I was introduced to Elaine May’s films by the clerks at my local video store, Viva Video.1 They had a copy of The Heartbreak Kid but also put me on to films like Reds where she was an uncredited co-writer. Since then she has become a figure of some fascination to me, and this biography finally gave me a fuller picture of her career and work—a feat given May’s famously slippery avoidance of press and personal mythmaking.
Since closed, tragically. ↩︎