Gene D. Phillips, S.J. (March 3, 1935 – August 29, 2016) was an American author, educator, and Catholic priest.[1][2][3]
Phillips was raised near Springfield, Ohio. He received his A.B. and M.A. (1957) degrees from Loyola University of Chicago, and a Ph.D. in English Literature from Fordham University in 1970.[4] Phillips was a member of the Society of Jesus (the Jesuits), and was ordained a priest in 1965.[2] His decision to become a Jesuit at age 17 was strongly affected by his viewing of the film The Keys of the Kingdom (1944) as a boy.[1] Since 1970 Phillips had taught at Loyola University of Chicago. He had written or edited more than 20 books on filmmakers and film (see bibliography); several of these have been reviewed by major newspapers.[5][6][7]
Phillips had served on juries at the Cannes, Berlin, and Chicago International Film Festivals. He had been a member of the editorial board for the journal Literature/Film Quarterly since its founding in 1973;[2] this journal claims to be "the longest standing international journal devoted to the study of adaptation" (i.e. the adaptation of literature to film).[8] Phillips had been a prolific author of biographical books on filmmakers, and had published extended interviews with many filmmakers including Alfred Hitchcock, Stanley Kubrick, Fritz Lang,[9] and Joseph Losey. He was also a friend, champion and consultant for director Ken Russell, and author of the book Ken Russell (Twayne Publishers, 1979). Phillips was a consultant for The Devils (Russell, 1971) and famously defended the film against charges of blasphemy saying, in the documentary Hell On Earth - The Desecration and Resurrection of The Devils (Mark Kermode, 2002), that the film depicts blasphemy, although it is not itself blasphemous.
The book is more of a fan companion than a true cinematic study.
The same volume contains an invaluable collection of production photos as well as every significant interview Kubrick granted (more of these, and more intriguing, than you might imagine), although it is burdened by largely plodding essays on each film, many of them by Gene D. Phillips, a fan masquerading as a critic.
The great crafter of epic films comes in for respectable--and admirably thorough--treatment in this overdue biography.
Gene D. Phillips, S. J., gives us a sympathetic account of Waugh's career and a careful exposition of the novels, as he sees them, in terms of Roman Catholic morality and theology.
Gene D. Phillips, a.k.a. Father Phillips of Loyola University, brings a fascinating Jesuit perspective to Hitchcock who claimed that three years of studying with the Jesuits terrified him to death so that his subsequent life's work was to terrify others. ... Phillips's attention to Alfred Hitchcock Presents provides a very good guide through the television years, leaving one wishing he had focused the entire book on the subject and used the films only in reference to the TV refinements.
Phillips provides a solid starting place for those who wish to become conversant with detective fiction. His stated purpose is "to examine the relationship of film and fiction as reflected in the screen versions of the work of one novelist" (xxiii), but he very shortly finds himself unable to remain within those self-described parameters -- and, for the most part, thankfully so.
Nonetheless, the book makes a convincing case for identifying Wilder as one of the most penetrating, if somewhat cynical, commentators on American culture in the mid-twentieth century, focusing in particular on issues such as the relationship between the media and society (Ace in the Hole, The Front Page), the obsession with getting ahead (The Apartment), and the nature of stardom (Sunset Boulevard, Kiss Me, Stupid).
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