1. The Spirit Engineer - A.J.West - 7/10
2. The Lost Man - Jane Harper - 8/10
3. The Fall of Babel – Josiah Bancroft - 5/10
4. The Forest – Michaelbrent Collings – 3/10
5. Black River – Will Dean – 7/10
6. Winter is Coming – Garry Kasparov – 9/10
7. Archangel – Robert Harris – 8/10
8. The Justice of Kings – Richard Swan - 8/10
9. Priest of Bones – Peter McLean – 8/10
10. Watching Skies: Star Wars, Spielberg and us – Mark O’Connell – 7/10
11. Björn Borg and the Super-Swedes – Mats Holm and Ulf Roosvald – 8/10
12. We Men of Ash and Shadow – HL Tinsley 6/10
13. Paul Kelly: The man, the music and the life in between – Stuart Coupe – 7/10
14. Steven Spielberg: A Biography - Joseph McBride – 8/10
Wow, this was a long read – and you only have to finish up to 61% because the rest is all index and photos!
The book starts off spending an incredible amount of time telling us about Spielberg’s roots – his relatives come from Poland, Ukraine and Russia. After this is out of the way (not quick!) we hear a lot about his childhood, and you already know that this book is incredibly well researched. There are stories of anti-Semitic bullying and conflicting accounts of how much he actually suffered.
The most interesting portion takes us from his teens, when he was already making fantastic low-budget home movies, to his bluffing his way onto the Universal set, his early days in TV and that successful run of films that included
Duel,
Jaws,
Close Encounters,
Indiana Jones and
E.T.
There’s a fantastic chapter on 1992-93, where he was filming
Schindler’s List during the Polish winter, suffering emotionally because of the subject matter and at the same time spending a couple of hours in his hotel every night, supervising post-production on
Jurassic Park. After all that has come before (the anti-Semitic bullying and his family history) you get a window into what it really meant to be making
Schindler’s List.
There’s also a lot of good analysis on the direction of his films in the wake of 9/11 – I hadn’t really thought about it in too much depth, but the author makes a good case for how Spielberg chooses his films to create a narrative:
Minority Report (people being arrested because of things that may or may not have done/could do),
The Terminal (the bureaucracy and big brother nature of Homeland Security),
Munich (the nature of revenge on terrorists and whether it is justified), and
War of the Worlds (a nation under attack).
However, the book is not without some critical waffling, and the author loses a point for his dismissal of
Raiders of the Lost Ark (one of my favourite films of all time), calling it and
Indiana Jones and the Temple of Doom racist! – It’s bloody escapism! And similarly dismissing the
The Goonies.
After back-to-back entertainment bios, I think it's time for some fiction.