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The Player, by Michael Tolkin
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This thriller is set in a major Hollywood film studio and features a young production manager who is dedicated to success and obsessed by his career in the dream factory. His participation in the power game leads to a paranoia of suspicion, betrayal and finally murder. this book is a film tie-in.
- Sales Rank: #16022686 in Books
- Published on: 1993-06-21
- Released on: 1993-06-21
- Original language: English
- Number of items: 1
- Binding: Hardcover
From Publishers Weekly
Set in the upper reaches of Hollywood moguldom, this powerful and disquieting first novel delivers the punch its strong beginning promises. Griffin Mill is a young, near-the-top executive at a major movie studio. His life is the movies, his life's goal is to run the studio, and his every move is measured for its effect on getting him there. He doesn't tell anyone when he begins receiving angry postcards from a writer who complains: "You said you'd get back to me. I'm still waiting"not because the cards threaten his life, but because they might be used against him within the studio. With a vague plan for propitiation, Griffin tries to pinpoint his threatening correspondent by making random contact with names from his calendar, all the while struggling not to lose his dominance in the management struggle. Dense with icons of the Hollywood mythstory meetings, power lunches, the right tables at the right restaurantsthis is a sharply etched mystery/thriller. But it is even more effective as a kind of modern morality tale. Griffin's self-absorption is so complete, his focus on his standing among colleagues and rivals so single-minded, that ordering from a luncheon menu takes on more significance to him than murder. In the hands of this talented writer, insecure, ruthless, aggressive Griffin Mill is an indelible character. 35,000 first printing; first serial to Manhattan, inc.; Literary Guild and Mystery Guild alternates.
Copyright 1988 Reed Business Information, Inc.
From Library Journal
Plagued by a disappointed writer's string of anonymously ominous postcards, Griffin Mill, a powerful Hollywood movie studio executive, commits a senseless murder and then takes up with his victim's girlfriend. Tolkin, himself a screenwriter, squishes this meagre story into his lead character's brain, where it becomes a minor league Dostoevskian psychological adventure, with the interesting subtext that a production executive's success leads not only to guilt and paranoia but to existential murder. Tolkin's bemused view of Hollywood is curt and bloodless yet hardly original, but he does have a keen perception of its various battle strategies. There's a happy ending, which the Hays Office wouldn't have liked, but Hollywood in the 1980s just might. David Bartholomew, NYPL
Copyright 1988 Reed Business Information, Inc.
From the Inside Flap
"Just as Griffin suspected, there was a meeting in Levison's office without him." With this opening, we are taken into the mind and life of Griffin Mill, senior vice president of production at a major Hollywood studio. It is a mind full of paranoia, duplicity, and guile--and a life full of money, power, and fame. It is the movie business.
Griffin Mill is ruthlessly ambitious, driven to control the levers of America's dream-making machinery. Griffin listens to writers pitch him stories all day, sitting in judgment on their fantasies, their lives. But now one writer to whose pitch he responded so glibly is sending him postcards: "You said you'd get back to me. You didn't. And now in the name of all writers who get pushed around by studio executives I'm going to kill you."
Squeezed between the threat to his life and the threat to his job, Griffin's deliberate and horrifying response spins him into a nightmare. Then he meets the sad and beautiful June Mercator and his obsession for her threatens to destroy them both.
With a compulsively readable narrative that offers a devastating portrait of contemporary Hollywood--the studio execs, the deal-making, the politics, the pitches--The Player is the smartest book about Hollywood since What Makes Sammy Run? and the most sinister since The Day of the Locust. If Dashiel Hammett were alive today, this is the book he would write about Hollywood.
"A shrewd, entertainingly dark Hollywood novel."--The New York Times Book Review
"One of the most wounding and satirical of all Hollywood exposes: dark and mordant...savage.... A portrait of life among the high-rollers and deal makers of a major Hollywood studio in the post-Golden Age. Unnerving.... A nightmare rendered with icy precision."--Los Angeles Times
"[A] surely crafted novel...that defines the machinery of moviedom in incisive, vivid strokes...a winning black comedy. Tolkin writes keenly, with a cynical eye for the machinations of the entertainment biz.... A hilarious indictment of contemporary Hollywood's ruling mentality. In its wry, acerbic description of the world behind the studio gates Tolkin's book recalls F. Scott Fitzgerald...and the vengeful comedy of Nathaniel West's The Day of the Locust."--The Philadelphia Inquirer
"Bizarre and brilliant.... A grand guide through the private offices, board rooms, and restaurants where Hollywood deals--and throats-are cut. Not since Indecent Exposure have we met such a consummately skilled player at this power game."--Boston Herald
"A tour de force that draws directly on Tolkin's experiences as a television writer and screenwriter who knows Hollywood from its seamy inside out."--Vogue
"Deliriously amoral. Just like Hollywood; full of asides and in-jokes and wisecracks."--Washington Post Book World
"[A] memorably vivid Hollywood novel."--Rolling Stone
"Reminiscent of The Last Tycoon...suspense keeps you flipping the pages. The Player is thoroughly convincing, both as a portrait of a power broker and as a depiction of the stratagems within the coterie that runs Tinseltown."--Atlanta Journal-Constitution
"An unusually classy mystery."--Cleveland Plain Dealer
"Reverberates with the ghosts of Cain and Camus."--Women's Wear Daily
"Gets inside Hollywood today.... What makes The Player such a standout work is that it examines the mid-set of the film industry and all its posturing behind the cameras.... It reveals a continuum of viciousness that seems indigenous to Hollywood."--San Diego Union
"It's a thoroughly up-to-date fable that maybe Kafka would have written if he'd been employed by MGM. The book has a sinister inevitability about it and it's probably as detailed an account of the contemporary Hollywood psyche as we're likely to find in current fiction. Anyone who has some connection to the film industry should get a big, knowing kick from the book and never be able to look at a studio executive in quite the same light again. Michael Tolkin just about convinces us that the devil is alive and well and hanging out at Morton's."--Bret Easton Ellis
"Icy irony and extreme accuracy
Most helpful customer reviews
3 of 3 people found the following review helpful.
Try the Movie Instead
By David Alden
Loved the movie, left flat by the book. I grasped the irony, but was bored by the sense of superiority, thought the writer's actions unbelievable, found the murder incomprehensible, and left uneasy about the relationship with June. About the only emotion to which I could relate was the paranoia about the possible arrest. The screenwriter had the sense to focus on that last emotion. I'd have liked the book better if Tolkin had done more of the same.
5 of 6 people found the following review helpful.
the rare novel that is inferior to the cinematic equivalent
By Jonathan E. Shapiro
It's a good story, but it's basically a skeleton of what would become Robert Altman's kaleidoscopic adaptation, filled with blink and you'll miss it cameos and references Tolkin's novel feels too heavy and it also lacks the humor present in the film. If you want to read some great Michael Tolkin, go to his sophomore novel, the powerful 'Against the Air', or his wonderful "L.A. Yuppie" trilogy of screenplays.
1 of 1 people found the following review helpful.
News flash -- sometimes the bad guys win and don't even feel bad about it
By Martha Freeman
This is the book on which the Altman movie is based, and it has quite the Patricia Highsmith feel: News flash -- sometimes the bad guys win and don't even feel bad about it.
Griffin, a movie executive, is being sent vaguely threatening postcards, apparently by a disappointed and disgruntled screenwriter. To atone -- sort of -- he picks a screenwriter at random whom he met with and goes to see him at a screening of The Bicycle Thief. He figures if he makes a big effort to placate one guy, in some karmic way he will placate the postcard writer, too. This makes weird sense in the book. Anyway, for no reason (shades of The Stranger) beyond imitation and because he can -- he ends up committing a murder.
The main character is curiously amoral, and seems not to consider the effects of his actions on others. At the same time, he is a heck of an observer, not only of others but of himself, of the little games and mood shifts, the political one upsmanship, that to some extent defines daily life. It seems that games and observations on the most superficial level are all there are for him.
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