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Showman: The Life of David O Selznick
David O. Selnick, the legendary producer of "Gone With the Wind", is portrayed in this full-scale biography by the first writer to be given complete access to Selnick's voluminous and revealing correspondence. No other Hollywood giant ever had so much to say; no other was reckless enough to leave so much on record. The most charming, talented, insanely workaholic, insecure, amorous and self-destructive of all the geniuses of American moviemaking, Selnick's story is the history of the picture business; his private life was the stuff that films are made of. Played out with increasing melodrama, the Selznick dynasty is celebrated here in detail, from immigrant beginnings to the pinnacle of success with the making of such greats as "King Kong", "Anna Karenina" and "The Third Man", only to suffer in the depths of anti-climax with alcoholism, mental illness and suicide.
- GenresBiographyFilmNonfiction
Paperback
First published January 1, 1992
About the author
David Thomson
73 books143 followersDavid Thomson, renowned as one of the great living authorities on the movies, is the author of The New Biographical Dictionary of Film, now in its fifth edition. His books include a biography of Nicole Kidman and The Whole Equation: A History of Hollywood. Thomson is also the author of the acclaimed "Have You Seen . . . ?": A Personal Introduction to 1,000 Films. Born in London in 1941, he now lives in San Francisco.
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Displaying 1 - 10 of 10 reviews
June 29, 2013
Loooooong. But my God, thorough. Biographical proof that spectacular success can be the worst thing to happen to a person. Kids, whatever you do, don't get hooked on Benzedrine. Or high stakes poker. Or broads. Good read.
August 30, 2009
As a long-time fan of Gone with the Wind, I've naturally grown interested in the man in whom all points of that beautiful film meet (to paraphrase Vivien Leigh). In this exhaustive, thoroughly researched biography from film historian and critic, David Thomson, I've learned much more than I ever thought I would about the bundle of nerves, energy and (sometimes) delusion that was David O. Selznick. Precocious as a child, Selznick was involved in his father's film work from the very beginning, showing an astute, if irritating eye for detail, and starting a lifelong habit of papering the world with correspondence. It is due to this correspondence, and the family's foresight in retaining it, that Thomson has been able to provide as full a picture of Selznick as he has. Thomson was given full access to the family files and other records, and received ample cooperation from Selznick's sons as well as his first wife, Irene. Jennifer Jones opted not to become involved, which is a shame, because she could have given an interesting perspective on Selznick's final years.
Nobody comes off terribly well here, and there are no stereotypical "heroes" or "villains." Selznick is generous, funny, loving and genuinely interested in film. He is also mercurial, paranoid, childish, deluded, unfaithful, self-pitying and self-destructive. The people with whom he comes in contact are shown in equally even-handed ways.
As other critics have noted, there are other, better books to read if you're interested only in the making of Gone with the Wind. Contrary to how history remembers him, Selznick did a great deal more than produce just that one film, and his entire life and career are covered here. Reading this full-length portrait of the man gives one an excellent idea of just what kind of energy and drive it took to helm these productions, and what a trial it must have been to keep up with such a person. Selznick was completely blind to the stress he caused his co-workers and staff. One illustrative story is that of Selznick dictating well into the wee hours of the morning and his guest suggesting that perhaps Selznick's secretary was tired. "I'm so sorry," Selznick said to the exhausted woman, "I should have offered you a benzedrine."
There were a couple of things that didn't sit well with me with regard to Thomson's telling of the story. The first is the standard auteur's conceit (subtle, but present, in this volume) that all European film is superior to all American film, which is a generalization that has always rankled. Films made in Europe aren't better simply because of where they are made, and there are American films that are superb. Also, Thomson seems to be fixated on Selznick's looks and how "ugly" he was. While not centerfold material, he was not repulsive by any stretch of the imagination, and it is thoroughly understandable that he would attract attention from women who like a great smile and an exuberant nature. On these two points, I realize that Thomson is entitled to his personal opinion - I was just hoping that he would retain the objectivity used so well in the rest of the book.
Nobody comes off terribly well here, and there are no stereotypical "heroes" or "villains." Selznick is generous, funny, loving and genuinely interested in film. He is also mercurial, paranoid, childish, deluded, unfaithful, self-pitying and self-destructive. The people with whom he comes in contact are shown in equally even-handed ways.
As other critics have noted, there are other, better books to read if you're interested only in the making of Gone with the Wind. Contrary to how history remembers him, Selznick did a great deal more than produce just that one film, and his entire life and career are covered here. Reading this full-length portrait of the man gives one an excellent idea of just what kind of energy and drive it took to helm these productions, and what a trial it must have been to keep up with such a person. Selznick was completely blind to the stress he caused his co-workers and staff. One illustrative story is that of Selznick dictating well into the wee hours of the morning and his guest suggesting that perhaps Selznick's secretary was tired. "I'm so sorry," Selznick said to the exhausted woman, "I should have offered you a benzedrine."
There were a couple of things that didn't sit well with me with regard to Thomson's telling of the story. The first is the standard auteur's conceit (subtle, but present, in this volume) that all European film is superior to all American film, which is a generalization that has always rankled. Films made in Europe aren't better simply because of where they are made, and there are American films that are superb. Also, Thomson seems to be fixated on Selznick's looks and how "ugly" he was. While not centerfold material, he was not repulsive by any stretch of the imagination, and it is thoroughly understandable that he would attract attention from women who like a great smile and an exuberant nature. On these two points, I realize that Thomson is entitled to his personal opinion - I was just hoping that he would retain the objectivity used so well in the rest of the book.
November 26, 2017
Torn on this book. So detailed, like the subject it covers (Selznick was renowned for his Memo writing) but also dense and a challenge to get through. So thorough, almost to a fault.
GONE WITH THE WIND was Selznick's crowning achievement. It helped get him through life as he was always in debt thanks to a gambling problem, and was torn between two women who really dictated everything he did. His first wife, Irene Mayer Selznick with whom he kept close contact even after they parted and he begin his affair with actress Jennifer Jones, whose career Selznick was obsessed with keeping afloat, and drove almost every project he was involved with after they met.
Thomson is one of the great film writers of our time, and his detailed play-by-play of one of Hollywood's greatest showmen is a triumph. It's just not the easiest read.
GONE WITH THE WIND was Selznick's crowning achievement. It helped get him through life as he was always in debt thanks to a gambling problem, and was torn between two women who really dictated everything he did. His first wife, Irene Mayer Selznick with whom he kept close contact even after they parted and he begin his affair with actress Jennifer Jones, whose career Selznick was obsessed with keeping afloat, and drove almost every project he was involved with after they met.
Thomson is one of the great film writers of our time, and his detailed play-by-play of one of Hollywood's greatest showmen is a triumph. It's just not the easiest read.
September 28, 2009
Very dense, but well researched bio on the legendary producer.
May 7, 2016
A beast of a book! Everything you ever wanted to know (and not know) about David O. Selznick. For true fans of old Hollywood.
October 30, 2020
As a film critic, Thomson has a unique and sometimes brilliant voice, but his output is wildly uneven--he's coasted through far too many indifferent books and articles rehashed from his classic BIOGRAPHICAL DICTIONARY OF FILM. I think this is his best book, though, focused and sharpened by combining intrinsically rich material with an easily definable narrative arc more often found in Hollywood movies than Hollywood lives. Selznick was a second-generation movie mogul, albeit one shadowed by his father's fall from power. For his own part, he had early success as a studio executive, mixed results as an independent producer struggling to find the right commercial formula, and finally, the huge success of GONE WITH THE WIND. Then, a period of dramatic decline, as he applied the same micromanaging, second-guessing approach seemingly vindicated by WIND to all his subsequent productions, driving projects into the ground and budgets into the stratosphere. He's a fascinating, if not very sympathetic, subject, and perhaps one only a talent as wayward and eccentric as Thomson's could fully do justice to.
March 21, 2024
Superficially, history seems to have relegated David O. Selznick to merely the producer of ‘Gone with the Wind’. Although this was a colossal achievement, Selznick was so much more - pioneer, innovator, promoter, salesman, compulsive gambler, raconteur, womaniser, and of course, legendary movie producer. ‘Showman’ by David Thomson exposes the complete multi-faceted complexity of David O. Selznick. This mammoth heavily-detailed beautifully comprehensive 700-page biography is as big as the Hollywood icon himself - and yet this is both its strength and weakness. Although the book provides a thrilling and emotional narrative it is only a devotee of David O. Selznick who would attempt to read such a massive life-story of possibly the greatest movie producer ever, now usually overlooked in the dominance of modern culture.
December 25, 2020
Yes it’s long, but jam packed with goodies. How has there not been an DOS biopic yet? I loved Irene Mayer Selznick and almost wish this author would have done a bio on her.
January 3, 2011
good but long
February 28, 2015
Good but not grabbing me.
Displaying 1 - 10 of 10 reviews