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Rating: 
Summary: Manny is likeable, but not really a good writer
Review: A cult book. Not being in on the cult, let me say that Farber had pretty good taste in movies, liking hard-boiled masculine shoot-em-ups in the Forties. And he is, apparently, a very good painter, still having one man shows today in his late eighties. Still, he was a hideously disorganized writer. Reviews seem to start and end at random points in his chain of thoughts. There are some good phrases, but I'd be hard pressed to recount many coherent ideas from his book. It's not that he's lacking good ideas -- in fact, he has too many. He's just not very good at putting them into a comprehensible form. If you are a fanatic for either forties tough guy directors or late sixties artsy directors, you'll no doubt benefit from grinding through the book, but for the general reader, it's a struggle. I'm hardly surprised that he gave up reviewing over 25 years ago for painting. Writing just doesn't seem to be his strong suit.
Rating: 
Summary: extraordinary
Review: Farber found the best metaphor for his inclinations as well as his work: the termite, who burrows, chews, and undermines. Just as Thelonious Monk's solos softly undermine the themes on which they are constructed, so the bits of outrageous reality peeping into the Walsh films Farber so much admires undermine the fictional world Walsh has so carelessly constructed, and the critiques Farber savagely launches at film festivals and white elephant movies undermine their subjects by his relentless burrowing.
Rating:
Summary: Combative and Original
Review: This compilation of essays on film and art, written from the 1950s through the '70s, still stands out as amazingly sharp, combative, and original. Take Farber's legendary "White Elephant Art vs. Termite Art" (1962); replace the notion of "great painting" with "relational aesthetics," and you see that artists like Allan Sekula follow the termite path while the Hirschhorns and Gillicks of the world are our own white elephants.
Rating:
Summary: Combative and Original
Review: This compilation of essays on film and art, written from the 1950s through the '70s, still stands out as amazingly sharp, combative, and original. Take Farber's legendary "White Elephant Art vs. Termite Art" (1962); replace the notion of "great painting" with "relational aesthetics," and you see that artists like Allan Sekula follow the termite path while the Hirschhorns and Gillicks of the world are our own white elephants.
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