5 of 5 people found the following review helpful
5.0 out of 5 stars
From a fan of history/non-fiction - 4.5 stars, Aug 26 2010
By reader984 - Published on Amazon.com
This review is from: Another Fine Mess: A History of American Film Comedy (Paperback)
Thoughtful exploration of an often overlooked - yet clearly formative and distinctly American - aspect of our culture. Also made me feel more versed in the culture of an earlier era which I knew little about; enjoyed reading about Buster Keaton and WC Fields, for example. Division of chapters makes it easy to pick up. Good subway reading. Good stuff. 4.5 stars.
3 of 3 people found the following review helpful
5.0 out of 5 stars
Spectacular!, Sep 15 2010
By Ari Vander Walde "avanderw" - Published on Amazon.com
This review is from: Another Fine Mess: A History of American Film Comedy (Paperback)
I had so much fun reading this book? It made me feel like I was watching all my favorite movies all over again, but even better. Usually, explaining why a joke is funny is extremely un-funny, but Saul Austerlitz takes the best moments of comic film history and makes them even funnier by putting them in context. I laughed as I was being told why I was laughing. The writing is superb. Very intelligent but not condescending. And the author treats all comedy as serious art, be it old stars that we don't see much nowadays but critics love to discuss amongst themselves, or modern-day low-brow comedy like Scary Movie and it's offshoots. I felt validated in the fact that a movie doesn't have to be "important" to be important. I'm hoping for a sequel, if only I could read it again!
3 of 4 people found the following review helpful
2.0 out of 5 stars
Tedious style, Dec 1 2010
By SOS - Published on Amazon.com
This review is from: Another Fine Mess: A History of American Film Comedy (Paperback)
I'm sorry, but trying to read a whole book of sentences like, "There are echoes of Awful Truth's cunning, with Grant marvelously professing mock-befuddlement over Dunne's desert-island companion (Randolph Scott), but Lubitsch's smoothness has been elided, replaced by a klutzy, anxious energy native to Cary Grant alone" just gets me down. The author continues this style throughout the whole book, and I really miss simple sentences and straightforward narration. In addition, he makes catty remarks throughout the book (such as referring to a biographer as a "hagiographer"), and appears to have swallowed unsubstantiated Hollywood gossip as gospel truth. More research, a simpler style, and less intrusion of unpleasant opinions would have made this a much better book.