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68 reviewsFarber was an early discoverer of many filmmakers later acclaimed as American masters: Val Lewton, Preston Sturges, Samuel Fuller, Raoul Walsh, Anthony Mann. A prodigiously gifted painter himself, he brought to his writing an artist's eye for what was on the screen. Alert to any filmmaker, no matter how marginal or unsung, who was “doing go-for-broke art & not caring what comes of it,” he was uncompromising in his contempt for pretension & trendiness, for, as he put it, directors who “pin the viewer to the wall & slug him with wet towels of artiness & significance.”
The excitement of his criticism, however, has less to do with his particular likes and dislikes than with the quality of attention he paid to each film as it unfolds, to the “chains of rapport & intimate knowledge” in its moment-to-moment reality. To transcribe that knowledge he created a prose that, in Robert Polito's words, allows for “oddities, muddles, crises, contradictions, dead ends, multiple alternatives, & divergent vistas.” The result is critical essays that are themselves works of art.
Farber on Film brings together this extraordinary body of work in its entirety for the first time, from his early & previously uncollected weekly reviews for The New Republic & The Nation to his brilliant later essays (some written in collaboration with his wife Patricia Patterson) on Godard, Fassbinder, Herzog, Scorsese, Altman, & others. Featuring an introduction by editor Robert Polito that examines in detail the stages of Farber's career & his enduring significance as writer and thinker, Farber on Film is a landmark volume that will be a classic in American criticism.