Milos Forman

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Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 428


Berlins, Marcel. Review of The People vs. Larry Flynt, by Milos Forman. New Statesman 126, no. 4328 (4 April 1997): 36-7.

Berlins discusses the significance of and depiction of Larry Flynt's legal battles in The People vs. Larry Flynt.

Boylan, James. Review of The People vs. Larry Flynt, by Milos Forman. Columbia Journalism Review 35, no. 5 (January-February 1997): 15.

Boylan praises The People vs. Larry Flynt as an important film about free speech.

Brudnoy, David. “Iris' Head, Eric's Knee, Milos' Gap.” National Review 23, no. 29 (27 July 1971): 822-23.

Brudnoy attributes the awkwardness of Taking Off to Forman's unfamiliarity with American sensibilities.

Clouzot, Claire. Review of Loves of a Blonde, by Milos Forman. Film Quarterly 21, no. 1 (fall 1967): 47-8.

Clouzot applauds the beauty of Loves of a Blonde, attributing it to Forman's ability to capture the humor and humanity in everyday situations.

Coe, Jonathan. Review of The People vs. Larry Flynt, by Milos Forman. New Statesman 126, no. 4329 (11 April 1997): 40-1.

Coe compliments Forman's directing and casting choices in The People vs. Larry Flynt.

Craft, Robert. “B-flat Movie.” New York Times Review of Books 32, no. 6 (11 April 1985): 11-12.

Craft argues that the storyline in Amadeus is implausible.

Halberstadt, Ilona. Review of Valmont, by Milos Forman. Sight and Sound 55, no. 8 (December 1991): 54-5.

Halberstadt contrasts Valmont with the film Dangerous Liaisons and the novel Les Liaisons dangereuses, paying particular attention to characterizations.

Kauffmann, Stanley. “Jack High.” New Republic 173, no. 24 (13 December 1975): 22-3.

Kauffmann praises Forman's casting choices for One Flew over the Cuckoo's Nest, giving special attention to Jack Nicholson's performance.

Liehm, Antonín J. “Miloš Forman: The Style and the Man.” In Politics, Art and Commitment in the East European Cinema, edited by David W. Paul, pp. 211-24. New York: St. Martin's, 1983.

Liehm analyzes Forman's artistic vision and the recurring themes in his films.

O'Brien, Tom. “Mozart and Murder.” Commonweal 111, no. 18 (19 October 1984): 557-58.

O'Brien offers a mixed assessment of Amadeus.

Rosin, Hanna. “Hustler: Larry Flynt, Scum Chic.” New Republic 216, nos. 1-2 (6 January 1997): 20.

Rosin contends that the portrayal of Larry Flynt in The People vs. Larry Flynt is inaccurate, arguing that the film dishonestly presents his life and career.

Walsh, Michael. “Amadeus, Shamadeus.” Film Comment 20, no. 5 (September-October 1984): 51-2.

Walsh criticizes Amadeus as an unrealistic portrait of Mozart's life.

Walsh, Moira. Review of Loves of a Blonde, by Milos Forman. America 115, no. 25 (17 December 1966): 812-13.

Walsh describes Loves of a Blonde as clever and insightful, yet regrets that because of a nude scene, the picture was banned by the Soviet regime.

Additional coverage of Forman's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vol. 109, and Literature Resource Center.

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