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A moving tribute to a great American film critic, this collection brings together an exhilarating array of the best of Jim Ridley's writing, carving out clever pathways to guide readers through his far-ranging yet always very personal cinephilia--and through film history itself--and to paint a vivid picture of this beloved Nashvillian. The loss of Ridley's big-hearted and stylish voice left a giant hole in contemporary film criticism, but this book performs a great service by creating a permanent reminder of the magnitude of his writing and film-advocacy achievements. Thank you, Steve Haruch, for this labor of love. --Liz Helfgott, Editorial Director, The Criterion Collection Ridley is among those few 'reviewers' whose writing really does move into the realm of enduring film criticism. His examples are taken from the wide history of international cinema, and he makes unexpected connections between films that abide by a taste for cinema that is also, I want to say, an ethics of cinema. The organization of this volume brings Ridley's critical imagination to the fore. --Jennifer Fay, Director of Cinema & Media Arts, Vanderbilt University

[T]here's such a wide range of films covered in People Only Die of Love in Movies, and so much unique insight into why they matter, that the book doubles as a sweeping cinematic history lesson and an introduction to an immensely likable human being. . . . [T]he writing's so vibrant and detailed that it invites readers into [Ridley's] head, where different cultures--high and low, and from around the globe--coexisted agreeably. --Noel Murray, Village Voice I've been reading a collection of [Jim Ridley's] pieces put together by . . . Steve Haruch called People Only Die of Love in Movies. It will be published in June and you should get it. It's really good. --David Edelstein, New York magazine [I]mpeccably curated and edited by Steve Haruch. . . . To read these pieces again, rich in scholarship and suffused with pleasure, is to understand Ridley's conception of the cinema as an inexhaustible paradise. --Justin Chang, Los Angeles Times In vibrant, often uproarious prose, the book chronicles a lifelong love affair with the cinema. Reading Ridley's reviews feels like having a jocular chat with a pal that takes an unexpectedly personal turn. . . . Expertly edited by former [Nashville] Scene staffer Steve Haruch, the book features 94 pieces, loosely grouped into 12 chapters according to genre or theme. It's an inspired approach, giving the informal sensation of Ridley riffing on his favorite topics, whether the Nouvelle Vague or Westerns. . . . [R]eading Ridley you can't help but think: here's a guy who really loved his job. --Sean Burns, RogerEbert.com A moving tribute to a great American film critic, this collection brings together an exhilarating array of the best of Jim Ridley's writing, carving out clever pathways to guide readers through his far-ranging yet always very personal cinephilia--and through film history itself--and to paint a vivid picture of this beloved Nashvillian. The loss of Ridley's big-hearted and stylish voice left a giant hole in contemporary film criticism, but this book performs a great service by creating a permanent reminder of the magnitude of his writing and film-advocacy achievements. Thank you, Steve Haruch, for this labor of love. --Liz Helfgott, Editorial Director, The Criterion Collection Ridley is among those few 'reviewers' whose writing really does move into the realm of enduring film criticism. His examples are taken from the wide history of international cinema, and he makes unexpected connections between films that abide by a taste for cinema that is also, I want to say, an ethics of cinema. The organization of this volume brings Ridley's critical imagination to the fore. --Jennifer Fay, Director of Cinema & Media Arts, Vanderbilt University

[I]mpeccably curated and edited by Steve Haruch. . . . To read these pieces again, rich in scholarship and suffused with pleasure, is to understand Ridley's conception of the cinema as an inexhaustible paradise. --Justin Chang, Los Angeles Times I've been reading a collection of [Jim Ridley's] pieces put together by . . . Steve Haruch called People Only Die of Love in Movies. It will be published in June and you should get it. It's really good. --David Edelstein, New York magazine [T]here's such a wide range of films covered in People Only Die of Love in Movies, and so much unique insight into why they matter, that the book doubles as a sweeping cinematic history lesson and an introduction to an immensely likable human being. . . . [T]he writing's so vibrant and detailed that it invites readers into [Ridley's] head, where different cultures--high and low, and from around the globe--coexisted agreeably. --Noel Murray, Village Voice In vibrant, often uproarious prose, the book chronicles a lifelong love affair with the cinema. Reading Ridley's reviews feels like having a jocular chat with a pal that takes an unexpectedly personal turn. . . . Expertly edited by former [Nashville] Scene staffer Steve Haruch, the book features 94 pieces, loosely grouped into 12 chapters according to genre or theme. It's an inspired approach, giving the informal sensation of Ridley riffing on his favorite topics, whether the Nouvelle Vague or Westerns. . . . [R]eading Ridley you can't help but think: here's a guy who really loved his job. --Sean Burns, RogerEbert.com A moving tribute to a great American film critic, this collection brings together an exhilarating array of the best of Jim Ridley's writing, carving out clever pathways to guide readers through his far-ranging yet always very personal cinephilia--and through film history itself--and to paint a vivid picture of this beloved Nashvillian. The loss of Ridley's big-hearted and stylish voice left a giant hole in contemporary film criticism, but this book performs a great service by creating a permanent reminder of the magnitude of his writing and film-advocacy achievements. Thank you, Steve Haruch, for this labor of love. --Liz Helfgott, Editorial Director, The Criterion Collection Ridley is among those few 'reviewers' whose writing really does move into the realm of enduring film criticism. His examples are taken from the wide history of international cinema, and he makes unexpected connections between films that abide by a taste for cinema that is also, I want to say, an ethics of cinema. The organization of this volume brings Ridley's critical imagination to the fore. --Jennifer Fay, Director of Cinema & Media Arts, Vanderbilt University

People Only Die of Love in Movies is much more than an anthology of film writing. It's a book that I've really allowed myself to get lost in lately because it reminds me why I love the things I love, that how I love movies and books and music matters, that the spark of a meaningful existence starts there. As bad news rolls in daily . . . it can feel so selfish and small-minded to get lost in writing stories, in holing up with books and films, but art is where I've always gone to seek refuge, and to make sense of the world. Ridley's work is an affirmation that this is okay, that it's important. --William Boyle, Oxford American [T]here's such a wide range of films covered in People Only Die of Love in Movies, and so much unique insight into why they matter, that the book doubles as a sweeping cinematic history lesson and an introduction to an immensely likable human being. . . . [T]he writing's so vibrant and detailed that it invites readers into [Ridley's] head, where different cultures--high and low, and from around the globe--coexisted agreeably. --Noel Murray, Village Voice [I]mpeccably curated and edited by Steve Haruch. . . . To read these pieces again, rich in scholarship and suffused with pleasure, is to understand Ridley's conception of the cinema as an inexhaustible paradise. --Justin Chang, Los Angeles Times I've been reading a collection of [Jim Ridley's] pieces put together by . . . Steve Haruch called People Only Die of Love in Movies. It will be published in June and you should get it. It's really good. --David Edelstein, New York magazine In vibrant, often uproarious prose, the book chronicles a lifelong love affair with the cinema. Reading Ridley's reviews feels like having a jocular chat with a pal that takes an unexpectedly personal turn. . . . Expertly edited by former [Nashville] Scene staffer Steve Haruch, the book features 94 pieces, loosely grouped into 12 chapters according to genre or theme. It's an inspired approach, giving the informal sensation of Ridley riffing on his favorite topics, whether the Nouvelle Vague or Westerns. . . . [R]eading Ridley you can't help but think: here's a guy who really loved his job. --Sean Burns, RogerEbert.com A moving tribute to a great American film critic, this collection brings together an exhilarating array of the best of Jim Ridley's writing, carving out clever pathways to guide readers through his far-ranging yet always very personal cinephilia--and through film history itself--and to paint a vivid picture of this beloved Nashvillian. The loss of Ridley's big-hearted and stylish voice left a giant hole in contemporary film criticism, but this book performs a great service by creating a permanent reminder of the magnitude of his writing and film-advocacy achievements. Thank you, Steve Haruch, for this labor of love. --Liz Helfgott, Editorial Director, The Criterion Collection Ridley is among those few 'reviewers' whose writing really does move into the realm of enduring film criticism. His examples are taken from the wide history of international cinema, and he makes unexpected connections between films that abide by a taste for cinema that is also, I want to say, an ethics of cinema. The organization of this volume brings Ridley's critical imagination to the fore. --Jennifer Fay, Director of Cinema & Media Arts, Vanderbilt University

[T]here's such a wide range of films covered in People Only Die of Love in Movies, and so much unique insight into why they matter, that the book doubles as a sweeping cinematic history lesson and an introduction to an immensely likable human being. . . . [T]he writing's so vibrant and detailed that it invites readers into [Ridley's] head, where different cultures--high and low, and from around the globe--coexisted agreeably. --Noel Murray, Village Voice [I]mpeccably curated and edited by Steve Haruch. . . . To read these pieces again, rich in scholarship and suffused with pleasure, is to understand Ridley's conception of the cinema as an inexhaustible paradise. --Justin Chang, Los Angeles Times I've been reading a collection of [Jim Ridley's] pieces put together by . . . Steve Haruch called People Only Die of Love in Movies. It will be published in June and you should get it. It's really good. --David Edelstein, New York magazine In vibrant, often uproarious prose, the book chronicles a lifelong love affair with the cinema. Reading Ridley's reviews feels like having a jocular chat with a pal that takes an unexpectedly personal turn. . . . Expertly edited by former [Nashville] Scene staffer Steve Haruch, the book features 94 pieces, loosely grouped into 12 chapters according to genre or theme. It's an inspired approach, giving the informal sensation of Ridley riffing on his favorite topics, whether the Nouvelle Vague or Westerns. . . . [R]eading Ridley you can't help but think: here's a guy who really loved his job. --Sean Burns, RogerEbert.com A moving tribute to a great American film critic, this collection brings together an exhilarating array of the best of Jim Ridley's writing, carving out clever pathways to guide readers through his far-ranging yet always very personal cinephilia--and through film history itself--and to paint a vivid picture of this beloved Nashvillian. The loss of Ridley's big-hearted and stylish voice left a giant hole in contemporary film criticism, but this book performs a great service by creating a permanent reminder of the magnitude of his writing and film-advocacy achievements. Thank you, Steve Haruch, for this labor of love. --Liz Helfgott, Editorial Director, The Criterion Collection Ridley is among those few 'reviewers' whose writing really does move into the realm of enduring film criticism. His examples are taken from the wide history of international cinema, and he makes unexpected connections between films that abide by a taste for cinema that is also, I want to say, an ethics of cinema. The organization of this volume brings Ridley's critical imagination to the fore. --Jennifer Fay, Director of Cinema & Media Arts, Vanderbilt University

Author Information

Jim Ridley was a writer and editor at the Nashville Scene for more than twenty-five years, its resident film critic, and most recently the paper's top editor. Under his editorship, the Scene won forty awards from the Association of Alternative Newsmedia, averaging better than five per year. Ridley took home first place in arts criticism twice himself. He also contributed to other publications such as the Village Voice, the Criterion Collection, and Cinema Scope. As a champion of arts cinema, Ridley's advocacy helped save the Belcourt Theatre in Nashville from closure in the early years of the new millennium. Steve Haruch is a writer, editor, and filmmaker based in Nashville. His work has appeared in the Nashville Scene, the New York Times, NPR's Code Switch, the Guardian, and elsewhere. He is currently producing a documentary film about the history of college radio.

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