A classic look at Hollywood and the American film industry by The New Yorker's Lillian Ross, and named one of the "Top 100 Works of U.S. Journalism of the Twentieth Century."
Lillian Ross worked at The New Yorker for more than half a century, and might be described not only as an outstanding practitioner of modern long-form journalism but also as one of its inventors. Picture, originally published in 1952, is her most celebrated piece of reportage, a closely observed and completely absorbing story of how studio politics and misguided commercialism turn a promising movie into an all-around disaster. The charismatic and hard-bitten director and actor John Huston is at the center of the book, determined to make Stephen Craneâs The Red Badge of Courageâone of the great and defining works of American literature, the first modern war novel, a book whose vivid imagistic style invites the description of cinematicâinto a movie that is worthy of it. At first all goes well, as Huston shoots and puts together a two-hour film that is, he feels, the best heâs ever made. Then the studio bosses step in and the audience previews begin, conferences are held, and the movie is taken out of Hustonâs hands, cut down by a third, and finally releasedâwith results that please no one and certainly not the public: It was an expensive flop. In Picture, which Charlie Chaplin aptly described as âbrilliant and sagacious,â Ross is a gadfly on the wall taking note of the operations of a system designed to crank out mediocrity.
A classic look at Hollywood and the American film industry by The New Yorker's Lillian Ross, and named one of the "Top 100 Works of U.S. Journalism of the Twentieth Century."
Lillian Ross worked at The New Yorker for more than half a century, and might be described not only as an outstanding practitioner of modern long-form journalism but also as one of its inventors. Picture, originally published in 1952, is her most celebrated piece of reportage, a closely observed and completely absorbing story of how studio politics and misguided commercialism turn a promising movie into an all-around disaster. The charismatic and hard-bitten director and actor John Huston is at the center of the book, determined to make Stephen Craneâs The Red Badge of Courageâone of the great and defining works of American literature, the first modern war novel, a book whose vivid imagistic style invites the description of cinematicâinto a movie that is worthy of it. At first all goes well, as Huston shoots and puts together a two-hour film that is, he feels, the best heâs ever made. Then the studio bosses step in and the audience previews begin, conferences are held, and the movie is taken out of Hustonâs hands, cut down by a third, and finally releasedâwith results that please no one and certainly not the public: It was an expensive flop. In Picture, which Charlie Chaplin aptly described as âbrilliant and sagacious,â Ross is a gadfly on the wall taking note of the operations of a system designed to crank out mediocrity.