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Critiques (4)
Critique du Publishers Weekly
In this lively, opinionated, delightful chronicle of the silent film era, film historian Card deflates the ``near-hysterical devotion'' to D. W. Griffith, arguing that his Biograph movies were not revolutionary in comparison with European silents. Moreover, asserts Card, the oft-repeated claim that Griffith invented the closeup and film editing is false; that honor here goes to British filmmaker James Williamson. Card, a pioneer collector and founder of the George Eastman film archive, praises the underrated pretalkie achievements of King Vidor and Cecil B. DeMille, while panning director Josef von Sternberg's ``incredible lapses.'' Studded with glimpses of Clara Bow, Joan Crawford, John Barrymore, Greta Garbo, plus dozens more, and marvelously illustrated with photos and stills, this engaging blend of criticism, history, autobiographical reminiscence and film lore will captivate even those with only a passing interest in the silents. (May) (c) Copyright PWxyz, LLC. All rights reserved
Critique de Kirkus
An uneven but often delightful tribute to the world of predialogue films. Pioneer film collector Card, founder of the Eastman film archive and the Telluride and Montreal film festivals, may be the leading authority on his subject. This revisionist history of silent film, though erratic, is studded with moments of insight and critical understanding. Card calls attention to hundreds of important silents, many overlooked--in part due to the Museum of Modern Art's hegemony over the legacy of early American film. Card has rescued thousands of rare works from oblivion and worked to bring attention to those who produced them. Here he sheds light on the work of directors John Collins, Monta Bell, and Marshall Niehlan; debunks critical overestimation of the contributions of Edison, Eastman, Von Stroheim, and Griffith; and demands reappraisal of neglected work by Cecil B. DeMille and others. His take on the issues is striking: how critics can miss the boat when they see films just once; the undetected influences of filmmakers on one another, such as that of King Vidor on Italian neo-realists; how overemphasis on cinema's auteurs leaves many contributors to great films unappreciated; and how discoveries of early cinematic wonders from Japan, Russia, and elsewhere compel revision of film history. From such acute concerns Card sails into long chapters detailing the careers of favorite stars; here far less critical rigor prevails. He reserves a chapter for an out-of-hand dismissal of semiotics, never really locking horns with the subject. Still, the book's best moments demand reckoning with, and Card's is the beckoning tone of the true addict; his history makes us itch with desire to see the films he describes. Despite its uneven qualities, Seductive Cinema will prove a field day for aficionados and an education for those who remain unaware of early cinema's glories.
Critique de Choice
The compelling power of silent film is celebrated (and adored) in this tremendously engaging work. One of the greatest collectors and archivists of silent film, Card was cofounder and director of the film department at the George Eastman House of Photography. His passion and love for this ambrosial art led him to become its ardent advocate. His historical remembrances are rooted in personal, firsthand experiences rather than in academic documentation. The work itself argues for a revision of the puffed notion of the reputations of filmmakers like D. W. Griffith and Erich von Stroheim, who are customarily placed in the context of the aesthetic brilliance of French, German, and Scandinavian silent cinematographers. He also showcases such neglected treasures as the 1924 Peter Pan and filmmaker King Vidor. While castigating the obscure semiotics of certain film history academics, the book provides a refreshing perspective from one who collected, boosted, and cherished an art whose time is past but not forgotten. Card offers both a delightful, informative, and inspired adventure through the Elysian fields of the silent silver screens and a wonderful festival of significant memories. Highly recommended for all readers. T. Lindvall; Regent University
Critique du Library Journal
With television sitting on the brink of the 500-channel universe, will the silver screen someday go dark? Card, a true lover of cinema and a lifelong devotee of the art of filmmaking, presents numerous arguments on why such a situation should never occur. Card takes the reader on a historical journey through the archives of silent film. All historically relevant film world findings are discussed, including the discovery of motion on a piece of film, the advent of the zoopraxiscope, and the essential close-up shot. The book is such a good read that one can almost smell the nitrate of cellulose. Highly recommended for specialized motion-picture film collections.-Marty D. Evensvold, Magnolia P.L., Tex. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.