A FRONT-ROW SEAT TO A YEAR'S WORTH OF MUST-SEE FILMS
Director, producer, screenwriter, author, actor, and film critic, Peter Bogdanovich knows movies. Now, in this unique new book, he shares his passion with a connoisseur's insight and delight by inviting the reader to join him for a year at the movies--fifty-two weeks, fifty-two films, fifty-two reasons to watch. Which films does Peter Bogdanovich call . . .
"The most hauntingly chilling, strangely prophetic science-fiction picture ever made."
(You'll be treated to it on Halloween)
"A scintillatingly directed comedy."
(Discover it with someone you love on Valentine's Day)
"A bittersweet human comedy of vintage genius [that] only becomes more precious as the years pass."
(Ringing in the New Year with it is reason enough to celebrate)
With recommendations specific to the seasons and holidays--from sparkling comedies, timeless musicals, landmark foreign films, powerful dramas and thrillers to legendary masterpieces and neglected treasures--Bogdanovich's eclectic cinematic calendar of classics, each available on video, each accompanied by an illuminating essay, and each followed by a list of tie-in recommendations, makes the perfect date for movielovers every week of the year.
From the Trade Paperback edition.
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|Title of eBook: Peter Bogdanovich's Movie of the Week|
|Release Date: 12-22-2010|
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|Publisher: Random House Publishing Group|
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Peter Bogdanovich's Movie of the Week
Well, the majority of the filmmakers in this book--like the majority of the actors--are represented by only one film. My hope is that readers may be so intrigued by the one they read about, and then view, that they will search out the several others I've noted at the end of each recommendation--and thereby find themselves again in the presence of the same personality, the same aura.
Writing nearly all of these pieces (or their nucleus) on a weekly deadline for my column on the TV page of the iconoclastic New York Observer, I was decidedly at the mercy of what the next week's (uncut and uninterrupted) New York City television selections were to be. Usually I chose either the film I thought was best or the one about which I felt most impelled to write at that moment.
Occasionally, if I had recommended one director's work over too many weeks, I would make another choice. Or if there was an arcane picture I thought wouldn't appeal to as many people, I would go instead for a more easily understandable or popular choice, because essentially I was writing not for film buffs but for an audience with a wider interest than movies and so with less time for the esoteric. Also, since it was primarily a New York audience, fewer Westerns (to which I'm partial) were chosen because I've fo...