eYE Marty: The newly discovered autobiography of a comic genius

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More so than other books of UK comedians of the time, Marty's book makes it clear that UK comedy was a boys club. Excessive drug use and even food poisoning were among explanations of the cause of the massive heart attack that killed him. It all caught up to him at age 48 when he died of a massive heart attack while filming the movie Yellowbeard. Poi indubbiamente il libro non è da buttare: conoscere meglio un personaggio come Feldman è sempre interessante e se la bocciatura non è totale è solo grazie al soggetto. Marty Feldman was one of the most essential creative forces in British comedy embodied also by his close friends and creative partners from Beyond the Fringe (especially Peter Cook and Dudley Moore) and Monty Python (especially John Cleese, Graham Chapman and Eric Idle).

He seemed to be a mixture of a gentle soul, anxious for love and attention, and an egotistic artiste. The other three participants (future Monty Python members Graham Chapman and John Cleese; and future star of The Goodies Tim Brooke-Taylor) needed a fourth cast member, and had Feldman in mind. He became known as a performer on At Last the 1948 Show (co-writing the " Four Yorkshiremen sketch" which Monty Python would perform) and Marty, the latter of which won Feldman two British Academy Television Awards including Best Entertainment Performance in 1969. In conclusione mi sentirei di consigliare questo libro solo ai veri appassionati del personaggio Marty Feldman, mentre invece un normale lettore può trovare nella biografia citata su wikipedia già un buon livello di informazione. The autobiography is perhaps better appreciated if read in conjunction with Robert Ross's fine biography of the performer.

Poi la consapevolezza dell’innata capacità di riuscire a far ridere e da quel momento una via praticamente segnata. of our time, writing scripts for comedies from "The Army Game" right through to colleborating on many of the Monty Python works - most notably, the Four Yorkshiremen being his creation. Like so many other people who ended up in the performing arts, he was evidently a neurotic all his life. Niente: in un capitolo ha ancora il suo viso di nascita, alla fine del capitolo si accenna alla malattia, in quello dopo si parla già dei suoi occhi peculiari. Hilarious, deeply charming, aphoristic, ironic, charged throughout with lust for life and filled with scenes of great vanished eras and and portraits of other performers and friends, EYE MARTY is the amazing discovery of the story of a man who was at the heart of the British comedy revolution.

Tanti, troppi dettagli sui contratti televisivi e radiofonici, dicevo, contrapposti a una scarsa capacità narrativa vera e propria: mancano le sequenze, ci sono salti temporali, non si capisce bene quando si svolgano certe situazioni e, se non fossero indicati gli anni in alcuni momenti, ci si troverebbe in un vero e proprio limbo narrativo. I don't want to give too much away but this is the story of simple soul, projected to the heights of fame by his grit, determination and gift for comedy. Published exactly as Feldman had left it, there are some passages which seem a tad scatological: perhaps collaborating with an editor would have helped finesse the work in places, but that rawness does lend great emotional gravitas when we reach the end of the book and realise that he had so many exciting projects he was working of when the heart attack took him from us.This is not a great book, nor a funny book, but it was honest and from the heart about an often overlooked genius. In 1970, Marty, with his wife, Lauretta, moved to Los Angeles to appear in Mel Brooks's Young Frankenstein.

One of the most poignant lines in the book is in a letter from Spike Milligan to Lauretta shortly after Feldman's premature death: "If life is like a game of cards, somebody is cheating. During the course of his career, Feldman recorded two albums, Marty (1968) and I Feel a Song Going Off (1969), re-released in 1971 as The Crazy World of Marty Feldman. It was a face that David Frost, one of his bosses, characterised as "too grotesque" for television -- see what Feldman has to say about Frost, and Francis Bacon, and John Lennon.i think this was written with a some very rosey glasses on indeed but nevetheless was throughly enjoyed.