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“... In​ 2012, five years before the wave of accusations against predatory men in the movie business, the film critics of the world – as chosen by the magazine Sight & Sound – voted to give the accolade of ‘best picture ever made’ to a piercing dream of male supremacy and female servitude carried to the point of murder. It was Alfred Hitchcock’s Vertigo, and plainly the critics did not vote in pre-emptive defiance of last year’s outbreak of dismay at the way men have run movies at the expense of women ...”

“... This is not a long book, except in its view, which is like the view from a Sierra peak, where the omniscient author can see all the way from the Nevada desert, violet and dun, to the biblical meadows, the pretty colours and the plenty that will be California. The art direction of that great trek westwards was perfect – art direction usually is. And now here comes Joan Didion, a little bit like the doomsayer on the wagon train (Walter Brennan, with teeth), but too arresting to be ignored, to tell us the prospectus, like the prospect, was a hoax ...”

“... Some sixty years ago, when David Thomson was a boy, he suffered from a condition that badly affected his eyesight. He could see, but poorly. He read Braille and, though this was forbidden, the printed page. On two occasions, when the condition grew worse, he was condemned to spend six weeks at a time lying on his back in a darkened room ...”

“... David Thomson​ is best known for a series of surveys of the history of cinema as Olympian in scope as they are in evenness of tone, the most notable being his indispensable Biographical Dictionary of Film from 1975, subsequently updated in a series of editions as the New Biographical Dictionary of Film. His latest book, The Fatal Alliance, is every bit as commanding in its succinct description and analysis of a wide variety of films, good, bad and (mostly) indifferent ...”

“... with the two most striking works of the English critic who writes best about the American cinema. David Thomson’s magnificent Biographical Dictionary of the Cinema (1975 – revised edition, 1980) and his lurid Overexposures: The Crisis in American Film-Making (1981) are the work of an intellectual who loves and distrusts films. Throughout ...”

“... pleasure that remains to me: I indulge in reading about movies with undiminished enthusiasm. David Thomson has written about his disappointment with contemporary cinema, about how the franchise movie and the blockbuster are killing Hollywood and his hopes, and because I am one of the legion of Thomson’s devoted ...”

“... To understand Nicole Kidman, David Thomson argues, you need to see a film called In the Cut. Not because Kidman is in it. She isn’t. The film stars Meg Ryan, is directed by Jane Campion and tells the story of how a lonely creative writing teacher, Fran, becomes involved with a cop (Mark Ruffalo) who is investigating a string of particularly gruesome murders ...”

“... just look what happened to Star Wars. Star Wars, along with Jaws, is regularly cited, not least by David Thomson, as the film that ‘killed the movies’. Glenn Kelly’s answer, in his introduction to A Galaxy Not So Far Away: Writers and Artists on 25 Years of ‘Star Wars’ (Allison and Busby, £9.99), is: ‘Get over it, Dad.’ This selective ...”

“... the earlier movie the small masterpiece the new one can’t compete with, is that of Glenn Ford. David Thomson says Ford was ‘ill at ease’ in this film, and the thought makes sense at first, especially if we remember Ford as the beleaguered teacher in Blackboard Jungle or the cop driven wild by grief in The Big Heat. Then we recall his role in ...”

“... now I have taken the view that my ‘Desert Island’ book, if I were asked, would have to be David Thomson’s A Biographical Dictionary of the Cinema. First published in 1970, it has just re-appeared as A Biographical Dictionary of Film in a third edition that is revised and considerably enlarged. Despite its titles it is indeed a work of ...”

“... appetite, though, was not a late development. In Simon Callow’s biography the composer Virgil Thomson reports the 22-year-old actor-director devouring ‘oysters and champagne, red meat and burgundy, dessert and brandy’ immediately before squeezing into a canvas corset to play Brutus in Julius Caesar. Later in the run, Welles found time during the ...”

“... Actors don’t lodge in the culture as once they did,’ David Thomson writes in the entry on Heath Ledger in the latest edition of his Biographical Dictionary of Film. ‘They are a type of celebrity now.’ He contrasts Ledger, who died three years ago at the age of 28, with James Dean, who died 55 years ago at the age of 24 and became the standard against which all young, handsome, would-be acting geniuses in Hollywood are measured ...”

“... no talking, coughing, clearing of the throat, or any movement whatsoever of the lips. As David Thomson remarks in his Biographical Dictionary of Film, this was a life ‘so primed for legend, it leaves one feeling that the doleful, suspicious Hughes had some hygienic plan for missing life altogether and going straight into myth’. Hughes ...”

“... can’t give the impression of looking inside a mind directly, and must find its own equivalents. David Lean declared that in The Passionate Friends (1949) he had succeeded in photographing thought, though he was referring not to the film as a whole but to one sequence, in which Claude Rains’s character jumps to the conclusion that his wife is having an ...”