Author: Harry Knowles with Paul Cullum and Mark Ebner
Publisher: Warner Books
Hardcover Edition/ 318 pages
| AIN'T
IT COOL? HOLLYWOOD'S REDHEADED STEPCHILD SPEAKS OUT Author: Harry Knowles with Paul Cullum and Mark Ebner Publisher: Warner Books Hardcover Edition/ 318 pages |
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Warren
Curry
4/23/02
First things first: If Harry Knowles, as it claims on the "About the Authors" page, doesn't eat popcorn while at the movies, why does the cover of his book feature an illustration of the man sitting in a theater snacking on a box of popped kernels? Regardless, if you're reading this review, chances are at some point you've surfed over to that phenomena of a website known as Ain't It Cool News, run by self-described "film geek" Harry Knowles. The site boasts 1.5 million readers, and Knowles has been voted (by a few publications, I believe) one of the 100 most powerful people in the movie biz. He has garnered such success while still claiming to be on the same level as his army of "geek" readers. Of course, many of his devotees will probably never know the feeling of being flown to a movie set, put up for a weekend in a posh hotel and wined and dined at 5 star restaurants by studio executives, but I digress. A messiah to many, a curious oddity to most and an object of contempt to others, just who is the man behind the most powerful movie website in the world? Well, for those who want to know, Harry's aptly titled memoir, Ain't It Cool? Hollywood's Redheaded Stepchild Speaks Out, is here to answer your burning questions.
Let me start by divulging that I don't visit Knowles's site often. Simply put, I'm not a fan of his style of criticism and, furthermore, am not very concerned with the latest gossip circling around the sequels to Star Wars, Lord of the Rings or The Matrix (if you're not familiar with the site, his target audience is similar to those that attend comic book conventions). If you've read a Knowles review, then you're acquainted with his rambling rants, which seem to cover almost everything except the film being critiqued. I've read plenty of internet-based or small press writers, who are effective at turning seemingly mundane details of their lives into something intriguing and, often times, humorous and, well, let's just say Knowles isn't one of those writers. While that's a brief summary of my feelings about Ain't It Cool News the website, my opinion of his book is far more positive. It's an intriguing read that, while getting bogged down by aimless ranting in a few chapters (which are in dire need of editing), manages to be entertaining and, dare I say it, somewhat insightful from start to finish.
Appropriately, the book starts out with a thorough account of the author's formative years (largely spent at memorabilia conventions with his nomadic parents), and also details what would become a strained and sad relationship with his estranged mother. An accident, which caused him to be laid up in bed virtually paralyzed for months, led to his initial tinkering with the Internet while in his mid-20's. He goes on to explain how Quentin Tarantino (who penned the book's brief introduction) first broke him onto the national scene (doesn't that seem extremely fitting?), thanks to Harry's painstaking coverage of the first ever Austin QT Film Festival. Thus, began his rapid climb to film geek domination.
Knowles likes to namedrop and clearly revels in his power, which, make no mistake, is a nuisance, but he writes with a passion that, when focused properly, is invigorating. I should also point out that the quality of writing in this book is far superior to that on his site, which makes me wonder just how much of a hand is fellow authors had in the process. Give the man credit for choosing his collaborators wisely. Knowles is a genuine film lover and his part movie layman, part movie rebel perspective is engaging (yet hard to reconcile with the fact that he now is a firm part of the establishment that was once clearly his adversary). Knowles gives just exposure to the other folks behind the site (including his father and his "spies"), dutifully points out that Hollywood can and should make better films (nothing groundbreaking there) and relays his aversion to the rules of "traditional" journalism. He also dedicates an interminable chapter to his well-publicized battles with the NRG (National Research Group), the organization responsible for movie test screenings.
This chapter, in a nutshell, is a prime example of the book's failings. Harry's passion works as a detriment when he feels the need to rail away about a certain topic until it's so exhausted he's drained the fervor from his initial argument. He makes valid points about the inherent short sightedness of test screenings, and the studios frightening reliance on their results, but his criticism would cut so much deeper if he condensed his analysis. I find it difficult to fault anyone for being too enthusiastic, but as it applies to this author's prose, it's a hindrance and robs sections of the book of its mostly page-turning momentum.
I won't claim to agree with all of the opinions that Knowles expresses, but the man is to be admired and commended for building his grassroots, labor-of-love project into such a viable and (although not in all circles) respected force. Internet film journalists everywhere, who lack formal training in the field, owe a debt of gratitude to Knowles for his trailblazing actions. Even if David has turned into Goliath, it's always inspiring to hear another story of the little guy conquering the odds.
To summarize: This book won't convert any Knowles naysayers, and will be an utter bore to those lacking a strong passion for the movies (and if you fall into the latter category, I highly doubt you'll be reading this review). However, the criticisms of those in tune with the universe that Knowles inhabits should be few and far between.
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