Shelley, Peter

Gaynor’s recent passing and the lack of other biographies on her should generate some interest in this volume, but it is primarily a surface-level recounting of her life and work.

Rather than an in-depth and insightful biography, this is a brief, just-the-facts rehash of Farmer's life plus lengthy descriptions of Farmer's mostly inconsequential 1930s–40s films. Dedicated readers may wish to consult this along with Farmer's possibly ghostwritten autobiography, Will There Really Be a Morning?, but this subject deserves a more penetrating study.