We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
What are your favorite roles? The Horse's Mouth, Kind Hearts and Coronets, and of course, George Smiley (Tinker, Tailor is the best made for TV movie ever made, bar none - a masterpiece), are mine. Oh, also, Bridge Over the River Kwai. But who was he?
Piers Paul Reid's authorized biography is out, and it doesn't seem to answer the question. From the Boston Globe's review:
Piers Paul Read, a friend of Guinness's, was asked by the actor's widow to write this book, which is, in part, an assiduous record of the signal events and experiences in Guinness's life and career. There is the drunken, mendacious, cadging mother -- the great scourge of his life; the putative, though not positive, father paying for his support and education; the cruel stepfather; acting lessons with a stage legend who believed him to be one of the real Guinnesses; his debt to John Gielgud as a patron; courtship and marriage; wartime in the Royal Navy; and a recounting of his subsequent stage, movie, and TV career. All this is embedded in a stifling quantity of routine business on the lines of guest lists and restaurant expenses. Here we feel the authorized biographer's weary duty to comprehensiveness and his reluctance or inability to apply a shaping hand.
re: dr seuss as political cartoonist from a few days ago, there's a neat documentary called hammer and tickle about humor in soviet-era russia that some of yall might find interesting.
"George Orwell wrote that in a repressive political system every joke is a "tiny revolution." Jokes were an essential part of the communist experience because the monopoly of state power meant that any act of non-conformity, down to a simple turn of phrase, could be construed as a form of dissent. By the same token, a joke about any facet of life became a joke about communism. Hammer & Tickle recounts a humorous history of the Soviet Union and its satellite states through the jokes that flourished under the oppressive regimes in Russia and Eastern Europe. Jokes, the film contends, were a language of truth under Communism; a language that allowed people to navigate the disconnect between propaganda and reality and provided a means of resisting the system despite the absence of free speech. Using animated sequences, manipulated archival footage, and sketches to resurrect the jokes, the film offers an ironic take on the history of Communism while simultaneously investigating the social and political impact of jokes under Soviet rule. Interviews with Solidarity leader and former Polish president Lech Walesa, hard-line Polish leader General Jaroszelski, German actor Peter Sodann, German satirist and author Ernst Roehl, East German newspaper editor and Politburo member Guenter Schabowski, and academics Christie Davies and Roy Medvedev address the role that jokes played in challenging and weakening the Communist system from the inside even as joke-tellers faced censure or time in the Gulag for voicing their humor. Light and irreverent in its tone, Hammer & Tickle is really about the ultimate seriousness of joking and the use of the power of laughter to overcome hardship. This history of humor under the Soviet regime offers a direct, incontrovertible way to understand what it was like living in a Communist society, and is also proof that the human spirit can never be broken."
http://www.imdb.com/title/tt0870117/plotsummary or check out the sundance channel