Download Seeing Is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, by Peter Biskind
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Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind, former executive editor of Premiere, is one of our most astute cultural critics. Here he concentrates on the films everybody saw but nobody really looked at--classics like Giant, On the Waterfront, Rebel Without a Cause, and Invasion of the Body Snatchers--and shows us how movies that appear to be politically innocent in fact carry an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American--the conflicts of the period in action.
A work of brilliant analysis and meticulous conception, Seeing Is Believing offers fascinating insights into how to read films of any era.
- Sales Rank: #970847 in Books
- Brand: Brand: Holt Paperbacks
- Published on: 2000-09-11
- Original language: English
- Number of items: 1
- Dimensions: 8.30" h x 1.20" w x 6.38" l,
- Binding: Paperback
- 384 pages
- Used Book in Good Condition
Review
"Nothing escapes Peter Biskind and he is very funny. His book is indispensable reading for anyone interested in American cinema or recent American history."--Michael Wood, author of America in the Movies
"A brilliant and imaginative analysis of the political and sexual crosscurrents of the fifties in the movies."--Barbara Ehrenreich, author of Blood Rites
About the Author
Peter Biskind is the author of The Godfather Companion and Easy Riders, Raging Bulls. A contributing editor at Vanity Fair, he has written for The New York Times, the Los Angeles Times, The Washington Post, and Rolling Stone, among other publications. He lives in New York City.
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12 of 13 people found the following review helpful.
A Different Look at Movies from the '50's
By A. M. Sulkin
Peter Biskind uses "Seeeing is Believing" to look back at films from the 1950's from a socio-political perspective. Using terms such as corporate liberals to define characters in films, and classifying films as either right-wing or left-wing biased, Biskind dissects several well-known films, and more than a few not well-known, from the early Cold War era based on uncommon film criticsm methods. The book is not for the typical movie fan, but for readers with more intellectual pursuits in mind.
Biskind often reads too much into the films he analyzes to substantiate his points, and will quote dialogue out of context from a film under discussion, or from other films of the time. It is doubtful that the producer, director, or writer of a science fiction film like "Them" imagined their science fiction action adventure about giant ants taking over the world to be as complex as Biskind makes it out to be. It is rare that giant ant films are analyzed in the same book as such 1950's classics as "On The Waterfront" and "Rebel Without a Cause." Knowing the Hollywood studio assembly line structure of time, and the large number of contract employees who provided input into any one film, it is difficult to believe that the large number of disparate films analyzed in the book would follow the same general set of character and plot rules as Biskind imagines.
The reading may not be light and easygoing, but "Seeing is Believing" gives the reader new food for thought the next time one of the films discussed in the book pops up on cable television.
8 of 11 people found the following review helpful.
Disappointing
By Marc Korman
I am a big fan of Peter Biskind's Easy Riders, Raging Bulls. That book tells a story of the evolution of film in the 60s and the 70s and who contributed to those changes. Unfortunately, Seeing is Believing tells us less about the evolution of film through the 50s and how it evolved and digs much deeper into more academic film criticism. As Biskind writes in the introduction, "my concern is not so much with the intentions of the filmmakers as with the outcome of the filmmaking process." I interpret this phrase to mean that Biskind is writing about what he sees in the movies, not what the filmmaker intended or what others might see.
Biskind goes from genre to genre and applies the films he reviews to specific liberal and conservative ideological positions he has identified. As he does so, the occasional anecdote about a film is mentioned, but only fleetingly. For example, some movies had their endings changed by the studios. I was interested in hearing more about the changed endings, why they were changed, and what directors fought the changes, then Biskind's discussion of how the ending fits into his ideological spectrum.
One thing that really bothered me was that in discussing The Court Martial of Billy Mitchell, Biskind ignored that the movie was based on true events of the 1920s and was not an entirely Hollywood creation. In excluding that information, Biskind betrays the problem of ignoring the filmmakers in telling us what the film means. Of course, Billy Mitchell can still fit into an interesting ideological discussion of the 1950s. Gary Cooper's decision to play him fits into a broader pattern of playing individualists and why the movie was made when it was could have some relevance. But Biskind does not discuss that context and instead focuses on the ideological categories he has conjured up.
If you liked Easy Riders, Raging Bulls and thought you would check out Biskind's other work, I would save this for last or skip it all together. That said, it did give me a neat list of 50s films to add to my list.
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