Except that the comics form in the US has been shoehorned into a genre box for most of its existence - assumed to be only for superheroes and other visually splashy adventure stories, typically at least appropriate for children if not entirely aimed at them.
So I'm both happy to see them, and wonder, just a bit, about what that Euro market for nonfiction bande desinée actually looks like when it's at home. I'm sure that what makes it over to the US is only a subset - most obviously, the books about Americans and people who had major careers in America. So I wonder what those shelves look like, in a random store somewhere in Europe. But I don't know, and probably never will.
All that random thought was sparked by this new book: a solid, if a bit high-level, look at the film career of Audrey Hepburn, written by Michel Botton and drawn by Dorilys Giacchetto - two clearly accomplished, mid-career professionals from Italy whose work I've never seen before. It's a fairly new book: published last year in Europe and translated by Nanette McGuiness for this NBM English-language edition, which is out today.
Giacchetto has a bright, crisp style and an impressive focus on Hepburn's face throughout - she's good with depicting clothing design, too, and draws cartoony versions of all of the main characters while still keeping Hepburn obviously herself throughout. There's a lot of dynamics in her art, a lot of acting on the page in her figures, especially Hepburn. She doesn't slavishly mimic real faces for the other famous people in the book - her costars are often turned half-away or just show up briefly, though we do see a lot of her first husband Mel Ferrer - which also helps keep Hepburn central throughout.
Botton has perhaps a harder job, as he admits in a short afterword. The book is about 160 pages of comics, which is a lot - but still not much for a long, busy career in the movies, and even less for a full bio covering Hepburn's childhood and later UNICEF years. Botton does provide glimpses of both of those ends of her life, but not in depth: his core is that film career, which is what the audience really wants to see.
So we open with Hepburn at twenty, just about to get the life-changing part in Gigi, and there are only brief flashbacks amid the generally straightforward flow of successive chapters. Botton doesn't use captions or otherwise anchor the scenes in years or places, so - particularly for those of us who are not Hepburn fanatics - it may be opaque at times exactly what year a particular page takes place on, or whether we're in London or Hollywood.
But, of course, a more heavily written, caption-filled book would have less space for Giacchetto's art, which would be a great loss. So let me say, like most visual biographies, that this one is mostly for the people who know the general outlines already, who are Audrey Hepburn fans at least in a small way, and who don't need to be told the details.
For example, we never learn when or where she was born, and I don't think her third husband's name - he's an important thematic figure, supporting her in her late work with UNICEF - is mentioned, either. We do get at least a few panels about each major movie, usually with the name of the director and a sense of how it affected Hepburn.
Readers who love Hepburn's movies should jump on this book. Giacchetto isn't aiming to draw Hepburn slavishly, but her panels have Hepburn's energy and verve and style and enthusiasm and boundless smile. And the story is just the pieces those fans most want to see, arrayed well and told clearly. This is a model of the kind of book that knows what it needs to do and does it precisely.
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