- Hardcover: 304 pages
- Publisher: Key Porter Books; 1 edition (Oct. 27 2004)
- Language: English
- ISBN-10: 1552632113
- ISBN-13: 978-1552632116
- Product Dimensions: 17 x 2.8 x 24.1 cm
- Shipping Weight: 739 g
- Average Customer Review: 2 customer reviews
- Amazon Bestsellers Rank: #377,093 in Books (See Top 100 in Books)
This Terrible Business Has Been Good to Me Hardcover – Oct 27 2004
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Though perhaps best known for searing dramas like The Hurricane, filmmaker Norman Jewison has always had a sure hand with comedy, too. In a film and television career that dates back to the early '50s, the director also earned critical and commercial success for the lighter likes of The Russians Are Coming, The Russians Are Coming and Moonstruck. Always eager to entertain, Jewison begins this memoir on a farcical note. By 1969, he had already gone from directing live TV for the CBC to becoming one of Hollywood's most celebrated young talents. One night, he was called to a meeting by Arthur Krim, the head of United Artists. The movie-biz icon pitched Jewison on directing a major project: the film adaptation of Fiddler on the Roof, the hit musical based on the stories of Sholom Aleichem. Jewison was dumbstruck by the offer--"I could hardly breathe," he writes. But then he realized that Krim had made a common mistake. Jewison--the Toronto-born son of a Methodist father and an Anglican mother--made a confession. "What would you say if I told you I'm a goy?"
Krim still gave him the gig. By making a great film of Fiddler on the Roof, Jewison proved that he didn't need to be Jewish to celebrate the culture's traditions, just as he didn't need to be African-American to portray the evils of racism so powerfully in In the Heat of the Night and A Soldier's Story. As a kid growing up in Toronto in the '30s--an era in which the city was wracked by anti-Semitic violence--he often confronted bigotry at the hands of bullies who made the same mistake Krim did. "I had felt I shared a bond with the real Jewish kids I went to school with," writes Jewison. "It had a lot to do with being treated as a minority, an outsider, a victim, and the feeling never left me for the rest of my life." He was further politicized by his experiences as a young man hitchhiking through the American South. Rage against racism and injustice has always fuelled the best work by this self-professed "Canadian pinko."
Readers who come to star-gaze will enjoy Jewison's anecdotes about the actors he's directed--Steve McQueen, Cher, Denzel Washington--but it's his integrity and staunch commitment to social causes that make This Terrible Business Has Been Good to Me so engaging. This may be the only movie-biz memoir in which Bobby Kennedy figures as prominently as Judy Garland. And though some readers might wish he divulged more about the craft of filmmaking--and about the controversies in his career, like the public spat with Spike Lee over who was to direct a biopic about Malcolm X--Jewison knows how to craft a lively story. --Jason Anderson
From Publishers Weekly
Jewison's movies have received 12 Academy Awards and 46 nominations, a remarkable record for a filmography that numbers only 25 films. His autobiography's unassuming style offers a clear, accessible portrait of the man and overflows with revealing anecdotes about such luminaries as Steve McQueen, Doris Day, Al Pacino, Sidney Poitier and Denzel Washington. After finding success in live television working with Judy Garland, Jackie Gleason and Danny Kaye, Jewison began his motion picture career with 40 Pounds of Trouble (1962); survived a bomb, The Art of Love (1965); and eventually turned out a series of classics: The Cincinnati Kid (1965), The Thomas Crown Affair (1968), Fiddler on the Roof (1971) and Moonstruck (1987). He defines Doris Day (The Thrill of It All, 1963) as a consummate comedian who lacked confidence in her appearance; and Sylvester Stallone (F.I.S.T., 1978) as someone who "behaved like he believed his own publicity." Jewison also describes his approach to filmmaking, explaining his actions at the all-important pitch meeting, and demonstrates how focused a director must be. Honest without becoming a tell-all or an airing of personal problems, the book is a successful study of what it takes to triumph in Hollywood and achieve artistic satisfaction. Photos. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
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If you are looking for a tell-all about backstage drama or affairs with stars, this isn't it. The director is careful to control all the images in the book so that he never appears to be the bad guy and only rarely makes any kind of bad decision. He spins movies that were not that good into self-perceived classics. He overlooks the fact that he wrecked some films (most notably Fiddler on the Roof and Jesus Christ Superstar--though today people don't recall the original outcry over Jewison's bizarre adaptations) and instead chooses to focus on his own brilliance.
This would have been much better if he would have opened up and revealed more of himself. His lack of vulnerability results in stories that don't reveal much about the films he made. Steve McQueen was standoffish, so the director tells of how he talked McQueen into thinking of him as an "older brother" and suddenly he was in McQueen's "inner circle." Okay--but there's nothing very interesting about that. What about some inside stories about his time with the star instead? He says Doris Day didn't think she was pretty and would refuse to come to the set--so he would go to her trailer and comfort her. Okay--he plays himself off as the hero again, but there isn't anything interesting or insightful about that story either.
The book is page after page of the director giving rather insignificant information about his directing of films and actors, always making himself look good. There is no real perspective or inner revelations. When he fails (such as unable to get Mae West to star in one of his films) he doesn't deal with the failure and instead makes others look bad (slamming Mae West's home or her desire to change the script).
The most interesting part is the fact that he isn't Jewish--though most people assume he is. He doesn't deal with that issue much either and it would have made for some interesting insights into the Hollywood community. He glosses over the chance to deal with his own spirituality and instead does a little political ranting about how terrible America was in the 1960s (he even sent his family's green cards back to the U.S. government in protest and they left the country!). This is a man filled with self-importance, one who lacks humility and doesn't show much appreciation to others for his good fortune.
Fiddler has a line that says something like "the rabbi who praises himself has a congregation of one." In this case Jewison appears to be writing to his audience of one--himself.
I thumbed through the book, reading bits and pieces. On the back cover was a praising review from Gore Vidal - Strike 1. Below that was a praising review from Cher - Strike 2. Inside was a picture of Jewison with Governor Bill Clinton of Arkansas - Strike 3. Not to mention the book states John Wayne supposedly called Jewison a "pinko Canadian." Also not to mention a few other things I found offensive. I put the book back on the shelf, kept looking and wound up buying "Capote," about the life of Truman Capote. He was a Southerner, a writer, hob-nobbed with the rich and famous, and on the back book cover it said he had a feud with Gore Vidal. Home run.
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