Easy Rider, Raging Bulls follows the wild ride that was Hollywood in the 70s - an unabashed celebration of sex, drugs, and rock 'n' roll (both on screen and off) and a climate where innovation and experimentation reigned supreme.
©1999 Peter Biskind; (P)2008 Brilliance Audio, Inc.
"Peter Biskind's great, scathing, news-packed history...is one hell of an elixir - salty with flavorsome gossip, sour with the aftertaste of misspent careers, intoxicating with one revelation after another...an 'A.'" (Entertainment Weekly)
Real Eye Opener!
This book is fascinating if you studied film in the '70's or are a film buff. We idolized these guys, analyzed their movies with great seriousness, intently picked apart all the details, wrote papers on them...hearing the back story here completely floored me. All these guys are people just like us, only they were given free reign to go berserk professionally, financially and many times personally. I adored this book, I laughed out loud all the way through it. An amazing bunch of guys (and a few of the wives and girlfriends stand out too), they made movies I've never stopped loving, but this book did me a favor and brought them out of my college days' perceived god status of them and brought them down to earth.
Yes, just as good. He is only suited for a certain type of book and this is definitely one of them!
Way too long to do that but I HATED to finally reach the end. In theory, yes.
This is a great education about the wonderkids of Hollywood. I'm sure the people talked about by the author would love to have this book banned. Sorry, no banning in America. They are just like you and me, except they make millions of dollars and live in unreal worlds. If you like living history and gossip, you'll love this book.
People say I resemble my dog (and vice-versa). He can hear sounds I can't hear, but I'm the one who listens to audiobooks.
This book is chock full of great inside baseball on the making of many of the great classic movies of the late 60s and 70s and juicy gossip about the directors, actors and other Hollywood figures who made them. That alone is worth the price of admission.
On the other hand, the analysis from the point of view of film history left me feeling like something was missing -- the audience. So many of these now-classic films were made under protest or fraught with production problems or in some cases even total accidents, and by contrast, so many of the labors of love and pet projects and can't-miss efforts were failures, yet the analysis never looks at the vagaries of public tastes, opinions and reactions and the overriding determinant of what works and what doesn't.
I would recommend the book to friends because of all the salacious detail and the many forgotten facts (e.g. Raging Bull was critical and commercial flop when it was first released). But I would warn them that beyond that, the analysis was less than rigorous.
Not really relevant in a non-fiction work that touched on many, many different real-life characters and quoted scores of people. But Hill does a good job of narrating those many quotes.
Because the analysis was suspect, it can be argued that at 24 hours, it was overlong. It would have worked better as an inside look at the making of these movies without the analysis, in which case it would have probably come in at a more manageable 16-18 hours.
In addition to overlooking the impact of audiences and lionizing some questionable characters who often stumbled into their success, the history of 70s cinema as presented here is myopic. First of all, to draw a straight line from Bonnie and Clyde through Heaven's Gate is a mistake, because there is one line that goes up to Jaws and Star Wars and another than emerges from the impact of those two blockbusters (the book does not overlook that impact, but it doesn't treat it as the watershed it truly was).
But more than that, there is no more than token mention of the groundbreaking Hollywood filmmaking of the post-war era that set the stage for the "New Hollywood" and the independent cinema that emerged from the ashes of Heaven's Gate. Kudos to the author for giving so much attention to the often forgotten Hal Ashby, but others that emerged from the live TV dramas of the 50s are barely mentioned (e.g. Lumet) or not mentioned at all (most egregiously, George Roy Hill), even though they were responsible for some of the seminal films of the era.
Likewise, the ruination of Hollywood that we are left with at the conclusion makes no mention of the fact that The Return of the Secaucus Seven had already launched indie film, to be followed by the likes of Jarmusch, the Coens, Spike Lee, Soderbergh, et.al. in the 80s, that Hollywood still had some tricks up its sleeve (John Hughes, Barry Levinson, Rob Reiner, Ridley Scott, Oliver Stone, James Cameron -- how many people remember that The Terminator was an independent film that was a total sleeper when it first came out?), that Miramax was already founded before the end of the 80s, that the midnight movie phenomenon had already launched auteurs like David Lynch and John Waters, and that there were still a lot of good imports coming from other countries (despite this book's assertion that foreign film became irrelevant once Hollywood films were allowed to show nudity and sex).
And newsflash for the author: Woody Allen has directed 45 movies since the only one that is mentioned in this book (What's New Pussycat, which he didn't even direct), many of the most important of those during the New Hollywood era and immediately thereafter.
What a crazy decade for film! All the greats thrived and crashed under their own ambition. See how art transformed into commerce and studio vs creative battles shaped the modern entertainment industry.
confused muddled excess
The back story of the making of Easy Rider.
I found the narrator's heavy gruff voice and accent a bit off putting.
I love movies, directors and the stories behind the 115 minutes of entertainment we see on the silver screen. I grew up watching many of these movies in the theaters and remember them dearly. In this light, I enjoyed the book.
However, I found the overall style of writing a bit confusing. Chapter story line were so intermingled at times, with so many characters, that I was at times confused who was who and what movie they were talking about.
lastly, if everything was true, in terms of personal life choices, by the real life persons in the book, it is amazing anything was every produced and that many of them are still alive. What a hard way to live; careless sex, drugs, alcohol, and back stabbing vengeance should have taken a greater toll.
I struggled through half of the book but could not finish it. It's an endless chain of unrelated incidents bent on showing how horrible the new age directors of the 70's were. I am also not a fan of Dick Hill's narration where everything sounds like a scream.
I am 40, too young to have been around during the times this book references. But I know every movie mentioned and dissected, nearly every director, producer, actor mentioned because my father is a huge movie aficionado. This book is amazing. I actually recommended it to my dad right after I finished it, and he's reading it now.
It does lean to the tabloid feel with the stories told, but I get the impression the entire era was a series of tabloid exploits. These people lived tabloid lives, and they are fascinating.
Anyone who enjoys the politics and personas of film making will thoroughly enjoy this listen. And you will wonder how the heck these people made it out of the 70's alive.
I don't doubt that most, if not all, of this book's revelations about Hollywood's hero directors and producers of the 1970s are true. It's just that after a while, tale after tale of drugs, sex, megalomania, insecurity, outright insanity and more drugs begins to wear one down. No attempt is made to explore or illuminate the creative brilliance and the process behind it that filmmakers like Scorsese, Coppola and Friedkin unleashed in the 1970s; rather, it unloads a triple serving of dirty laundry alone, leaving the reader wondering how timeless films like The Godfather and Taxi Driver actually managed to get completed. If you're looking for a balanced review of Hollywood history, look elsewhere. If you enjoy gawking at car wrecks, you may just love this book!
The book's structure is somewhat frustrating at times, taking an almost purely chronological approach. This means the author frequently jumps between the stories of several different movies in production before finishing any of them, and the large cast of characters can get confusing with so much skipping around.
The narrator does a great job. His tone and reading style perfectly fit the nature of the material.
I found myself wanting to rewatch (or see for the first time) many of the films covered in the book. Film aficionados should probably add it to their reading list, but be forewarned that you're probably going to want to take a shower after you finish!
I found this book riveting and incisive with great detail picked up from interviews with the actual people the book is about. This no holds bared audiobook is well worth listening to and I'm finding myself wanting more of the same. I'll also be checking out some of the movies mentioned in the book to see what all the fuss was about.
"Bitchy and Sensationalist intrigue from Hollywood"
This is great value for money, its a long and interesting listen.
A friend recommended this book years ago and I couldn't get into it. But it really works as an audio book.
No one really comes out of this book well apart from perhaps Jack Nicholson. These great women and men are reduced to ego-maniac, childish bullies and nerds. Biskind's style is very sensationalist,scurrilous and yet compelling.
The narrator is superb and his delivery is measured, waspish and hilarious.
A great listen.
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