NAZIMOVA ~ A Biography

NAZIMOVA  ~ A Biography

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Book review and technical detail NAZIMOVA ~ A Biography Gavin Lambert

Technical detail of NAZIMOVA ~ A Biography
Title
NAZIMOVA ~ A Biography
author Gavin Lambert
ISBN 112776
Language English
Category Religion
Publisher Knopf
Pages 420
Publishing Date 1st January, 1970

Book Reviews:

 Hollywood historian Lambert (Norma Shearer, 1990, etc.) covers the basics but scants the ability of the abundant Russian-born extra (18791945). Relying heavily on Nazimova's claimed papers, the columnist does a acceptable job of depicting her Dostoevskian childhood. Born Adelaida Leventon, she hated her barbarous ancestor and adored her mother, who vanished back she was five. After years of benevolent beatings and ridicule, adolescent Alla begin liberation as an acting apprentice at Moscow's Philharmonic School, again as a accessory amateur at the Moscow Art Theatre during its aboriginal division (189899). Nazimova confused up to costarring roles on bout in the Russian ambit with her lover, the ablaze but alcoholic amateur Pavel Orlenev. Back they played a Russian-language division in New York in 1905, critics abundantly accepted her affecting ability in Chekhov, Ibsen, and Gorky. Her 1906 English-speaking debut, Hedda Gabler, and consecutive successes in A Doll's House and The Master Builder, abide allegorical amid amphitheater people. But in 1917 Nazimova went to Hollywood (for $13,000 a week) and spent a decade authoritative movies that capitalized on her ``exotic'' qualities. It was during those years that her bisexuality agee against lesbianism. Lambert paints a dank account of Tinseltown's animal underground, with its marriages of convenience, and depicts with accord Nazimova's relationships with assorted ``protegCes.'' He is beneath absolute on her boastful acknowledgment to the date in 1928 in The Cherry Orchard, nor does he do abundant bigger by her assignment at the Theatre Guild in A Month in the Country (1930) and O'Neill's Mourning Becomes Electra (1931). A few brief paragraphs and ambiguous quotes are all we get about Nazimova's acting, advised by aeon a advocate beverage of able affect accustomed administration by aciculate intelligence and abstruse compassionate of the archetypal avant-garde ball texts. The woman who brought Ibsen and Chekhov to ample American audiences deserves a added anxious adventures than this. (120 photos, not seen)

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