“Sharp, savvy. . . . Icily hilarious. . . . Mr. Mamet writes with insight, idiosyncrasy, and a Godzillian imperviousness to opposition.” Janet Maslin, The New York Times on Bambi vs. Godzilla
“Winningly pugnacious. . . . [Bambi vs. Godzilla] is funny and angry and intemperate and passionate enough to tell the truth about movies.” San Francisco Chronicle on Bambi vs. Godzilla
“This is a book infused with love – the sweet, helpless love Mamet has for film, and the communal process that makes it.” Los Angeles Times on Bambi vs. Godzilla
“Playful . . . deft. . . . Mamet the dramatist has developed a career as a prolific philosophical essayist.” Chicago Sun-Times on Bambi vs. Godzilla
…fans of [Mamet's] friendlier, funnier prose collections like Writing in Restaurants (1987) will find his cutting wit, as ever, on point.
The Washington Post
In this manifesto, playwright Mamet (Glengarry Glen Ross; Speed the Plow) appears to take great pleasure in attacking age-old theories of acting and directing. By definition, he posits, an actor is a good actor; if the person onstage is not good, then he or she is not an actor. Other targets are books of theory, which Mamet admits he read voraciously when he fell in love with the theater; he now writes, "on reflection, I had (and have) very little idea what they were talking about." Some of his main points are that theater should entertain, rehearsal time should be used to block the play and have the actors understand what they are speaking (rather than feeling), and the job of the playwright is to "make the audience wonder what is going to happen next. That's it." VERDICT Mamet is a superb playwright, and the ideas he shares would have made an excellent journal article. As a $22 hardcover, this is recommended only for die-hard Mamet disciples and exhaustive theater collections with large budgets.—Susan Peters, Univ. of Texas, Galveston