Celluloid Mavericks: A History of American Independent Film Making, (Paperback)

Publishers Weekly,Somewhere between Titanic and The Blair Witch Project lies the demarcation between commercial and "independent" film. In this thorough and audacious history, Merritt (How to Produce an Independent Film) attempts to offer a century's-end definition to this carelessly tossed-about term. "To truly gain freedom," he writes, "filmmakers must completely disassociate themselves from the studios until their vision is put on film: no financing, no presigned distribution agreement, no help, no interference." The dubious origins of independent cinema can be traced to a private screening of D.W. Griffith's Ku Klux Klan epic The Birth of a Nation in 1915. Merritt bestows the indie label on a select roster of films, mostly by "celluloid mavericks"--John Cassavetes, Roger Corman, John Sayles, Quentin Tarantino and the other usual suspects--who have had the courage to defy mainstream ideas and ideals. His excessive plot/theme analysis and Pauline Kael aspirations notwithstanding, Merritt applies sound research and an infectious amount of enthusiasm, often conveyed through sidebar anecdotes, cost-to-gross ratio charts, lists of award-winners and time lines. Yet while his linear narrative promises a sweeping conclusion, the last chapter fails to deliver. Instead of analyzing the relationship between the rise of Gen-X viewers and the recent proliferation of indie films, or offering predictions about the future of independent cinema, Merritt gets lost in the trees where the Blair Witch lurks and misses the forest. Agent, Victoria Sanders. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved,Publishers Weekly,Publishers Weekly,Somewhere between Titanic and The Blair Witch Project lies the demarcation between commercial and "independent" film. In this thorough and audacious history, Merritt (How to Produce an Independent Film) attempts to offer a century's-end definition to this carelessly tossed-about term. "To truly gain freedom," he writes, "filmmakers must completely disassociate themselves from the studios until their vision is put on film: no financing, no presigned distribution agreement, no help, no interference." The dubious origins of independent cinema can be traced to a private screening of D.W. Griffith's Ku Klux Klan epic The Birth of a Nation in 1915. Merritt bestows the indie label on a select roster of films, mostly by "celluloid mavericks"--John Cassavetes, Roger Corman, John Sayles, Quentin Tarantino and the other usual suspects--who have had the courage to defy mainstream ideas and ideals. His excessive plot/theme analysis and Pauline Kael aspirations notwithstanding, Merritt applies sound research and an infectious amount of enthusiasm, often conveyed through sidebar anecdotes, cost-to-gross ratio charts, lists of award-winners and time lines. Yet while his linear narrative promises a sweeping conclusion, the last chapter fails to deliver. Instead of analyzing the relationship between the rise of Gen-X viewers and the recent proliferation of indie films, or offering predictions about the future of independent cinema, Merritt gets lost in the trees where the Blair Witch lurks and misses the forest. Agent, Victoria Sanders. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved