Cinema's Illusions, Opera's Allure: The Operatic Impulse in Film (Film Studies: Bloomsbury Academic Collections)

I am amazed that this book has had so little publicity. It should be read and read widely. It is not really an academic study - though much scholarly learning is clearly behind it. Instead it wears its learning lightly and delights the reader with its wit and passion. Anyone interested in film will be engaged and grateful for this book and they will never see the world of cinema in quite the same way afterwards.

When I was in college, my popular yet vacuous film professor made an unsupported claim that silent film was operatic. This claim pops up in writing for all types of film in addition to silents, so I eagerly picked up this book in search of some evidence and arguments.After reading this book, the argument amounts to little more than 'opera is used frequently in film and they are related.' The supporting evidence offers scant analysis, as the author frequently falls back on the idea, without evidence, that the film directors he invokes instinctively "knew" the importance of putting opera and film together, and that they are inherently linked. As often in film writing, there is heavy reliance on summary and production history, but little analysis as to how cinema is operatic.I was puzzled by what seem like obvious subjects this book ignored: "Porgy and Bess" (1959), "The Tales of Hoffman" (1951), "Life is Beautiful" (1997), Deanna Durbin, Jeanette MacDonald, even "Pretty Woman" (1990)! Sure, there are too many examples for one 350-page book to hold, but the lack of breadth and depth is truly glaring when the author goes on unrelated tangents. A particularly frustrating example of this is when he devotes the seven-page chapter on "Apocalypse, Now!" to Wagner's antisemitism, a worthy subject, but one that has no place in this book.Skip this book. I still scratch my head when people say that film is operatic.