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The Last Tycoon, An Unfinished Novel, Together with The Great Gatsby and Selecte, by F. Scott Fitzgerald
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- Sales Rank: #5661526 in Books
- Published on: 1941
- Binding: Hardcover
Most helpful customer reviews
4 of 4 people found the following review helpful.
King of Hollywoodland.
By Michael G.
The following review of The Last Tycoon refers to the 1969 hardcover edition, published by Scribner's and edited by Edmund Wilson.
The Last Tycoon by F. Scott Fitzgerald is a work of fiction but its protagonist, the enigmatic Monroe Stahr bears more than a passing resemblance to real life Hollywood icon Irving Thalberg. Thalberg was an enormously influential producer who took Hollywood by storm only to die at the tender age of 37. Quite ironically, F. Scott Fitzgerald died suddenly at the age of 44 while writing The Last Tycoon. One can only speculate as to how powerful this novel might have been had Fitzgerald lived long enough to complete and further refine the already wonderfully compelling narrative.
We know from the very interesting notes written by the author and presented as a supplement to the text of this unfinished novel that Fitzgerald did not approach the creation of The Last Tycoon lightly. This was a labor undertaken with meticulous attention to plot and character development. Specific scenes were crafted to create just the right mood or get across to the reader just the right message. One would be hard pressed to name another book about the rough and tumble world of Hollywood that contains the degree of nuance found in The Last Tycoon.
One of the most remarkable aspects of this work is the empathy Fitzgerald shows toward his fictional creation, the larger than life producer Monroe Stahr. As a noted author who found himself laboring over movie scripts in an era when such work was considered demeaning for real artists, one would have expected Fitzgerald to display a more cynical, less complimentary view of the movie production overlords of the 1930s....most of whom were semiliterate at best. On the contrary, Stahr is presented as a complex, supremely capable and kind individual who, though lacking in formal education, knows his business inside and out.
The Last Tycoon is first and foremost about Monroe Stahr but the narration is provided by Cecelia Brady, a young woman who admires Stahr and is not so secretly in love with him. In the very first chapter, Fitzgerald has Cecelia say the following: "It's more than possible that some of the pictures Stahr himself conceived had shaped me into what I was." After reading that line, I had to wonder if Cecelia was speaking for just herself and Stahr or for all of us and Hollywood in general.
Though unfinished, The Last Tycoon is an important, thought provoking book. Highly recommended.
12 of 15 people found the following review helpful.
Gorgeous Coralie-Bickford Smith cover art!
By Sara Burton
I purchased all six of these books from the Canadian Amazon website (amazon.ca) several weeks ago because I couldn't bear to wait any longer for them to show up on the American site.
The covers are just gorgeous. The art is metallic and beautiful and the covers have a soft feel to them. The inside flap of the cover is perforated and is designed to be removed and used as a matching bookmark.
The cover art for this set of F. Scott Fitzgerald books was designed by Coralie Bickford-Smith - the genius behind the similarly beautiful Penguin cloth-bound classics series. Not only is the literature itself classic, but the books look like a classic collector's item as well! Friends compliment me on them all the time when they see them on my bookcase!
1 of 1 people found the following review helpful.
F. Scott Fitzgerald At The Movies-Almost
By Alfred Johnson
I suppose that it is just a matter of taste, or maybe just being a cranky literary guy of sorts, but publishing a well-known author’s last unfinished work, as here with F. Scott Fitzgerald’s The Last Tycoon seems rather sacrilegious or perhaps just publisher’s greed to play off one last time on an author’s fame. I have no problem with, say, a publisher publishing a posthumous book like one did in 1964 with Ernest Hemingway’s A Moveable Feast since that book had been completed and moreover provided a great snapshot into the self-imposed American literary exile community, including some interesting insights into Fitzgerald as well, of post-World War I Paris.
The subject here, the partially told saga of the last of the self-made maverick movie producers, is hardly definitive, or as compellingly told about the corporatization of that profit-filled medium. Moreover the pieces here add nothing to Fitzgerald’s reputation which will always hinge on the novel, The Great Gatsby, maybe Tender Is The Night, and a slew of his prolifically produced short stories.
That said, that off my chest I will say that Fitzgerald who did do work as a screenwriter, although it is not clear how successfully, has a pretty good idea of what was going on in Hollywood once the “talkies” came in and forced the story line and dialogue of a film to ratchet up several notches. And then there is the question of putting what looks like a good idea on the screen with many times temperamental actors and inadequate financial backing. In any case the movie producer here, Monroe Stahr, is foredoomed to be the last of the independent filmmakers not only by the new system coming in place but by the fact that despite his “boy wonder” status for producing mostly hits and getting the most out of his employees come hell or high water he is headed for an early grave due to rough living and a weak heart.
The story, his story as far as it goes, is told by the daughter of one of his associates who is young enough, a college student at Bennington, to be seriously in love with him although he is only, at best, tepid toward her. The reason, or rather the big reason Monroe was still in thrall to the memory of his late actress wife, and, was smitten by a woman he met randomly on his studio lot who preternaturally looked like his late wife. That short tremulous love affair which ended in sorrow and departure is the human interest center of the story. Additionally there are scenes like how screenwriters write individually and collectively (or don’t write under either category), the importance of skilled cameramen in getting just the right effect that the director or producer whoever is hanging over him or her, how stars are made (or unmade), which gives an insight into the collective nature of the film industry no matter who produces, who directs, and who stars. That theme was done very well cinematically in the 1950s film, The Bad and the Beautiful about a post-World War II Monroe Stahr –like figure and the director, the rags to riches actress and the screenwriter he put the screws to in order to produce what he thought were great films.
There are also some interesting scenes, and some references sprinkled throughout The Last Tycoon, about the coming unionization of the industry, the fears that thought produced in the movie moguls, including Stahr, and a decidedly more morbid fear about the “reds” bringing revolution to their Hollywood front door which, perhaps, foreshadowed the post-war red scare Hollywood Ten blacklist night. Nice pieces, nice insights but as a whole the thing does not hang together since the driven Fitzgerald have not worked out all the kinks. Enough said.
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