Member Review
Review by
Robin J, Reviewer
Ian Nathan, The Coppolas A Movie Dynasty, Palazzo, 2021.
Thank you NetGalley for this uncorrected proof for review.
Ian Nathan has written an insightful and exciting contribution to our understanding of writing, directing and producing films; the role of family and ability in a dynasty such as the Coppolas; the studio system, and the contribution of film finance, box office returns and reviews; to the success of a film that begins with an idea that impels people such as Francis Ford and Sofia Coppola toward creative endeavour.
Francis Ford and Sofia Coppola are the stars of this book. However, other members of the Coppola family also make contributions to the Coppola dynasty’s work, and they are also given a place in this absorbing story: wife and mother, Eleanor Coppola; sister, Talia Shire; brother, August; sons, Gio and Roman Coppola; cousin, Nicholas Cage (formerly Coppola); granddaughter, Gia Coppola. So, too, are the actors who took their place, successfully or sometimes perhaps not, in the films. His father, Carmine, makes an appearance. Here a story Nathan relates about a prank played on him by Francis Ford Coppola is very sympathetic to him, rather than acknowledging the impact on the father – an interesting comment on the investment Nathan makes in his portrayal of the son.
The bibliography is wide ranging. In addition, each chapter is supported by details of the material which has contributed to the chapter, taking the place of an index. The flow is not marred by citations, and this works well for a book in which the author’s feelings and interpretations are an important contribution to the way in which we are led to see this dynasty. Nathan’s impact is important – leading us to understand not only the people, but the films they wrote, directed, acted in – and on occasion, recut, reinterpreted, and brought back to the world in a form that was impossible originally.
In the earlier part of the book there is a plethora of directors, studios, producers whose work is explained, giving the book an openness that is particularly appealing. This openness contrasts with the inwardness of Coppola, whose writing and direction are so much a part of his being that the rest of the world might not exist - until he suddenly cooks pasta takes his children on exciting jaunts, gives Eleanor attention and appreciation. Interestingly, I thought that the writing in the later part of the book was more inward looking, the Coppolas, rather than their broader environment were the narrow focus. I would have liked detail about the way in which changes to developing films impacted on the dynasty. There is mention of television, and films made for Netflix, for example, but perhaps a stronger comparison of these formats with the old system under which Francis Ford Coppola worked would have made a fascinating addition, maintaining the pattern of the early chapters.
The Coppola films are more than adequately treated. Nathan draws us into The Godfather and its sequels relaying a strong understanding of Coppola’s aims; the stress and darkness of filming Apocalypse Now is fully grasped; and the way in which Coppola regarded Peggy Sue Got Married, somewhat amusing. Sofia’s Lost in Translation was so sensitively covered it reminded of how much I appreciated the film; commentary on other of her films made me want to see more. The deft comparisons made between the two stars of the book are beautifully realised - we understand that they come to their work differently and execute their ideas under very contrasting constraints. But, like a script writer, Nathan ‘shows rather than tells’ this difference. He is also adept at drawing Eleanor and her feelings into the story. The account of her work is both moving and satisfying - more than wife and mother at last!
The Coppolas A Movie Dynasty is an easy and engrossing read. It is a satisfying account of the dynasty; the world of film, particularly during the reign of the studio system; and a wonderful rendition of the ideas, work and feeling behind the Coppola films.
Thank you NetGalley for this uncorrected proof for review.
Ian Nathan has written an insightful and exciting contribution to our understanding of writing, directing and producing films; the role of family and ability in a dynasty such as the Coppolas; the studio system, and the contribution of film finance, box office returns and reviews; to the success of a film that begins with an idea that impels people such as Francis Ford and Sofia Coppola toward creative endeavour.
Francis Ford and Sofia Coppola are the stars of this book. However, other members of the Coppola family also make contributions to the Coppola dynasty’s work, and they are also given a place in this absorbing story: wife and mother, Eleanor Coppola; sister, Talia Shire; brother, August; sons, Gio and Roman Coppola; cousin, Nicholas Cage (formerly Coppola); granddaughter, Gia Coppola. So, too, are the actors who took their place, successfully or sometimes perhaps not, in the films. His father, Carmine, makes an appearance. Here a story Nathan relates about a prank played on him by Francis Ford Coppola is very sympathetic to him, rather than acknowledging the impact on the father – an interesting comment on the investment Nathan makes in his portrayal of the son.
The bibliography is wide ranging. In addition, each chapter is supported by details of the material which has contributed to the chapter, taking the place of an index. The flow is not marred by citations, and this works well for a book in which the author’s feelings and interpretations are an important contribution to the way in which we are led to see this dynasty. Nathan’s impact is important – leading us to understand not only the people, but the films they wrote, directed, acted in – and on occasion, recut, reinterpreted, and brought back to the world in a form that was impossible originally.
In the earlier part of the book there is a plethora of directors, studios, producers whose work is explained, giving the book an openness that is particularly appealing. This openness contrasts with the inwardness of Coppola, whose writing and direction are so much a part of his being that the rest of the world might not exist - until he suddenly cooks pasta takes his children on exciting jaunts, gives Eleanor attention and appreciation. Interestingly, I thought that the writing in the later part of the book was more inward looking, the Coppolas, rather than their broader environment were the narrow focus. I would have liked detail about the way in which changes to developing films impacted on the dynasty. There is mention of television, and films made for Netflix, for example, but perhaps a stronger comparison of these formats with the old system under which Francis Ford Coppola worked would have made a fascinating addition, maintaining the pattern of the early chapters.
The Coppola films are more than adequately treated. Nathan draws us into The Godfather and its sequels relaying a strong understanding of Coppola’s aims; the stress and darkness of filming Apocalypse Now is fully grasped; and the way in which Coppola regarded Peggy Sue Got Married, somewhat amusing. Sofia’s Lost in Translation was so sensitively covered it reminded of how much I appreciated the film; commentary on other of her films made me want to see more. The deft comparisons made between the two stars of the book are beautifully realised - we understand that they come to their work differently and execute their ideas under very contrasting constraints. But, like a script writer, Nathan ‘shows rather than tells’ this difference. He is also adept at drawing Eleanor and her feelings into the story. The account of her work is both moving and satisfying - more than wife and mother at last!
The Coppolas A Movie Dynasty is an easy and engrossing read. It is a satisfying account of the dynasty; the world of film, particularly during the reign of the studio system; and a wonderful rendition of the ideas, work and feeling behind the Coppola films.
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