my book review of: "One World, Big Screen" by M. Todd Bennett

Thank you for your participation as a reviewer for the 2012 Marfield Prize.  Please complete Parts 1 & 2 of the evaluation form and return it with your book to the Arts Club of Washington or via email to award@artsclubofwashington.org.  We ask that you please do not mark up the books.

 

PART 1.  Please score each area of consideration below with a number, 1-5. (A rating of “1” is poor and “5” is outstanding.)

 

One World, Big Screen, by M. Todd Bennett

 

CONSIDERATION

SCORE (1-5)

Are the writing, the language, and the expression of ideas accessible to someone without any specialized knowledge or background in the field?

4

Does the author offer new information, insights, or ways of approaching the subject matter?

4

Is the writing clear and lucid?

4

Is the author able to discuss the subject matter with technical and critical accuracy?

5

Does the author make the discussion engaging for a broad audience?

3

Do the writing and ideas expressed make the art and the artists discussed come alive for the reader?

2

Does the book spark further interest in the subject or the artists?

4

TOTAL

22

 

 

PART 2.  Please provide any additional comments you have about the book in a brief 1-2 paragraph narrative about the book, paying attention to areas such as the overall quality of the work, the ideas and themes it expressed, and your reaction to it as a reader. Did you find it interesting? Insightful? Disappointing? Engaging? You may use the back of this form or a separate sheet of paper.

Professor Bennett painstakingly describes the history and formation of the American film industry from the onset of World War II through modern times, and how the US government collaborated with “allies” such as China, Britain, and the Soviet Union to influence their citizens.

While the prose can be professorial at times, the explanations are clear, and the linkages of values to films such as Casablanca, The Bridge over the River Kwai, and others are clearly drawn.  Professor Bennett deftly demonstrates mastery and understanding of the geo-political spectre at the onset of WWII, and how both Hollywood and political leadership used films in order to convey a sense of mutual understanding of worlds both near and far.

The effects of such collaborative “propaganda” are felt even today, when we see the caveats at the start of a film “certain scenes have been enhanced for dramatic effect”, or “inspired by a true story”.  Professor Bennett adroitly describes the importance of the Roosevelt Administration’s Office of War Information, and how Hollywood took their marching orders in order to portray American values in a positive light.

What is refreshing about “One World, Big Screen” is Bennett’s refusal to “dumb down” the language to appeal to the lowest common denominator.   This book is targeted toward the politician, the statesman, the historian, or the movie buff with interests in history and politics.  Some of the anecdotal points of both history and film are fascinating, and so as not to give away too many spoilers, let’s simply say that after reading “One World, Big Screen”, your Netflix queue will soon have no shortage of films from the WWII era to complement this very fine piece of literature.