on film and screens asks what happened to us as we sought consolation under lockdown by becoming a society of bingeing creatures. From Candid Camera and I Love Lucy to Ozark, Succession, and Chernobyl, David Thomson and his wife, Lucy Gray, wander through shows old and new, trying to pin down the nature and justification for what we call “entertainment.” Funny, mysterious, and warm, at last here is a book that grasps the extent to which television is not just a collection of particular shows—hits and misses—but a weather system in which we are lost pilgrims searching for answers.

A deep-and darkly comic-dive into the nature of disasters, and the ways they shape how we think about ourselves in the world"e;In this brilliant book, David Thomson tells the story of how we came to make disaster and catastrophe our best friends how we let terror cocoon and take over our imaginations to avoid seeing the things that really frighten us. Riveting and totally original."e; Adam Curtis, BBC filmmaker and political journalist"e;Erudite. . . . Engaging. . . . A cri de coeur about art's struggle to keep up with reality."e; Kirkus ReviewsAudiences swell with the scale of disaster; humans have always been drawn to the rumors of our own demise. In this searching treatment, noted film historian David Thomson examines iconic disasters, both real and fictional, exposing the slippage between what occurs and what we observe. With reportage, film commentary, speculation, and a liberating sense of humor, Thomson shows how digital culture commodifies disaster and sates our desire to witness chaos while suffering none of its aftereffects. Ranging from Laurel and Hardy and Battleship Potemkin to Cormac McCarthy's The Road, and from the epic San Andreas to the intimate Don't Look Now, Thomson pulls back the curtain to reveal why we love watching disaster unfold but only if it happens to others.

David Thomson, one of our most celebrated film writers, gives us a haunting, fascinating memoir about growing up as an only child in wartime England.  He was born in London in the aftermath of the war, where he was raised by his mother, grandmother, and upstairs tenant, Miss Davis.  He remembers how his grandmother brought him to a street corner to see Churchill and how the bombed-out houses that still smelled of smoke became his playground. We see Thomson attempt to overcome his profound sadness at being abandonded  by his cold and distant father by finding solace in the cinema houses.  Movies became his great escape, and the worlds revealed in Red River, The Third Man, and Citizen Kane helped to alleviate his loneliness and bolster his rich imaginative life. From the Trade Paperback edition.

From the brilliant film historian and critic David Thomson, a book that reinvents the star biography in a singularly illuminating portrait of Nicole Kidman—and what it means to be a top actress today. At once life story, love letter, and critical analysis, this is not merely a book about who Kidman is but about what she is—in our culture and in our minds, on- and offscreen.Tall, Australian, one of the striking beauties of the world, Nicole Kidman is that rare modern phenomenon—an authentic movie star who is as happy and as creative throwing a seductive gaze from some magazine cover as she is being Virginia Woolf in The Hours. Here is the story of how this actress began her career, has grown through her roles, taken risks, made good choices and bad, and worried about money, aging, and image.Here are the details of an actress’s life: her performances in To Die For, The Portrait of a Lady, Eyes Wide Shut, Moulin Rouge!, The Hours, and Birth, among other films; her high-visibility marriage to Tom Cruise; her intense working relationship with Stanley Kubrick and her collaborations with Anthony Minghella and Baz Luhrmann; her work with Jude Law, Anthony Hopkins, Renée Zellweger, and John Malkovich; her decisions concerning nudity, endorsements, and publicity.And here are Thomson’s scintillating considerations of what celebrity means in the life of an actress like Kidman; of how the screen becomes both barrier and open sesame for her and for her audience; of what is required today of an actress of Kidman’s stature if she is to remain vital to the industry and to the audiences who made her a prime celebrity.Impassioned, opinionated, dazzlingly original in its approach and ideas, Nicole Kidman is as alluring and as much fun as Nicole Kidman herself, and David Thomson’s most remarkable book yet.From the Hardcover edition.

Rosebud is a riveting and powerful portrait of the rise and fall of one of Hollywood's greatest innovators - the man who brought us Citizen Kane and then lost himself to obesity, small talk and conjuring tricks on daytime television. With humour, pace and the twists of a mystery story, acclaimed film critic and writer David Thomson probes the essential questions surrounding Welles, exploring the ferocious energy and demonic intellect behind the boy genius. Challenging, idiosyncratic, compelling: Rosebud understands Welles as no other study has, and in a way that leaves the reader breathless, amused and deeply moved by the wonder that was once Orson.

A book that sees Hollywood as an idea, a trick, a religion even that swept the world, a book that knows what the bosses did, and why and how, but which also feels the impact on the mass audiences in the dark auditoriums. There isn't a book that explains - even at a basic level - how the business, the money, of pictures operates. THE WHOLE EQUATION takes the history and describes the grand panorama so that the reader knows how he or she fitted in, along with Bogart, the Marx Brothers and Daryl Zanuck. The business is the neglected aspect of the story, neglected because its truths threaten the alleged magic, the romance of the movies. Yet, the money is the true sexual secret of Hollywood, and David Thomson leaves the reader quite clear, that amid all the hype and pretension, we should always 'follow the money'.

With more than one hundred new entries, from Amy Adams, Benedict Cumberbatch and Cary Joji Fukunaga to Joaquin Phoenix, Mia Wasikowska and Robin Wright, and completely updated, here from David Thomson - ''The greatest living writer on the movies'' (John Banville, New Statesman); ''Our most argumentative and trustworthy historian of the screen'' (Michael Ondaatje) - is the latest edition of The New Biographical Dictionary of Film, which topped Sight & Sound''s poll of international critics and writers as THE BEST FILM BOOK EVER WRITTEN.

Published in 1984: This is a working text and guide to the context of treatises which have so far not played their full part in the study of the late Middle Ages.