MOYERS MOVES ON

The departure of Bill Moyers from "Now" -- tonight will be his last broadcast -- is a huge loss for mainstream television journalism and the nation. His views on truth and journalism, as noted in June, are more striking than ever:

In earlier times our governing bodies tried to squelch journalistic freedom with the blunt instruments of the law: padlocks for the presses and jail cells for outspoken editors and writers. Over time, with spectacular wartime exceptions, the courts and the Constitution struck those weapons out of their hands. But they've found new ones now, in the name of "national security."

His warnings that the TV news networks "have raced to the bottom" are so familiar by now that they've become a commonplace. But Moyers takes the point further, which is typical of him, by pointing out that we must "nurture the spirit of independent journalism in this country, or we'll not save capitalism from its own excesses, and we'll not save democracy from its own inertia."

The good news is that "Now" will continue with David Brancaccio taking charge. Brancaccio is excellent and has terrific accomplishments. But without Moyers's influence at PBS, you have to wonder how long the show will last.

December 17, 2004 9:40 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by CriticalMASS published on December 17, 2004 9:40 AM.

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