If you can judge the quality of a book by how much the reader talks about it, this book is a great success.
When I received it, I quickly told friends about some of the amazing reviews and essays it contained. But I'm getting ahead of myself.
Let me just jump straight into the interview with Phillip Lopate, editor of American Movie Critics: An Anthology From The Silents Until Now
He previously edited The Art of the Personal Essay and other books, and has written several books, as well as a collection of film criticism: Totally Tenderly Tragically.
As a lover of film and good film criticism, I can attest this book is a gem.
Scott Butki: What did you intend to accomplish with this book project? Did you accomplish it?
Phillip Lopate: I wanted to offer up a possible "canon" of American film criticism, or at least start the discussion going, and at the same time to position film criticism as a type of American belles-lettres, a repository of some of the best critical prose we have. I do think I accomplished both aims, to my satisfaction, at least.
SB: How did you decide what to include and what to exclude?
PL: It was very hard to decide what to include and what to exclude. My main emphasis was on the past, and I am particularly proud of the historical sections. I knew the critics I wanted to include, but often they had written so much good stuff (or so much OK but undistinguished stuff) that it was hard to choose. I settled for those pieces that knocked me over, or bit me in the ass. Or were characteristic of some tendency or other. It was impossible to include everything worthwhile that someone like Vachel Lindsay or Manny Farber wrote, so I put in a few pieces that would represent their thinking and achievement.
SB: Which is your favorite selection? Why?
PL: I don't have a single "favorite" selection, but I suppose the selection I did of Otis Ferguson pleased me the most, because he is fantastic and largely forgotten. I also got a kick out of Cecilia Ager, who wrote humorously from the women's fashion angle, and has also been largely forgotten.
SB: For me the most interesting one is the one about Gone With the Wind. That's the one I most wanted to exchange opinions about with fellow movie buffs. I searched in vain for a copy of it online. It's one thing to talk about movies like Crash but quite another to read a black film critic's indictment of this racist movie. What are your thoughts on that piece: "Gone With the Wind Is More Dangerous Than Birth of a Nation?"








Article comments
1 - Rodney Welch
I'm only about a third of the way through, but it's a great and valuable book with some really terrific pieces in it. A lot of those early articles are like schoolwork to sit through, but collectively they give a good picture of people grappling with a new art form. I agree with Lopate about the Otis Ferguson pieces, although I thought his negative appraisal of Citizen Kane was a pretty tough sell. (James Agee didn't like it either, by the way.) Same goes for John Simon on The Last Picture Show -- I got the feeling he was just kind of picking his way through it, aiming his howitzer at little stray faults here and there. The end result was a typically fun, bitchy read, if not a strong case for the prosecution. Anyway, I look forward to reading a lot more in it. And Lopate is right about Ozu's Late Spring. I rented the Criterion Collection disc recently and watched it twice. It's the least sentimental of films, and it broke my heart.
2 - Scott Butki
I haven't read it all because I want to enjoy and it's rich like chocolate. I'm reading the Pauline Kael section this weekend.
Thanks for the comment, Rodney