Brilliant [a] superb history and analysis of auteurist criticism. * Jonathan Rosenbaum, Cineaste *
Reading My Son John both as an instance of the Red Scare-era film rouge and a fine-grained text that generates meaning in the smallest gesture of stay Helen Hayes, leaves little doubt as to the proper value-even in this empathetic, troubling, mutilated picture-of McCareys artistry. * Nick Pinkerton, Film Comment *
Morrison's book is the most illuminating discussion of French auteurism and its influence I've ever read. It's also a convincing defense of writing about movie directors as authors, capped by a brilliant analysis of Leo McCarey's seldom-discussed My Son John. I couldn't put it down. * James Naremore, Indiana University, USA *
No one currently writing on film has a more beautiful, captivating prose style than James Morrison. Sentence by sentence, his commentary on Leo McCarey and the auteur theory is alivealive with wit, with continually surprising insights (every paragraph contains a jewel), and with the unfailing precision and grace of his close readings. Morrison blows the dust off the fossilized remains of French and American versions of auteurismand has startling things to say about the affiliations of auteurists and surrealists, the mysteries of the glimpse or flash moment, and the valor of defeat in the work of anointed directors. Morrisons study builds to its astonishing centerpiecea stunning, full-scale analysis of McCareys much maligned rouge, My Son John. Making ample, sophisticated use of the most intriguing tools in the auteurist kit, Morrison offers an utterly persuasive case for the film as a major work. Too often, facile claims are made for new critical studies as essential reading. Realizing the danger of excess in proclaiming a studys merits, I will nevertheless declare this one of best books of film scholarship I have ever read. * George Toles, Distinguished Professor of Film and literature, University of Manitoba, Canada *
