This biography of one of cinema's greatest comics, is published to commemorate the 10th anniversary of his death. It aims to explain how Sellers succeeded, and at what cost to himself. It is based on interviews with Sellers' family and friends, and tackles the subject of the actor's insanity. His career is traced, from his earliest days working ...Read MoreThis biography of one of cinema's greatest comics, is published to commemorate the 10th anniversary of his death. It aims to explain how Sellers succeeded, and at what cost to himself. It is based on interviews with Sellers' family and friends, and tackles the subject of the actor's insanity. His career is traced, from his earliest days working backstage at his uncle's theatre, to the infamous "Goon Show", and on to the total of 55 films which he made, including "I'm Alright Jack", "Dr Strangelove" , "Being There" and the Pink Panther films.Read Less
New. This item is printed on demand. Roger Lewis, in his no-holds-barred biography, exposes a Peter Sellers the world little knows. Recognized as the greatest British comic since Charlie Chaplin, Sellers was the grand master of fifty-five films-from Dr. Str.
Publishers Weekly, 1996-10-07 This dense, maddening and frequently brilliant book on the life and career of the British actor Peter Sellers (1925-1980) isn't a biography in any conventional sense. Rather, it's an epic meditation on talent and rampant egomania, a rambling improvisation on the theme of Sellers's intermittent genius as a performer and his relentless monstrousness as a person, by the erstwhile chief book reviewer for the British magazine Punch. There is a great deal here to frustrate the reader: the book doesn't follow Sellers's career chronologically, but swoops back and forth in time, and as many pages are devoted to the exegeses of flops such as Casino Royale and obscurities such as Ghost in the Noonday Sun (which was never released theatrically) as to such successes as The Ladykillers and Dr. Strangelove. Nearly all of the many anecdotes and reminiscences about Sellers by his co-workers over the yearsæfrom Spike Milligan to Blake Edwardsæcome to the same conclusion: that he was a genius but also a monumental jerk, a borderline psychopath. The book is likely to be especially frustrating to American readers, as it assumes an intimacy not only with Sellers's work but with postwar British pop culture in general. If one has never heard of the Goon Show and has no idea who Bluebottle is, this is a very difficult book to track. Readers who can adjust to Lewis's aggressively personal tone, however, and who are willing to wade through references to unfamiliar performers and movies, will find much of the book stunning. Lewis's analyses of the films, even the obscure ones, are masterly, and his understanding of how Sellers's megalomania fed and was fed by his performances is shrewd, insightful and forgiving. In the end, the book itself plays like one of Sellers's antic, multicharacter turns: quicksilver, hard to follow, often self-indulgentæbut, ultimately, unforgettable. Author tour. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.