Download PDF Ben Hecht: Fighting Words, Moving Pictures (Jewish Lives), by Adina Hoffman
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Ben Hecht: Fighting Words, Moving Pictures (Jewish Lives), by Adina Hoffman
Download PDF Ben Hecht: Fighting Words, Moving Pictures (Jewish Lives), by Adina Hoffman
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A vibrant portrait of one of the most accomplished and prolific American screenwriters, by an award-winning biographer and essayistHe was, according to Pauline Kael, “the greatest American screenwriter.” Jean-Luc Godard called him “a genius” who “invented 80 percent of what is used in Hollywood movies today.” Besides tossing off dozens of now-classic scripts—including Scarface,Twentieth Century, and Notorious—Ben Hecht was known in his day as ace reporter, celebrated playwright, taboo-busting novelist, and the most quick-witted of provocateurs. During World War II, he also emerged as an outspoken crusader for the imperiled Jews of Europe, and later he became a fierce propagandist for pre-1948 Palestine’s Jewish terrorist underground. Whatever the outrage he stirred, this self-declared “child of the century” came to embody much that defined America—especially Jewish America—in his time. Hecht's fame has dimmed with the decades, but Adina Hoffman’s vivid portrait brings this charismatic and contradictory figure back to life on the page. Hecht was a renaissance man of dazzling sorts, and Hoffman—critically acclaimed biographer, former film critic, and eloquent commentator on Middle Eastern culture and politics—is uniquely suited to capture him in all his modes.
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Product details
Series: Jewish Lives
Hardcover: 264 pages
Publisher: Yale University Press (February 12, 2019)
Language: English
ISBN-10: 030018042X
ISBN-13: 978-0300180428
Product Dimensions:
5.8 x 0.8 x 8.2 inches
Shipping Weight: 1 pounds (View shipping rates and policies)
Average Customer Review:
3.6 out of 5 stars
6 customer reviews
Amazon Best Sellers Rank:
#32,857 in Books (See Top 100 in Books)
Different people, different reactions and opinions. I was eager to learn more about Hecht and his writing, but I just couldn't get through this. It reads like a gossip column and just seemed like unthinking hagiography, more than I wanted to know about him as a person, much less than I wanted to know about his plays, scripts and so on.
Adina Hoffman has written an important biography the great screen writer Ben Hecht. She takes his life from the Lower Eastside of the 1890s, to Racine, Wisconsin, and then on to the newspaper world of Chicago, to Broadway and then on to Hollywood. In the 1930s Hecht became the highest paid screen writer in Hollywood turning out such classics as Scarface, Viva Villa, Gunga Din, Twentieth Century, Monkey Business and Wuthering Heights. He would also rewrite without credit Gone with the Wind, The Shop around the Corner, Mutiny on the Bounty and much later Casino Royal. Quite the career.While in Chicago he would meet Sherwood Anderson, Carl Sandberg and Theodore Dreiser all of whom would later become literary giants. It was his experience in Chicago newsrooms that inspired his Broadway hit, Front Page. Also as a reporter he covered postwar Berlin in 1919.Hecht received perhaps the most famous telegram in all of Hollywood history. In late 1926 while in New York he received a telegram from his friend Herman Mankiewicz stating, “Will you accept three hundred per week to work for Paramount Pictures. All expenses paid. ……..â€And as they say, the rest is history.Perhaps most interesting to me is how Hecht rediscovers his Jewishness in 1939-40 with the onset of World War II and the growing horror facing European Jewry. He meets up with Peter Bergson who was the Irgun’s (Jewish liberation group) man in the United States and starts raising dollars to rescue the Jews of Europe. In 1943 he puts on an extravaganza in Madison Square Garden highlighting the plight of European Jewry titled “We Will Never Die.†He is assisted in the work with such show business legends as Billie Rose, Moss Hart and Ernst Lubitsch. The show would go national. Along the way he battles the then Jewish establishment figures who were reluctant to highlight the seriousness of the disaster.Later in 1946 he works with Bergson to put on a Broadway show entitled “A Flag is Born†to call attention to the struggle to create the Jewish state. Again he uses is influence to raise money for the cause. He was so important that future Israeli Prime Minister Menachem Begin would attend his funeral.I would have really liked to know Ben Hecht. He was vibrant and full of energy and Adina Hoffman tells his story well.
I had no idea, frankly, who Ben Hecht was, and not much interest, but by the end of the book this incredibly witty and fluent screenwriter seemed a great psychological subject, an important cultural signifier, an ESSENTIAL subject. Hoffman's writing about film is especially dazzling. Really a magisterial and at the same time delightful book, providing intimate access to Hollywood under the studio system.
Seriously researched, well written. Yes, it is more about Hecht's Jewish and pro Israel activities then his writing analyses? But because it was written for special Yale's series "Jewish lives".I would like to make small but significant correction. On page 164 said: "And in the wake of a gathering of Allied leaders in Moscow that fall..." In fact that important conference about future of Europe happened to be in Yalta at Crimea (USSR) in February 1945. It can be easily changed in second printing or in paper back edition.
I've seen a lot of the films Ben Hecht was involved in, but I never knew much about him. Hoffman's biography blew me away. I picked it up and couldn't put it down. The topics she covers--gangster films, Chicago Jews, Israel, high modernism, and more--were part of Hecht's world. Every chapter is a self-contained continent of that world. How Hoffman manages to compact so much into such a short book, I don't know, but it sizzles and crackles with energy and insight on every page.
Too much on his politics and novels (mixed success at best) and too little on his role as screenwriter (arguably the greatest of the 20th century), albeit well written. Why do biographers have such a hard time figuring out what is important and interesting about their subjects?
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