FILM BOOKS

Vanessa Redgrave: An Autobiography (Vanessa Redgrave)

Redgrave, Vanessa - Vanessa Redgrave‘I have just spoken with Vanessa Redgrave,’ Tennessee Williams said. ‘She is the greatest actress of our time.’ From her appearance as Rosalind in As You Like It at Stratford in 1961, through The Prime of Miss Jean Brodie to Orpheus Descending and The Three Sisters, with her sister Lynn and niece Jemma, she has cast a spell on theater-goers wherever she has performed. Her work in the cinema has been equally highly praised and includes Blow-Up, Isadora, Julia, for which she won an Oscar, Agatha and The Bostonians. More recently, she appeared in Wetherby, Prick Up Your Ears, Second Serve and The Ballad of the Sad Café.

Now, for the first time, Vanessa Redgrave has written about her life as an actress – from the moment the Principal of her drama school warned her that at 5 foot 11 inches she was too tall to succeed, and she should not expect to achieve anything noteworthy until her thirties. She writes in full about the ups and downs of her career – her terrifying loss of confidence on stage in The Prime of Miss Jean Brodie – and generously about her fellow actors and directors.

Previously reticent about her personal life, she reveals what it was like to be born into the fourth generation of a famous theatrical family. Her mother is the actress Rachel Kemspon, her father the actor and film star Sir Michael Redgrave; and both her brother, Corin , and sister, Lynn, joined her on the stage. In 1961 she married the director Tony Richardson and they had two daughters, Natasha and Joely Richardson, both now successful in their own right. Vanessa had her third child, Carlo, with Italian actor Franco Nero, whom she met when they were both starring in the film Camelot.

Above all, Vanessa Redgrave shows how her twin pursuits of acting and politics have been fulfilled throughout an extraordinary and often controversial career. It traces her interest in politics from an early age through her radicalism during the Vietnam war to her membership of the Workers’ Revolutionary Party, now the Marxist Party, and her work for the Palestinian people. Explaining that her political beliefs are inextricably bound up with her work as an actress, she tells both what this has cost her in terms of persecution and misunderstanding – recounting the highly publicized law cases against The Observer newspaper and the Boston Symphony Orchestra – and the support and affection her work has brought her.

Vanessa Redgrave is the honest, moving and compelling life-story of one of the most famous actresses on stage and screen today.

Hardcover, dust jacket – 302 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 679 g (24,0 oz) – PUBLISHER Hutchinson, London, 1991 – ISBN 0-09-174593-4

Vanity Will Get You Somewhere: An Autobiography (Joseph Cotten)

Cotten, Joseph - Vanity Will Get You SomewhereJoseph Cotten’s story begins in Tidewater, Virginia, moves on to an episode as a Miami ‘potato salad’ tycoon and then brings us to his first big break as an actor, in the New York theater. Cotten describes how he met the flamboyant Orson Welles – at a radio audition at which Welles set a wastepaper basket on fire – and their involvement with the Mercury theater. This led to Cotten’s first film role, as Orson’s co-star in Citizen Kane, quickly followed by parts in The Magnificent Ambersons and The Third Man. Orson – perhaps the only man to use Churchill as a stooge while trying to set up a film deal – was a lifelong friend of Cotten’s, and this autobiography was one of the last works he read before his untimely death in 1985.

Cotten takes us behind the scenes of his stage plays and films, recalling amusing and intimate stories of his adventures with Ingrid Bergman, Marilyn Monroe, Katharine Hepburn, David Niven, David O. Selznick, Alfred Hitchcock and many others.

Sensitive to his own motivations, frank about his marriages and warmly revealing about himself and his friends, Cotten has written much more than the usual film star biography. His skills as an actor have made him a master of character and dramatic momentum, and he brings the same talents to his writing. Vanity Will Get You Somewhere is a generous, loving and humorous portrait of a man without a shred of vanity in his nature – and of his friends and colleagues in the larger-than-life world of show business.

JOSEPH COTTEN was born in Petersburg, Virginia. After becoming a stage actor he joined the Mercury Theater with Orson Welles, which led him to Hollywood and starring in sixty films, including Citizen Kane, The Third Man, Shadow of a Doubt and Gaslight. Mr. Cotten lives in Palm Springs, California, with his wife, the British actress Patricia Medina.

Hardcover, dust jacket – 776 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 730 g (25,7 oz) – PUBLISHER Columbus Books, Ltd., London, 1987 – ISBN 0-86287-366-5

Van Johnson: MGM’s Golden Boy (Ronald L. Davis)

Davis, Ronald L - Van JohnsonVan Johnson’s dazzling smile, shock of red hair, and suntanned freckled cheeks made him a movie-star icon. Among teenaged girls in the 1940s, he was popularized as the bobbysoxer’s heartthrob.

He won the nation’s heart, too, by appearing in a series of blockbuster war films – A Guy Named Joe, Thirty Seconds Over Tokyo, Weekend at the Waldorf, and Battleground.

Perennially a leading man opposite June Allyson, Esther Williams, Judy Garland, and Janet Leigh, he rose to fame radiating the sunshine image Metro-Goldwyn-Mayer chose for him, that of an affable, wholesome boy-next-door. Legions of adoring moviegoers were captivated by this idealized persona that generated huge box-office profits for the studio.

However, Johnson’s off-screen life was not so sunny. His mother had rejected him in childhood, and he lived his adult life dealing with sexual ambivalence. A marriage was arranged with the ex-wife of his best friend, the actor Keenan Wynn. During the waning years of Hollywood’s Golden Age, she and Johnson lived amid the glow of Hollywood’s A-crowd. Yet their private life was charged with tension and conflict.

Although morose and reclusive by nature, Johnson maintained a happy-go-lucky façade, even among co-workers who knew him as a congenial, dedicated professional. Once free of the golden-boy stereotype, he became a respected actor assigned stellar roles in such acclaimed films as State of the Union, Command Decision, The Last Time I Saw Paris, and The Caine Mutiny.

With the demise of the big studios, Johnson returned to the stage, where he had begun his career as a song-and-dance man. After this, he appeared frequently in television shows, performed in nightclubs, and became the legendary darling of older audiences on the dinner playhouse circuit. Johnson (1916-2008) spent his post-Hollywood years living in solitude in New York City.

This solid, thoroughly researched biography traces the career and influence of a favorite star and narrates a fascinating, sometimes troubled life story.

RONALD L. DAVIS is the author of Hollywood Beauty: Linda Darnell and the American Dream, John Ford: Hollywood’s Old Master, and Duke: The Life and Image of John Wayne. He is a professor of history at Southern Methodist University and the general editor of University Press of Mississippi’s Hollywood Legend Series.

Hardcover, dust jacket – 256 pp., index – Dimensions 21 x 15,5 cm (8,3 x 6,1 inch) – Weight 557 g (19,6 oz) – PUBLISHER The University Press of Mississippi, Jackson, Mississippi, 2001 – ISBN 1-57806-377-9

Variety Film Reviews 1907-1920, Volume 1

Variety Film Reviews Vol 1 1907-1920

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.670 g (58,9 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-83522779-0

Variety Film Reviews 1921-1925, Volume 2

Variety Film Reviews Vol 2 1921-1925

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.935 g (68,3 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5201-3

Variety Film Reviews 1926-1929, Volume 3

Variety Film Reviews Vol 3 1926-1929

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.815 g (64,0 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1930-1933, Volume 4

Variety Film Reviews Vol 4 1930-1933

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.950 g (68,8 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

Variety Film Reviews 1934-1937, Volume 5

Variety Film Reviews Vol 5 1934-1937

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.060 g (72,7 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1938-1942, Volume 6

Variety Film Reviews Vol 6 1938-1942

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.245 g (79,2 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1943-1948, Volume 7

Variety Film Reviews Vol 7 1943-1948

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.925 g (67,9 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

Variety Film Reviews 1949-1953, Volume 8

Variety Film Reviews Vol 8 1949-1953

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.145 g (75,7 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1954-1958, Volume 9

Variety Film Reviews Vol 9 1954-1958

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.015 g (71,1 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

Variety Film Reviews 1959-1963, Volume 10

Variety Film Reviews Vol 10 1959-1963

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.085 g (73,5 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1964-1967, Volume 11

Variety Film Reviews Vol 11 1964-1967

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.745 g (61,6 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1968-1970, Volume 12

Variety Film Reviews Vol 12 1968-1970

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.040 g (72,0 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1971-1974, Volume 13

Variety Film Reviews Vol 13 1971-1974

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.185 g (77,1 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1975-1977, Volume 14

Variety Film Reviews Vol 14 1975-1977

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.915 g (67,5 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1978-1980, Volume 15

Variety Film Reviews Vol 15 1978-1980

The 46,000 movie reviews contained in this twenty-volume set of Variety Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

It is noted that Variety did not list running times until March 1923. Also, prior to July 1927, feature-length features were not distinguished from short subjects; all reviews are therefore included in these pages before that date, but only feature-length, theatrical films are reproduced after July 1927.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.130 g (75,1 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1983 – ISBN 0-8240-5202-1

Variety Film Reviews 1907-1980 Index, Volume 16

Variety Film Reviews Vol 16 1907-1980 IndexThe reviews in this collection are published in chronological order, by date on which the review appeared. The date of each issue appears at the top of the column where the reviews of that issue begin.

The reviews continue through that column and all following columns until a new date appears at the top of the page. Where blank spaces occur at the end of a column, this indicates the end of that particular week’s reviews. An index to film titles (1907-1980), giving date of review, is published in the 16th volume of this set.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.180 g (41,6 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

Variety Film Reviews 1981-1982, Volume 17

Variety Film Reviews Vol 17 1981-1982

The 46,000 movie reviews contained in this twenty-volume set of Variety’s Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

This is the first additional volume (with all the film reviews from 1981-1982) to the original series of Variety Film Reviews which covered the years from 1907 to 1980.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.730 g (61,0 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

Variety Film reviews 1983-1984, Volume 18

Variety Film Reviews Vol 18 1983-1984

The 46,000 movie reviews contained in this twenty-volume set of Variety’s Film Reviews are complete and comprehensive reproductions of the original film reviews in Variety during the years that each volume covers.

Variety took note of the film branch of show business in 1907. Coverage of film was inconsistent in the early years and was, in fact, discontinued completely between March 1911 and January 1913, when reviews became a regular, permanent feature of the publication.

This is the second additional volume (with all the film reviews from 1983-1984) to the original series of Variety Film Reviews which covered the years from 1907 to 1980.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.105 g (74,3 oz) – PUBLISHER R.R. Bowker, New York, New York, 1983 – ISBN 0-8352-2782-0

The Variety History of Show Business (Peter Bart, J.-C. Suarez, J. Spencer Beck)

The Variety History of Show BusinessThere’s no business that’s bigger or more exciting than show business, and for almost a century Variety has been the single most authoritative and influential publication devoted to the entertainment industry, including the worlds of movies, television, theater, and live performance. With colorful lingo that has enriched the American language, a talent for spotting trends and events long before anyone else does, and statistics to back up its hunches, Variety is one of the most widely known and oft-quoted periodicals in our movie-mad, celebrity-obsessed world.

If Variety could go back and cover the great events of show-business history with all the style, verve, and insight for which it’s famous – and add dramatic, revealing photographs – the result would be The Variety History of Show Business. Each of forty chapters focuses on a pivotal event, introduces its key players, and explores its longterm impact on show business. The reader journeys to Hollywood in 1913, where Cecil B. De Mille shoots The Squaw Man and inadvertently brings an entire industry West; to the opening night of Eugene O’Neill’s Beyond the Horizon in 1920, which establishes Broadway as a center for serious theater; to the premiere of the first talking picture in 1927 and the first Cannes Film Festival in 1946; to the final concert of the most popular singing group of the ’60s and the first broadcast on MTV in 1981. Along the way, we meet the actors, entertainers, producers, directors, writers, agents, financiers, and a host of other colorful characters who people the world of entertainment.

PETER BART is the Editorial Director of Variety Inc. and the Editor of Variety magazine. The quintessential Hollywood insider, he was formerly the senior vice president of MGM-UA, as well as an independent producer and top executive at Lorimar Entertainment and Paramount Pictures. He is the author of two novels, Destinies and Thy Kingdom Come, and Fade Out: The Calamitous Final Days of MGM. J.-C. SUARES has written, designed or illustrated numerous books, including Manhattan, Couture, Visions of Paradise, and Socks Goes to Washington. He has designed and redesigned publications such as New York, The Advocate, The New Times Book Review, and Variety. J. SPENCER BECK was formerly Executive Editor of Connoisseur and an editor at Fame and Interview magazines. He is a New York-based writer and editor.

Hardcover, dust jacket – 222 pp., index – Dimensions 28,5 x 23 cm (11,2 x 9,1 inch) – Weight 1.300 g (45,9 oz) – PUBLISHER Harry N. Abrams, Inc., Publishers, New York, New York, 1993 – ISBN 0-8109-3926-6

Variety Movie Guide: The Very Best Reviews from Over 5,000 Reviews from 1914 to 1991 (edited by Derek Elley; foreword by Sir Richard Attenborough)

Variety Movie GuideVariety is the world’s most respected entertainment newspaper. Founded in 1905, it covers virtually the entire history of twentieth-century cinema. Throughout the eighty years plus of its existence, its legendary film reviews, which began in 1907, featured all the classics of the silent era. By the time the talkies came along Variety was reviewing most of the films produced, continuing this tradition to the present day.

The Variety Movie Guide is an A-Z collection of over 5,000 film reviews, ranging from the classics and the cult movies to the Academy Award winners and latest blockbusters, all reviewed by staff writers at the time of release in Variety‘s inimitable house style. With quality and authority as its hall mark, The Variety Movie Guide is an indispensable work of reference for everyone who loves movies.

DEREK ELLEY was born in London and studied Classics at Cambridge University. During the past 20 years he has contributed to a large number of film publications, including Variety, Films & Filming, Screen International, Film Review, and Monthly Film Bulletin. Since 1973 he has been involved with the annual International Film Guide (now published under the auspices of Variety) and is well known as a specialist on European and East Asian cinema, and film music. Film festivals he has advised on include London and Washington. He is author of The Epic Film: Myth and History and is currently completing A Handbook of Chinese Cinema: The Films and Filmmakers of Hong Kong, China and Taiwan.

Hardcover, dust jacket – 704 pp., [directors] index – Dimensions 28 x 20,5 cm (11 x 8,1 inch) – Weight 1.695 g (59,8 oz) – PUBLISHER The Hamlyn Publishing Group, Inc., London, 1991 – ISBN 0-600-57222-6

Variety Obituaries 1905-1928, Volume 1

Variety Obituaries Vol 1 1905-1928This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 2.095 g (73,9 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0835-9

Variety Obituaries 1929-1938, Volume 2

Variety Obituaries Vol 2 1929-1938This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.880 g (66,3 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0863-7

Variety Obituaries 1939-1947, Volume 3

Variety Obituaries Vol 3 1939-1947This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.885 g (66,5 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0837-5

Variety Obituaries 1948-1956, Volume 4

Variety Obituaries Vol 4 1948-1956This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.960 g (69,1 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0838-3

Variety Obituaries 1957-1963, Volume 5

Variety Obituaries Vol 5 1957-1963This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.830 g (64,6 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0839-1

Variety Obituaries 1964-1968, Volume 6

Variety Obituaries Vol 6 1964-1968This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.710 g (60,3 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0840-5

Variety Obituaries 1969-1974, Volume 7

Variety Obituaries Vol 7 1969-1974This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.895 g (66,8 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0841-3

Variety Obituaries 1975-1979, Volume 8

Variety Obituaries Vol 8 1975-1979This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.880 g (66,3 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0842-1

Variety Obituaries 1980-1983, Volume 9

Variety Obituaries Vol 9 1980-1983This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.805 g (63,7 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0833-X

Variety Obituaries 1984-1986, Volume 10

Variety Obituaries Vol 10 1984-1986This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.600 g (56,4 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1988 – ISBN 0-8240-0844-8

Variety Obituaries 1905-1986 Index, Volume 11

Variety Obituaries Vol 11 Index 1905-1986This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.705 g (60,1 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1989 – ISBN 0-8240-0845-6

Variety Obituaries 1987-1988, Volume 12

Variety Obituaries Vol 12 1987-1988This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.315 g (46,4 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1989 – ISBN 0-8240-0846-4

Variety Obituaries 1989-1990, Volume 13

Variety Obituaries Vol 13 1989-1990This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.395 g (49,2 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1992 – ISBN 0-8240-0847-2

Variety Obituaries 1991-1992, Volume 14

Variety Obituaries Vol 14 1991-1992This fourteen-volume set of Variety Obituaries is a complete and comprehensive reproduction of the original obituaries as published in Variety during the years that each volume covers.

For the early years of Variety (1905-1910), before the establishment of a regular obituary column, all obituaries and new stories – headlined and unheadlined – are included. For post-1910 issues, the following are included: all weekly obituary columns, all specialized obituary columns, all related news stories cited within individual obituaries, all other headlined news stories en editorials covering the deaths of individuals whose careers or families were connected (however peripherally) with show business.

Not included are news stories concerning the deaths of individuals whose careers or personal lives were not connected with show business (e.g., audience members who died during or following a performance, amusement park fatalities, circus patrons killed by animals, etc.).

The resulting compilation – more than 90,000 items – is the largest collection of show business obituaries from 1905 to 1992 ever compiled on paper.

Hardcover – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.195 g (42,2 oz) – PUBLISHER Garland Publishing, Inc., New York, New York, 1994 – ISBN 0-8240-0848-0

Veronica: The Autobiography of Veronica Lake (Veronica Lake, with Donald Bain)

Lake, Veronica - VeronicaIn Hollywood’s wildest years, a precocious beauty from Brooklyn, with an unruly mop of hair over one eye, burst on the scene to become an overnight star. In a brief period of time she made twenty-six pictures, became one of the country’s top box-office attractions, and then disappeared. After twenty years of rumors, the same girl made headlines when she was “rediscovered” as a waitress in a New York restaurant. Now she makes perhaps the boldest headlines of all with this book – for these are the uninhibited reminiscences of Constance Ockleman, who was made by Hollywood into Veronica Lake.

What distinguishes Miss Lake’s story from that of most film stars is that she walked out on Hollywood when she was at the top, and walked out forever. She was created by the film industry, but she fought it on her own terms. She is the first major star to tell the story not only of how she succeeded, but also of how she failed. In fact, her story of a woman on the way out and on the way down – what she calls the “unsuitable” life story – is as interesting as the answers she is able to give to the questions that are inevitably asked about Hollywood.

This is a frank, no-holds-barred story in which the author does not spare herself as she relives her Hollywood triumphs, her marriages, her relationships with her children, and her contacts with filmdom’s great names. There is an astringent and likable quality about Veronica Lake’s personality which comes through the writing, and which makes Veronica one of the most unusual film-star autobiographies ever written. Illustrated with 32 photographs.

Hardcover, dust jacket – 281 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 488 g (17,2 oz) – PUBLISHER The Citadel Press, New York, New York, 1971 – ISBN 0-8065-0225-8

Vertigo: The Making of a Hitchcock Classic (Dan Auiler; foreword by Martin Scorsese)

auiler-dan-vertigoAlfred Hitchcock’s 1958 psychological masterpiece Vertigo – in which obsessive ex-cop James Stewart pursues troubled loner Kim Novak through the streets of San Francisco – is one of the most dissected, discussed, and revered movies of all time. In style, in technique, most of all in its very personal content, it is among the most darkly fascinating statements any filmmaker has ever mounted. Many have seen it as a kind of Hitchcock confessional; others celebrate it as a rare instance of a director mobilizing the studio system in service of his own idiosyncratic vision. Upon the film’s recent triumphant restoration, it captivated audiences all over again. The New York Times called Vertigo “way ahead of its time,” and raved that “nowhere else did Hitchcock’s professionalism yield such feverish results.” The Los Angeles Times reflected, “It’s more impressive today than forty years ago.” And The Village Voice called it, quite simply, “the ultimate movie.”

Now, for the first time, the story of this remarkable film is revealed. Writing with the full cooperation of the director’s family and many crew members, and the film’s restoration team, Dan Auiler offers up a remarkable in-depth re-creation of Hitchcock’s signature thriller. Through an extensive review of early script drafts, detailed interviews with the participants, and many archival materials, Auiler leads us down the winding path that brought this spellbinding and desperately romantic film to the screen. Hitchcock’s working style was a unique blend of inspiration and method, and in these pages we watch him at work on every stage in the film’s development – from his analysis and transformation of the original story to his execution of each shot in the film. Scores of production notes, sketches, and storyboards – some in Hitchcock’s own hand – are included, along with a generous array of stills from the film and its restoration. The result is one of the most thorough and illuminating studies of a single film ever published, and a testament to the enduring power of Hitchcock’s masterwork of suspense and obsession.

DAN AUILER, a film collector, teacher, and historian, lives in Los Angeles, California; he is currently at work on an authorized survey of Alfred Hitchcock’s entire canon, to be published in celebration of his centenary in 1999. This is his first book.

Hardcover, dust jacket – 220 pp., index – Dimensions 24 x 19,5 cm (9,5 x 7,7 inch) – Weight 703 g (24,8 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1998 – ISBN 0-312-16915-9

Yesterday, Today, Tomorrow: My Life (Sophia Loren; originally titled Ieri, oggi, domani)

Autographed copy Sophia Loren

scannen0001In her first memoir, the Academy Award–winning actress Sophia Loren tells her incredible life story from the struggles of her childhood in war-torn Naples to her life as a screen legend, icon of elegance, and devoted mother.

In her acting career spanning more than six decades, Sophia Loren became known for her striking beauty and dramatic roles with famed costars Cary Grant, Frank Sinatra, Marlon Brando, Gregory Peck, Jack Lemmon, and Paul Newman. The luminous Italian movie star was the first artist to win an Oscar for a foreign language performance, after which she continued a vibrant and varied career that took her from Hollywood to Paris to Italy – and back to Hollywood. In Yesterday, Today, and Tomorrow, Loren shares vivid memories of work, love, and family with winning candor, deep feeling, and sense of humor.

Loren’s life of glamour and success was preceded by years of poverty and hardship. Born in 1934 and growing up in World War II Italy, Loren’s life of glamour and success was preceded by years of poverty and hardship, when she lived in her grandparents’ house with her single mother and sister, and endured near-starvation. She shares how she blossomed from a toothpick-thin girl into a beautiful woman seemingly overnight, getting her start by winning a beauty pageant and starring in the new genre of photo-romance magazines, which eventually led to numerous memorable roles in Italian films, working with internationally acclaimed directors. She recalls how her first Hollywood film, The Pride and the Passion, ignited a high-profile romance with Cary Grant, who would vie with her mentor, friend, frequent producer, and lover Carlo Ponti to become her husband. Loren also reveals her long-held desire to become a mother, the disappointments she suffered, the ultimate joy of having two sons, and her happiness as a mother and grandmother.

From trying times to triumphant ones, this scintillating autobiography paints a multi-dimensional portrait of the woman behind the celebrity, beginning each chapter with a letter, photograph, or object that prompts her memories. In Loren’s own words, this is a collection of “unpublished memories, curious anecdotes, tiny secrets told, all of which spring from a box found by chance, a precious treasure trove filled with emotions, experiences, adventures.” Her wise and candid voice speaks from the pages with riveting detail and sharp humor. Yesterday, Today, and Tomorrow is as elegant, entrancing, and memorable as Sophia Loren herself.

SOPHIA LOREN is an international film star who won an Academy Award for Best Actress for her role in Two Women. She has earned a record six David di Donatello awards for Best Actress, and seven special Golden Globes, including the Cecil B. DeMille Award for life achievement, as well as an Honorary Academy Award in 1991. Loren lives in Europe and frequents Los Angeles, where her two sons and grandchildren live.

Hardcover, dust jacket – 332 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 756 g (26,7 oz) – PUBLISHER Atria Books, New York, New York, 2014 – ISBN 978-1-4767-9742-7

“You Ain’t Heard Nothin’ Yet”: The American Talking Film History & Memory, 1927-1949 (Andrew Sarris)

Sarris, Andrew - You Ain't Heard Nothing YetAndrew Sarris, one of our premier film critics, here presents a sweeping, insightful, and personal history of American motion pictures, from the birth of the “talkies” to the decline of the studio system. At once intelligent and irreverent, You Ain’t Heard Nothin’ Yet appraises the silver screen’s greatest directors (among them John Ford, Alfred Hitchcock, Charlie Chaplin, Orson Welles, and Howard Hawks) and brightest stars (Greta Garbo, Humphrey Bogart, James Cagney, Clark Gable, Carole Lombard, Katharine Hepburn, Spencer Tracy, and so forth). Valued as much for the grace of his prose as the gravity of his pronouncements, as much for his style as his substance, Sarris also offers rich, informative, and diverting meditations on the major studios (MGM, RKO, Paramount, 20th Century-Fox, Universal, and Warner Bros.), the main genres (including musicals, screwball comedies, horror pictures, gangster films, and westerns), and even a few self-confessed “guilty pleasures” of this remarkable era. Here is one critic’s definitive statement on the art and craft of cinema – a book that reflects a lifetime of watching and thinking about movies. No film buff will want to miss it.

ANDREW SARRIS reviews movies for The New York Observer and was for twenty-nine years a film critic for The Village Voice. The author of the seminal The American Cinema, he teaches at Columbia University and lives in New York.

Softcover – 573 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 837 g (29,5 oz) – PUBLISHER Oxford University Press, New York, New York, 1997 – ISBN 0-19-513426-5

You Can Get There From Here (Shirley MacLaine)

MacLaine, Shirley - You Can Get There From HereAfter writing Don’t Fall Off the Mountain, Shirley MacLaine turned to new adventures. Two of them – a high dive into the world of big-production television and a trip on the campaign trail with George McGovern – turned out to be, at best, mixed blessings. The third, her trip to the People’s Republic of China with a delegation of American women, was a profound experience that led to self-rediscovery.

Starting her new book as she opens her one-woman show in the never-never land of Las Vegas, Shirley MacLaine looks back over the past several years and tells the intimate tale of herself and the fascinating world in which she seems always to live. Convinced that Hollywood was done, that the motion picture moguls had lost touch with the American people, she was sold on TV by a British tycoon. She made an enormously expensive TV series. The result, when the series opened, is best forgotten. But, as always, every experience leads Ms. MacLaine deeper into herself and to a positive result.

Next came her all-out devotion to the cause of Senator McGovern’s presidential hopes. She stumped America – in the farmlands of the South, the factories of the Midwest, the motels of New England, the lush fundraising affairs of Park Avenue and Hollywood. What she learned about political humanity, what she experienced in the eventual disarray and defeat, and, above all, what she discovered about the people, gives heart to her story of that disastrous campaign. She walked with the prominent of the political world, stepped on their feet of clay, became intimate with the men and women of the press – from Walter Cronkite to the small-town stringer. And, in doing so, she came to know more of what was behind the face in her motel mirror.

Then came the climactic adventure. She was invited to take a delegation of a dozen American women to the People’s Republic of China. The women she gathered for the trip included an East Coast Brahmin (who turned out to be a closet McGovern worker), the wife of a Texas factory worker, a militant American Indian woman, a middle-aged black from the South, an all-woman TV camera crew, a psychologist, and a twelve-year-old.

What they saw and experienced in China was a deep shock to all of them. Shirley MacLaine, particularly, found a society which seemed both successful and happy in which there is no role for the individual creative impulse. It was a country that had torn down traditions thousands of years old in one generation and rebuilt a more workable society on new grounds – grounds completely alien to everything they, as Americans, had been taught to revere.

The effect of China on each of the American women is dramatic. The effects on Shirley MacLaine are just beginning to emerge. One is the fact that she has gone back to an earlier self. She has gone back to song and dance, regained her sense of humor, and is approaching the public again from the stage – where it all began.

Hardcover, dust jacket – 229 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 442 g (15,6 oz) – PUBLISHER W. W. Norton & Co., Inc., New York, New York, 1975 – ISBN 0-393-07489-7

You Can Get There From Here (Shirley MacLaine)

maclaine-shirley-you-can-get-there-from-here-pocket“Let me start at the end: in Las Vegas. It was twenty after eight on July 12, 1974. I stood in the wings of the giant hotel theater set in the starkness of the American desert. I heard the roll of tympani, and then the strains of the theme from The Apartment. There were no more minutes left, either for delay or for thought or for hesitation. An oddly detached voice called my name. I walked out on the stage, and started to sing: ‘If they could see me now… that little gang of mine…’ A roar of applause came up as the spotlight hit me. I could feel the soft peach chiffon playing around my legs and see the zircons glittering on my shoulder straps. It was Las Vegas, a town that loved zircons because zircons had more class than rhinestones but lacked the permanence of diamonds.

Gradually I began to recognize familiar faces at the long rows of tables topped with fancy chow and fancy wine, and as I kicked a leg high there was another roll of applause. The inside of my mouth was like cotton and my stomach lurched. Then quite suddenly, I was soaring, carried by the music, the words, the lights, and the velvet darkness of the vast room packed with that audience that Oscar Hammerstein had once called ‘the big black giant.’ I spread my arms and felt joyous and exalted and free.

Right in front of me were Carroll O’Connor and his wife, Nancy, and behind them, glowing like a golden presence, was Goldie Hawn. Off to my left was Gwen Verdon, red-haired and beautiful, dazzling me with her electric smile, and over to the right was Matty Troy, the Democratic boss of New York’s Queens County. I could see Pat Cadell and Fred Dutton, with whom I had traveled through so many strange towns during the tragic McGovern campaign. In another part of the darkened theater were Sam Brown and Dave Mixner, the insistent young men with whom I had marched on Washington to protest the killing in Asia. Lucille Ball sat in a back booth, she who had given me so much laughter and so much instruction; and beside her was Ginger Rogers, who had inspired me to want to dance when I was a little girl. There were dozens and dozens of others, friends from politics and publishing, from newspapers and magazines, from show business, from foreign countries. Top-drawer, first-rate friends. It was as if all the important phases of my life over the past ten years sat before me.” – From chapter 1.

Softcover – 218 pp. – Dimensions 18 x 10,5 cm (7,1 x 4,1 inch) – Weight 127 g (4,8 oz) – PUBLISHER Bantam Books, New York, New York, 1975

You’ll Never Nanny In This Town Again: The True Adventures of a Hollywood Nanny (Suzanne Hansen)

hansen-suzanne-youll-never-nanny-in-this-town-againWhen Oregon native Suzanne Hansen becomes a live-in nanny to the children of Hollywood über-agent Michael Ovitz, she thinks she’s found the job of her dreams. But Hansen’s behind-the-scenes access soon gets her much more than she bargained for: working twenty-four hours a day, juggling the shifting demands of the Hollywood elite, and struggling to comprehend wealth unimaginable to most Americans. And that’s not to mention dealing with the expected tantrums and the unexpected tense – and intense – atmosphere in the house where she lives with her employers.

When the thankless drudgery takes its toll and Hansen finally quits, her boss threatens to blackball her from ever nannying in Hollywood again. Discouraged but determined, Hansen manages to land gigs with Debra Winger and then Danny DeVito and Rhea Perlman. Attentive, welcoming parents with a relaxed attitude toward celebrity – looks like Hansen’s fallen into a real-life happy ending. But the round-the-clock workdays continue, rubbing some of the glitter off L.A. living, and Hansen’s not sure how much longer she can pretend to be Mary Poppins. Even bosses who treat her like family can’t help as she struggles to find meaning in her work while living in a town that seems to lack respect for nannies and everyone else who comes in the employee’s entrance – but without whom many showbiz households would grind to a halt.

Peppering her own journey with true stories and high drama experienced by other nannies to the stars, Hansen offers an intriguing, entertaining mix of tales from the cribs of the rich and famous. You’ll Never Nanny in This Town Again is a treat for everyone who is fascinated by the skewed priorities of Tinseltown, for anyone who has wondered how high-wattage supermoms do it all, and for readers who love peeking behind the curtains of celebrity, all of whom will devour this unparalleled – and unabashedly true – account of one girl’s tour of duty as Hollywood’s hired help.

SUZANNE HANSEN has been a high-risk labor and delivery nurse, lactation consultant, and childbirth educator. She lives in Portland, Oregon, with her husband and two children.

Hardcover, dust jacket – 289 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 544 g (19,2 oz) – PUBLISHER Crown Publishers, New York, New York, 2005 – ISBN 978-0-307-23754-5

“You’re the Director… You Figure It Out”: The Life and Films of Richard Donner (James Christie; foreword by Mel Gibson)

scannen0404Richard Donner is one of Hollywood’s most important filmmakers, the driving force behind iconic hits The Omen, Superman, The Goonies, and the Lethal Weapon series. His films – which have grossed billions of dollars at the box-office – touch generations of moviegoers, yet little is known about the man responsible for their success.

In the only authorized biography, author James Christie charts Donner’s transformation from wayward New York youth to Hollywood hotshot, revealing a power generator personality every bit as large as his blockbuster movies.

Based on extensive interviews with Richard Donner, his friends, family members, and many of those who have worked with and for the filmmaker, You’re the Director… You Figure It Out goes behind the scenes on butting heads with Steve McQueen, sidestepping Marlon Brando’s eccentricities, exploring the secrets of these and other big screen collaborations with Gregory Peck, Richard Pryor, Jackie Gleason, Mel Gibson, Bill Murray, Jodie Foster, Sylvester Stallone, Julia Roberts, Bruce Willis, and many more.

Hardcover – 404 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 765 g (27 oz) – PUBLISHER BearManor Media, Duncan, Oklahoma, 2010 – ISBN 978-59393-208-4

You See, I Haven’t Forgotten (Yves Montand, with Herve Hamon, Patrick Rotman; originally titled Tu vois, je n’ai pas oublié)

montand-yves-you-see-i-havent-forgottenYves Montand was one of our century’s greatest entertainers – consummate music-hall performer, singer, dancer, star of stage and screen. His extraordinary life story is captivatingly told for the first time in this unusual memoir, part biography – a unique collaboration between Montand and two writers.

Born to Italian Communist peasants who fled Mussolini’s Italy, Montand grew up in the seething port city of Marseille, where he worked in his sister’s hairdressing salon and dreamed of the movies. By the age of seventeen he had sung his first song in a music hall. The rest is the stuff of legend, re-created here in fascinating and vivid detail: the fantastic successes on the Riviera; the endless, obsessive rehearsals to refine every aspect of his performances; the wartime crises during the German Occupation; Montand’s triumphant conquest of Paris, as the city opened its arms to the “singing prole” from the Midi whose every appearance was a glamorous, sold-out event.

Adding to the legend, of course, were his engrossing liaison with Edith Piaf and his introduction to the luminaries of Parisian cultural life, including Jacques Prévert, Marcel Carné, Pablo Picasso, and dozens more. By the time of his brutally affective starring performance in Henri-Georges Clouzot’s chilling The Wages of Fear, he had achieved unimaginable celebrity and was married to the charismatic Simone Signoret. The story of the intense but sometimes turbulent love between these two magnetic, highly competitive, and extremely political artists is a central part of the book.

Despite his limitless success in France, Montand had longed from the start to go to Hollywood, and perhaps the most riveting chapters of his life story focus on his coming to America to make movies. The description of his rehearsals and eventual love affair with Marilyn Monroe is, of course, required reading, but there is much more – Montand’s perfectionist dedication to every aspect of filmmaking; his friendship with Arthur Miller and other writers; his fascination with American politics; and his frank views on Hollywood stars, roles, and movies.

Montand maintained his incomparable personal and professional vitality to the end of his life, and even turned in some of his most memorable film and cabaret performances after the death of his beloved Simone. His last years saw increasing political activism, a return to the music-hall stage, a late second marriage, and the birth of his first child in 1988. The mesmerizing full story is superbly presented, not only in the narrative of his biographers – informed by unprecedented access to all of Montand’s friends, associates, and family members, as well as to his personal archives – but in the voice of Montand himself. We hear it throughout – a voice at once lucid, amused, intelligent, tough, and seductive. ”You see, I haven’t forgotten…”

YVES MONTAND died in November 1991. Hervé Hamon and Patrick Rotrnan are the authors of several previous books and live in Paris.

Hardcover, dust jacket – 463 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 938 g (33,1 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1992 – ISBN 0-679-41012-0

Yvonne: An Autobiography (Yvonne De Carlo, with Doug Warren)

scannen0002Yvonne De Carlo’s candid and witty autobiography takes a close and intimate look at her long, varied career and fascinating personal life. But Yvonne De Carlo’s story does much more than chronicle her career as a cabaret-singer and dancer, Broadway actress, opera singer, and film and television actress. With humor and affection, Miss De Carlo remembers the people and places of Hollywood and brings them to life as only an insider can.

Cast for years as an “exotic” type in popular films of the forties and fifties, audiences remember Yvonne De Carlo for playing opposite Charlton Heston in Cecil B. DeMille’s The Ten Commandments. Later generations also know her as Lily Munster in the early sixties’ television program, The Munsters, still running in syndication today.

Despite her sustained popularity as an entertainer, Yvonne was not an overnight success. Looking for parts as a young woman, she faced rejection and humiliation until she finally landed her first role at a cabaret in Hollywood. But that was just the beginning…

Yvonne talks with candor about her difficult childhood, her dreams of success and love, and her relationships with such intriguing men as Howard Hughes, Aly Khan, and the Shah of Iran’s brother. She is equally forthright about the friends, colleagues, and rivals whose lives touched hers, including, among others, James Stewart, Burgess Meredith, Tony Curtis, the young Rock Hudson, Orson Welles, Grace Kelly, Clark Gable, Sophia Loren, Dorothy Lamour, and Ava Gardner.

Packed with Hollywood lore and personal insights, Yvonne: An Autobiography makes for delightful reading.

YVONNE DE CARLO wrote her autobiography with DOUG WARREN, author of James Cagney (SMP, 1983). Miss De Carlo lives in Hollywood, and Doug Warren in Ventura, California.

Hardcover, dust jacket – 264 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 595 g (21,0 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1987 – ISBN 0-312-00217-3

Zachary Scott: Hollywood’s Sophisticated Cad (Ronald L. Davis)

scannen0106Throughout the 1940s, Zachary Scott (1914-1965) was the model for sophisticated, debonair villains in American film. His best-known roles include a mysterious criminal in The Mask of Dimitrios and the indolent husband in Mildred Pierce. He garnered further acclaim for his portrayal of villains in Her Kind of Man, Danger Signal, and South of St. Louis. Although he earned critical praise for his performance as a heroic tenant farmer in Jean Renoir’s The Southerner, Scott never quite escaped typecasting.

In Zachary Scott: Hollywood’s Sophisticated Cad, Ronald L. Davis writes an appealing biography of the film star. Scott grew up in privileged circumstances – his father was a distinguished physician; his grandfather was a pioneer cattle baron – and was expected to follow his father into medical practice. Instead, Scott began to pursue a career in theater while studying at the University of Texas and subsequently worked his way on a ship to England to pursue acting. Upon his return to America, he began to look for work in New York.

Excelling on stage and screen throughout the 1940s, Scott seemed destined for stardom. By the end of 1950, however, he had suffered through a turbulent divorce. A rafting accident left him badly shaken and clinically depressed. His frustration over his roles mounted, and he began to drink heavily. He remarried and spent the rest of his career concentrating on stage and television work. Although Scott continued to perform occasionally in films, he never reclaimed the level of stardom that he had in the mid-1940s.

To reconstruct Scott’s life, Davis uses interviews with Scott and colleagues and reviews, articles, and archival correspondence from the Scott papers at the University of Texas and from the Warner Brothers Archives. The result is a portrait of a talented actor who was rarely allowed to show his versatility on the screen.

RONALD L. DAVIS is professor emeritus of history at Southern Methodist University. He is the author of several books on Hollywood, including Hollywood Beauty: Linda Darnell and the American DreamDuke: The Life and Image of John Wayne, The Glamour Factory: Inside Hollywood’s Big Studio System, and Just Making Movies: Company Directors on the Studio System.

Hardcover, dust jacket – 238 pp., index – Dimensions 21 x 15,5 cm (8,3 x 6,1 inch) – Weight 511 g (18 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2006 – ISBN 1-57806-837-1

The Zanucks of Hollywood: The Dark Legacy of a Movie Dynasty (Marlys J. Harris)

harris-marlys-j-the-zanucks-of-hollywoodAlthough he never appeared on screen, Darryl F. Zanuck produced, directed, and starred in his own life as if it were one of the 600 movies he made during his long and energetic career as head of production at Twentieth Century-Fox. In the real life drama, however, his wife and children were cast in some of the worst parts. Virginia portrayed the loyal, respectable Hollywood wife to Zanuck’s compulsively philandering husband. Richard played the darkly devoted son, groomed by the mogul himself, who would one day unseat his father from his throne – and the Zanuck daughters, Darrylin and Susan, often appeared in tragic bit parts as ambitious and frustrated failures.

For generations, the Zanucks have acted out an anguished destiny. Even before Zanuck died in 1979, the simmering battle amongst his heirs had erupted into an all-out war for his fortune. The widow fought her own grandchildren, his son turned against his daughter, grandchild bickered with grandchild – and all of them opposed Zanuck’s French mistress. The whole sorry drama climaxed in courtrooms, private clinics, and funeral homes as a Hollywood dream turned into a nightmare.

Brilliantly investigated and superbly written, The Zanucks of Hollywood is the dramatic story of three generations of a powerful and glamorous family dominated and destroyed by the spirit of one man.

MARLYS J. HARRIS is a senior writer for Money magazine. Her work has appeared in other magazines, including Manhattan Inc.

Hardcover, dust jacket – 346 pp., index – Dimensions 22 x 14 cm (9,1 x 5,5 inch) – Weight 550 g (19,4 oz) – PUBLISHER W.H. Allen & Co., London, 1989 – ISBN 1-85227-007-1

Zanuck: The Rise and Fall of Hollywood’s Last Tycoon (Leonard Mosley)

Mosley, Leonard - ZanuckZanuck is the extraordinary life-story of one of the most gifted and turbulent of the old-time movie moguls, whose career spanned almost 50 years of Hollywood’s most glorious days. Darryl F. Zanuck was studio chief at Warner Brothers at the age of 23 and only eight years later, in 1933, he became head of Twentieth Century-Fox. It was Zanuck – son of a hotel night-clerk in Wahoo, Nebraska – who first put spoken words into the movies (The Jazz Singer); who started the gangster-film cycle by discovering James Cagney and Edward G. Robinson; who introduced CinemaScope; and who made such film classics as Forty-Second Street, The Grapes of Wrath, All About Eve and Panic in the Streets. Towards the end of his career, when he had transferred his headquarters to Europe, he made The Longest Day, the story of the D-Day landings in  Normandy. He died in 1979.

Zanuck’s fame as a film producer was matched by his ‘macho’ reputation – on playing-field and casting-couch alike. His private life was stormy and – ultimately – tragic. Leonard Mosley has spent many hours with Zanuck’s son, Richard, and talked to numerous writers, actors, producers and directors to create this full-scale biography, packed with anecdotes, of a man whose appetite for cinema – and for women – was never exhausted. A keen family man who married only once, he was notorious for exercising his droit de seigneur over the starlets in his company; his affairs with improbable leading ladies (including Juliette Gréco) were sensational and almost always disastrous.

Yet Zanuck’s influence on his colleagues was electrifying. In the words of one of his closest associates, Milton Sperling: ‘Even at a distance his presence was always felt. His life-style, his pleasures, his prejudices influenced me far past my period of employment … I wish he was around now. He loved film, made instant decisions, encouraged talent. He’d deride today’s committee-ridden, computer-oriented, agent-accountant management apparatus. He was the Sun King. On reflection, I’m glad he escaped the deluge.’

LEONARD MOSLEY, who was born in Manchester in 1916, was for many years a London-based foreign correspondent, theater and film critic before turning full-time writer. His books include biographies of Orde Wingate, Curzon, Lindbergh, Goering, Hirohito and the Dulles family. He has written film scripts in Hollywood and twice sat on the Jury of the International Film Festival at Cannes.

Hardcover, dust jacket – 590 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 963 g (34,0 oz) – PUBLISHER Granada Publishing, Ltd., London, 1984 ISBN 0-246-12213-7

Zero Mostel: A Biography (Jared Brown)

brown-jared-zero-mostelBest remembered for his creation of the role of Tevye in Fiddler on the Roof, as well as for his brilliant comedic portrayals in The Producers, Rhinoceros, and A Funny Thing Happened on the Way to the Forum, Zero Mostel was a uniquely talented actor, a gargantuan personality, and a man of many contradictions. He was huge in stature, with an ego to match, a violent temper, and an unquenchable zest for life.

Mostel, however, thought of himself first as a painter. A prolific and sensitive artist, he always claimed that he worked only to gain the freedom to paint. Because he stood by his convictions and refused to bow to McCarthyism, Zero was blacklisted for many years, a dark period during which painting became his life. Jared Brown, author of the The Fabulous Lunts, has spoken to Mostel’s family and friends, his business associates, those who received his generosity and those who suffered his anger. He portrays Mostel, in all his diversity, brilliance, brashness, and bad-boy behavior, as a man who was a scholar and a brat, a man of a thousand faces complete with warts and scars.

JARED BROWN, born in New York City and raised in Los Angeles, was educated at Ithaca College, San Francisco State College, and the University of Minnesota. He is professor of theater at Western Illinois University, where he directs the programs in theater history, directing, and playwriting. He has contributed articles – among them a series that amounts to a comprehensive study of the theater in America during the Revolution – to many leading theatrical and historical journals, written eight plays, directed more than fifty, and for a brief time acted professionally. Mr. Brown is the author of the highly acclaimed, prizewinning biography of Alfred Lunt and Lynn Fontanne, The Fabulous Lunts (Atheneum 1986).

Hardcover, dust jacket – 334 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 676 g (23,8 oz) – PUBLISHER Atheneum, New York, New York, 1989 – ISBN 0-689-11955

The Ziegfeld’s Girl: Confessions of an Abnormally Happy Childhood (Patricia Ziegfeld)

ziegfeld-patricia-the-ziegfelds-girlThe author of this sparkling book led a childhood which – by all that’s puritan – should have left her a traumatized and spoiled wreck. The only child of rich and famous parents, Patty Ziegfeld grew up in such character-building settings as Palm Beach, a medieval fief in Westchester County and a private island in the Laurentians. She was coddled, tutored and pampered, taken to Europe, carried about in private railroad cars, and given such pets as a baby elephant (complete with elephant boy) and such toys as a Mount Vernon replica playhouse.

The result? One of the funniest and most joyous petite memoirs in years. The daughter of Florenz Ziegfeld, America’s most flamboyant producer, and the feathery Billie Burke, one of its most beloved actresses, shows what love and laughter and an inspired flair for living can do to keep an American princess from growing up into useless royalty.

Today Patty Ziegfeld, who lives in California with her architect husband, can tell her grandchildren about “the little girl who spent her childhood in a fairy-tale world of baby elephants and rooms at the Ritz and hothouse grapes and Rolls-Royce cars and lion cubs and governesses and ponies and playhouses” – and still managed to live happily ever after. Today, too, the lucky reader can happily immerse himself in a unique, flatout – for – fun childhood, and in a more lavish and feckless America than we are likely to see again.

Hardcover, dust jacket – 210 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 460 g (16,2 oz) – PUBLISHER Little, Brown and Company, Boston, Massachusetts, 1964

Zorina (Vera Zorina)

Autographed copy To Bob and Chet with admiration and love – Brigitta. 1.10.87

Zorina, Vera - ZorinaAt seventeen, when Brigitta Hartwig joined the Ballet Russe de Monte Carlo in London, she was asked to choose from an alphabetical list of Russian names and picked the last, Vera Zorina. After her great success in America on stage and in films, the public came to know her simply as Zorina. She tells the fascinating story of a varied career on the Continent, in London, on Broadway, and in Hollywood – where she signed a contract with Samuel Goldwyn only after George Balanchine became choreographer of The Goldwyn Follies, which featured the famous Undine “waterlotus” ballet. Zorina’s portrait of the youthful Balanchine’s creative genius in musical comedy, movies, and opera between 1937 and 1946 throws new light on this period. Balanchine’s charming letters to his wife (they were married in 1938) are published here for the first time. Among other things, Zorina serves as a manual on the art of the dance.

Drawing on her private diaries, Vera Zorina charts her rise to international stardom in vivid prose. There is an affectionate memoir of her bohemian parents, especially her supportive mother. Working in the Ballet Russe with Léonide Massine, a member of the original Diaghilev company, she experienced first love. She tells the story of her London debut in On Your Toes, the smash Broadway hit I Married an Angel with Balanchine’s choreography, the fun of working in Hollywood with Erich von Stroheim and Peter Lorre, and the unexpected role of Ariel in Margaret Webster’s Broadway production of The Tempest. Her successful screen test as Maria, in Hemingway’s For Whom the Bell Tolls, has a shocking aftermath then she learns, after shooting has started, of the studio’s double-cross. There are unusual meetings with Marlene Dietrich, Serge Lifar, Orson Welles, Igor Stravinsky, Erich Maria Remarque, and Eleonora Sears – among others.

Zorina is written with style, sensitivity, humor, and impressive honesty.

Hardcover, dust jacket – 311 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 672 g (23,7 oz) – PUBLISHER Farrar Straus Giroux, New York, New York, 1986 ISBN 0-246-12213-7