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History vs Hollywood: How the Past is Filmed
Film studios have been making historical movies now for over a century. In that time, thousands of films have been made covering not just centuries but millennia. Did Neanderthal woman really look like Raquel Welch in her bearskin bikini? Did 6,000 rebellious slaves claim that they were Spartacus? Did Berengaria complain to her husband, Richard the Lionheart, ‘War, war; that’s all you think about, Dick Plantagenet’? Was El Cid strapped to his horse’s saddle to lead his army after he was dead? These aren’t questions of history; they are questions of Hollywood.
Charlton Heston was a foot too tall for General Charles Gordon. John Wayne was a tad too American for Genghis Khan. Eric von Stroheim’s bald head was an odd choice for the perfectly hirsute Erwin Rommel. And Warren Beatty and Fay Dunaway were far too gorgeous for bank robbers Bonnie and Clyde.
Hollywood never gets it right. History and its characters are endlessly complicated, and producers, directors and screenwriters have a simple story to tell. They have a maximum of two hours to explain what happened over weeks or months or years and many of it give it their best shot.
Yet for all Hollywood’s shortcomings in recreating the past, it has managed to evoke eras and people long dead in a magical way that has kept millions of us enthralled for generations.
Charlton Heston was a foot too tall for General Charles Gordon. John Wayne was a tad too American for Genghis Khan. Eric von Stroheim’s bald head was an odd choice for the perfectly hirsute Erwin Rommel. And Warren Beatty and Fay Dunaway were far too gorgeous for bank robbers Bonnie and Clyde.
Hollywood never gets it right. History and its characters are endlessly complicated, and producers, directors and screenwriters have a simple story to tell. They have a maximum of two hours to explain what happened over weeks or months or years and many of it give it their best shot.
Yet for all Hollywood’s shortcomings in recreating the past, it has managed to evoke eras and people long dead in a magical way that has kept millions of us enthralled for generations.
- GenresNonfictionHistory
264 pages, Hardcover
Published May 5, 2024
About the author
M.J. Trow
176 books122 followersMeirion James Trow is a full-time teacher of history who has been doubling as a crime writer for seventeen years. Originally from Ferndale, Rhondda in South Wales he now lives on the Isle of Wight. His interests include collecting militaria, film, the supernatural and true crime.
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Displaying 1 - 21 of 21 reviews
March 31, 2024
A fascinating trip through history via the cinema. The author looks at the films made about historic events in the past & what they got right & what they got wrong. It's a good book to dip in & out of - reading a few chapters & returning later - but the sheer amount of information can become a little overwhelming if you are trying to read it straight through.
If you have read anything by the author before you are probably familiar with their slightly sardonic tone, if not then do check out their series of historical mysteries featuring Christopher (Kit) Marlowe. Overall I enjoyed this one & I have a list of films to watch at some point now.
My thanks to NetGalley & publishers, Pen & Sword History, for the opportunity to read an ARC.
If you have read anything by the author before you are probably familiar with their slightly sardonic tone, if not then do check out their series of historical mysteries featuring Christopher (Kit) Marlowe. Overall I enjoyed this one & I have a list of films to watch at some point now.
My thanks to NetGalley & publishers, Pen & Sword History, for the opportunity to read an ARC.
January 23, 2024
The book presents the phenomenon of adaptation of historical events and characters to the screen for more than 100 years, which led to the creation of thousands of films covering the entire human history. It asks some funny questions about the truth of these depictions – were prehistoric women really like Raquel Welch in her fur bikini from One Million Years B.C.? Although the author admits the right to artistic freedom, she notes that Hollywood does not always do an excellent job of translating the depth of historical realities and personages into two hours of film.
Illustrations are given of miscast actors such as Charlton Heston, who is too tall to portray General Charles Gordon authentically, and Warren Beatty and Faye Dunaway, who are too glamorized compared to the real-life Bonnie and Clyde outlaws. The passage recognizes that any attempt by condensers to summarize critical events into palatable narratives for the masses invariably oversimplifies history’s complex details.
However, though the author is willing to admit that Hollywood tends to engage in selective and distorted historical storytelling, generations of moviegoers have been gripped and captivated by the power of cinema to conjure up the past. Therefore, although the typical historical blockbuster should be distinct from high-fidelity history, Hollywood should be given some credit for the ability to captivate historical environments and people for millions of viewers worldwide.
Overall, this is a sober reflection of the fundamental limitations of historical films made in Hollywood while also recognizing their lasting appeal as entertainment and their impact on culture. The prose has a tone of amusement and insight to analyze this tension between historical truth and dramatized interpretation and imagination on-screen.
Thank you to Pen & Sword, and NetGalley for allowing me to read and review this book.
Illustrations are given of miscast actors such as Charlton Heston, who is too tall to portray General Charles Gordon authentically, and Warren Beatty and Faye Dunaway, who are too glamorized compared to the real-life Bonnie and Clyde outlaws. The passage recognizes that any attempt by condensers to summarize critical events into palatable narratives for the masses invariably oversimplifies history’s complex details.
However, though the author is willing to admit that Hollywood tends to engage in selective and distorted historical storytelling, generations of moviegoers have been gripped and captivated by the power of cinema to conjure up the past. Therefore, although the typical historical blockbuster should be distinct from high-fidelity history, Hollywood should be given some credit for the ability to captivate historical environments and people for millions of viewers worldwide.
Overall, this is a sober reflection of the fundamental limitations of historical films made in Hollywood while also recognizing their lasting appeal as entertainment and their impact on culture. The prose has a tone of amusement and insight to analyze this tension between historical truth and dramatized interpretation and imagination on-screen.
Thank you to Pen & Sword, and NetGalley for allowing me to read and review this book.
March 30, 2024
I find the line between history and Hollywood's history fascinating, and I was glad to find M.J. Trow's non-fiction book. Starting at the beginning of the film industry to the present day, Trow makes compelling arguments and observations about Hollywood's tendency to glamourise and stretch history to fit their film's narratives (not to say it is a bad thing, but it does beg the question if history can truly be learned from films). I found History vs Hollywood an interesting read with tidbits of history that I didn't know were added by Hollywood and become part of how we view history.
I highly recommend History vs Hollywood to any film history or history fanatics who want to learn how Hollywood merges imagination and fact into their films.
Thank you, NetGalley and Pen & Sword for sending me an ARC in exchange for my honest review.
I highly recommend History vs Hollywood to any film history or history fanatics who want to learn how Hollywood merges imagination and fact into their films.
Thank you, NetGalley and Pen & Sword for sending me an ARC in exchange for my honest review.
February 27, 2024
A fun and interesting read. This book covers movies from all different periods of time as well as genres. Especially enjoyable when they are movies that you have seen. There's a fairly large amount of casting the wrong actors for a part but that was not unusual in early Hollywood when actors were under studio contracts. Sad to see that historical inaccuracies still exist today. I hope this author writes more on this subject. Thanks to Netgalley, the author and publishers for an advanced copy in exchange for my honest opinion.
July 10, 2024
Full review, sort of: https://allthebookblognamesaretaken.b...
+++++++++++++++++++++++++++++++++++++
I received a free digital ARC from the publisher via NetGalley in exchange for an honest review. Full review to come.
The author is pretty snide and condescending throughout the book. Some of his history is also inaccurate throughout the Tudor period, so who knows what’s actually accurate regarding some of the periods I know less about.
The scope was also way too massive and unwieldy. Analysis was very superficial, because so many movies were introduced.
+++++++++++++++++++++++++++++++++++++
I received a free digital ARC from the publisher via NetGalley in exchange for an honest review. Full review to come.
The author is pretty snide and condescending throughout the book. Some of his history is also inaccurate throughout the Tudor period, so who knows what’s actually accurate regarding some of the periods I know less about.
The scope was also way too massive and unwieldy. Analysis was very superficial, because so many movies were introduced.
February 28, 2024
M J Trow, History vs Hollywood How the Past is Filmed, Pen & Sword, Pen & Sword History, March 2024.
Thank you, NetGalley and Pen & Sword History, for providing me with this uncorrected proof for review.
M J Trow has written a book full of interest to anyone who enjoys films with an historical bent. Perhaps they will be disappointed to learn from History vs Hollywood How the past is Filmed that so much in these ‘historical’ films is erroneous, from major problems of fact, flawed depictions of costume and event details and poor representation by actors who bear little resemblance to those they are supposed to portray. However, is this book offering much more? Perhaps, of course, what is offered is enough. However, I would have liked more analysis, some other experts noted if Halliwell has been supplanted as the film buff’s ‘go to’ reference, and less freewheeling chapter content.
There are constant references to ‘Halliwell’ author of Film goers Companion (1965) and Halliwell’s film Guide (1977). However, there is no information other than his name, about this critic who so often meets with Trow’s ire. Although Trow’s opinion is often supported by reference to the films and subject of critique, there are no citations other than the title of the films and names of the actors. Halliwell’s reference works have been referred to as requiring that ‘one should look up for a moment to admire the quite astonishing combination of industry and authority in one man which has brought them into existence.’ (Wikipedia) Alternative views are also cited, with Halliwell being seen as both an expert and having a limited perspective. With this reputation further analysis of why Trow usually disagrees with his assessments would be revealing.
The chapters are devoted to particular genres which can be described as historical. The Dark Ages covers the fall of Rome to Alfred the Great; The Middle Ages considers early war films from Hastings to Bosworth; The Renaissance provides details about one of the most well-known eras, the Tudors from Henry V111 to Elizabeth 1; The Swashbucklers, an exciting title which covers musketeers, pirates and ‘The New World’; The Age of Empire – Napoleon Bonaparte, Nelson, and women such as Lady Caroline Lamb, famous in the period to the wars of Empire, including those featuring Queen Victoria, to Ekaterine and a Russian emphasis; Westerns; Trench warfare to The Killing fields; and Crime films.
The genres covered by each chapter provide a wealth of information about a huge range of films, their scripts, associated personnel, and background. I would have liked to see more organisation within the chapters, so that they provided a chronological or subject discussion. The bibliography is a not particularly extensive bibliography, although there is a comprehensive index. So, as a book that has little analysis, criticises the opinions of a recognised expert and categorises only by genre with little effort to discuss films in any historical context such as reference to the chronological order in which they were produced, does History vs Hollywood How the Past is Filmed have a lot to offer?
For the reader who wants to know more about the films Trow covers, this book in a treasure trove. It also provides a wonderful perspective on the historical authenticity, or lack of authenticity, on a multitude of films in a wide range of genres. It is fun to read, and I enjoyed doing so. However, as a contribution to academic debate about the value of historic authenticity, evaluation of other expertise in the field and a thorough analysis of the films covered I felt it could have been better.
Thank you, NetGalley and Pen & Sword History, for providing me with this uncorrected proof for review.
M J Trow has written a book full of interest to anyone who enjoys films with an historical bent. Perhaps they will be disappointed to learn from History vs Hollywood How the past is Filmed that so much in these ‘historical’ films is erroneous, from major problems of fact, flawed depictions of costume and event details and poor representation by actors who bear little resemblance to those they are supposed to portray. However, is this book offering much more? Perhaps, of course, what is offered is enough. However, I would have liked more analysis, some other experts noted if Halliwell has been supplanted as the film buff’s ‘go to’ reference, and less freewheeling chapter content.
There are constant references to ‘Halliwell’ author of Film goers Companion (1965) and Halliwell’s film Guide (1977). However, there is no information other than his name, about this critic who so often meets with Trow’s ire. Although Trow’s opinion is often supported by reference to the films and subject of critique, there are no citations other than the title of the films and names of the actors. Halliwell’s reference works have been referred to as requiring that ‘one should look up for a moment to admire the quite astonishing combination of industry and authority in one man which has brought them into existence.’ (Wikipedia) Alternative views are also cited, with Halliwell being seen as both an expert and having a limited perspective. With this reputation further analysis of why Trow usually disagrees with his assessments would be revealing.
The chapters are devoted to particular genres which can be described as historical. The Dark Ages covers the fall of Rome to Alfred the Great; The Middle Ages considers early war films from Hastings to Bosworth; The Renaissance provides details about one of the most well-known eras, the Tudors from Henry V111 to Elizabeth 1; The Swashbucklers, an exciting title which covers musketeers, pirates and ‘The New World’; The Age of Empire – Napoleon Bonaparte, Nelson, and women such as Lady Caroline Lamb, famous in the period to the wars of Empire, including those featuring Queen Victoria, to Ekaterine and a Russian emphasis; Westerns; Trench warfare to The Killing fields; and Crime films.
The genres covered by each chapter provide a wealth of information about a huge range of films, their scripts, associated personnel, and background. I would have liked to see more organisation within the chapters, so that they provided a chronological or subject discussion. The bibliography is a not particularly extensive bibliography, although there is a comprehensive index. So, as a book that has little analysis, criticises the opinions of a recognised expert and categorises only by genre with little effort to discuss films in any historical context such as reference to the chronological order in which they were produced, does History vs Hollywood How the Past is Filmed have a lot to offer?
For the reader who wants to know more about the films Trow covers, this book in a treasure trove. It also provides a wonderful perspective on the historical authenticity, or lack of authenticity, on a multitude of films in a wide range of genres. It is fun to read, and I enjoyed doing so. However, as a contribution to academic debate about the value of historic authenticity, evaluation of other expertise in the field and a thorough analysis of the films covered I felt it could have been better.
April 21, 2024
It's one thing – an entertaining thing, all the same, mind – to scan imdb's goofs pages and see how errantly bad Hollywood has been at portraying history. From the small scale cock-ups (Michael Caine in Zulu having the kind of gun not yet invented) to the mahoosive implausibility of certain films' entire concepts (something about Matthew McConaughey swimming down, rescuing a stranded submarine, and jumping on board to solve each and every Enigma code iteration before it surfaces – that kind of thing), some things have reached our screens when they might not. Yes, it's fun to pick up on this and that, but these tiny soundbites, factoids, whatever, don't tell you the history of such a thing. This book does.
For yes, we get the run-down on the history of cinema as well as the history as shown by cinema. After a few pages getting us up to speed we hit the sword and sandals epics, regarding the Bible, Egypt, Greece and Rome, etc. I can see people disliking this immediately for how scathing it is about the source of such things – some people won't appreciate being reminded there is no archaeological evidence of Moses ever being around. The author is a touch repetitive at this, and in my proof he does have some very clunkily-worded sentences (I know, pot, kettle), but he's not wrong. He can be catty about anything and everyone, mind – much later, the Barrymore acting dynasty is "over-hyped"; the success of "Downton Abbey" is deemed "inexplicable". Again, top marks for accuracy there, if not getting people on your side.
What we have then is the narrative of the world where referenced by Hollywood – what happens when it takes it upon itself to present real people and what could pass as real events. This means we get everything from films of Shakespeare 'history' plays, the women of the Wild West, "Pearl Harbor" (sic) and everything conceivable in between. Chapters themselves range from the Dark Ages to 20th century war efforts to a round-up of relevant biopics, such as "The King's Speech". And all this is fine – if you don't like Westerns you might bore of that chapter, but everything else is given a light look only, and we're soon into the screen down the corridor, checking out a different multiplex pleaser.
It's not a perfect book – twice it says someone said something that websites I checked immediately refute, as in an unfindable example of "elementary, my dear Watson". The film "From Hell" couldn't really have been expected to take on much of his friend's on-set advice, determined as it was to be an adaptation of the (heavily-researched) book of that name. And Trow delves into the Operation Mincemeat episode, declaring "very little... makes sense and I suspect there is a lot more to come" – yes, that would include the 2021 film of the same episode of the same name that seemed to pass you by.
All told, though, this is a success. Dedicated to the workers in the motion picture industry without whom none of this etc, it does seem exceedingly catty and scathing at times – but it doesn't really blame the makers for being doofuses. It says Hollywood's job is to get a story right, but it doesn't slam and lambast people for idiocy, rather than have a droll moment pointing it out before turning to a different film. It's an enjoyable, easy narrative as a result, rather than someone with a diatribe trying to defend their career or discipline from the Hollywood juggernaut. There is a place for a volume compiling those imdb goofs as factoids, but so is there room for a book with the authority and timeline of this, which will succeed with many to whom it appeals.
For yes, we get the run-down on the history of cinema as well as the history as shown by cinema. After a few pages getting us up to speed we hit the sword and sandals epics, regarding the Bible, Egypt, Greece and Rome, etc. I can see people disliking this immediately for how scathing it is about the source of such things – some people won't appreciate being reminded there is no archaeological evidence of Moses ever being around. The author is a touch repetitive at this, and in my proof he does have some very clunkily-worded sentences (I know, pot, kettle), but he's not wrong. He can be catty about anything and everyone, mind – much later, the Barrymore acting dynasty is "over-hyped"; the success of "Downton Abbey" is deemed "inexplicable". Again, top marks for accuracy there, if not getting people on your side.
What we have then is the narrative of the world where referenced by Hollywood – what happens when it takes it upon itself to present real people and what could pass as real events. This means we get everything from films of Shakespeare 'history' plays, the women of the Wild West, "Pearl Harbor" (sic) and everything conceivable in between. Chapters themselves range from the Dark Ages to 20th century war efforts to a round-up of relevant biopics, such as "The King's Speech". And all this is fine – if you don't like Westerns you might bore of that chapter, but everything else is given a light look only, and we're soon into the screen down the corridor, checking out a different multiplex pleaser.
It's not a perfect book – twice it says someone said something that websites I checked immediately refute, as in an unfindable example of "elementary, my dear Watson". The film "From Hell" couldn't really have been expected to take on much of his friend's on-set advice, determined as it was to be an adaptation of the (heavily-researched) book of that name. And Trow delves into the Operation Mincemeat episode, declaring "very little... makes sense and I suspect there is a lot more to come" – yes, that would include the 2021 film of the same episode of the same name that seemed to pass you by.
All told, though, this is a success. Dedicated to the workers in the motion picture industry without whom none of this etc, it does seem exceedingly catty and scathing at times – but it doesn't really blame the makers for being doofuses. It says Hollywood's job is to get a story right, but it doesn't slam and lambast people for idiocy, rather than have a droll moment pointing it out before turning to a different film. It's an enjoyable, easy narrative as a result, rather than someone with a diatribe trying to defend their career or discipline from the Hollywood juggernaut. There is a place for a volume compiling those imdb goofs as factoids, but so is there room for a book with the authority and timeline of this, which will succeed with many to whom it appeals.
March 19, 2024
In history versus Hollywood MJ Trow discusses how movies based on real life stand up. From westerns to movies about Rome regency era films historical bios and on and on. He compares the movies based on religious text and that of Jesus himself Oliver Cromwell Wyatt Earp Queen Mary of Scots ET see this is a book that is right up my alley and I couldn’t wait to read it and I really liked the way he gave opinions of historians and popular people and also the The actual facts and what the directors and producers tried to pay us off as fact I really enjoyed that aspect of the book my only negative about the book is that he would say that certain people would claim a movie what is their favorite version of whatever A civil war battle, queen Victoria whatever the subject matter was and then would proceed to say basically their favorite movie of the subject matter was garbage in the one he thinks was the best was the best. Had he been saying that historically said movie was more accurate that would’ve been fine but he said President Roosevelt loved dear Clementine and it was his favorite movie and he proceeded to say that it was garbage I DK I just didn’t like that also I think because I like nonfiction books where the author tells us the facts and lets people make up their own mind and I get it he was comparing One thing to another people like movies for more than one reason so to call someone’s favorite movie trash with something I just didn’t like and I am going on way too long about it. I also wish they would just take the forward out all together because with the exception of the movies they mentioned and the tropes that were discussed I feel like it was beating a dead horse although many things he said in the forward I totally agreed with him. I just think if what made these movies about history bed was that people put their own two cents in maybe when riding a book about it you could’ve kept yours to yourself. Either way I enjoyed the book it’s highly entertaining and I can promise most people who read it will not even come close to having the negative emotions I did because it really is a great book. I want to thank Pen and Sword publishing and net galley for my free Ark copy please forgive any mistakes as I am blind and dictate my review.
February 27, 2024
Social history and films are among my interests so a book which purports to combine the two was immediately appealing. It’s taken me many years to understand the extent to which the media, including the film industry, not only affects but shapes public opinion. The real issue is that it tends to be black and white….in war films all Germans and Japanese are bad, Royalty is good, ethnic minorities are frequently stereotyped and shocking events are glamourised or misrepresented.
This book takes a linear approach starting with pre biblical times and concluding with the present day. The scope is diverse and I felt that presented some limitations in analysis. Most is very superficial with limited comment about how opinion was shaped by inaccurate depictions. Having accepted those limitations, I still found it an interesting and entertaining read. I grew up with a trip to the cinema once or twice a week taken for granted. In the 1950’s, over 30 million people a week went to the cinema, so the power to influence was phenomenal. Hollywood, Pinewood, Ealing et al were only interested in making money. So the British public weren’t shown films of Allied bombing raids which killed over 50,000 people in Hamburg in a single night. They focussed on the blitz endured by London ( with far fewer deaths) and the suffering of the poor British civilians. Native Americans were colourful heathens, there to be brought under control by American troops. The police were good, The Mob were bad. We were swept blissfully into the magic of the silver screen which insidiously shaped beliefs and attitudes,
This title has loads of examples of historic inaccuracies in films, from choice of actor, accuracy of an event, dress faux pas, location choices and much more. It’s a genuinely interesting exploration of films and poetic licence. It’s not an in depth study of the potential consequences of misrepresentation. I enjoyed it.
This book takes a linear approach starting with pre biblical times and concluding with the present day. The scope is diverse and I felt that presented some limitations in analysis. Most is very superficial with limited comment about how opinion was shaped by inaccurate depictions. Having accepted those limitations, I still found it an interesting and entertaining read. I grew up with a trip to the cinema once or twice a week taken for granted. In the 1950’s, over 30 million people a week went to the cinema, so the power to influence was phenomenal. Hollywood, Pinewood, Ealing et al were only interested in making money. So the British public weren’t shown films of Allied bombing raids which killed over 50,000 people in Hamburg in a single night. They focussed on the blitz endured by London ( with far fewer deaths) and the suffering of the poor British civilians. Native Americans were colourful heathens, there to be brought under control by American troops. The police were good, The Mob were bad. We were swept blissfully into the magic of the silver screen which insidiously shaped beliefs and attitudes,
This title has loads of examples of historic inaccuracies in films, from choice of actor, accuracy of an event, dress faux pas, location choices and much more. It’s a genuinely interesting exploration of films and poetic licence. It’s not an in depth study of the potential consequences of misrepresentation. I enjoyed it.
March 4, 2024
Nobody expects Hollywood movies to be historically accurate (despite my always joking how that’s where I get all my knowledge), but I had no idea how strongly they have influenced widespread history! The author loves movies, but he is also a historian so, when he says that Billy the Kid was not a leftie, he explains how it is known. The writing is humorous and approachable. From Genesis to Vietnam, Trow discusses films and describes what really happened. Or what can be proven. Or what is impossible to know. As well as what definitely was not possible because the characters in the film were dead by then. To limit the page count, he focusses on real characters who existed in real life (alas, no William of Baskerville), and chooses mostly Hollywood films, with a few exceptions. Readers who still choose to believe that Napoleon was a great rider, Rasputin a monk who dabbled with the supernatural or Cleopatra a great beauty may want to skip it (learning the truth about the shield maidens was worse than finding out about Santa Claus. For real). It is a fascinating history lesson for movie buffs.
I chose to read this book and all opinions in this review are my own and completely unbiased. Thank you, #NetGalley/#Pen & Sword History.
I chose to read this book and all opinions in this review are my own and completely unbiased. Thank you, #NetGalley/#Pen & Sword History.
October 13, 2024
This book contained a lot of fascinating information about Hollywood's record on historical accuracy in films ranging from biblical times to the recent past - not very good, for the most part - but I would say that it's more for selective reading than going straight through, especially if, as with most of us, there are time periods and/or places that don't enthrall you. I have never cared for Westerns, for example, so found that chapter somewhat boring, despite learning quite a bit from it.
At times the author lets his own prejudices show through, but on the whole I didn't find that too distracting.
We have come a long way from pure good vs. evil narratives, crude stereotyping, and the utter disregard for accuracy of former days (mixing up a jumble of elements from various times and places in medieval films, for example), but one of the main points that I got from the book is that often good history is not necessarily good filmmaking or storytelling, since the former involves scrupulous even-handedness while the latter requires a point of view from which to tell the story. This means that often the best films need to strike a balance.
I received a copy of History vs. Hollywood from the publisher via NetGalley in exchange for an honest review.
At times the author lets his own prejudices show through, but on the whole I didn't find that too distracting.
We have come a long way from pure good vs. evil narratives, crude stereotyping, and the utter disregard for accuracy of former days (mixing up a jumble of elements from various times and places in medieval films, for example), but one of the main points that I got from the book is that often good history is not necessarily good filmmaking or storytelling, since the former involves scrupulous even-handedness while the latter requires a point of view from which to tell the story. This means that often the best films need to strike a balance.
I received a copy of History vs. Hollywood from the publisher via NetGalley in exchange for an honest review.
March 17, 2024
Unsurprisingly since the beginning of the making of motion pictures, if it came down to reality or drama, drama won out every time. The more in the past a movie takes place, the better is the chance that the dialogue, clothing, background (where it was filmed) can be expected to be exaggerated.
This is especially to be expected when filming is done during a war (WW2) or in a country that you can’t get permission to film in. During WW2, you couldn’t film in Germany or most of Europe, so most times you would build a set instead. Now depending on the Studio’s finances, if you could use the wardrobe from one movie (say France of Louis XIV) when filming an Era that was close to the same time (under Louis XIII for the Three Musketeers), truly, except for some History Professors, who cares.
If you want to make a movie about Joan of Arc, but the lead actress is thirty though Joan died at nineteen, let’s not be picky. So, the bottom line is making an interesting and exciting movie, or getting every little occurrence or detail just right, you will have to adjust your thinking when you watch the film.
This is especially to be expected when filming is done during a war (WW2) or in a country that you can’t get permission to film in. During WW2, you couldn’t film in Germany or most of Europe, so most times you would build a set instead. Now depending on the Studio’s finances, if you could use the wardrobe from one movie (say France of Louis XIV) when filming an Era that was close to the same time (under Louis XIII for the Three Musketeers), truly, except for some History Professors, who cares.
If you want to make a movie about Joan of Arc, but the lead actress is thirty though Joan died at nineteen, let’s not be picky. So, the bottom line is making an interesting and exciting movie, or getting every little occurrence or detail just right, you will have to adjust your thinking when you watch the film.
June 8, 2024
Princess Fuzzypants here: In our house there is a popular saying. Hollywood has never let facts or history get in the way of a good story. Or a bad one as this book points out. There is always going to be some literary license when you tell a “true” story. In fact, as the book points out again, sticking too much to the facts can often drag down the pace or the characterizations.
If you are both a history buff and a movie buff you can rattle off lists of movies that got it wrong. Some get little details wrong and some get the whole shebang wrong. Reading the book hit a lot of the ones that have started our teeth grinding. No book could cover it all. But it certainly does give a comprehensive collection, done in chronological order when possible, of the films that include gaping holes, wrong technology and simply a complete misunderstanding of what really happened.
Four purrs and two paws up.
If you are both a history buff and a movie buff you can rattle off lists of movies that got it wrong. Some get little details wrong and some get the whole shebang wrong. Reading the book hit a lot of the ones that have started our teeth grinding. No book could cover it all. But it certainly does give a comprehensive collection, done in chronological order when possible, of the films that include gaping holes, wrong technology and simply a complete misunderstanding of what really happened.
Four purrs and two paws up.
February 9, 2024
This was a thoroughly enjoyable book that examined different historical themed films over time. It was well written and accessible to audiences regardless of their historical knowledge or their knowledge and understanding of film. It is organised coherently in historical chronology theme (beginning with films set in the ancient world and finishing with films set during the modern historical period).
It covers the film, its themes and some of the issues of concern in a general, straightforward manner. I was hoping for more of a deep dive examination of films, with a detailed examination of some of the inaccuracies. However, I think audiences will be pleased with the great cross-section of themes and contents covered in this book.
Thanks to NetGalley and the publisher for giving me access to this book in exchange for an honest review, these thoughts are all my own.
It covers the film, its themes and some of the issues of concern in a general, straightforward manner. I was hoping for more of a deep dive examination of films, with a detailed examination of some of the inaccuracies. However, I think audiences will be pleased with the great cross-section of themes and contents covered in this book.
Thanks to NetGalley and the publisher for giving me access to this book in exchange for an honest review, these thoughts are all my own.
March 19, 2024
History vs. Hollywood covers a lot of ground. The author surveys multiple historical genres and films and points out the historical inaccuracies as well as behind=the=scenes making of the films. He also is very opinionated which grated on me after awhile. He makes clear what films he think are excellent (even if historical inaccuracies) and those that he thinks are garbage. There were interesting passages in this book which intrigued me enough to want to go watch some of the films he mentioned that I had never seen before. And I think in the end, that was the author's intent -- is to have us go see more historically-based films and watch them with a critical eye (meaning, be aware it is not the complete truth/history). Interesting read though I wish he dove in a bit more on some of the films.
Thank you to Netgalley and Pen & Sword for an ARC and I voluntarily left this review.
Thank you to Netgalley and Pen & Sword for an ARC and I voluntarily left this review.
February 29, 2024
I really enjoyed this book. I think it would be a fantastic conversation piece, maybe a great coffee table book.
This was interesting to read and see all the differences in how people were in real life vs. how they were portrayed in movies. I liked the little facts at at the end of the book with the images. Like what characters played Queen Elizabeth I in the movies and who was too tall or too short.
This isn't a book I could read in one sitting as I noticed myself googling little facts, or looking at the costumes in the movies. It made me think and research and I felt like it took over my whole life as I was reading it.
The writing is great, and there is some humor mixed in the book. 10/10 I absolutely would recommend.
This was interesting to read and see all the differences in how people were in real life vs. how they were portrayed in movies. I liked the little facts at at the end of the book with the images. Like what characters played Queen Elizabeth I in the movies and who was too tall or too short.
This isn't a book I could read in one sitting as I noticed myself googling little facts, or looking at the costumes in the movies. It made me think and research and I felt like it took over my whole life as I was reading it.
The writing is great, and there is some humor mixed in the book. 10/10 I absolutely would recommend.
January 25, 2024
I’ve looked for years for a book about historical inaccuracies in historical films. I still haven’t found the one I’m looking for. This book was too overstuffed. Because there were so many films considered, I never felt any of them were really adequately examined. And, I never got a handle on the author’s opinion about historical accuracy (or inaccuracy) in film. He approves of some films which I know for a fact were riddled with inaccuracies, and dislikes others which were more accurate. Maybe the problem was with me personally (I have extremely strong opinions about historical accuracy in films), but I found this book to be too frustrating to be enjoyable.
March 16, 2024
This one was a miss for me. The scope was too wide and there's no space for more than just a superficial analysis of any given movie. I got into the book expecting to underline many interesting facts but I just barely found a few.
Also, I can't get over the author's condescending commentary on James Cameron's Titanic, calling some of his ideas "idiotic" and noting how it "incomprehensibly" won 11 Oscars.
My free review copy was provided via NetGalley in exchange for an honest review.
Also, I can't get over the author's condescending commentary on James Cameron's Titanic, calling some of his ideas "idiotic" and noting how it "incomprehensibly" won 11 Oscars.
My free review copy was provided via NetGalley in exchange for an honest review.
April 3, 2024
It was not a book I could sit and read from start to finish. It was information overload. There are a lot of movies discussed but not in a great amount of detail. The author shares his opinions about the movies which seemed a bit much at times. I did find movies that I want to check out based on this book.
Thank you to the author, publisher, and NetGalley for the Advanced Reader Copy (ARC) copy of this book and I am voluntarily leaving an honest review.
Thank you to the author, publisher, and NetGalley for the Advanced Reader Copy (ARC) copy of this book and I am voluntarily leaving an honest review.
December 23, 2025
I enjoyed the book as a good read.It almost goes without saying that the word Hollywood and the word history are incompatible.He relies on Leslie Halliwells book.If people find his reviews acerbic they should read the reviews in the Monthly Film Bulliten.
There are a couple of typos.For example on page 93 an apparent reference to GWTW is committed but a story associated with it remains.
There are a couple of typos.For example on page 93 an apparent reference to GWTW is committed but a story associated with it remains.
April 15, 2024
Hollywood historical movies are often a fantasy that make us think that historical characters were like those we see in the movies or thinks worked according to Hollywood.
Entertaining and well researched
Recommended.
Many thanks to the publisher for this ARC, all opinions are mine
Entertaining and well researched
Recommended.
Many thanks to the publisher for this ARC, all opinions are mine
Displaying 1 - 21 of 21 reviews