A Life of Picasso: The Cubist Rebel, 1907-1916 (Borzoi Books)

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Under Fire was one of a trio of notable films from the mid-1980s about journalists involved in Third World war zones. While certainly a lesser film than Salvador (1986) or The Killing Fields (1984) Roger Spottiswoode’s movie is still a commendable work from a director who later brought a similarly political edge to Noriega: God’s Favourite (2000).

Nick Nolte plays an American photo-journalist covering the civil war in Nicaragua in 1979, finding himself caught in a dangerous and cynical web of duplicity and self-interest, as well as falling in love with fellow American, Claire (Joanna Cassidy). Nolte gradually uncovers the degree of his own government’s involvement with the corrupt regime, and inevitably ends up crossing the line from neutral observer to helping the rebel cause.

Under Fire is in essence a reworking of Casablanca, especially as Gene Hackman’s network newsman proves to be Cassidy’s ex-lover, yet thanks to an intelligent script, strong support from Ed Harris as a mercenary and some genuinely unnerving and frightening scenes of the random chaos of war, it’s one which packs a powerful punch. Jerry Goldsmith’s evocative score is among his best of the 1980s.

On the DVD: Under Fire is presented in an anamorphic 1.77:1 transfer which is very clean and clear with minimal grain. The well-mixed Dolby Pro-logic soundtrack is highly effective, if not so startling as a 5.1 track. Beyond multi-language and subtitle options, the only extra is the original trailer, which is also anamorphically enhanced. –Gary S Dalkin
Customer Review: Taking sides
Under Fire is one of the few mainstream American `political’ movies to emerge from the studio system, but along with Missing it’s probably the best. On one level it grafts a traditional romantic triangle onto its story of American war correspondents in Nicaragua gradually finding themselves drawn to taking sides instead of taking pictures, but at least it’s a convincingly grown-up relationship that allows Nick Nolte, Gene Hackman and a never better Joanna Cassidy to really shine. It’s a shame that Cassidy never got more opportunities like this: a last-minute replacement for Julie Christie, she’s extraordinarily good here. The film also boasts an impressive supporting cast, with a star-making turn from Ed Harris as an amiable but deadly mercenary a standout, although Jean-Louis Tritignant’s deceptively unsubtle CIA man gives him a run for his money (not so much for his performance - his English was non-existent and it’s obvious he’s learned his lines phonetically - but because he has most of the film’s best dialog). Extremely well directed by Roger Spottiswoode with a promise he never really fulfilled, it’s an impressive albeit partisan portrait of a country decaying in the last stages of revolution and also boasts what is possibly Jerry Goldsmith’s finest score (which is saying quite something). Impressive stuff. The DVD’s only extra is the superb theatrical trailer, although it does boast a decent widescreen transfer.
Customer Review: A film with new resonance
Set in civil war torn Nicaragua where the US was propping up the regime of a Dictator (Antonio Somoza) against a popular left wing uprising. Stars Nick Nolte Joanna Cassidy and Gene Hackman. The heroes all make poor choices and are flawed, for both good and bad reasons. The journalists become committed to one side in the conflict, and in this action harm those they wish to support, and yet ultimately an honest piece of reporting does produce change. Thus it addresses the eternal dilemma for journalists who must ask whether to remain passive or become active - record or participate? Now probably - “suppress or report”? Its resonance is the hypocrisy and arrogance of US foreign policy - then supporting South American Juntas through the 1980s and 1990s - and now… It is based upon a true story - the the death of journalist Bill Stewart at the hands of a Nicarguan soldier was filmed by a TV crew and really did change the course of a Civil war - but not before countless “less important” deaths. The film is driven along by an excellent soundtrack, which sucks you in as the tension builds. Weaved in this is an inevitable but credible love story. The leads all give strong performances. I think this film has been rather overlooked - perhaps it said too many things the American public did not want to hear. Better than Salvador. A policitical drama and love story about a murder set in a war! Worth a watch.
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Essential Cubism, 1907-20: Braque, Picasso and Their Friends

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Picasso’s War: The Destruction of Guernica and Picasso’s Masterpiece
Customer Review: Fascinating story of a masterpiece
As all the reviews have said, this is a fascinating story of a masterpiece. The Spanish Civil War and Picasso’s life are well explainedto put the story of the painting itself into both contexts.
I’ll justadd that the book is let down by a lack of illustrations (the only one isof the painting itself), and by the lack of an index.

Customer Review: Flawed masterpiece
As ‘Guernica’ was the painting that introduced me to the works of Picasso, I was really looking forward to this book.

And it’s a convincing tale well told - with such a work of art (still) inextricably linked to international politics and war (both world and civil) Russell Martin does a competent job of placing the work into the necessary socio-political context.

The illustrations don’t do the painting justice - but how can you adequately illustrate Guernica in a small book anyway? Even weighty art books about the painting stuggle with this.

It’s a history of ‘Guernica’ as symbolic art rather than an analysis of the painting per se, whereas some fans may want to know more about the creative processes behind the production of the painting.

More ‘art’ and a larger format may have made this a great book, but as it stands it’s certainly a good book about the trials and tribulations of a great painting.

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High Quality Art Jigsaw Puzzle - BACCANALE 1631/33 by Nicolas Poussin - 1500 pcs

High Quality Art Jigsaw Puzzle - GUERNICA, 1937 by PICASSO - 2000 pcs

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A Life of Picasso: The Prodigy, 1881-1906 (Borzoi Books) Customer Review: A Fan Explains His Hero
Where does genius come from? What are the motives? What are the stars that guide?

Picasso was arguably the most original and influential artist of the 20th century. In volume one of four planned volumes (three of which have been produced to date), John Richardson collaborates with Marilyn McCully to establish the detailed record of how Picasso developed as a man and an artist through the early Rose period. The book is made richer by Richardson’s friendship with the artist and his access to Picasso’s memories of key events. But he doesn’t slavishly accept Picasso’s version (except in damning Matisse as inferior to Picasso) but rather checks out the different versions and picks what seems to make the most sense.

Picasso’s fanatic desire to succeed was fueled in part by his contempt for his father’s failed career as an artist and his father’s views that Picasso should follow in his footsteps. Picasso also needed to be treated as special, more than most of us. Groveling before exploitive dealers built a lifelong passion to be in charge. Picasso also knew that Paris was where he had to shine and suffered greatly to make his success there. His struggles will impress you.

Where the book is unequaled in my experience is in tracking down the sources of Picasso’s images, gestures, styles, and innovations. The book is filled with black and white images from the works of other artists, Picasso’s notebooks, photographs of the scenes and subjects, and related works that Picasso did. From these, you get a better sense of Picasso as a synthesizer of styles and modes.

In closely examining Picasso’s work from these years, it’s easy to develop superficial impressions of what sort of man did those paintings. For instance, the paintings of women show someone who feels compelled to alternately adore and dominate women . . . especially sexually. Learning later that he locked his mistress into the studio even on the hottest days when he left adds to that impression.

The book provides other powerful insights of this sort by relating the heavy use of opium by Picasso and his circle of artist friends during the Blue period. A lot of the models seem stoned in those paintings. Could it be that they were? Picasso loved to paint the circus performers and one of his first mistresses was one. Could it be that those performers are really emotional self-portraits? The book isn’t clear on that point, but the possibility of the interpretation will occur to you.

A few central mysteries are left undeveloped. Why did Picasso stick so long with styles that he later abandoned and which didn’t sell well when he was very poor? Picasso admitted to Richardson that the Blue and Rose periods had been mistakes. Why did Picasso slow down his production at times when he had contracts and shows upcoming? How did Picasso incorporate his love for poetry into his paintings?

At times Richardson is over the top in his fawning. Here’s an example. Picasso is described as clearly one of the great poets of the 20th century, but Richardson doesn’t reveal any evidence . . . nor was Picasso doing any poetry writing at the time of this volume. I suspect that the fawning was the price of admission for his access which rewards us in other ways.

Ultimately, the book’s main weakness is that the images are not in color. Fortunately, color is less important to Picasso’s work during this period than in later periods. Perhaps there will be another edition at some point that will bring the full dimensions of the work to bear at least for the masterpieces.

Enjoy your immersion in Picasso’s chaotic world.