About John Ford (Lindsay Anderson)

Anderson, Lindsay - About John FordThe career of John Ford, America’s greatest film director, spanned nearly half a century. With masterpieces that range from The Iron Horse in 1924 to The Informer in 1935, from Stagecoach and The Grapes of Wrath in 1939 to The Searchers in 1956, he was one of the world’s most popular film makers, and one of the most universally admired. About John Ford is a critical appreciation and personal tribute. Its comprehensive survey of Ford’s work has the authority of a writer who was himself a distinguished film maker, and the portrait which emerges has the vividness and warmth of friendship.

Lindsay Anderson was a young critic and apprentice film maker when he met John Ford for the first time in 1951. He was also a devotee of Ford’s work, and his early writings were the first to draw serious attention to his films. An odd, abrasive relationship developed, and their paths continued to cross until they met for the last time when Anderson visited Ford at his home in Palm Desert, shortly before he died in 1973. During these years, with films like If… and O Lucky Man!, and with a succession of theater productions in London and New York, Lindsay Anderson himself became a director of international reputation. But he never lost his admiration for Ford and his obsessive enthusiasm for his work. This book is the result.

About John Ford is not a work of hagiography. As well as recording Anderson’s meetings with Ford, it contains key pieces of criticism never before published in book form and contains an altogether new assessment of Ford’s later work, together with an interpretation of his achievement as an artist. The book is rounded off by full and illuminating letters from Ford’s principal writing collaborators (Dudley Nichols, Frank Nugent and Nunnally Johnson); and by conversations with four actors who knew him well and worked with him, Henry Fonda, Harry Carey, Jr., Robert Montgomery and Donald Donnelly.

In its combination of personal fondness and understanding with authorative critical assessment, About John Ford is a unique contribution to the literature of the cinema.

Softcover – 256 pp., index – Dimensions 24,5 x 19 cm (9,7 x 7,5 inch) – Weight 644 g (22,7 oz) – PUBLISHER Plexus, London, 1999 – ISBN 0-85965-014-6

Above the Line: Conversations About the Movies (Lawrence Grobel)

Grobel, Lawrence - Above the LineAbove the Line is a dazzling gathering of insights and anecdotes from all corners of the film industry – interviews that reveal the skills, intelligence, experiences, and emotions of eleven key players who produce, write, direct, act in, and review the movies: Oliver Stone, Anthony Hopkins, Jodie Foster, Robert Evans, Lily Tomlin, Jean-Claude Van Damme, Harrison Ford, Robert Towne, Sharon Stone, and Gene Siskel and Roger Ebert. Witty, scathing, gossipy, generous, the interviewees show what just make the movies work from “above the line” – from the perspective of those whose names go above the title. Each of these gifted individuals represents a piece of the puzzle that gives rise to some of the best in moviemaking today.

LAWRENCE GROBEL has been a free-lance writer for more than thirty years and has written for the New York Times, Rolling Stone, Entertainment Weekly, Playboy, Movieline, and many other periodicals. Playboy called him “the interviewer’s interviewer” after his historic interview with Marlon Brando; more recently he made news as a result of his controversial interview with Governor Jesse Ventura. Grobel has written several books, including Conversations with Capote, Talking with Michener, and The Hustons. He lives in Los Angeles.

Softcover – 398 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 558 g (19,7 oz) – PUBLISHER Da Capo Press, New York, New York, 2000 ISBN 0-306-80978-8

Academy Awards: An Ungar Reference Index (compiled by Richard Shale)

shale-richard-academy-awardsThis is the most complete book on the subject ever published. It tells you quickly who won, who was nominated, and when – and much more. It gives you three different ways to find information on the awards: by category, by year, by name (as listed in the only complete index of its kind).

If you know only the category (who won an Oscar, or two, for best director or for cinematography or special effects), you can check the entries under Directing (or other categories) for an overview of all nominees and all winners. If you know only the year (were there any winners in Special Effects in 1945), the entries in the Chronological listing will tell you promptly. If you know only the name (did Johnny Mercer ever win an Oscar for one of his songs, and did he write the words or the music), see the comprehensive Index and find out whether Mercer was ever nominated (he was if he’s listed), and the page that will tell you whether he won.

And there is more. Nominating and voting procedures are explained for each category, even those no longer in existence. A concise essay on the history of the Academy, including the ten-year labor struggle in Hollywood that nearly destroyed it. A fully annotated bibliography. And, of course some interesting illustrations that highlight behind-the-scene figures as well as movie stills.

Who will use this definitive Academy Awards? Everyone curiously interested in film history. Critics, journalists, students, for whom it will be a mine of accurate information. And you movie buffs or nostalgia devotees – this is your book. An Ungar Film Library classic, and it belongs in everyone’s personal film library.

RICHARD SHALE put this book together. Needless to say, he is an avid moviegoer. Aside from this avocation, he has a Ph.D. in American culture from the University of Michigan and teaches in the English Department of Youngstown State University, Ohio. His articles on aspects of the movies have appeared in several film periodicals.

Softcover – 615 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 883 g (31,1 oz) – PUBLISHER Frederick Ungar Publishing Co., New York, New York, 1978 – ISBN 0-8044-6860-5

Accidentally on Purpose: An Autobiography (Michael York)

Autographed copy For Bob, with every good wish, Michael York

York, Michael - Accidentally on PurposeBeing a professional actor was like progressing through an archipelago of islands that represented the chain of disconnected jobs. Sometimes the wind and current were strong, making interisland sailing quick and straightforward; at others, you could be becalmed, and then suddenly storm-tossed with no friendly port in view. Often fog descended and, disoriented, you could find yourself sailing in the wrong direction. But when the sun shone and the fair wind followed there was no more exhilarating way of exploring this extraordinary world.

Accidentally on Purpose tells the story of Michael York’s career from his days as an amateur, when he showed early promise both in Michael Croft’s fledging Youth Theatre and at Oxford. He made his professional debut in rep, then moved on to Laurence Olivier’s newly formed National Theatre. There he worked with Franco Zeffirelli, who was to provide York with his film debut in The Taming of the Shrew, opposite Elizabeth Taylor and Richard Burton. Since then, York’s talents have taken him all over the world and into virtually every acting medium. Highlights of his career include Accident, Romeo and Juliet, The Three Musketeers and, of course, Cabaret.

This is the story of a love affair with the most capricious of professions, a rare glimpse of the glory–and grit–off camera and behind the scenes. It is also the story of a life as rich with drama and poignancy as the many roles this classically trained actor has brought to the screen and stage. York writes movingly of his marriage to photographer Pat McCallum, a happily-ever-after romance played out against an ever-changing backdrop of exotic locales. And he tells of the kaleidoscope of friendships – with Tennessee Williams, John Gielgud, Derek Jacobi, and Cary Grant, among others – that his talent and travels have brought him.

Accidentally on Purpose mines rich seams of experience, bringing to light the creativity, humor, and excitement that are the true repertoire of this modern-day “travelling player.” From the dimming of lights to curtain down, it is a memorable performance.

MICHAEL YORK lives with his wife, Pat, in Los Angeles, California

Hardcover, dust jacket – 432 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 756 g (26,7 oz) – PUBLISHER Simon & Schuster, New York, New York, 1991 – ISBN 0-671-68940-1

Acte de Présence: Mijn Leven en Werk (Willeke Van Ammelrooy, with Wienke Swierstra)

van-ammelrooy-willeke-acte-de-presenceIn het jaar dat ze vijfenzestig wordt, blikt Willeke van Ammelrooy, al sinds begin jaren zeventig een van de meest besproken persoonlijkheden van ons land, terug op haar leven. Het is niet voor niks dat ze juist in de afgelopen maanden besloot om aan de hand van vergeelde foto’s en memorabilia uit de dozen bij haar op zolder herinneringen op te halen aan vijfenzestig jaar succes, teleurstelling, glamour, liefde en verdriet. Aan de tumor die werd geconstateerd, en de zware operatie die noodzakelijk bleek. Maar vooral ook aan een nieuwe stroom filmsuccessen die ze beleeft in de nazomer van haar indrukwekkende loopbaan.

In gesprek met Nienke Swierstra vertelt Willeke uiterst openhartig over de grote en kleine liefdes in haar leven en over trouw blijven aan jezelf. Ze gaat in op loyaliteit, misleiding en integriteit in de filmwereld, de haat-liefdeverhouding met de pers, de kunst van het (film)acteren en op het veelbewogen jaar dat achter haar ligt en dat haar sterker maakte dan ooit.

WILLEKE VAN AMMELROOY (1944) behoort al decennia tot de top van de Nederlandse filmwereld. Rollen in producties als Mira, Lijmen / Het been, The Lake House en Antonia, in 1996 bekroond met een Oscar, bezorgden haar ook succes in het buitenland. Voor haar werk ontving Van Ammelrooy in 2008 de Rembrandt Oeuvre Award en in 2009 werd ze benoemd tot erelid van de NBF, de beroepsvereniging van film- en televisiemakers. NIENKE SWIERSTRA (1963) is freelance journaliste en tekstschrijfster.

Softcover – 264 pp., index – Dimensions 21 x 13,5 cm (8,3 x 5,3 inch) – Weight 411 g (14,5 oz) – PUBLISHER Uitgeverij L. J. Veen, Amsterdam / Antwerpen, The Netherlands / Belgium, 2009 – ISBN 978-90-204-0988-8

The Actors’ Director: Richard Attenborough Behind the Camera (Andy Dougan; introduction by Steven Spielberg)

dougan-andy-the-actors-directorRichard Attenborough is one of the world’s greatest film directors. Throughout the world he has the respect and admiration of his peers. Yet Britain’s greatest living director, and arguably the most successful ever, is almost a prophet without honor in his own land.

Although he has been honored by his country for his services to the industry over more than 50 years, the establishment critics lie in wait for his every film. From his directing debut 25 years ago with Oh! What A Lovely War, he has attracted in equal measure both brickbats and bouquets. His film Shadowlands confounded the critics, attracting glowing praise and setting house records all over the world. Shadowlands won the award for Best British Film at this year’s BAFTA awards. Attenborough himself received a special award in thanks and recognition of his service to the British Academy of Film and Television Arts.

To mark his silver anniversary as a director, Lord Attenborough speaks at length for the first time about his career behind the camera. He tells how he knew ‘bugger all’ about being a director when Sir John Mills gave him the script for Oh! What A Lovely War. From there he has gone on to taste the Oscar-winning triumph of Gandhi and the critical disaster of A Chorus Line. He tells of his anger at the way A Chorus Line was received and how he was virtually blackmailed into directing the World War II epic A Bridge Too Far.

The Actors’ Director features an introduction by the world’s biggest Attenborough fan, Steven Spielberg. There are also contributions from some of the biggest names in the movies, including fellow Oscar-winner Sir Anthony Hopkins, Kevin Kline, Sir John MilIs, Ann-Margret, Robert Downey, Jr., and Simon Ward.

ANDY DOUGAN is the film reviewer of the Evening Times newspaper in Glasgow. He has his own movie programme on Radio Clyde and broadcasts regularly on BBC Scotland. He has been a lifelong movie fan since his father took him to see The Magnificent Seven, The Alamo and El Cid in the space of ten days at the tender age of five. His fascination with the films of Richard Attenborough began when he saw A Bridge Too Far in 1977 and was astonished that any man could tell a moving and coherent story in spite of the presence of so many star names. The Actors’ Director is his first book.

Hardcover, dust jacket – 192 pp., index – Dimensions 25 x 19 cm (9,8 x 7,5 inch) – Weight 753 g (26,6 oz) – PUBLISHER Mainstream Publishing, London, 1994 – ISBN 1-85158-672-5

Actors on Red Alert: Career Interviews With Five Actors & Actresses affected by the Blacklist (Anthony Slide)

slide-anthony-actors-on-red-alertThe anti-Communist hysteria that began in the 1930s became a political cause célèbre in 1938 when the House of Representatives established the House Committee on Un-American Activities. Soon thereafter, the creation of the blacklist in the late 1940s brought the Hollywood film and television community into the fold. Provocatively capturing the controversy and sentiments surrounding this period of political imbalance, Actors on Red Alert explores the repercussions of the blacklist through career interviews with five prominent actors and actresses: Phil Brown, Rose Hobart, Marsha Hunt, Marc Lawrence, and Doris Nolan.

ANTHONY SLIDE has published many books and articles on the performing arts. He is a highly respected scholar of film history, and has authored such books as The New Historical Dictionary of the American Film Industry (1998), On Actors and Acting (1998), and Ravished Armenia and the Story of Aurora Mardiganian (1997).

Hardcover, dust jacket – 172 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 359 g (12,7 oz) – PUBLISHER The Scarecrow Press, Inc., Lanham, Maryland, 1999 – ISBN 0-8180-3649-1

Actress: Postcards From the Road (Elizabeth Ashley, with Ross Firestone)

ashley-elizabeth-actress-postcards-from-the-roadThe raw power and honest toughness of this memoir sets it apart from any other Broadway-Hollywood story ever written. Elizabeth Ashley’s portrayal of the conflict between personal integrity and the success system doesn’t defer to the rules of the game – any more than her life does.

At twenty-three, Ashley had already achieved what most actresses spend decades striving for. Starring on Broadway in Barefoot in the Park, a play that Neil Simon had written for her, she was a Tony Award-winner, heading for a promising career in Hollywood. Ten years and two husbands later, Ashley was a has-been, a dirty word among Hollywood power brokers, desperate to find any acting job that would support her and her child. She had talent, ambition, beauty and intelligence – what had gone wrong?

In Actress you’ll meet the players in the dirtiest game in town – the theatrical casting game – as you’ve never seen them before. Ashley writes with hard-nosed and sometimes shocking insight into what it means to be a determined woman, dedicated to her craft, driven to success and yet filled with the needs and fears of any woman. Her account of the making and breaking of her Hollywood marriage to actor George Peppard, her struggle to regain her career, and her personal escapades provide one of the most realistic pictures we’ve ever been given of the actress-woman-survivor and the world in which she lives.

ELIZABETH ASHLEY’s long list of Broadway and Hollywood credits includes Take Her, She’s Mine, Barefoot in the Park, the American Shakespeare Festival’s production of Cat On a Hot Tin Roof, Shaw’s Caesar and Cleopatra with Rex Harrison, Ship of Fools, The Carpetbaggers, The War Between the Tates and Coma. ROSS FIRESTONE is a free-lance writer and editor whose special interests are the theater and movies.

Hardcover, dust jacket – 252 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,5 inch) – Weight 520 g (18,3 oz) – PUBLISHER M. Evans & Company, New York, New York, 1978 – ISBN 0-87131-264-6

The Address Book: Direct Access to Over 3,000 Celebrities, Corporate Execs, and Other VIPS (Michael Levine)

Levine, Michael - The Address BookDo you know how to reach: Cindy Crawford, Magic Johnson, H. Ross Perot, Demi Moore, Michelle Pfeiffer, Michael Douglas, Luke Perry, Garth Brooks, John F. Kennedy Jr., the Princess of Wales, Gloria Steinem, Michael Jordan, and Ann Richards? WeIl, you can find all of their mailing addresses in The Address Book, now in its latest, sixth edition. Used by everyone from the White House staff to Barbara Walters, this remarkable book contains confidential addresses of thousands of the world’s most powerful, popular, and influential people. Completely revised and updated to include the addresses of the people you’ll most want to contact, The Address Book is a must for every home and office.

Regarded as one of Hollywood’s brightest business executives, author MICHAEL LEVINE heads a major entertainment public relations firm with offices in Los Angeles, New York, Las Vegas, and London, representing more than a hundred top celebrities. Mr. Levine lives in Los Angeles.

Softcover – 279 pp. – Dimensions 21 x 13,5 cm (8,3 x 5,3 inch) – Weight 309 g (10,9 oz) – PUBLISHER Putnam Publishing Group, New York, New York, 1993 – ISBN 0-399-51793-6

Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s – Letters of Valeria Belletti (edited by Cari Beauchamp; foreword by Samuel Goldwyn, Jr.)

Beauchamp, Cari - Adventures of a Hollywood Secretary

Adventures of a Hollywood Secretary is an insider’s view of the film studios of the 1920s – and the first from a secretary’s perspective. Rich in gossip, it is also an eyewitness report of Hollywood in transition. In the summer of 1924, Valeria Belletti and her friend Irma visited California, but instead of returning home to New York, the twenty-six-year-old Valeria decided to stay in Los Angeles. She moved into the YWCA, landed a job as Samuel Goldwyn’s personal and social secretary and proceeded to trip over history in the making. As she recounts in her dozens of letters to Irma, Valeria Belletti encountered every type of Hollywood player in the course of her working day: moguls, directors, stars, writers, and hopeful extras. She shares news about Valentino’s affairs, Sam Goldwyn’s bootlegger, the development of the “talkies,” her own role in helping to cast Gary Cooper in his first major part and much more – often in hilarious detail. She writes of her living and working conditions, her active social life, and her hopes for the future – all the everyday concerns of a young working woman during the jazz age. Alternating sophistication with naiveté, Valeria’s letters intimately document a personal journey while giving us a unique portrait of a fascinating era.

Hardcover – 231 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 414 g (14,6 oz) – PUBLISHER University of California Press, Berkeley, California, 2006 – ISBN 0-520-24551-2

Adventures With D. W. Griffith (Karl Brown; edited and with an introduction by Kevin Brownlow)

Brown, Karl - Adventures With D W Griffith (hc)Karl Brown, who became a famous cameraman (The Covered Wagon) and film director (Stark Love, the lyrical silent film about North Carolina mountaineers), was in his youth an eyewitness to and participant in the momentous occasions in the history of Hollywood films – the production of D.W. Griffith’s The Birth of  a Nation and Intolerance. Having been employed as an assistant to G.W. Bitzer, he was on the firing line of all the major Griffith films until Broken Blossoms. As the introduction says, “His extraordinary story represents the most exciting, and the most perceptive, volume of reminiscence ever published in cinema.”

When he went to work in 1914, in the Griffith studio at the corner of Sunset and Hollywood Boulevards, Karl Brown was still a teenager, with a sharp and penetrating eye. Recently discovered in obscure retirement in Hollywood, he was persuaded by Kevin Brownlow to set down his story. His memory proved to be astonishing: he has provided so much new and detailed information on this early period that the published sources have become outdated. Brownlow calls this narrative “a dramatic, and often hilarious, story of a boy trying to cope with a complex technical process, and helping to make history… Everyone who loves films should be grateful that, when D.W. Griffith was working on his greatest pictures, Karl Brown was there – on our behalf.”

KEVIN BROWNLOW, film director and author of the widely praised film book, The Parade’s Gone By, has edited the text and written the introduction. There is a generous selection of photographs, many of them provided by Karl Brown, as well as a few diagrams and maps he has drawn.

Hardcover, dust jacket – 252 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 624 g (22 oz) – PUBLISHER Farrar, Strauss and Giroux, New York, New York, 1973 – ISBN 0-374-10093-4

Adventures With D. W. Griffith (Karl Brown; edited and with an introduction by Kevin Brownlow)

Karl Brown, the 16-year-old kid who fast-talked his way into D.W. Griffith’s film company, was a keen observer of and participant in two of the most momentous occasions in film history – the production of The Birth of a Nation and of Intoterance. Discovered in retirement by film director and author Kevin Brownlow, who has also contributed the introduction to this book, he was persuaded to tell the story of his beginnings on Griffith’s crew. What emerges is a detailed and highly personal eyewitness account of D.W. Griffith, his world, and a bygone era of filmmaking.

Griffith’s unique contribution to cinema resulted from his extraordinary gift for knowing what an audience wanted: “Make them laugh, make them cry, and make them wait.” He had the ability to construct powerful dramatic effects in his imagination, but he was dependent on the wizardry of his technicians to translate his visions into reality.

Through Brown, we meet the men who have remained nameless until now: Joe Aller and Abe Scholtz, who spent their careers processing Griffith’s films, “Fireworks” Wilson, the one-armed pyrotechnics expert who managed the battlefield explosions in The Birth of a Nation, and “Spec” Hall, who designed and supervised the construction of the mammoth Babylonian sets of Intolerance.

And there are intimate glimpses of Griffith himself at work. Accounts of production problems are juxtaposed with Griffith’s eccentricities – running footraces with his crew, dancing with Lillian Gish, singing an aria, or speaking in verse under the influence of one poet or another. Thirty-six pages of photographs and sketches give us behind-the-scenes pictures of Hollywood: a street corner with California bungalows in the foreground and the towers of Intolerance looming in the distance; a shot of the demolished set taken by Brown himself; and, sporting a coolie hat, as he directed through a megaphone – Griffith, launching an art and an industry.

As Brownlow states in his introduction, “Everyone who loves films should be grateful that, when D.W. Griffith was working on his greatest pictures, Karl Brown was there – on our behalf.”

KARL BROWN was second cameraman, under the famous G.W. (Billy) Bitzer, on Intolerance. He later became chief cameraman on the historical spectacle The Covered Wagon. In 1927, he directed the classic semi-documentary, Stark Love. From 1938 to 1942, he wrote scripts for Boris Karloff’s Columbia pictures. KEVIN BROWNLOW is a film director and the author of the widely praised book, The Parade’s Gone By.

Softcover – 252 pp., index – Dimensions 22,5 x 14,5 cm (8,9 x 5,7 inch) – Weight 434 g (15,3 oz) – PUBLISHER Da Capo Press, New York, New York, 1976 – ISBN 0-306-80032-2

An Affair to Remember: The Remarkable Love Story of Katharine Hepburn and Spencer Tracy (Christopher Andersen)

Anderson, Christopher - An Affair to RememberShe was a living legend, a symbol of fierce independence who defied convention to live life on her own terms. He was the greatest screen actor of all time, the personification of the rock-solid American male. During their twenty-six years together, Katharine Hepburn and Spencer Tracy mesmerized the world with their famous on-screen chemistry like no other couple. Yet their private love affair – which ended only with Tracy’s death in 1967 – remained shrouded in secrecy.

Now, as Hepburn turns ninety, international best-selling author Christopher Andersen draws on his own extensive conversations with Kate – as well as those who knew the legendary duo intimately – to paint the first full, inspiring portrait of these beloved American icons and the life they shared. As Andersen did in Jack and Jackie, in An Affair to Remember he reveals the strength, wit, and dignity that characterized this historic partnership – and offers stunning new revelations, including new information about Hepburn’s pre-Tracy affairs with Howard Hughes and others; the five family suicides that haunted Kate her entire life – and ultimately shaped her approach to the man she loved; Tracy’s other women – from Joan Crawford and Loretta Young to Gene Tierney and Grace Kelly; why Kate never forgave Ingrid Bergman for having a secret romance with Spencer; the true, shocking extent of Tracy’s alcoholism and undiagnosed depression; his erratic, often violent behavior, and how Kate bravely tried to tame the demons that drove him; how J. Edgar Hoover came close to destroying their careers; never-before-told details of their physical relationship – including how Kate helped him to overcome impotency; the real reason why Tracy would not divorce his wife, Louise, and marry Kate – and what Kate would have said had he asked her.

An Affair to Remember is, first and foremost, a poignant love story – the often funny, sometimes heartbreaking, always captivating portrait of a Great American Romance.

CHRISTOPHER ANDERSEN is the critically acclaimed author of seventeen books, which have been translated into more than twenty languages worldwide. A former contributing editor of Time and senior editor of People, Andersen has also written hundreds of articles for a wide range of publications including Life magazine and The New York Times.

Hardcover, dust jacket – 336 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 711 g (25,1 oz) – PUBLISHER William Morrow & Company, Inc., New York, New York, 1997 – ISBN 0-688-15311-9

Afterglow: A Last Conversation with Pauline Kael (Francis Davis)

davis-farncis-afterglowIn September of 2001 movie lovers lost one of their greatest friends – a friend who never tired of championing the best that the movies could offer and didn’t shrink from taking to task any film, director, or actor she thought had it coming. Pauline Kael’s insight and bitting wit won her singular respect in both movie and literary circles, as well as a passionate following for her New Yorker columns and her inimitably titled collections such as I Lost It at the Movies and Kiss Kiss Bang Bang.

Shortly before her death, Kael sat down with Francis Davis to chat for a series of conversations about her life and work – and, of course, the movies. Among the many things she talks about are her childhood, her early days as a critic, her career at the New Yorker, the directors she knew (for better or worse), her disappointments on recent cinema, and her renewed interest in television. It’s funny, it’s controversial, it’s right-on-the-mark – and time and again you realize that no one would have dared to say that in just that way, except Pauline Kael.

FRANCIS DAVIS is a contributing editor of the Atlantic Monthly and writes regularly for the New York Times and The New Yorker. He is the author of Like Young and the forthcoming Francis Davis Reader, which Da Capo will publish in fall 2008. He lives in Philadelphia.

Hardcover, dust jacket – 134 pp., index – Dimensions 21 x 12,5 cm (8,3 x 4,9 inch) – Weight 270 g (9,5 oz) – PUBLISHER Da Capo Press, Cambridge, Massachusetts, 2002 – ISBN 0-306-81192-8

After Midnight: The Life and Death of Brad Davis (Susan Bluestein Davis, with Hilary de Vries)

davis-susan-bleustein-after-midnightBrad Davis lived a life that mirrored the intensity of his star-making performance in the film Midnight Express. Filled with hope after defeating the alcohol and drug addiction that almost destroyed his career, he was then devastated to learn, in 1985, that he was HIV-positive. He soon discovered that behind the red ribbons of Hollywood was an unforgiving world, and recognized the irony of what he had to do to survive as an actor: he had to live a lie.

Susan Bluestein Davis, Brad’s wife and partner for twenty years, is keenly aware of the realities of today’s Hollywood that demand this heart-wrenching story be told. With an affecting voice, she reveals the highs and lows of an explosive career, the nightmare of addiction, and the heartbreak of AIDS: caring for a loved one who is dying, combating rumours that are almost as corrosive as the disease, and keeping the most important element of your life a secret. A startling take on the entertainment world, After Midnight is also a powerful chronicle of Susan and Brad’s enduring love, the kind that provides comfort and hope against great challenges.

They met in New York in the mid-1970s: Susan, a young agent in training for Broadway’s hottest agency; and Brad, a handsome, ambitious kid armed with a drawl and a raw talent for dazzling both the sexes – a James Dean sprung from the imagination of Tennessee Williams. Their bond, tested by Brad’s incendiary moods and promiscuous appetites, carried them from the off-Broadway theater world to Hollywood. Every success lived in the shadow of his addictions, until he went into recovery. But nothing prepared Brad and Susan for the ultimate exile of the AIDS-infected actor in a town where image is all; together, they chose to hide his condition from the Hollywood community – until the moment his suffering finally ended.

Harboring no illusions about the complicated life she shared with Brad, or even his own responses during and after his death, Susan Bluestein Davis tells an unflinchingly honest story. For anyone who has ever been tempted to walk way from life’s adversities, After Midnight is a powerful remembrance that must be read.

SUSAN BLUESTEIN DAVIS is an Emmy Award-winning casting director. She lives with her and Brad’s daughter, Alexandra, in California. HILARY DE VRIES has written about Hollywood for the Los Angeles Times, the New York Times, and the Washington Post. She lives in Los Angeles.

Hardcover, dust jacket – 299 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 654 g (23,1 oz) – PUBLISHER Pocket Books, New York, New York, 1997 – ISBN 0-671-79672-0

The Age of McCartyism: A Brief History with Documents (Ellen Schrecker)

schrecker-ellen-the-age-of-mccarthyismIncorporating important recent scholarship, this popular supplement combines a comprehensive essay on the history of McCarthyism with compelling documents that trace the course of anti-Communist furor in the U.S. The volume’s 95-page essay follows the campaign against domestic subversion from its origins in the 1930s through its escalation in the 1940s to its decline in the 1950s. The second part includes over 47 original documents (including 6 new sources) – congressional transcripts, FBI reports, speeches, and letters – that chronicle the anti-Communist crusade. The essay and documents have been thoroughly updated to reflect new scholarship and recently revealed archival evidence of Soviet spying in the U.S. Also included are headnotes to the documents, 15 black-and-white photographs, a glossary, a chronology of McCarthyism, a revised bibliographical essay, and an index.

ELLEN SCHRECKER (Ph.D., Harvard University) is associate professor of history at Yeshiva University, where she has taught since 1987. Her book, No Ivory Tower: McCarthyism and the Universities (1986), won the History of Education Society’s Outstanding Book Award for 1987. Schrecker is the author of numerous publications about various aspects of the McCarthy era. She is currently writing a general history of McCarthyism.

Softcover – 274 pp., index – Dimensions 21 x 13,5 cm (8,3 x 5,3 inch) – Weight 298 g (10,5 oz) – PUBLISHER Bedford Books, New York, New York, 1994 – ISBN 0-312-08349-1

The Age of Movies: Selected Writings of Pauline Kael (edited by Sanford Schwartz)

kael-pauline-the-age-of-moviesPauline Kael’s I Lost It At the Movies (1965) marked the emergence of a major modern critic: fearless, impassioned, caustically funny, alert to the nuance of the smallest detail. “Film criticism is exciting just because there is no formula to apply,” she observed, “just because you must use everything you are and everything you know.” Between 1968 and 1991, as regular film reviewer for The New Yorker, Kael used those formidable tools to shape the tastes of a generation, enthralling readers with her gift for capturing, with force and fluency, the essence of an actor’s gesture or the full implication of a cinematic image. Kael called movies “the most total and encompassing art form we have,” and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace.

To read The Age of Movies is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. She was, in the words of editor Sanford Schwartz, “a romantic and a visionary” who “believed that movies could feed our imaginations in intimate and immediate – and liberating, even subversive – ways that literature and plays and other arts could not.” Coming into her own as a writer during a time of cultural turmoil and remarkable cinematic accomplishment, she became one of the great chroniclers of that time and of the movies that were so central to it.

Her ability to evoke the essence of a great artist – an Orson Welles or a Robert Altman – or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Coming into her own as a writer during a time of cultural turmoil and remarkable cinematic accomplishment, she became one of the great chroniclers of that time and of the movies that were so central to it. Here are her appraisals of the films that defined an era – among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville – along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

SANFORD SCHWARTZ, editor, writes for The New York Review of Books. His essays and reviews have been collected in The Art Presence and Artists and Writers, and he is the author of critical biographies of the nineteenth-century Danish painter Christen Købke and the twentieth-century English artist William Nicholson. He and Pauline Kael were friends for many years.

Hardcover, dust jacket – 828 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.015 g (35,8 oz) – PUBLISHER The Library of America, 2011 – ISBN 978-1-59853-109-1

Alec Guinness: The Authorised Biography (Piers Paul Read)

read-piers-paul-alec-guinnessSir Alec Guinness was one of the greatest actors of the twentieth century. With a talent recognized by discerning critics from the very first appearance on the stage, he gained a world-wide reputation playing roles on screen such as Fagin in Oliver Twist and The Man in the White Suit. His performance as Colonel Nicholson in Bridge on the River Kwai won him an Oscar and, in later years, he captivated a new generation of admirers as George Smiley in Tinker, Tailor, Soldier, Spy and Ben Kenobi in Star Wars.

Guinness was a man who vigorously guarded his privacy and, despite publishing an autobiography and two volumes of his diaries, he remained an enigma to the general public and a mystery even to his family and closest friends.

After his death in August 2000, his widow Merula asked the author Piers Paul Read, who had been a friend of her husband, to write his authorised biography. Given full co-operation by the Guinness family and free access to Sir Alec’s papers, including his private and unpublished diaries, Read has written an enjoyable, yet penetrating and perceptive account of an intriguing and complex man.

Read shows how Guinness’s quirks of character and genius had roots in the circumstances of his early life. His marriage to Merula Salaman, a young actress of great promise, is chronicled by the many hundred letters Guinness wrote to her when serving in the Navy during World War II, while his post-war diaries reveal that readjustment to civilian life was traumatic, with doubts about his talent and a confusion about his sexual nature leading to bouts of severe depression.

Guinness’s conversion to Catholicism in 1956 partly exorcised his demons but he never wholly escaped the contradictions in his life – his domestic ties vying with wayward passions, a yearning for holiness with an intolerance of constraint, a raw sensitivity to the feelings of others with an irascible and domineering nature. Yet from the diaries and letters to his friends quoted extensively in this biography, there emerges a man of great compassion, generosity, wit and charm – intellectually curious, a talented writer, a great gossip, bon viveur and munificent host.

PIERS PAUL READ is the author of thirteen acclaimed novels, most recently Alice in Exile, and four works of non-fiction, among them a history of the crusading order, The Templars and the international best-seller Alive! Past novels have won the Hawthornden Prize and the Geoffrey Faber, Somerset Maugham and James Tait Black Awards. He lives in London.

Hardcover, dust jacket – 632 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 977 g (34,5 oz) – PUBLISHER Simon & Schuster UK Ltd., London, 2003 – ISBN 0-7432-0729-7

Alexander Korda: The Man Who Could Work Miracles (Karol Kulik)

kulik-karol-alexander-kordaMore than any other man, the Hungarian film producer-director, Sir Alexander Korda was considered the saviour of the British film industry in the 1930s. He had worked in Paris, Berlin, Vienna and Hollywood before settling in London. Twice in his 40-year career he created empires of international influence, and for a time was hailed as the biggest film producer and star-maker outside Hollywood. His charm, intellect and flamboyant style were legendary long before his death in 1956, and he became the world’s first film knight. Films like The Four Feathers, The Thief of Bagdad, The Scarlet Pimpernel, Rembrandt and The Private Life of Henry VIII confirmed that for 25 years Alex Korda was the most imaginative and courageous man at work in the British films. This masterly biography is full of anecdote and critical insight, and contains a full filmography, bibliography and index.

KAROL KULIK was born and raised in California. She received a BA in Film from UCLA in 1969 and a postgraduate diploma from the Slade School of Fine Art in 1971. From 1976 to 1981 she worked at the National Film and Television School, and created and ran the London Market, a media trade fair, between 1981 and 1986. Since 1988 she has been President of Euro Aim, an EEC initiative in audio-visual distribution. Karol Kulik researched this book for five years, at the Slade Film Unit, in Budapest and Vienna, with access to many of Korda’s friends and associates. It is the standard work on Korda.

Softcover – 407 pp., index – Dimensions 21,5 x 13,5 cm (8,5 x 5,3 inch) – Weight 597 g (21,1 oz) – PUBLISHER Virgin Books, London, 1990 – ISBN 0-86369-446-2

Alfred Hitchcock and the Making of Psycho (Stephen Rebello)

rebello-stephen-alfred-hitchcock-and-the-making-of-psychoHere, for the first time, is the complete inside story of the making of Psycho. The author takes us behind the scenes to witness the creation of one of the cinema’s boldest and most influential films. From Hitchcock’s private files, in-depth interviews with the stars, writers and technical crew, we get a unique picture of the master at work.

Psycho came close to not being produced. The reader’s report said, ‘impossible to film.’ Paramount refused to produce the film. However, Hitchcock personally bought the film rights to Robert Bloch’s novel. He then decided to finance the picture himself, but with no blockbuster stars, no exotic locations, no top screen writers, no big budget and to film it himself in black and white.

Using newly-discovered material, the author shows how Hitchcock overcame studio politics, censorship and feisty collaborators. Along with other unique insights – including an account of Bernard Herrmann’s breathtaking film score – the author gives a day-by-day inside view of the master director at work, creating one of cinema’s most daring, ground-breaking and dark thrillers.

STEPHEN REBELLO is a film journalist and the author of Reel Art – Great Posters from the Golden Age of the Silver Screen and several screenplays. He contributed to magazines such as American Film, Cinéfantastique, Playboy and many others. The book contains 16 pages of photographs highlighting dramatic scenes from Psycho.

Hardcover, dust jacket – 224 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 489 g (17,6 oz) – PUBLISHER Marion Boyard Publisers, Ltd., London, 1990 – ISBN 0-7145-2915-X

Alfred Hitchcock: Een compleet overzicht van al zijn films (Paul Duncan)

duncan-paul-alfred-hitchcock“Aan het begin van zijn filmcarrière kwam Alfred Hitchcock regelmatig met een paar vrienden bijeen om te klagen over de mensen en gebeurtenissen in de filmindustrie. Ze noemden zichzelf  ‘The Hate Club.’ Het was voor hen een informele manier om hun frustraties te uiten, maar ook een nuttige manier om van elkaar te leren. Tijdens een ontmoeting moesten ze allemaal de volgende vraag beantwoorden: “Voor wie maak je films?” De andere filmmakers zeiden “de distributeurs” of “het publiek,” maar Hitchcock was terughoudend met zijn antwoord. Uiteindelijk zei hij: “Voor de pers.” Hij redeneerde dat de pers het publiek beïnvloedde, wat weer de distributeurs en filmhuizen beïnvloedde. Ook zei Hitchcock: “Wij [de regisseurs] maken een film succesvol. De naam van de regisseur moet door het publiek worden geassocieerd met kwaliteit. Acteurs komen en gaan, maar de naam van de regisseur moet in het geheugen van het publiek zijn geprent.”

Hitchcock handelde zijn gehele carrière volgens deze overtuiging en nam regelmatig filmrecensenten mee uit eten, gaf openhartige interviews en schreef meer dan zestig artikelen voor filmbladen en andere publicaties. (Tijdens een van die diners verontschuldigde een recensent zich voor een slechte recensie een paar weken eerder. Hitchcock zei haar zich geen zorgen te maken, omdat zij haar werk moest doen, net zoals hij het zijne.) Zijn vasthoudende en professionele manier van zelfpromotie – zijn naam verscheen altijd boven de titel van zijn films, hij speelde vaak een klein rolletje in zijn eigen films en presenteerde in de jaren 50 de langlopende televisieserie Alfred Hitchcock Presents – zorgde ervoor dat hij een van de bekendste filmmakers van zijn generatie werd. Ook gebruikten filmrecensenten en -theoretici films als Rear Window, Vertigo, North by Northwest en Psycho als voorbeelden, omdat, zoals David Thomson zei, deze films “veel zeggen over de manier waarop we verhalen bekijken en erop reageren… Hitchcock werd een manier om de film te definiëren, een man die zich verdiepte in het bewegende beeld en de dwangmatige emoties van de kijker.”

In een interview legde Hitchcock enthousiast uit hoe zijn werk praktisch en technisch in elkaar zat. Jules Dassin, die Hitchcocks technieken op de set van Mr. & Mrs. Smith bestudeerde, herinnerde zich dat Hitchcock tijdens een lunch de camerastandpunten en andere filmtechnieken uitlegde door ze op servetten voor Dassin uit te tekenen.” – From The Introduction.

Softcover – 192 pp. – Dimensions 25 x 20 cm (9,8 x 7,9 inch) – Weight 866 g (30,5 oz) – PUBLISHER Taschen GmbH, Köln, Germany, 2003 – ISBN 3-8228-2695-2

Alfred Hitchcock: Interviews (edited by Sidney Gottlieb)

gottlieb-sidney-alfred-hitchcock-interviewsEven twenty years after his death and nearly fifty or more years after his creative peak, Alfred Hitchcock (1899-1980) is still arguably the most instantly recognizable film director in name, appearance, vision, and voice. Long ago, through a combination of timing, talent, genius, energy, and publicity, he made the key transition from proper noun to adjective that confirms celebrity and true stature. It is a rare filmwatcher indeed who cannot define ‘Hitchcockian.’

Such films as Psycho, North by Northwest, Spellbound, Vertigo, Rear Window, To Catch a Thief, Notorious, and The Birds, made the Hitchcock imprint synonymous with both stylish, sophisticated suspense and mordant black comedy. He was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career – as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director.

These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and color, his relationship to the medium of television, and the attractions and perils of realism. His engaging wit and intelligence are on display here, as are his sophistication, serious contemplation, and playful manipulation of the interviewer.

SIDNEY GOTTLIEB, a professor of English at Sacred Heart University in Fairfield, Connecticut, is the editor of Hitchcock on Hitchcock: Selected Writings and Interviews.

Softcover – 218 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 430 g (15,2 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2003 – ISBN 1-57806-562-3

Alice Faye: A Life Beyond the Silver Screen (Jane Lenz Elder)

Elder, Jane Lenz - Alice Faye, A Life Beyond the ScreenAlice Faye’s sweet demeanor, sultry glances, and velvety voice were her signatures. Her haunting rendition of “You’ll Never Know” has never been surpassed by any other singer. Fans adored her in such films as Alexander’s Ragtime Band, Rose of Washington Square, Tin Pan Alley, Week End in Havana, and Hello, Frisco, Hello.

In the 1930s and 1940s she reigned as queen of 20th Century Fox musicals. She co-starred with such legends as Shirley Temple, Tyrone Power, Carmen Miranda, and Don Ameche and was voted the number-one box-office attraction of 1940, placing ahead of Bette Davis and Myrna Loy. To a select cult, she remains a beloved star.

In 1945 at the pinnacle of her career she chose to walk out on her Fox contract. This remarkable episode is unlike any other in the heyday of the big-studio system. Her daring departure from films left Fox mogul Darryl F. Zanuck and the rest of the movie industry flabbergasted. For years she had skirmished with him over her roles, her health, and her private life. His heavy-handed film editing of her fine work in Otto Preminger’s drama Fallen Angel, a role she had fought for, relegated Faye to the shadows so that Zanuck could showcase the younger Linda Darnell.

After leaving Fox, Faye (1915-1998) devoted herself to her marriage to radio star Phil Harris, to motherhood, and to a second career on radio in the Phil Harris – Alice Faye Show, broadcast for eight years. She happily gave up films in favor of the independence and self-esteem that she discovered in private life. She willingly freed herself of the “star-treatment” that debilitated so many of her contemporaries. In the 1980s she emerged as a spokeswoman for Pfizer Pharmaceuticals, touring America to encourage senior citizens to make their lives more meaningful and vital.

Before Betty Grable, before Marilyn Monroe – Alice Faye was first in the lineup of 20th Century Fox blondes. This book captures her special essence, her work in film, radio, and popular music, and indeed her graceful survival beyond the silver screen.

JANE LENZ ELDER, a librarian at Southern Methodist University, is the author of Across the Plains to Santa Fe and The Literature of Beguilement: Promoting America from Columbus to Today. She is co-editor of Trading in Santa Fe: John M. Kingsbury’s Correspondence with James Josiah Webb, 1853-1861.

Hardcover, dust jacket – 313 pp., index – Dimensions 20,5 x 15,5 cm (8,1 x 6,1 inch) – Weight 628 g (22,2 oz) – PUBLISHER The University Press of Mississippi, Jackson, Mississippi, 2008 – ISBN 1-57806-210-1

All About All About Eve (Sam Staggs)

Staggs, Sam - All About All About EveAll About Eve – the title evokes all that’s witty and bitchy and wonderful in classic Hollywood movies. To millions of fans this movie means more than most: it turns up on everyone’s ten-best lists and appeals not only to mainstream movie lovers but to a rabid cult audience as well.

All About Eve is one of the most entertaining movies ever made. It’s full of old-fashioned  larger-than-life stars – Bette Davis, Marilyn Monroe, Gary Merrill, Anne Baxter, George Sanders, Thelma Ritter, Celeste Holm – and it’s the source of dozens of famous lines, including the immortal “Fasten your seat belts, it’s going to be a bumpy night.”

But there’s more – much more – to know about All About Eve. Now, for the first time, the full story is told. Sam Staggs has written the definitive account of the making of this fascinating movie and its enormous influence both in film and popular culture. He tells readers all about the picture and all about those who made it – nothing short of everything.

Everything about the famous European actress who Bette Davis’s Margo Channing was based on – and why Tallulah Bankhead was wrong, but not entirely, in suspecting that Margo was based on her. Everything about the hot-blooded romance that developed between Bette Davis and Gary Merrill almost from the first day of shooting and the stormy marriage that resulted. Everything, too, about George Sanders, whose jealous wife Zsa Zsa Gabor forbade him to speak to Marilyn Monroe on the set or off. And, of course, everything about Marilyn Monroe, whose career might have run out of gas without the rush it got from All About Eve.

Then there’s Joseph L. Mankiewicz, who wrote and directed the movie and whose career after Eve careened from one artistic obituary to another. And Edith Head, who designed that unforgettable off-the-shoulder cocktail dress for Bette Davis. And, of course, everything about Bette herself, on screen and off; she claimed that All About Eve resurrected her from the dead. All About All About Eve is not only full of rich detail about the movie, the director, and the stars, but also about the audience who loved it when it came out and adore it to this day.

SAM STAGGS’s first book was MMII: The Return of Marilyn Monroe. He has also written for a number of magazines, including Vanity Fair, Architectural Digest, and Art News. He lives in Dallas, Texas.

Hardcover, dust jacket – 388 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 629 g (22,2 oz) – PUBLISHER St. Martin’s Press, New York, New York, 2000 – ISBN 0-312-25268-4

The All-Americans (James Robert Parish, Don E. Stanke)

parish-james-robert-the-all-americansIt may be hard to believe, but it was only a few decades ago that Hollywood’s films were considered ambassadors for the American way of life. Those motion pictures featured many fine actors who represented the best the United States had to offer – among them, seven outstanding male performers. Somehow or other, these seven men captured the essence of America. Was it their laconic, low-key, almost shy, but strong emotion? Or was it the sort of screen role they typically played: a hero without heroics, quietly going about his business? Just what was the secret of their “All-American” cinema presence?

The All-Americans provides expansive career studies of these seven actors, detailed filmographies, and penetrating accounts of their off-camera lives. The result is a long overdue chronicle of seven Hollywood worthies representing the clean-cut American guy who could always be depended upon in films to do the right thing, and still head off into the sunset with the heroine. The seven wholesome leading men profiled in The All-Americans are: Gary Cooper – “That fellow is the world’s greatest actor.” – John Barrymore. Henry Fonda; an ageless picture of integrity. William Holden – “He is beyond acting. You never doubt or question what he is.” – Billy Wilder. Rock Hudson, the very handsome leading man who, surprisingly, had superb acting talents. Fred MacMurray, for decades, his perfected double-take and patented smile kept him at the top of his professional game. Ronald Reagan – did studio mogul Jack L. Warner know he was responsible for his star’s integrity and future entry into politics? James Stewart, a magical capacity for sincerity and believability. This then is the impressive line-up featured in The All-Americans.

Softcover – 448 pp., index – Dimensions 27,5 x 21,5 cm (10,8 x 8,5 inch) – Weight 1.035 g (36,5 oz) – PUBLISHER Rainbow Books, Carlstadt, New Jersey, 1977 – ISBN 0-89508-011-7

Allan Dwan: The Last Pioneer (Peter Bogdanovich)

Bogdanovich, Peter - Allan Dwan the Last Pioneer“There will never again be a movie career like Allan Dwan’s. Over fifty years, he directed at least 400 pictures, and produced, wrote or supervised as many more. Film history being the mess it is, his exact total is not likely to be known, but certainly two-thirds of that opus – almost the whole silent period – is virtually lost forever. The few examples that remain from those more carefree times make it clear that the years before 1929 – when he had the most independence – were his most creative, valuable and successful.

This is not necessarily to diminish his talkies, but after the coming of sound the assignments were so often unworthy of him and the restrictions such that it is amazing he was able to produce as many good films as he did. Through it all, his professionalism, humour and enjoyment in the actual job of picture-making never lessened. The movies have been his vocation, and he has been true to that calling.

To follow Dwan’s career is to watch the evolution of an art. He came into pictures in 1909, less than a year after Griffith made his first film. Sixteen months later, he was directing. Three Million Dollars (1911), shot in his fifth month as a director (and already close to his fortieth one-reeler), reflects the primitive beginnings. The technique is still not much different from Edwin S. Porter’s The Great Train Robbery (1903): the camera records the entire action of each scene from one set-up – usually a medium long-shot – without cutting it up. Though the pacing of actors is pretty fast (they are generally natural, too), and the locations all look real, Dwan obviously had not yet been exposed to Griffith’s work, by which he admits being profoundly influenced.” – From The Introduction.

Hardcover, dust jacket – 200 pp. – Dimensions 17 x 15,5 cm (6,7 x 6,1 inch) – Weight 352 g (12,4 oz) – PUBLISHER Praeger Publishers, Inc., New York, New York, 1971

All My Yesterdays: An Autobiography (Edward G. Robinson, with Leonard Spigelgass)

robinson-edward-g-all-my-yesterdaysEdward G. Robinson, one of the most celebrated film stars of all time, was born in Bucharest, Rumania, and his family emigrated to America when he was nine. He was educated at public schools in New York and, briefly, at C.C.N.Y. before training for the stage, when he changed his name from Emanuel Goldenberg to Edward G. Robinson.

Starting in stock, he shifted to road companies and finally played five different roles in Under Fire for the Selwyns – all for one salary. He proceeded through more than forty plays to become a Broadway star. In the late 1920s he met Gladys Lloyd, who was appearing with Fred Astaire in Funny Face, and eventually married her. Meanwhile, he was cultivating his other loves – art and music – and soon built a great collection of original paintings which was later valued at over $ 3 million.

Robinson at first despised movies, but economic pressures persuaded him to go to Hollywood. He made one silent film, then hit the jackpot with his brilliant portrayal of the vicious gang leader in Little Caesar. It was followed by many other great movies such as Five Star Final, Double Indemnity, and Dr. Ehrlich’s Magic Bullet. During all this activity he identified with political and social causes, putting his reputation on the line for anything that had to do with peace, democracy, and the betterment of minorities. This resulted in his being blacklisted as a Communist sympathizer. He fought back in every conceivable way and finally returned to the theater for two hit plays: Darkness at Noon and The Middle of the Night.

Meanwhile, the marriage to Gladys, who gave him a son, Edward G. Robinson, Jr., brought its special torments and ended in divorce and a property settlement that saw the breakup of the art collection. However, he found love and peace again with his second wife, Jane, and together they began and completed another picture collection. In a period when most actors retire, Robinson kept working in films only to be felled by a heart attack in Africa and, later, a near-fatal auto accident in Beverly Hills. In the last years he weathered one bout with cancer but succumbed to the second.

Though he did not live to receive the Honorary Oscar for his major contribution to the film industry, it didn’t matter, for in his seventy-nine years he had had almost every other honor that man is capable of having – and every other grief.

LEONARD SPIGELGASS and EDWARD G. ROBINSON were friends for more than forty years and enjoyed many mutual interests – social, political, and gastronomic. In the course of a spectacular literary career, Spigelgass has written seventy-five movies, five plays, and four books and is currently a full professor at the University of Southern California. His most successful movies include I Was A Male War Bride and Gypsy, which starred Rosalind Russell and Natalie Wood. Among his Broadway hits were A Majority of One and Dear Me, The Sky Is Falling.

Hardcover, dust jacket – 344 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 873 g (30,8 oz) – PUBLISHER Hawthorn Books, Inc., New York, New York, 1973

All the Stars in Heaven: Louis B. Mayer’s M-G-M (Gary Carey)

Carey, Gary - All The Stars In Heaven - Louis B Mayer's MGMTo his admirers he was “L.B.” or “Louie.” To his detractors his bad qualities were summed up by Bosley Crowther’s epithet Hollywood Rajah. But to friend and foe alike, Mayer was a human dynamo. “I’ll go down on my knees and kiss the ground talent walks on,” was a staple of his conversational repertoire. Like his slogan, Mayer seems corny today, a bit overblown and old-fashioned: precisely the qualities that now attract us to many of the movies his studio produced during the quarter century of his tenure.

During the reign of Louis B. Mayer, MGM boasted of “more stars than there are in heaven.” An exaggeration, but not without some truth. This was the era when the leading Hollywood studios were turning out forty to fifty pictures a year. It was a time when people went to the movies for fun and to see how their current screen favorites were getting along; to see whether Tracy had finally succeeded in cutting Hepburn down to size; to check out Norma Shearer’s latest wardrobe or Andy Hardy’s latest romance; to gaze at their heroes and heroines, the great majority of whom resided at MGM: Fred Astaire, Lucille Ball, John and Lionel Barrymore, Wallace Beery, Lon Chaney, Joan Crawford, Clark Gable, Greta Garbo, Ramon Navarro, Lana Turner…

However much the Thalbergs and the Selznicks may have dazzled us with their creative brilliance, their continued existence was predicated on men like Mayer, whose simple but basic values and sheer enthusiasm for talent and movies fostered the emergence of that naïve thrill that is, after all, what Hollywood is all about.

In this definitive – and fair – appraisal of Mayer and the studio that bears his name, distinguished film biographer Gary Carey traces a classic American success story, the story of a young second-generation Jewish boy whose name was synonymous with big-time Hollywood.

GARY CAREY is the well-known author of many books on film, including Doug and Mary and Katharine Hepburn. Now teaching Shakespeare and modern drama at the School of Visual Arts in New York, he is a past member of the staff of the Museum of Modern Art’s film department. He lives in Brooklyn with his family.

Hardcover, dust jacket – 320 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 737 g (26,0 oz) – PUBLISHER Dutton Publishing Co., Inc., New York, New York, 1981 – ISBN 0-525-05245-3

All Those Tomorrows: An Autobiography (Mai Zetterling)

Zetterling, Mai - All Those TomorrowsFrom Stockholm’s slums to the glitter of Hollywood, Mai Zetterling traversed a road that brought the Swedish movie star full circle from sexy blonde to award-winning feminist film director acclaimed in a man’s world. She tells the story of this journey – at once magical, moving, hilarious and incredible – in an autobiography written with stunning honesty and piercing self-awareness.

Mai Zetterling grew up a street kid in the tough part of town, wretched, unloved and virtually illiterate, her adolescence marked by sordid sexual encounters, until at age sixteen she was set on the path to the stage by a teacher who changed her life. Then came her start at The National Theatre of Sweden, followed by a seven-year film contract in England which first brought her to international attention.

Hollywood beckoned with a co-starring role with Peter Sellers in Only Two Can Play, but Mai and Tinseltown made a poor match. She felt like a creature from another planet and refused to conform. As a survivor of the sex-crazed, pin-up-hungry world of Hollywood in the forties and fifties, Mai paints a devastatingly corrosive portrait of the movie capital she refused to be consumed by. When she turned down a chance to make a film with Gregory Peck in favor of returning to the London stage to star in an Ibsen play, she was thought to be certifiably insane.

Mai Zetterling takes us through each stage of her life as wife to two husbands and a mother. With unusual candor she recounts her relationship with her lovers, including Herbert Lom, Peter Finch, and Tyrone Power, with whom she had a much publicized and passionate affair. Strong-willed, determined, and highly gifted, Mai Zetterling describes how she learned to make her way in a man’s world to finally become a success on her own terms without losing her warmth, strength and relentless love of life. All Those Tomorrows is an inspiring book about a woman for whom nothing came easy but for whom everything is possible.

MAI ZETTERLING is the author of two novels, Night Games and Birds of Passage, a collection of short stories, Shadow of the Sun, and a children’s book, The Cat’s Tale.

Hardcover, dust jacket – 230 pp., index – Dimensions 21 x 14 cm (8,3 x 5,5 inch) – Weight 405 g (14,3 oz) – PUBLISHER Grove Press, Inc., New York, New York, 1985 – ISBN 0-394-55602-X

All-Time Movie Favourites (Joel W. Finler; introduction by Dustin Hoffman)

Finler, Joel W - All-Time Movie FavoritesComedies, thrillers, epics, musicals, musicals, love stories, westerns, war films, and others.

200 of the screen’s greatest hits from the beginning of cinema history to the present day are featured in this book. The stories of how these films were made, the reasons for their fame, and the influence of the stars and producers involved are described in detail. The revealing ideas and criticisms of many directors and actors are quoted throughout and add a new dimension to the drama of twentieth century film making which is unfolded in this comprehensive and fascinating survey.

Hardcover, dust jacket – 189 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 969 g (34,2 oz) – PUBLISHER Sundial Books Limited, London, 1975 – ISBN 0 9044230 13 9

Alma Hitchcock: The Woman Behind the Man (Pat Hitchcock, with Laurent Bouzereau)

hitchcok-pat-alma-hitchcockAlfred Hitchcock’s films are a testament to his perfectionism and his autonomy. But although he was a true auteur, there was still one person whose ideas and advice he valued above all others: his wife, Alma. Who was the woman behind the most famous film director in the world? What was her impact on one of the most creative and successful collaborations in film history?

Alfred and Alma’s daughter, Pat Hitchcock O’Connell, now offers rare insight into the life and career of her mother and father, and finally reveals Alma’s extraordinary contribution to the Hitchcock legacy. A film cutter at England’s Twickenham Studio, she quickly became adept at all aspects of film production. But it wasn’t until she crossed paths with a certain young director that her future in the industry was set – as a devoted wife and culinary master, loving mother, and long-time advisor on Hitchcock’s films. From scriptwriting and casting to editing and assistant directing, Alma Hitchcock became a revered source of artistic inspiration to her husband for more than half a century.

Filled with fascinating personal anecdotes, Alma Hitchcock is also Pat Hitchcock’s story – that of a young girl growing up in Hollywood, and her own on-set experiences in such films as Psycho and Strangers on a Train. With behind-the-scenes stories, moving testimonies from friends and family, and never-before-seen personal photos from the Hitchcock family album – as well as some of her mother’s favorite recipes – Pat Hitchcock O’Connell generously illuminates the astounding lives and careers of her parents as only a daughter could.

PAT HITCHCOCK O’CONNELL is the only child of Alfred and Alma Hitchcock. Her credits as an actress include Psycho, Strangers on a Train, and Stage Fright. She has also appeared in several episodes of the television series Alfred Hitchcock Presents. She lives in California. LAURENT BOUZEREAU is an author and documentary filmmaker. He lives in Los Angeles, California.

Hardcover, dust jacket – 289 pp. – Dimensions 21,5 x 13,5 cm (8,5 x 5,3 inch) – Weight 456 g (16,1 oz) – PUBLISHER Berkley Books, New York, New York, 2003 – ISBN 0-425-19005-6

À l’ombre de moi-même: Carnets de tournage et entretien avec Pascal Bonitzer (Catherine Deneuve)

deneuve-catherine-a-lombre-de-moi-memeVous préparer au moindre. Des petits cahiers, journaux de tournage intimes, compagnons de mes doutes, écrits presque toujours à l’étranger, certains il y a longtemps. Solitaires, exaltés, découragés, critiques. Bruts. Quelques remords mais pas de regrets. – Catherine Deneuve.

Pour la première fois de sa vie, Catherine Deneuve publie six carnets de tournage, les seuls qu’elle ait tenus en quarante ans de carrière, de Tristana de Luis Buñuel à Dancer in the Dark de Lars von Trier. On y découvre une femme au travail, parfois en détresse, toujours passionnée et assez solitaire. Jamais une actrice ne se sera livrée ainsi avec autant d’honnêteté et de modestie, mais surtout de vérité: ces carnets n’étaient pas destinés à la publication lors de leur écriture.

Afin de les mettre en lumière et en perspective, un entretien exclusif avec le cinéaste et scénariste Pascal Bonitzer clôt ce livre qui ne ressemble décidément à aucun autre. Ni complaisant ni condescendant, on n’y entend ni ragots ni commérages, mais le son d’une voix brisée, entêtante, qui nous raconte le cinéma.

Softcover – 281 pp., index – Dimensions 17,5 x 11 cm (6,9 x 4,3 inch) – Weight 177 g (6,2 oz) – PUBLISHER Editions Stock, 2004 – ISBN 2-253-11090-6

Al Pacino: In Conversation With Lawrence Grobel (Lawrence Grobel; foreword by Al Pacino)

grobel-lawrence-al-pacino-in-conversation-with-lawrence-grobelFor more than a quarter century, Al Pacino has spoken freely and deeply with acclaimed journalist and best-selling author Lawrence Grobel on subjects as diverse as childhood, acting, and fatherhood. Here, for the first time, are the complete conversations and shared observations between the actor and the writer; the result is an intimate and revealing look at one of the most accomplished, and private, artists in the world.

Pacino grew up sharing a three-room apartment in the Bronx with nine people in what he describes as his ‘New York Huckleberry Finn’ childhood. Raised mostly by his grandparents and his mother, Pacino began drinking at age thirteen. Shortly after he was admitted to the renowned High School for Performing Arts, his classmates nicknamed him ‘Marlon,’ after Marlon Brando, even though Pacino didn’t know who Brando was. Renowned acting coach Charlie Laughton saw Pacino when he was nineteen in the stairwell of a Bronx tenement, and the first words out of Laughton’s mouth were ‘You are going to be a star.’ And so began a fabled, lifelong friendship that nurtured Al through years of not knowing where his next meal would come from until finally – at age twenty-six – he landed his first salaried acting job.

Grobel and Pacino leave few stones unturned, touching on the times when Pacino played piano in jazz clubs until four a.m. before showing up on the set of Scarecrow a few hours later for a full day’s work; when he ate Valium like candy at the Academy Awards; and when he realized he had been in a long pattern of work and drink.

As the pivotal character in The Godfather trilogy and the cult classic Scarface, Pacino has enshrined himself in film history. He’s worked with most of Hollywood’s brightest luminaries such as Francis Ford Coppola, Sidney Lumet, Michael Mann, Norman Jewison, Brian De Palma, Marlon Brando, Robert De Niro, Gene Hackman, Sean Penn, Johnny Depp, Michelle Pfeiffer, Hilary Swank, and Robin Williams, among many others. He was nominated for eight Academy Awards before winning the Oscar for Best Actor for his role in Scent of a Woman. Pacino still seems to prefer his work onstage to film and, if he’s moved by a script or play, is quick to take parts in independent productions.

Al Pacino is an intensely personal window into the life of an artist concerned more with the process of his art than with the fruits of his labor, a creative genius at the peak of his artistic powers who, after all these years, still longs to grow and learn more about his craft. And, for now, it’s as close to a memoir as we’re likely to get.

LAWRENCE GROBEL is the New York Times best-selling co-author with Montel Williams of Climbing Higher, as well as the author of the national best-seller Conversations With Capote and Conversations with Brando. A contributing editor at Playboy and Movieline’s Hollywood Life, he has written for the New York Times, Rolling Stone, Details, Entertainment Weekly, and many others. The winner of a PEN Special Achievement Award, he is also the author of The Art of the Interview. He teaches at UCLA.

Hardcover, dust jacket – 245 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 563 g (19,9 oz) – PUBLISHER Simon Spotlight Entertainment / Simon & Schuster, New York, New York, 2006 – ISBN 978-1-4169-1211-8

Always Home: 50 Years of the USO, The Official Photographic History (Frank Coffey; special foreword by Hob Hope)

Coffey, Frank - Always HomeAn emotionally evocative trip down memory lane, Always Home is the official photographic history of the United Service Organizations – the nonprofit group that has served the special needs of America’s transient military personnel and families since 1941. Whether it be donuts in a railway station, a cold drink and conversation in a canteen, or an all-star show, the USO has meant – and continues to mean – a little bit of home in a faraway place. Where we have gone, the USO has followed.

Always Home is a stunning words-and-pictures celebration of fifty years of American history and popular culture. Written and compiled by noted screenwriter Frank Coffey, it features Bob Hope, Marilyn Monroe, Sammy Davis Jr., John Wayne, Loretta Lynn, James Stewart, Elizabeth Taylor, Danny Kaye, Steve Martin, Jay Leno, and a cast of thousands – of USO volunteers.

From the steamy hell of Guadalcanal to the frozen mountains of Korea, from the jungles of Vietnam to the deserts of Saudi Arabia, the USO has always been there. Produced with the USO, this official photographic history is a tribute to the millions of GIs the USO has served – and to the stars and ordinary Americans who have served them through the USO.

FRANK COFFEY, a former book and magazine editor, is the author of four novels as well as numerous magazine and newspaper pieces. The son of a decorated World War II B-26 pilot, he has had a lifelong interest in military history. Now a screenwriter and journalist, he lives in New York City.

Hardcover, dust jacket – 174 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 978 g (34,5 oz) – PUBLISHER Brassey’s, Inc., New York, New York, 1991 – ISBN 0-08-040576-2

American Cinema: One Hundred Years of Filmmaking (Jeanine Basinger)

basinger-jeanine-american-cinema-one-hundred-years-of-filmmakingThis extraordinary book, published to commemorate the centennial celebration of the birth of American film and a 10-part television series to be aired on the 320 PBS stations beginning in January 1995, surveys the phenomenon that is Hollywood, past and present.

The movies, like no other art form, are deeply embedded in the American psyche. They are our heritage and our entertainment. In a text as epic in scope as its subject, and drawing on exclusive interviews with actors and filmmakers conducted specifically for the American Cinema project, author Jeanine Basinger presents the evolution of the Hollywood saga, from its early roots in rural California to an industry that has adapted to – and thrived during – such metamorphoses as the advent of sound, the “threat” of foreign films and of television, and even the age of the conglomerate.

Basinger examines in depth the language of film-focusing on the nature of the art form during the “golden age” as well as in the age of television – and its power, in Hollywood’s skilled hands, to keep you in your seat and forever coming back for more. With more than 300 illustrations from the world’s leading film archives, including some never before published, this book celebrates the best of American films, from the glamorous defining films of  Hollywood in such favorite genres as the screwball comedy and the western to today’s blockbusters and film-school generation of directors, Martin Scorsese, Steven Spielberg, Brian De Palma, George Lucas, and Francis Ford Coppola. Also included are the new filmmakers redefining the Hollywood film today.

JEANINE BASINGER Is Chair of the Film Studies program and Corwin-Fuller Professor of Film Studies at Wesleyan University and the author of A Woman’s View and The “It’s a Wonderful Life” Book.

Hardcover, dust jacket – 304 pp., index – Dimensions 29 cm x 26 cm (11,4 x 10,2 cm) – Weight 1.820 g (64,2 oz) – PUBLISHER Rizzoli International Publications, Inc., New York, New York, 1994 – ISBN 0-8478-1814-4

American Film Directors: A Library of Criticism (compiled and edited by Stanley Hochman)

Hochman, Stanley - American Film DirectorsAmerican Film Directors, the first in a projected new series, puts together from many often inaccessible sources  a remarkable survey of what film critics  – and others interested in films – have been writing about American film directors and their work since the heyday of the silents. Represented are sixty-five major film-makers whose reputations were made by the mid-1960s, and almost 300 critics, American and European. Each director’s career is assessed in generous excerpts drawn from specialized periodicals, general publications, collections of criticism, histories of the movies, and books on specific directors. All selections are arranged chronologically under each director’s name; full bibliographical reference is supplied for each excerpt to facilitate further study.

The plan of the book makes it possible to follow the development, or decline and fall, of individual directors. The reader is rewarded with fascinating insights into changing standards of taste and into the response of film-makers and critics to technical innovations such as sound, color, and the wide screen.

Much of the material gathered here is all but unavailable to the average student of film buff; for example, the selections from treasured and tattered volumes of Photoplay, National Board of Review, Vanity Fair, Révue du Cinéma, New Masses, Sight and Sound, New York Dramatic Mirror, World Film News, etc., as well as from classic studies such as Louis Delluc’s Cinéma & Cie, or Maurice Bardèche and Robert Brasillach’s The History of Motion Pictures. This book includes such critical surprises as novelist Theodor Dreiser on Mack Sennett, actor Harry Bauer on D.W. Griffith, playwright Robert E. Sherwood on Rex Ingram, and poet Louise Bogan on F.W. Murnau. There are also film-makers commenting on one another: Pare Lorentz on Frank Capra, or Farnk Capra on Henry King, Gregory LaCava and others.

Important contemporary critics such as Pauline Kael, Richard Schickel, Dwight Macdonald, Andrew Sarris, John Simon, and Stanley Kauffmann are represented, as are such interesting critics of the past as James Shelley Hamilton, Burns Mantle, Mordaunt Hall, and Richard Griffith. In addition, attention is directed to the work of the many fine critics who now and in the past have contributed to our understanding of an art still in its relative infancy.

The volume concludes with extensive filmographies for the individual directors, and a detailed index of critics and film titles. A Library of Film Criticism should prove to be indispensable for reference, and unmatched for browsing. Students, journalists, librarians, and devoted moviegoers will find it one of the most compete and valuable of all books on film.

STANLEY HOCHMAN received his M.A. from Columbia University and studied abroad at the Sorbonne in Paris, where he first began attending ciné clubs, and at the University of Florence. His publications include translations from both French and Italian, several of them – including Émile Zola’s Germinal – done in conjunction with his wife, Eleanor. He contributed extensively to the recent Encyclopedia of World Drama.

[Essays on Frank Borzage, Richard Brooks, Clarence Brown, Tod Browning, Frank Capra, John Cassavetes, Charles Chaplin, James Cruze, George Cukor, Michael Curtiz, Cecil B. DeMille, William Dieterle, Allan Dwan, Robert J. Flaherty, Victor Fleming, John Ford, John Frankenheimer, D.W. Griffith, Henry Hathaway, Howard Hawks, Alfred Hitchcock, John Huston, Thomas H. Ince, Rex Ingram, Elia Kazan, Buster Keaton, Henry King, Stanley Kramer, Stanley Kubrick, Gregory La Cava, Fritz Lang, Mervyn LeRoy, Anatole Litvak, Frank Lloyd, Pare Lorentz, Ernst Lubitsch, Sidney Lumet, Leo McCarey, Rouben Mamoulian, Joseph L. Man kiewicz, Lewis Milestone, Vincente Minnelli, F.W. Murnau, Mike Nichols, Arthur Penn, Edwin S. Porter, Otto Preminger, Robert Rossen, Victor Seastrom [Victor Sjöström], Mack Sennett, Josef von Sternberg, George Stevens, Erich von Stroheim, John Sturges, Preston Sturges, Maurice Tourneur, W.S. Van Dyke, King Vidor, Raoul Walsh, Andy Warhol, Orson Welles, William A. Wellman, Billy Wilder, William Wyler, Fred Zinnemann]

Hardcover, dust jacket – 590 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.055 g (37,2 oz) – PUBLISHER Frederick Ungar Publications, Inc., New York, New York, 1974 – ISBN 0-8044-3120-5

The American Film Industry (edited by Tino Balio)

This, the first systematic and unified history of the American movie industry, will be welcomed by students, scholars, and all with a lively interest in the film. Tino Balio has searched out key prepublished materials from a wide variety of sources spanning more than seventy-five years, and has enlisted other contributions written especially for this collection, in order to give the reader an opportunity to discover how the movie industry has really worked, from its beginnings as a novelty right up to the present day of  conglomerate corporation control.

Unlike all other American art forms, film has always had a great number of constraints influencing it. These influences, say Ballo, must be understood in order to gain a truer understanding and appreciation of the art of the medium, for no art exists in a vacuum – least of all, film. In these pages, Balio guides the reader in an exploration of the effects of technological invention and development, financing, studio organization and procedures, distribution and exhibition trade practices, economic forces, and changing legal restraints. Each, as the reader will discover, left its indelible mark on the screen.

The American Film Industry is divided into four sections, each covering a specific time period from the industry’s birth in 1896 to the present. Balio has written introductory historical surveys of each period, placing in helpful perspective the articles which follow. The articles themselves cover such subjects as the kinetoscope, the star system, the coming of sound, the structure of the industry and competition practices, censorship, foreign markets, the influence of television, 1950s blacklisting, anti-trust actions, and recent trends.

Prepublished articles, selected for their liveliness as well as their accuracy, include those from Fortune, Sight and Sound, and other scholarly and industry journals and monographs. Among those articles written especially for this survey are Censorship: From The Miracle to Deep Throat, by Richard S. Randall (author of Censorship of the Movies, Wisconsin, 1968), The Coming of the Talkies: Invention, Innovation, and Diffusion, by J. Douglas Gomery, Hollywood’s International Market, by Thomas H. Guback (author of The International Film Industry, Indiana, 1969), and Nickelodeon Theaters, 1905-1914: Building an Audience for the Movies, by Russell Merritt. Editor Balio contributes an article on the founding of United Artists during the rise of the star system, which is based largely upon the unique United Artists collection now housed in the Wisconsin Center for Film and Theater Research, at Madison.

As a classroom text and as an interesting and useful volume for film buffs, The American Film Industry offers a highly readable and inclusive history of the industry available nowhere else.

TINO BALIO, Professor in the Department of Communication Arts and Director of the Wisconsin Center for Film and Theater Research at the University of Wisconsin – Madison, is the author of United Artists: The Company Built by the Stars (Wisconsin, 1975) and the co-author, with Lee Norvelle, of The History of the National Theatre Conference (Theatre Arts Books,1970).

Softcover – 499 pp., index – Dimensions 22,5 x 15 cm (8,9 x 5,9 inch) – Weight 693 g (24,4 oz) – PUBLISHER The University of Wisconsin Press, Madison, Wisconsin, 1976 – ISBN 0-299-07004-2

The American Film Institute Catalog of Motion Pictures Produced in the United States, Film Beginnings 1893-1910, Film Entries

american-film-institute-catalog-film-beginnings-1893-1910“As the twentieth century in America has advanced, so has the art of film. A hundred years ago, some saw film as an amusing toy with a doubtful future. But when technology was married to artistry, then film began its march through the century. On the 100th anniversary of film, we welcome an opportunity to look back at its origins. With the American Film Institute’s publication Film Beginnings, 1893-1910, we have that opportunity.

Of the 17,000 films scrupulously recorded in this catalog, film preservationists estimate that about ten percent are known to survive. Perhaps many hundreds remain to be found. The first film Thomas Edison made in his “Black Maria” studio in 1893 still exists: Fred Ott’s famous sneeze. From that moment in time, film developed rapidly and its classic genres were defined early: narratives such as The Adventures of Dollie (1908); adaptations such as Camille (1910); documentaries such as Carriers at Work, U.S.P.O (1903) and travel and nature films.

The hand-cranked camera began its ubiquitous penetration of every aspect of public and private life. It created a record of the times and historical figures, from Admiral Dewey (1899) to the electrocution of a rogue elephant on Coney Island in 1903. The names of famous directors began to appear: D.W. Griffith, and Edwin S. Porter and the face of one who might be called the first movie star, Florence Lawrence, ‘The Biograph Girl,’ became familiar to viewers. As the compilers of this pioneering catalog tell us, the early industry was not as primitive as was hitherto understood.

The journey initiated by the American Film Institute in 1967 has been long. The chronicle of early films now takes its place beside those of the 1910s, 1920s, 1930s and the 1960s. The institute’s Catalog of Motion Pictures Produced in the United States is indispensable to scholars, a treasure for film students, and a major resource for the public. We are proud to be a partner with the American Film Institute as it records in sophisticated and accessible form the history and documentation of the moving image in the United States. These films are a series of windows through which we can catch a glimpse of yesterday, examine our history and see the face of the present reflected and illuminated in images of the past.” – Foreword by Jane Alexander.

Hardcover – 1.217 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.630 g (92,8 oz) – PUBLISHER The Scarecrow Press, Inc., Metuchen, New Jersey, 1995 – ISBN 0-8352-0440-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Film Beginnings 1893-1910, Indexes

american-film-institute-catalog-film-beginnings-1893-1910Film Beginnings, 1893-1910 has seven separate indexes to assist the researcher. Readers familiar with indexes in other volumes of the AFI Catalog will notice some differences here. Previous AFI Catalog volumes have indexed film titles chronologically by year, then alphabetically within each year. Because of the importance of the evolution of the medium of motion pictures during the period covered by Film Beginnings, it was decided that for this volume films should be listed chronologically, according to the specific date, rather than year of release. Thus, the reader will find that films released in 1907, for example, can be traced from 5 January through 30 December. Films for which the year of release and the month are known, but with undetermined day of release are listed at the beginning of a specific month. Films for which neither the exact day, month or year of release have been determined, are listed at the end. In cases in which two or more films share the same release date, titles are arranged alphabetically.

While each of the indexes adopts this same basic arrangement, please consult the brief Introduction to each index for specific information on that index. Following the indexes, a Selected Bibliography of books mentioned within the entries is provided. As many of the books listed in the Selected Bibliography are cited by title within the Film Beginnings text volume, books are arranged alphabetically by title.” – The Introduction to the Index Volume.

Hardcover – 547 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.390 g (49,0 oz) – PUBLISHER The Scarecrow Press, Inc., Metuchen, New Jersey, 1995 – ISBN 0-8352-0440-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1911-1920, Film Entries

american-film-institute-catalog-1911-1920-met-index“When the American Film Institute was established in 1967, the newly formed Board of Trustees identified the preservation of our national film heritage as its first priority. But as the institute set about the task of organizing a national preservation effort, progress was hindered by the lack of a reliable, comprehensive source of information detailing the production of the American film industry.

In 1968, the AFI launched an ambitious documentation project: The American Film Institute Catalog of Motion Pictures. This series will eventually provide complete cataloging on every feature, short, and newsreel produced by the American film industry since 1893. The first volume, listing American features from 1921 to 1930, was published in 1971. In 1976, a second volume covering 1961-1970 appeared. The current volume has been in preparation since 1983, and research is well along on volumes documenting 1931-1940 and the pre-teen era.

To produce an AFI Catalog volume means years of arduous, painstaking work. Our staff of film scholars and historians examine and compare films, books, journals, and public, corporate and personal records to achieve the most accurate, comprehensive documentation possible. This commitment to quality in creating the national filmographic record would not be possible without equal commitment and generosity on the part of our benefactors. The National Endowment for the Humanities has played a leadership role in supporting the Catalog since its inception. The David and Lucile Packard Foundation and the National Endowment for the Arts also have provided support, encouragement, and understanding throughout the project that have allowed us to achieve our goals.

And, over the years, the effort has been enormously rewarding. The author, historian, and Librarian of Congress Emeritus Daniel J. Boorstin called the Catalog ‘an unequalled guide to the film sources of our history,’ and the historian Arthur Schlesinger, Jr., said of the twenties volume, ‘The AFI twenties Catalog is not only a triumph of exact scholarship; it is also endlessly absorbing as an excursion into cultural history and national memory.’

As the institute enters its third decade, we are proud to present the third volume of the AFI Catalog, documenting American feature films produced between 1911 and 1920. In the years since the inception of the Catalog project, the field of film studies has made tremendous advances. The teens volume has benefited from this development and will unlock the period for film scholars. Although the teens was an enormously significant decade for film, it has been neglected because of the scarcity of accurate information and the inaccessibility of the films. And while there is a tendency to view the teens as the infancy of the movies, we know today that cinema during the period was already a mature art and a highly developed industry.

The teens saw the rise of feature-length film and the consequent development of a cinematic language and narrative forms. The star system came into being in the teens; D.W. Griffith, Thomas H. Ince, and Cecil B. DeMille became household names, and the first generation of cinema ‘moguls’ created the studios that have since dominated American film. The balance of film production shifted from the East Coast to a Southern California town whose name would soon become synonymous with American film: HoIlywood. And while this expanding industry was creating entertainment at a feverish pace, the movies did not turn away from the great social ferment of the era. Changes in American society involving morality and institutions, the Great War, and our national identity – changes that affected every facet of life – were captured by the cinema.

The preservation of our film heritage remains the Institute’s first priority. In the twenty years since our establishment, we have seen the field expand from a handful of archives to an ever-growing network of institutions concerned with the preservation, study and sharing of our motion picture heritage. As a result of NEA Chairman Frank Hodsoll’s commitment to film and television preservation, the National Endowment for the Arts and the AFI established the National Center for Film and Video Preservation at the AFI in 1983 to provide national focus and coordination for the archival community. Work on the AFI Catalog resumed and the National Moving Image Database project was initiated. These programs, along with the administration of the NEA Preservation Grants program, continue the American Film Institute’s dedication to preserving our national film and television heritage.

In the AFI Catalog of Feature Films, 1911-1920, scholars, historians, and film lovers have a new tool for exploring our collective past. We are very proud of this latest contribution to America’s cultural history and national memory.” – The Preface by Jean Firstenberg.

Hardcover – 1.081 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.830 g (99,8 oz) – PUBLISHER University of California Press, Berkeley, California, 1988 – ISBN 0-520-06301-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1911-1920, Film Entries

american-film-institute-catalog-1911-1920-met-index“When the American Film Institute was established in 1967, the newly formed Board of Trustees identified the preservation of our national film heritage as its first priority. But as the institute set about the task of organizing a national preservation effort, progress was hindered by the lack of a reliable, comprehensive source of information detailing the production of the American film industry.

In 1968, the AFI launched an ambitious documentation project: The American Film Institute Catalog of Motion Pictures. This series will eventually provide complete cataloging on every feature, short, and newsreel produced by the American film industry since 1893. The first volume, listing American features from 1921 to 1930, was published in 1971. In 1976, a second volume covering 1961-1970 appeared. The current volume has been in preparation since 1983, and research is well along on volumes documenting 1931-1940 and the pre-teen era.

To produce an AFI Catalog volume means years of arduous, painstaking work. Our staff of film scholars and historians examine and compare films, books, journals, and public, corporate and personal records to achieve the most accurate, comprehensive documentation possible. This commitment to quality in creating the national filmographic record would not be possible without equal commitment and generosity on the part of our benefactors. The National Endowment for the Humanities has played a leadership role in supporting the Catalog since its inception. The David and Lucile Packard Foundation and the National Endowment for the Arts also have provided support, encouragement, and understanding throughout the project that have allowed us to achieve our goals.

And, over the years, the effort has been enormously rewarding. The author, historian, and Librarian of Congress Emeritus Daniel J. Boorstin called the Catalog ‘an unequalled guide to the film sources of our history,’ and the historian Arthur Schlesinger, Jr., said of the twenties volume, ‘The AFI twenties Catalog is not only a triumph of exact scholarship; it is also endlessly absorbing as an excursion into cultural history and national memory.’

As the institute enters its third decade, we are proud to present the third volume of the AFI Catalog, documenting American feature films produced between 1911 and 1920. In the years since the inception of the Catalog project, the field of film studies has made tremendous advances. The teens volume has benefited from this development and will unlock the period for film scholars. Although the teens was an enormously significant decade for film, it has been neglected because of the scarcity of accurate information and the inaccessibility of the films. And while there is a tendency to view the teens as the infancy of the movies, we know today that cinema during the period was already a mature art and a highly developed industry.

The teens saw the rise of feature-length film and the consequent development of a cinematic language and narrative forms. The star system came into being in the teens; D.W. Griffith, Thomas H. Ince, and Cecil B. DeMille became household names, and the first generation of cinema ‘moguls’ created the studios that have since dominated American film. The balance of film production shifted from the East Coast to a Southern California town whose name would soon become synonymous with American film: HoIlywood. And while this expanding industry was creating entertainment at a feverish pace, the movies did not turn away from the great social ferment of the era. Changes in American society involving morality and institutions, the Great War, and our national identity – changes that affected every facet of life – were captured by the cinema.

The preservation of our film heritage remains the Institute’s first priority. In the twenty years since our establishment, we have seen the field expand from a handful of archives to an ever-growing network of institutions concerned with the preservation, study and sharing of our motion picture heritage. As a result of NEA Chairman Frank Hodsoll’s commitment to film and television preservation, the National Endowment for the Arts and the AFI established the National Center for Film and Video Preservation at the AFI in 1983 to provide national focus and coordination for the archival community. Work on the AFI Catalog resumed and the National Moving Image Database project was initiated. These programs, along with the administration of the NEA Preservation Grants program, continue the American Film Institute’s dedication to preserving our national film and television heritage.

In the AFI Catalog of Feature Films, 1911-1920, scholars, historians, and film lovers have a new tool for exploring our collective past. We are very proud of this latest contribution to America’s cultural history and national memory.” – The Preface by Jean Firstenberg.

Hardcover – 1.081 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.830 g (99,8 oz) – PUBLISHER University of California Press, Berkeley, California, 1988 – ISBN 0-520-06301-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1911-1920, Indexes

american-film-institute-catalog-1911-1920-met-index“The AFI Catalog of Feature Films, 1911-1920 has seven separate indexes to assist the researcher. Unlike the previous two volumes of the Catalog, the teens volume separates personal name and corporate entries into two indexes. In addition, we have provided a complete chronological list of film titles, a Genre Index, and a Geographic Index which were not in previous Catalogs. A Subject Index and a Literary and Dramatic Source Index are also provided.

We have indexed all elements of the catalog following the same basic arrangement: alphabetical heading followed by a chronological, then an alphabetical, list of film titles. An asterisk following a film title indicates that the credit is mentioned in the note rather than in the main body of the entry for that film.

A brief explanation is provided for the user at the beginning of each index. Following the Geographic Index we provide a bibliography of books for further research.” – The Introduction to the Index Volume.

“In this index films are listed alphabetically under the year of release. Films whose release dates may have been in either of two years, for example 1914 or 1915, are listed between the entries for the two years. Films whose release dates cannot be determined are listed at the end under 19–.” – Chronological Index of Film Titles.

Hardcover – 476 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.470 g (51,9 oz) – PUBLISHER University of California Press, Berkeley, California, 1988 – ISBN 0-520-06301-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1911-1920, Indexes

american-film-institute-catalog-1911-1920-met-index“The AFI Catalog of Feature Films, 1911-1920 has seven separate indexes to assist the researcher. Unlike the previous two volumes of the Catalog, the teens volume separates personal name and corporate entries into two indexes. In addition, we have provided a complete chronological list of film titles, a Genre Index, and a Geographic Index which were not in previous Catalogs. A Subject Index and a Literary and Dramatic Source Index are also provided.

We have indexed all elements of the catalog following the same basic arrangement: alphabetical heading followed by a chronological, then an alphabetical, list of film titles. An asterisk following a film title indicates that the credit is mentioned in the note rather than in the main body of the entry for that film.

A brief explanation is provided for the user at the beginning of each index. Following the Geographic Index we provide a bibliography of books for further research.” – The Introduction to the Index Volume.

“In this index films are listed alphabetically under the year of release. Films whose release dates may have been in either of two years, for example 1914 or 1915, are listed between the entries for the two years. Films whose release dates cannot be determined are listed at the end under 19–.” – Chronological Index of Film Titles.

Hardcover – 476 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.470 g (51,9 oz) – PUBLISHER University of California Press, Berkeley, California, 1988 – ISBN 0-520-06301-5

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1921-1930, Film Entries

the-american-film-institute-catalog-feature-films-1921-1930When the history of the twentieth century in America is written it will include as one of its highlights the growth and flowering of a new art form – one which began as a kind of toy and grew into a device for communication, art, and industry whose dimensions and significance continue to expand. In fact, in the early days, films grew so fast that there was little time for looking back. Allan Dwan, a director of the 20s and 30s, wrote me recently saying that he never dreamed that another generation would have an interest in his work and consequently he kept no prints or scripts of his films. So records of this past have been sparse, and so too the surviving films.

More than half of the pictures made in the United States had been lost or destroyed and two-thirds of the twentieth century had passed when the American Film Institute came into being in 1967. One task of the Institute is to recover the surviving films – nearly 4,500 are already in the AFI Collection at the Library of Congress – and another is to recover and organize the data which can document the history of an art. The present volume is the centerpiece of a comprehensive reference work on American cinema. Though not the first in the order in which the complete set of volumes will stand on the shelf, it is nevertheless a fine choice to introduce the work. It describes films of a decade that witnessed the zenith of the silent film and the introduction of sound.

The Credit Index chronicles the founding of thousands of careers in meticulous detail. Every credit of men and women like William A. Wellman, Mary Pickford, Frank Capra, and Harold Lloyd is listed whether the credit was as actor or writer, as director or assistant. And every career is included whether the assistant remained an assistant or went on to greater things. This information has been compiled by a small staff that has been rigorous in its attention to accuracy and completeness of information; no credit is too small, no career too brief. The same is true of the corporate structures that came into being. The giants are here – MGM, Fox, Paramount, United Artists – with every film they produced, and so are hundreds of will-o’-the-wisp companies that failed to survive their first film and vanished without a trace except the film that bears their name.

This volume reflects a great era in human creativity. A decade of adventure for thousands of artists and craftsmen who invested their lives to creating moving pictures. They did it well. It is to their memory that this volume is dedicated.” – Foreword by George Stevens, Jr.

Hardcover – 936 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.120 g (74,8 oz) – PUBLISHER University of California Press, Berkeley, California, 1971 – ISBN 0-520-20969-9

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1921-1930, Indexes

the-american-film-institute-catalog-feature-films-1921-1930“All personal and institutional or corporate names credited in this Catalog with any aspect of film production and distribution, the performance of film roles, and authorship of original literary, dramatic, and other works from which the films were derived are listed in this Credit Index. Each unique name, whether personal or institutional, appears only once; and subordinated to it, as explained below in detail, the films credited to the name are listed. Literary and dramatic source credits are separately listed beginning on page 1449.

In the interest of historical accuracy the compilers have endeavored, insofar as possible or feasible, to render the name credits exactly as expressed, contemporaneously, for the films concerned. Allowing for misspellings or inconsistencies in the sources used – and these discrepancies the compilers have been at pains to reconcile – there still results in the production of an index of this proportion by computer methodology the separation of the data subjoined to each variation in the rendering of the same name. It is believed, however, that film scholarship will more greatly benefit from such separation than it would have benefited from an arbitrary decision on the part of the compilers to establish an ‘authority’ list to which all names in the descriptive entries, and by extension in the index, would be made to conform.

Nevertheless, especially for the benefit of the novice in film research, appropriate cross-references are provided from one variation to all others whenever there is no reasonable doubt about the same identity. Special pains have been taken to separate data relating to two or more persons known by exactly the same name, but here again film scholarship, it is to be hoped, will recognize the difficulty of making a determination of this kind without great risk of error. In consequence, it remains for the researcher himself to establish, for whatever purpose, the extent to which any unique name in this Credit Index actually identifies two or more persons of that same name.

In the alphabetization of personal names having capitalized prefixes (such as De, Du, La, or Van), the prefix governs the arrangement; and it should be noted that in the descriptive entries themselves, and in consequence in this Credit Index, the compilers have consistently capitalized such prefixes and (with the exception of Me, Mac, and Le in the context LeRoy) spaced between the prefix and the surname. This procedure may offend the purist, but in no other way could a single identity – rendered, say, variously as DeMille, De Mille, deMille, and de Mille – be retrieved under one heading.

Production and distributing companies are, insofar as possible, given the names they employed at the time of film release, and no attempt has been made to cross-reference these names to reflect their corporate histories. The user will find, for example, data separately presented under the headings Metro Pictures, Metro-Goldwyn Pictures, Metro-Goldwyn-Mayer Corp., and Metro-Goldwyn-Mayer Pictures. For corporate or firm names the name-reversal technique is not employed – Norma Talmadge Productions, for instance, is entered under N – but each such name is cross-referenced, as necessary, from the appropriate surname.

The films credited to each unique name are listed chronologically by year of release (or, if release date has not been determined, the year of production or of copyright), then alphabetically by film title. Though no page references are given, the descriptive entries may be readily found in the alphabetically arranged Catalog or, perhaps more conveniently, by means of the entry number following each title.” – The Credit Index.

Hardcover – 717 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.695 g (59,8 oz) – PUBLISHER University of California Press, Berkeley, California, 1971 – ISBN 0-520-20969-9

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1931-1940, Film Entries A-L

the-american-film-institute-catalog-feature-films-1931-1940“It is a pleasure to welcome the publication of another volume of The American Film Institute Catalog of Motion Pictures Produced in the United States. This reference work presents the record of the film industry during the 1930s, an era many of us associate with the Depression, but a period that was marked by extraordinary creativity in filmmaking. There were excellent productions of well-loved classics, such as Pride and Prejudice and David Copperfield, and the period produced classics of its own, such as Mr. Smith Goes to Washington and A Star Is Born. These are the years that gave us The Grapes of Wrath, Gone With the Wind and The Wizard of Oz. This is the time when Hollywood began producing hit musicals like Top Hat, which brought song and dance and a new group of talented stars to enthusiastic audiences.

The world of 1930s filmmaking is still very accessible. Several generations have had the opportunity to view the standard repertory of film history via television or videocassette, and to become acquainted with screenplays, actors, actresses, and directors. Many thirties film plots have been revived and refilmed for later audiences, but the originals are still viewed over and over again. We can safely assume that even though fashions in dress and automobiles will continue to change, the appeal of these works will endure.

As a reference source, the thirties Catalog is invaluable. The staff members who produced it are veterans of many hours of research in film libraries and archives nationwide, and they have adhered to exacting standards of description and verification. Going beyond the films themselves, they have searched contemporary printed sources for authoritative information on each title, from the relatively obscure to the well-known. The resulting Catalog will provide assistance to a wide audience of users. Casual browsers will want to read the plot summaries and make notes for later viewing. Those who wish to follow their favorite stars or types of films will be able to locate them using the comprehensive indexes. Students and scholars who are interested in such topics as the studio system and the work of well-known directors can use the catalog as a point of entry into the literature. The Catalog will provide them with the citations to other relevant printed sources that are necessary to facilitate research.

For many disciplines of the humanities that use films as art or evidence, the AFI Catalog series provides the definitive record of our motion picture heritage. At the National Endowment for the Humanities, we are proud to be able to support the Catalog as a significant resource for understanding modern American culture.” – The Foreword by Lynne V. Cheyney.

Hardcover – 1.265 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.815 g (99,3 oz) – PUBLISHER University of California Press, Berkeley, California, 1993 – ISBN 0-520-07908-6

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1931-1940, Film Entries M-Z

the-american-film-institute-catalog-feature-films-1931-1940“The National Endowment for the Arts is proud to support the careful research and superb scholarship that is the hallmark of The American Film Institute Catalog of Motion Pictures Produced in the United States. Viewing and cataloging more than 5,000 features produced during the 1930s is a monumental undertaking, one that the staff of the AFI Catalog has accomplished with diligence and remarkable skill. Now, for the first time in film history, scholars and researchers have a comprehensive and authoritative guide to every American feature made during that decade.

When one thinks of the films of the 1930s, classics such as Gone With the Wind, 42nd Street, It Happened One Night and The Philadelphia Story come to mind. But these are just a few of the thousands of feature films made during the decade. One thing is certain: the 1930s were a golden age in American motion picture history. With the publication of this latest volume of the AFI Catalog, covering the years 1931-1940, we have a wonderful opportunity as never before to explore this era of our film heritage.

Preserving America’s filmic past is a multifaceted task, and the National Endowment for the Arts is committed to the full spectrum of projects undertaken by the National Center for Film and Video Preservation at AFI. Among them are: the AFI / NEA Film Preservation Program, which for nearly two decades has provided grants for film preservation at archives across the country, and the National Moving Image Database (NAMID), which will make information from both the AFI Catalog and the physical holdings of American archives available on a computerized database.

In this volume of the AFI Catalog, the films of the 1930s come into focus as never before. With the invaluable information gathered in this volume, scholars, researchers, and film lovers can gain insight and knowledge into this fascinating era in the history of America’s indigenous art form.” – Foreword by John E. Frohnmayer.

Hardcover – 1.343 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.945 g (103,9 oz) – PUBLISHER University of California Press, Berkeley, California, 1993 – ISBN 0-520-07908-6

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1931-1940, Indexes

the-american-film-institute-catalog-feature-films-1931-1940The AFI Catalog of Feature Films, 1931-40 has ten separate indexes to assist the researcher. Unlike the first two volumes of the Catalog, the 1910s and 1930s volumes separate personal name and corporate entries into two indexes. In addition, the user is provided with a complete Chronological List of Film Titles, a Genre Index, a Geographic Index, a Subject Index and a Literary and Dramatic Credit Index. New to the 1930s Catalog are a Songwriters and Composers Index, reflective of all music composition credits, a Series Index, which indexes all films made during the decade as parts of series, such as Blondie or The Three Mesquiteers. and a Foreign Language Index for films made in languages other than English.

All elements of the Catalog are indexed following the same basic arrangment: alphabetical heading followed by a chronological, then an alphabetical list of film titles. An asterisk (*) following a film title indicates that the credit is mentioned in the note rather than in the main body of the entry for that film, but is from a contemporary source. A [Note] indicates that the name in the note is either from a modern source or is in some peripheral way connected to the film. An [App] indicates that the film is included in the Appendix, rather than the main section of the film entries volumes.

A brief explanation is provided for the user at the beginning of each index. Following the Literary and Dramatic Credit Index, a select bibliography of books for further research is provided.” – From The Introduction to the Index Volume.

Hardcover – 1.181 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.615 g (92,2 oz) – PUBLISHER University of California Press, Berkeley, California, 1991 – ISBN 0-520-07908-6

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1941-1950, Film Entries A-L

amercan-film-institute-catalog-of-motion-pictures-in-the-united-states-feature-films-1941-1950“Old movies are like old friends: their companionship is always welcome. For the generation of Americans who came of age during the 1940s, the AFI Catalog of Feature Films, 1941-1950 will provide a special trip down memory lane. For those who grew up later, the Catalog will serve as a unique window on American attitudes and customs of the decade.

The National Endowment for the Humanities is proud to sponsor AFI’s book series documenting the history of American motion pictures. Begun thirty years ago to establish a permanent record of American film history, the series entails an ongoing, gargantuan research effort by a small but dedicated team at AFI. Thanks to their work, the nation is acquiring a first-rate reference tool that is of enormous benefit to historians and general audiences alike. In this present volume, you will find detailed information – plot summaries, producers, actors and actresses, and background material – for 4,316 films made during the 1940s.

Do you want to see how Hollywood portrayed World War II during the decade in which the war occurred? Check out the war-film genre, including the entries for Thirty Seconds Over Tokyo, Bataan, Action in the North Atlantic and Twelve O’Clock High.

How about life on the homefront? Take a look at the entries for Since You Went Away, Tender Comrades and Hail the Conquering Hero. Post-war life? Try The Best Years of Our Lives, Home of the Brave, Till the End of Time and It Happened on 5th Avenue. Interested in the hit musicals of the period? Look up Meet Me in St. Louis, State Fair and Take Me Out to the Ball Game. It’s all right here, and more. You are sure to find what you are looking for, and the Endowment is proud to be associated with this impressive work.” – Foreword by William R. Ferris.

Hardcover – 1.438 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 3.610 g (127,3 oz) – PUBLISHER University of California Press, Berkeley, California, 1999 – ISBN 0-520-21521-4

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1941-1950, Film Entries M-Z

amercan-film-institute-catalog-of-motion-pictures-in-the-united-states-feature-films-1941-1950“Movies have had an important influence on my life. Like most Americans, I spent countless Saturday afternoons at the local movie theater, mesmerized by Westerns, war and gangster films, and of course, cartoons. Today, as an adult, I can see how films, particularly of the 1940s, mirrored many of the changes taking place in American society at that time, as our nation moved from the brink of World War II to the advent of the Cold War.

With the AFI Catalog of Feature Films, 1941-1950, the American Film Institute has provided American film buffs, historians and interested moviegoers alike with an invaluable snapshot of American motion pictures – and of our nation. American film, that creative merging of theater and technology, is one of the most significant and influential art forms, and the decade of the 1940s produced some of our nation’s most memorable classics – Citizen Kane, Casablanca, Meet Me in St. Louis, It’s a Wonderful Life and Fantasia. The era was also noted for advancing and perfecting such innovative techniques as the flashback, the ‘subjective’ camera, realism and Technicolor. The films of the 1940s, and the technology used to make them, are an indelible part of our artistic heritage.

The films are made even more meaningful with the knowledge that those times were extremely challenging for the American film industry. Toward the end of the decade, our society experienced a population shift to the suburbs, the break-up of studio-owned theater chains, the rise of television and the beginning of blacklisting and McCarthyism in Hollywood. American culture can be eternally grateful to those artists who continued to produce such extraordinary artistic creations under such difficult circumstances.

The National Endowment for the Arts is proud to support this project and the valuable work of AFI to document and preserve this very significant part of America’s cultural heritage.” – Foreword by Bill Ivey.

Hardcover – 1.438 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 3.585 g (126,5) – PUBLISHER University of California Press, Berkeley, California, 1999 – ISBN 0-520-21521-4

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1941-1950, Indexes

amercan-film-institute-catalog-of-motion-pictures-in-the-united-states-feature-films-1941-1950The AFI Catalog of Feature Films has nine separate indexes to assist the researcher: a Chronological Index of film titles, a Personal Name Index, a Corporate Index, a Subject Index, a Genre Index, a Series Index, a Songwriter and Composer Index and a Literary and Dramatic Source Index. Entries within all of the indexes have the same basic arrangement: alphabetical headings followed by chronological, then alphabetical listings of film titles.” – From ‘The Introduction to the Indexes.’

“In this index, films are listed alphabetically under the year of release. Films that may have been released in either of two years, for example 1944 or 1945, are listed only once, under the first possible year of release. The same would be true for films that were released in blocks that began in one year and ended in another, for example, films released between December 1941 and February 1942, would be listed under 1941. Films for which release dates cannot be definitively determined are listed under the most likely release year, followed by a question mark, for example, 1948?” – From ‘Chronological Index of Film Titles.’

Hardcover – 1.115 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.910 g (102,6 oz) – PUBLISHER University of California Press, Berkeley, California, 1999 – ISBN 0-520-21521-4

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1961-1970, Film Entries

the-american-film-institute-catalog-feature-films-1961-1970“This, the second volume of The American Film Institute Catalog to be published, is concerned exclusively with feature-length films which were released and exhibited commercially in the United States between 1 January 1961 and 31 December 1970. To reflect the international nature of filmmaking during the decade and to indicate the extensive financial and artistic involvement of the United States in the production of films abroad, as well as the impact of foreign filmmaking upon American filmmakers and audiences, we have expanded our coverage to include not only those productions for which United States participation could be documented, but all films meeting the above criteria of length and release, regardless of country of origin. To be included in the Catalog a film must have been exhibited commercially in a motion picture theater, or, in the case of various ‘experimental’ or independent films, in places where a price of admission was required. Furthermore, to be accepted for inclusion each film had to have a running time of 45 minutes or more and had to be available with English-language soundtrack or subtitles. Not found in this volume are films made for television and not theatrically released; foreign language films released only in original language version; films shown only at academic institutions, museums, or festivals; and educational, industrial, or government films not given commercial exhibition.

We have compiled the information contained in the Catalog from a multiplicity of sources in many languages. Among the bodies of records consulted were film periodicals and books, including numerous monographs; reviews of films in the press; the motion picture records of the U.S. Copyright Office; pressbooks, press sheets, and other studio and distributor publicity material; the records of the Maryland State Board of Censors; film catalogs issued by many organizations, including the Canyon Cinema Cooperative, the Center Cinema Cooperative, the Film-Makers’ Cooperative, the Film-Makers’ Distribution Center, the Independent Film Importers and Distributors of America, and the National Association of Theatre Owners; program notes from a variety of sources, including the Film-Makers’ Cinematheque and the Museum of Modern Art Department of Film; film festival programs; directories and catalogs of national production from many countries; published and unpublished screenplays; company records; and, in many cases, the films themselves and individuals involved in their production and distribution. Among the most essential of our reference sources were Boxoffice, the British Film Institute Film Title Index, The Film Daily Year Book of Motion Pictures, Filmens hvem-hvad-hvor, Filmfacts, Index de la Cinématographie française, Monthly Film Bulletin, Motion Picture Exhibitor, The New York Times Film Reviews, Screen World, and Variety.” – From The Introduction.

Hardcover – 1.268 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.710 g (95,6 oz) – PUBLISHER University of California Press, Berkeley, California, 1976 – ISBN 0-520-20970-2

The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films 1961-1970, Indexes

the-american-film-institute-catalog-feature-films-1961-1970“All personal, group, institutional, and corporate names credited in the Catalog with any aspect of film production and distribution or with the performance of film roles are listed in the Credit Index. The arrangement of the names is alphabetical, and the films credited to each name are listed chronologically by years of release in the United States, then alphabetically by film title. Each title is accompanied by an entry number, which also follows the film title in the descriptive entry and may be used as a finding aid.

We have endeavored to render the name credits exactly as expressed in our sources for the film concerned. Because of the size of the index and the number of variations in the rendering of names by our reference sources, we have not been able to identify in every instance variant credits representing the same person or individual names that may be shared by more than one person. As far as our sources have permitted, however, we have appended qualifiers to distinguish two or more persons known by exactly the same name and have provided cross-references to identify persons known under multiple names. We have not attempted to uncover the identity of persons who worked only under pseudonyms; but in the case of foreign productions, cross-references are provided to identify pseudonyms used in United States release versions.

In the alphabetization of personal names with prefixes, the following rules have been applied as consistently as possible. English: indexed under the prefix; Mc and Mac file as Mac. Afrikaans, Dutch and Flemish: indexed under the prefix (Van, Van der). French: indexed under the prefix if the prefix consists of an article or a contraction of an article and a preposition (Le, La, Des); under the part of the name following the preposition if the prefix consists of a preposition or a preposition followed by an article. German: indexed under the part of the name following the prefix if the prefix consists of a preposition or a preposition followed by an article (von, von der). Italian: indexed under the prefix (De, Del, DeUa). Portuguese: indexed under the part of the name following the prefix (da, dos). Scandinavian languages: indexed under the part of the name following the prefix (von, af). Spanish: generally indexed under the part of the name following the prefix (de, de la, del); when the prefix consists only of an article, indexed under the article. (For each country involved in production, we have relied on film reference sources originating in that country for the indexing of names: and individual variations have been accepted in preference to these general rules. In all cases where the name is indexed under a prefix, the prefix is capitalized in the descriptive entry.) – The Credit Index.

Hardcover – 976 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 2.155 g (76 oz) – PUBLISHER University of California Press, Berkeley, California, 1976 – ISBN 0-520-20970-2

American Film Now: The People, the Power, the Money, the Movies (James Monaco)

monaco-james-american-film-nowHollywood movies today are bigger – but are they better than ever? In this major examination of modern American cinema, one of our leading film critics ponders this question – and produces a wide-screen picture of the answer.

Here in detail are the careers and creative milestones of the new “Whiz Kids” of Hollywood – such glittering names as Martin Scorsese, Brian De Palma, George Lucas, Steven Spielberg, Robert Altman, Paul Mazursky, and Francis Ford Coppola. Here are the new masters of comedy – Neil Simon, Mel Brooks, Woody Allen. Here are the blockbusters that made fiscal history – Jaws, The Exorcist, The Godfather, Star Wars, Close Encounters of the Third Kind, Nashville, Superman, and all the others. Here, too, are the masterpieces that passed unnoticed, and the disasters that Hollywood would like to forget. Here are the new writers turning out novelizations of screenplays and screenplays of novels, and the current and rising stars who collectively represent America’s vision of glamour and aristocracy. Above all, here is a bottom-line report on the new economics that have turned Hollywood from an old-fashioned industry centered on making movies into a “leisure-time” business obsessed with making money for corporate owners.

Add to this a complete rundown of the top critics’ choices for the best films of the decade, and a comprehensive “Who’s Who” in current American filmmaking, and you have American Film Now – the definitive guide to the film industry as it is today and as it will be tomorrow.

Softcover – 536 pp., index – Dimensions 23 x 16 cm (9,1 x 6,3 inch) – Weight 802 g (28,3 oz) – PUBLISHER New American Library, New York, New York, 1979

American Film Studios: An Historical Encyclopedia (Gene Fernett)

fernett-gene-american-film-studios“It would have been impossible to include herewith all the American theatrical film studios. If that had been attempted, this volume would have been far too unwieldy. For this reason you will find no study of the Durango Production Company, organized in 1915 by James Jarvis and W. Goff Black, the outfit which in 1918 filmed a version of General Custer’s last stand, employing backgrounds around Dolores, Colorado. There is no mention, either, of the branch studio operated by Selig Polyscope of Chicago at Canon City, Colorado, which in 1912 and 1913 operated in the 300 block of Main Street and later at Fourth and Main, with film players Tom Mix, Myrtle Stedman, William Duncan, and Joe Ryan playing in Selig productions made there. When Selig withdrew that company to Prescott, Arizona, in the fall of 1913, the studio at Fourth and Main was taken over by a newly home-grown firm, Colorado Photo-Play Company, which induced former Selig actress Josephine West, as well as producer-director O.B. Thayer and cameraman Owen Carter to remain in Canon City. Dreadfully underfinanced, Colorado Photo-Play was quickly destroyed in an expensive lawsuit involving the accidental drowning of Grace McCue while she was appearing in a scene along the Arkansas River, just west of Canon City.

G.M. (“Broncho Billy”) Anderson came from Essanay in Chicago to film the first of his westerns near Boulder, Colorado, but after he and his crew had barely begun the series, they pulled out, continuing on to California for completion of their weekly film releases.

Yet the state of Colorado, blessed as it is with awesomely beautiful scenery, has remained a favorite destination for “location shooting” of scenes for such films as Secret of Convict Lake (1951), Viva Zapata! (1952) and the Clark Gable picture Across the Wide Missouri (1951). The neighboring state of Texas has figured more than peripherally in theatrical film production, beginning as long ago as 1913 when the Satex firm was organized, its studio and offices in a decrepit warehouse at 13th and Lavaca streets in Austin. That firm seems to have produced no more than a single picture, a three-reeler titled Their Lives by a Slender Thread. It is obvious why such firms as Satex aren’t explored at length in this volume.

Of course many on-location sequences for numerous theatrical features have been shot in Texas, perhaps most ambitious and expensive of which was John Wayne’s production The Alamo, much of which was filmed in and around a full-scale reproduction of the Alamo, Wayne’s expensive money-loser having been made near the town of  Brackettville, about 120 miles west of San Antonio. You will find no mention in the text of this volume regarding the Nola Film Company, the 1915 New Orleans studio at which actress Leatrice Joy is said to have made her first screen appearances, nor is there mention of 1914’s Esperanto Pictures, which played out its one year of life, during which its titular head, J.A. Servis, grandly held his headquarters at 1613 Dime Bank Building, Detroit.

In Southern California alone there were no fewer than 49 motion picture studios in 1921, according to a count by an enthusiastic Los Angeles Chamber of Commerce. Exactly why it was that the American film industry chose to gravitate westward to California is not clear even at this date. Arizona, after all, made many attempts at getting itself established as the nation’s center for production of theatrical pictures. Selig Polyscope, Eclair (a French firm with main studios in the U.S. at Ft. Lee, N.J.), Lubin (Philadelphia) and others tried their hands at operating branch studios in Arizona, but none chose to make the state its main headquarters. The delightfully bogus “Colonel” William N. Selig, whose studio headquarters was in Chicago, invested so much in real estate around the city of Prescott, Arizona, that his “Diamond S” ranch evolved from a place where Selig westerns were made, to the status of a movie site within a working cattle ranch, the branding irons of which were a likeness of the Selig motion picture logo.

Tom Mix, as bogus a cowboy as “Colonel” Selig was a military man, not only came to screen fame as a Selig “cowboy,” but eventually purchased a ranch near the Diamond S.

Real estate prices were reasonable and land plentiful in Arizona in those days; however that was also true of California, a state with a greater variety of scenery. California won out. Thus it was that Southern California by 1921 had such film studios as Morosco, Chester Comedies, Pallas, Selig, Bronx Studios, William S. Hart Company, Willis & Inglis, Brentwood Film Corporation, Berwilla, Reelcraft, Francis Ford Studios, Clermont Photoplays, Hollywood Studios, and the busy sprawling lot that in that year was still the Robert Brunton Studios and which now is Paramount.

All those were in operation in those days, though there was some evidence that there were simply too many studios there: one at 651 Fairview in Los Angeles and one situated at Nat Goodwin Pier, Santa Monica, were closed down. Thoroughly bewildering as this array of studios undoubtedly seems to the reader, it does not touch upon those studios which are given fairly detailed coverage in one of the major entries in this book. The reader will note that at times this author was forced to use photos and illustrations of substandard quality. While this is regrettable, it is my belief that it is more important to use them to depict the studios, sets and actors, etc., that were a part of motion picture history. However poor some may be, they still aid in the understanding of this book.” – From The Foreword.

The business of filmmaking began with the Thomas Edison Studio in West Orange, New Jersey. Many studios have come and gone since then. From the little guys like feisty Mark Dintenfass and his 1905 “Actophone” unit (an unlicensed Pathé camera furtively grinding out films in defiance of the Motion Picture Patents Company) to heavyweights like Samuel Goldwyn and MGM, 66 studios of all sizes and specialties are covered in this book. The culmination of many years of exhaustive research, these detailed histories discuss films, stars, successes, and catastrophes. Numerous rare photographs are included.

GENE FERNETT spent many years in the motion picture industry, working as a director and scriptwriter. He was also a college professor, author, and big band leader. He lived in Ingram, Texas.

Hardcover – 295 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 589 g (20,8) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 1988 – ISBN 0-89550-250-4

American Original: A Life of Will Rogers (Ray Robinson)

scannen0044Hailed by The New York Times as “America’s Aristophanes,” Will Rogers was one of this century’s most astute and beloved humorists. If, as he often remarked, that he never met a man he didn’t like, it is also true that Rogers never met a man he didn’t like to make fun of. Everyone from congressmen and Presidents to Hollywood movie moguls and wealthy industrialists bore the brunt of his gently lacerating wit – and seemed, mostly, to be charmed in the process. So popular did Rogers become – through dozens of films, a daily column that ran for nine years in newspapers across the country, and countless lectures and stage performances – that he was often urged to run for Congress and even the Presidency. Upon receiving a mock appointment as Congressman-at-Large for the whole United States, Rogers protested, “I regret the disgrace that’s been thrust upon me here tonight. I’ve tried to live my whole life so that I would never become a congressman.”

In American Original, Ray Robinson chronicles the trajectory of Will Rogers’ remarkable life. Written with engaging immediacy and filled with a wealth of delightful anecdotes, this lively portrait follows Rogers from his childhood in the Indian Territory of what is now Oklahoma, to his first spellbinding lariat performances in the Wild West shows (where he would often lasso prominent audience members and drag them on stage), to his stardom in vaudeville and the Ziegfeld Follies, to his early silent movies and the later “talkies,” and finally to his astonishing influence as a “cowboy philosopher” columnist read by over 40 million Americans. Far more than other biographers, Robinson excels at conveying Rogers’ impact as a political commentator (“I belong to no organized political party. I am a Democrat.”) and his great success as an actor in Hollywood, where he was the leading star of Fox Films. And along the way, Robinson paints a vibrant portrait of one of America’s most colorful eras. We follow the early evolution of modern entertainment, enjoy vivid snapshots of W.C. Fields, Charlie Chaplin, Florenz Ziegfeld, Eddie Cantor, Samuel Goldwyn, Shirley Temple, and John Ford, and, perhaps most important, witness the major political events of the era through Will Rogers’ uniquely perceptive eyes.

American Original succeeds most appealingly in bringing Will Rogers before us with all the spontaneity, intimacy, and honesty of a live performance. In it we are given front row seats to the life of a character unabashedly American and unforgettably original.

RAY ROBINSON is a veteran magazine editor and sportswriter. He is the author of the widely acclaimed biography Iron Horse: Lou Gehrig in His Time, Oh, Baby, I Love It!, with Tim McCarver, and Matty: An American Hero. He lives in New York City.

Hardcover, dust jacket – 288 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 578 g (20,4 oz) – PUBLISHER Oxford University Press, New York, New York, 1996 – ISBN 0-19-508693-7

American Prince: A Memoir (Tony Curtis, with Peter Golenbock)

Autographed copy Tony Curtis

scannen0169“All my life I had one dream and that was to be in the movies.”

He was the Golden Boy of the Golden Age. A prince of the silver screen. Dashing and debonair, Tony Curtis arrived on the scene in a blaze of bright lights and celluloid. His good looks, smooth charm, and natural talent earned him fame, women, and adulation – Elvis copied his look and the Beatles put him on their Sgt. Pepper album cover. But the Hollywood life of his dreams brought both invincible highs and debilitating lows. Now, in his captivating, no-holds-barred autobiography, Tony Curtis shares the agony and ecstasy of a private life in the public eye.

No simple tell-all, American Prince chronicles Hollywood during its heyday. Curtis revisits his immense body of work – including the unforgettable classics Houdini, Spartacus, and Some Like It Hot – and regales readers with stories of his associations with Frank Sinatra, Laurence Olivier, director Billy Wilder, and film industry heavyweight Lew Wasserman, as well as paramours Natalie Wood and Marilyn Monroe, among others.

As forthright as he is enthralling, Tony Curtis offers intimate glimpses into his succession of failed marriages (and the one that has endured), his destructive drug addiction, and his passion as a painter. Written with humor and grace, American Prince is a testament to the power of living the life of one’s dreams.

TONY CURTIS is one of Hollywood’s greatest stars. Today, he lives with his wife, Jill, outside of Las Vegas, where he continues to create paintings that have made him famous as a visual artist the world over. They are the founders of the Shiloh Horse Rescue and Sanctuary, a nonprofit foundation that rehabilitates abused and neglected horses for adoption. Visit them at ShilohHorseRescue.com. PETER GOLENBOCK has written six New York Times best-sellers over a thirty-year career. In 2006 he co-wrote the best-selling Idiot with then-Boston Red Sox, now-New York Yankee outfielder Johnny Damon. His book, Seven, about Mickey Mantle, was publsihed in 2007.

Hardcover, dust jacket – 364 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 688 g (24,3 oz) – PUBLISHER Harmony Books, New York, New York, 2008 – ISBN 978-0-307-40849-5

America’s Queen: The Life of Jacqueline Kennedy Onassis (Sarah Bradford)

bradford-sarah-americas-queenJacqueline Kennedy Onassis has captivated the American public for more than five decades. From her introduction to the world as “debutante of the year” in 1947 to her death in 1994, she truly remained America’s answer to royalty. In America’s Queen, the acclaimed biographer of Queen Elizabeth and Princess Grace presents the real Jackie in a sympathetic but frank portrait of an amazing woman who has dazzled us since her teenage years.

Sarah Bradford has written a timely celebration of a life that was more private than commonly supposed. The range of her interviews is extraordinary. We hear from people from every era of Jackie’s life, including many who have never spoken in such depth on record before –  childhood intimates, Bouvier and Auchincloss relations, Kennedy family members and friends, Washington insiders, observers of the Onassis years, and admirers and colleagues from her professional life in New York. Using the insights gained from these remarkable reminiscences, Bradford is able to make a coherent picture out of the otherwise disparate and puzzling chapters of Jackie’s life, from the aristocratic milieu of Newport and East Hampton to political Washington, the Greek isles, and New York’s publishing community.

Jackie’s privileged upbringing instilled rigid self control while her expedient marriage into the overwhelming Kennedy clan consolidated her determination. Revealing new testimony from many of the couple’s friends shows the profound complexities both of this apparently very public relationship and of her controversial marriage to Aristotle Onassis. Here is the private Jackie – neglected wife, vigilant mother, and working widow.

Complete with rare and previously unseen photographs from the private collections of Jackie’s friends and family, America’s Queen portrays the woman behind the public persona – resourceful, controversial, loving, demanding, giving – in the most complete, and completely convincing, life story yet written.

SARAH BRADFORD is a historian and biographer. She is the best-selling author of several biographies, including Disraeli, selected as a New York Times Notable Book of the Year, George VI; Princess Grace, and The New York Times best-seller Elizabeth. Married to the Viscount Bangor, she lives in London.

Hardcover, dust jacket – 500 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 826 g (29,1 oz) – PUBLISHER Viking, New York, New York, 2000 – ISBN 0-670-89191-6

Among the Rugged Peaks: An Intimate Biography of Carla Laemmle (Rick Atkins)

Autographed copy Carla Laemmle

atkins-rick-beyond-the-rugged-teeth“Some movie fans may ask, who is Carla Laemmle? Let’s begin at the beginning. Nearly 100 years ago she was born Rebekah Isabelle Laemmle, the only daughter of Joseph and Carrie “Belle” Norton Laemmle, who were residents of Chicago, Illinois. It is this period of American history that sets her story apart from other film bios, for Rebekah Isabelle, or Carla as she became known, is the niece of the late movie mogul, Carl Laemmle, founder of Universal Pictures Corporation.

Carl Laemmle and his older brother, Joseph, were German immigrants who had successfully made “good” in America. However, as Joseph advanced in years, his brother, Carl, asked that he and his family relocate to California. In January 1921, at the age of 11, young Carla with her parents and maternal grandmother, Emogene Isabelle Norton, made the big move from Chicago to Universal City, California, a fledgling six-year-old incorporated community on 230 acres of land in Lankershim Township, which is on the north side of the Hollywood Hills. Mr. Laemmle purchased it for $ 165,000,00. Universal City was dedicated solely to the making of motion pictures.

Carla had studied dance since the age of six and won notoriety in Chicago as a prodigious success. Upon arrival in California, she was enrolled in the Ernest Belcher School of Dance. At the age of 16, then known as Beth Laemmle, she was cast in a small part as the Prima Ballerina in the 1925 Universal production, The Phantom of the Opera starring Lon Chaney, “the man of a thousand faces.”

Growing up at Universal was a life-changing experience for Miss Laemmle. She witnessed the filming of several of her uncle’s classic movie productions, many of which took place on the backlot. A small part in a 1931 Universal movie would earn Carla Laemmle a cult following. The movie was Dracula, which starred Bela Lugosi.” – From the Prologue.

Softcover – 220 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 390 g (13,8 oz) – PUBLISHER Midnight Marquee Press, Inc., Baltimore, Maryland, 2009 – ISBN 978-1-887664-91-2

Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema (Janina Falkowska)

Falkowska, Janina - Andrzej WajdaThe work of Andrzej Wajda, one of the world s most important filmmakers, shows remarkable cohesion in spite of the wide ranging scope of his films, as this study of his complete output of feature films shows. Not only do his films address crucial historical, social and political issues; the complexity of his work is reinforced by the incorporation of the elements of major film and art movements such as Socialist Realism, Italian Neorealism, the documentary tradition, French New Wave, Surrealism, the grotesque, the theater of the absurd, propaganda film, Polish Romantic tradition and many other artistic phenomena (jazz, Polish student subculture). It is the reworking of all these different elements by Wajda, as the author shows, which give his films their unique visual and aural qualities.

JANINA FALKOWSKA is Professor in the Film Studies Department at the University of Western Ontario in London, Ontario, Canada, specializing in East-Central and Western European cinemas. Her publications include The Political Films of Andrzej Wajda (Berghahn Books 1996), National Cinemas in Post-War East-Central Europe (ed.), and, co-authored with Marek Halthof, The New-Polish Cinema (Flick Books 2003).

Hardcover – 340 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 626 g (22,1 oz) – PUBLISHER Berghahn Books, New York, New York, 2007 – ISBN 1-84545-225-9

And the Show Goes On: Broadway and Hollywood Adventures (Sheldon Leonard; foreword by Andy Griffith)

leonard-sheldon-and-the-show-goes-onIn a career that has spanned more than 60 years, Sheldon Leonard, among his many other accomplishments, has never lost his sense of humor. It is this quality that provides the driving force of his memoir, recapturing those antic moments and the comic routines, the gags and the pratfalls, and the enormous joie de vivre that have marked his wonderfully creative and eventful life.

Born in New York City, Leonard spent his first decade in show business on Broadway, appearing in such smash comedy hits of the 30s as Three Men on a Horse, Having Wonderful Time, and Kiss the Boys Goodbye. But when he answered the call from Hollywood, it wasn’t long before he dropped the comic mask to assume his most enduring movie image, the gun man / gangster who was to share the screen with William Powell, Myrna Loy, Humphrey Bogart and Lauren Bacall, as well as Abbott and Costello – and to menace them all. Though he appeared in memorable films like Tortilla Flat, It’s a Wonderful Life, and Guys and Dolls, he was almost always typecast as the heavy. And so, as the 50s began, it was time for his career to change direction, heading first for radio and then for the advancing ice floe known as television.

And, of course, in television Leonard has made his greatest contribution to popular entertainment. Occasionally as actor, more often as writer, but mainly – and resoundingly – as producer and director, his credits include some of the most successful and beloved TV series of our time, among them The Danny Thomas Show, The Andy Griffith Show, The Dick Van Dyke Show, Gomer Pyle, U.S.M.C., and I Spy. Leonard’s account of how these series were created and sustained is in many ways the heart of his memoir. In this strange new world his close encounters with actors, writers, sponsors, and networks are vividly and often hilariously recalled, and his pioneering work in location shooting for I Spy yields a worldwide travelogue, from Mexico to Morocco, with stops in Italy, Hong Kong, Greece (during a revolution), China, and the Soviet Union.

Leonard’s enviable record and his remarkable multifaceted career are recalled to life here with gusto, honesty, barbed wit, and no regrets. How can there be any regrets when Leonard continues his 63-year love affair with his wife Frankie, when his co-workers and friends have ranged from Clare Booth Luce and Jack Benny to Charles Laughton and Bill Cosby, when his golf handicap is down and the blue marlin are running – and when his 87 years have been filled with laughter? Laughter that he is only too happy to share.

Hardcover, dust jacket – 229 pp. – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 561 g (19,8 oz) – PUBLISHER Limelight Editions, 1995 – ISBN 0-87910-184-9

Angela Lansbury: A Life on Stage and Screen (Rob Edelman, Audrey E. Kupferberg)

edelman-rob-angela-lansbury-a-life-on-stage-and-screenTo millions of television viewers both here and abroad Angela Lansbury is Jessica Fletcher, mystery-writer sleuth on the long-running hit television series Murder, She Wrote. But in fact Ms. Lansbury is much more than that. She earned renown as a character actress in films in the 1940s and added luster with stardom on Broadway before achieving fame on the small screen.

Angela Lansbury: A Life on Stage and Screen is an up-close and intimate portrait of one of America’s most popular and admired actresses. It follows her career from its beginning in such films as Gaslight, The Picture of Dorian Gray, State of the Union, and The Manchurian Candidate to her conquest of Broadway. There she won additional kudos and cemented for all time her status as show business legend by starring in the smash-hit musical Mame. No Great White Way one-shot, she went on to win three other Tony Awards after Mame – in Gypsy, Dear World, and Sweeney Todd. In the 1990s, she introduced herself to a whole new generation in her role as Mrs. Potts in the animated feature Beauty and the Beast.

Lansbury’s life has been a fascinatingly active one. At an age when most young women are thinking about proms and Saturday night dates, Lansbury was already an MGM contract player. And this was after a brief career as a chanteuse in a Montreal nightclub. When others her age were deciding on a college major, she had already received two Academy Award nominations. Today, in her early seventies, she is a vital spirit who relishes each new creative endeavor.

Still, Lansbury’s career has had its share of failures and frustrations. In her twenties she was usually cast as “the other woman” or a middle-aged heavy. And her life, off camera, while mainly happy and fulfilled, has been touched by high drama. Her much-loved father passed away when she was only nine years old, and she came to America as a refugee from the London blitz. Her first marriage, to actor Richard Cromwell, was brief and controversial. Although her second marriage to Peter Shaw has been lasting and gratifying, their two children temporarily became victims of the 1960s drug culture.

Ultimately, this book is a warm, deeply human portrait of a woman who continues to respond to the triumphs and tragedies of an extraordinary life.

ROB EDELMAN is contributing editor to Leonard Maltin’s Movie and Video Guide and director of programming at Home Film Festival, which rents select videotapes by mail throughout the country. His work appears in several books, and he has written for dozens of periodicals (from American Film to the Washington Post). AUDREY E. KUPFENBERG is a film consultant, archivist, and appraiser. She is the former director of the Yale Film Study Center, assistant director of the National Center for Film and Video Preservation at the American Film Institute, and project director of the American Film Institute Catalogue. She and Mr. Edelman are married and live in upstate New York.

Hardcover, dust jacket – 287 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 674 g (23,8 oz) – PUBLISHER Birch Lane Press, New York, New York, 1996 – ISBN 1-55972-327-0

De Animatiefilm Vóór en Na Walt Disney: Een Historisch-Artistiek Panorama (Robert Vrielynck)

Vlierynck, Robert - De Animatiefilm Voor en Na Walt DisneyWeinig of niets van wat door mensen wordt ondernomen, is alomvattend en volmaakt. Deze waarheid ervaart ook degene, die over animatiefilm schrijft en aldus poogt dit medium dichter bij het publiek te brengen. Ofschoon door velen nog steeds als marginaal beschouwd, was de animatiefilm reeds het voorwerp van een onoverzichtelijke hoeveelheid publicaties allerhande. Het kon dan ook geenszins de bedoeling zijn hier nu de som van dit alles te brengen en al het voorheen gepresteerde overbodig te maken.

De enige overmoed die werd opgebracht bestond erin waar nodig historische of chronologische rechtzettingen te doen en waar mogelijk nieuwe visies te ontwikkelen met de bedoeling een juist inzicht in de behandelde stof te bewerkstelligen. Bovendien werd gewillig rekening gehouden met de wens van de uitgever om naar een algemeen en jeugdig publiek toe te schrijven, omdat zulks een uitstekende gelegenheid bood belangstelling te wekken bij oningewijden en ze meteen een werk van blijvende waarde te bezorgen.

Om de leesbaarheid maximaal te vergroten, wordt in een glossarium toelichting verschaft over de gebruikte termen en worden de belangrijkste procédés beschreven. Tevens worden de biografieën van een aantal vooraanstaande cineasten op overzichtelijke wijze in een lexicon samengebracht. Specialisten en kenners hoeven dus de wenkbrauwen niet te fronsen; zowel schrijver als uitgever vonden het jammer niet uitgebreider en vollediger te kunnen zijn. De opdracht liet zulks niet toe. Niettemin zullen beiden zich gelukkig prijzen wanneer blijkt dat weer eens ruimere belangstelling is ontstaan voor de animatiefilm, die door haar veelzijdige aspecten jong en oud kan boeien.

Hardcover, dust jacket – 210 pp. – Dimensions 26,5 x 21,5 cm (10,4 x 8,5 inch) – Weight 1.080 g (38,1 oz) – PUBLISHER Meddens, 1981

Anita Loos: A Biography (Gary Carey)

Carey, Gary - Anita LoosAlthough it was her slice-of-flapper-life novel, Gentlemen Prefer Blondes, that made her an international celebrity in 1925, Anita’s output – of screenplays, stories, plays, articles and more – was enormous, and her career spanned seventy years. She was a celebrated Hollywood figure until her death in 1981; she moved in the literary circles of the twenties, thirties and forties; and on the 100th anniversary of her birth, she remains the enduring symbol of the Age of the Flapper. And yet, Anita Loos was a much more complicated woman than her work suggests. Now, drawn on previously unpublished diaries, letters and scrapbooks, Gary Carey – author of highly praised biographies of Douglas Fairbanks and Mary Pickford, and of Louis B. Mayer – gives us the first full-scale life.

Anita Loos was as much a product of the Victorian era in which she was born (1888) as the flaming-youth decade in which she made her name. Her diaries reveal a woman who was disciplined, resilient, and morally fastidious. And though she enjoyed the company of the hustlers, kept ladies, and con men she immortalized in her writing, it was her very difference from them that enabled her to portray them with such insight and humor. It was her mixture of the raffish and the bourgeois that made for her – and her work – a unique and lasting place within our culture.

We see her as a teenager in San Diego taking bit parts in local productions to please her father, whom she adored and through whom she got her first taste of life among the roués. We see her, as her family finances shrink, becoming a dependable provider at nineteen, beginning to write – by age twenty-four she had sold four filmscripts to D.W. Griffith’s Biograph Company.

We see her writing scripts for Fairbanks and Pickford (The New York Hat), Jean Harlow (it was Anita who created the concept of the Blonde Bombshell), William Randolph Hearst (for his mistress Marion Davies)… beginning to publish stories in Vanity Fair.

We witness the birth of Gentlemen Prefer Blondes – as she writes it to amuse her pal H.L. Mencken – and the furor that surrounded its publication; the first edition selling out immediately  without benefit of reviews, and numbering among its earliest fans William Faulkner, James Joyce, and Aldous Huxley… and we see how the book became its author’s entrée into the world of cultural “demigods” she had admired since girlhood. We follow her friendships with Lillian and Dorothy Gish, Constance Talmadge, Huxley, Chaplin, The Cole Porters, Cecil Beaton, and Helen Hayes. We see her writing for Broadway (Gigi, Chéri, Blondes) and Hollywood (Red-Headed Woman, Riffraff, San Francisco, The Women, Susan and God, A Tree Grows in Brooklyn, and many others). And we follow the long, rocky course of her mostly unhappy marriage John Emerson, a producer much less successful than, and very jealous of, his wife.

And throughout, beneath the mask of independence and insouciance that Anita Loos showed the world, we see the shy, deeply reserved woman who worked exceptionally hard not only to earn recognition as a writer but to be as witty, amusing, and worldy-wise as the characters she so brilliantly created.

Anita Loos is a revelation of a true American original.

GARY CAREY was born in Chester, Pennsylvania, and graduated from Columbia University. He is the author os All the Stars in Heaven, Doug and Mary, Katharine Hepburn: A Hollywood Yankee, Marlon Brando: The Only Contender and Judy Holliday: An Intimate Life Story. He lives in Brooklyn, New York, with his wife and son.

Hardcover, dust jacket – 331 pp., index – Dimensions 24,5 x 16 cm (9,7 x 6,3 inch) – Weight 791 g (27,9 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1988 – ISBN 0-394-53127-2

Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos, Creator of Gentlemen Prefer Blondes (edited and annotated by Cari Beauchamp, Mary Anita Loos)

beauchamp-cari-anita-loos-rediscoveredAnita Loos (1888-1981) was one of Hollywood’s most respected and prolific screenwriters, as well as an acclaimed novelist and playwright. This unique collection of previously unpublished film treatments, short stories, and one-act plays spans fifty years of her creative writing and showcases the breadth and depth of her talent. Beginning in 1912 with the stories she sent from her San Diego home to D.W. Griffith, through her collaboration years later with Colette on the play Gigi, Anita Loos wrote almost every day for the screen or stage, or for book or magazine publication. The list of stars for whom she created unforgettable roles includes Mary Pickford, Jean Harlow, Clark Gable, Audrey Hepburn, and Carol Channing.

This collection was personally selected by Anita’s niece and close friend, the best-selling author Mary Anita Loos, together with the acclaimed film historian Cari Beauchamp. Their essays are laced throughout the volume, providing fascinating introductions to Anita’s writings and offering previously untold insights and behind-the-scenes stories about Anita – her life, her friendships, and her times.

CARI BEAUCHAMP is the author of Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood (California, 1998) and Hollywood on the Riviera: The Inside Story of the Cannes Film Festival (1992). Mary Anita Loos is the author of A Pride of Lovers (1981), The Barstow Legend (1978), Belinda (1976), and The Beggars Are Coming (1974).

Hardcover, dust jacket – 310 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 636 g (22,4 oz) – PUBLISHER University of California Press, Berkeley, California, 2003 – ISBN 0-520-22894-4

Anjelica Huston: The Lady and Her Legacy (Martha Harris)

harris-martha-anjelica-hustonHollywood has never seen a dynasty like the Hustons. Three generations of the Huston clan have made film history by twice winning dual Oscars. First John Huston won an Academy Award by directing his father, Walter, in the Oscar-winning role of the old prospector in The Treasure of the Sierra Madre. Then, almost forty years later, John won himself another Oscar for directing daughter Anjelica in her Academy Award-winning role of Maerose Prizzi in Prizzi’s Honor.

Although Anjelica may have inherited a legacy of theatrical talent, her quest for fame and success got off to a rocky start. The daughter of the hell-raising, philandering, and brilliantly talented director John Huston and his fourth wife, the ballerina Enrica Soma, Anjelica grew up in a sheltered lrish castle. At sixteen, Anjelica was suddenly thrust into the limelight when her father cast her in a leading role in A Walk With Love and Death. The film was a critical and commercial disaster; Anjelica felt as if she had let her father down. And then, just as Anjelica was faced with unflattering reviews of her screen debut, her mother died in a fatal car  accident.

Slowly, but with an iron will, Anjelica has persevered on a course that has won her respect and acclaim. From the modeling career that was launched when Richard Avedon’s photographs of her were featured in Vogue, to her fifteen-year relationship with Jack Nicholson, to her highly praised performances in Garden of Stone and The Dead, Anjelica has proven that she can accomplish whatever she desires.

Some stars are “discovered,” but Anjelica climbed to the top by herself and made the whole world take notice. This absorbing, detailed biography of the Academy Award-winning actress tells how she did it.

MARTHA HARRIS lives in Baton Rouge, Louisiana.

Hardcover, dust jacket – 206 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 386 g (13,6 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1989 – ISBN 0-312-02541-6

Anna May Wong: From Laundryman’s Daughter to Hollywood Legend (Graham Russell Gao Hodges)

russel-gao-hodges-graham-anna-may-wongAnna May Wong is, undoubtedly, the most luminous Chinese American actresses ever to grace the silver screen. Between 1919 and 1960 she starred in over fifty films and shared equal billing with Douglas Fairbanks Sr., Marlene Dietrich, and Warner Oland. But her life, though glamorous, is almost the prototypical story of an immigrant’s difficult path through America. Born in Los Angeles in 1905, she was the second daughter of eight children born to a laundry-man and his wife. Growing up in Los Angeles fuelled her fascination with Hollywood, and in 1919 she secured a small part in her first film, The Red Lantern with Alla Nazimova. Her most famous film roles were in Toll of the Sea, Piccadilly, The Thief of Bagdad, Daughter of the Dragon, and, most importantly, Shanghai Express, opposite Marlene Dietrich. Anna May Wong was an international celebrity whose friendships with intellectuals and artists included the famed Chinese actress Butterfly Wu, Walter Benjamin, Carl Van Vechten, Paul Robeson, Edward Steichen, and Mei Lan Fan. Even though Anna May Wong made many landmark films, discrimination against Asians in Hollywood insured that she was passed over for the lead role in the film version of Pearl Buck’s The Good Earth. Apparently Wong was “too Asian” for the role. The British Film Institute recently released a newly restored version of Wong’s classic film Piccadilly and the world will, once again, thrill to the artistry of this great actress. Graham Hodges’ biography of Anna May Wong rediscovers one of Hollywood’s most legendary actresses and is a must for film lovers.

GRAHAM RUSSELL GAO HODGES is Professor of History at Colgate University and is the author of many books on New York City and African American history.

Hardcover, dust jacket – 284 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 643 g (22,7 oz) – PUBLISHER Palgrave MacMillan, New York, New York, 2004 – ISBN 0-312-29319-4

Ann-Margret: My Story (Ann-Margret with Todd Gold)

Ann-Margret - Ann-Margret My StoryAnn-Margret has dazzled screen and stage audiences as few entertainers in our time. Her appearance in movies such as Bye Bye Birdie, Carnal Knowledge, and Tommy, and in the acclaimed television miniseries The Two Mrs. Grenvilles and Queen, and her recent record-breaking shows at Radio City Music Hall have made her a woman loved and admired, not just for her beauty and her legend, but for herself.

Yet until now the public has known only Ann-Margret the star. Finally we hear from Ann-Margret the woman.

For years the Hollywood gossip mills portrayed her as self-destructive, an actress of bristling nerves, a wife controlled by a Svengali husband, and finally, a tragic heroine. For the first time, Ann-Margret opens the door to her private world, in a memoir that tells her life as it really was. Relentlessly honest, these pages are filled with warmth, wit, poignancy, and truth.

Readers wil learn of her moving, longtime relationship with Elvis Presley; her battle with and inspiring recovery from alcohol abuse; her loss and reclamation of her self-esteem; and her harrowing twenty-two-foot fall onstage, after which doctors feared she would never dance again. Readers will also learn the story behind her twenty-nine-year love affair with husband Roger Smith, and of his battle with myasthenia gravis, a disease that forced Ann-Margret, who had always been protected by her husband and family, to take control of not only her life but her husband’s as well. Here, too, are wonderful behind-the-scenes tales about co-stars Bette Davis, George Burns, John Wayne, Jack Nicholson, and Steve McQueen, to name a few.

But Ann-Margret: My Story is ultimately about this remarkably candid woman herself, finding her own way, seeking independence, becoming an accomplished actress and – more important – a woman of guts, humor, energy, and inspiration.

ANN-MARGRET lives with her husband and business partner, Roger Smith, in Beverly Hills. TODD GOLD, the co-author of numerous best-selling  autobiographies, lives in Los Angeles.

Hardcover, dust jacket – 336 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 753 g (26,6 oz) – PUBLISHER Orion Books, Ltd., London, 1994 – ISBN 1-85798-366-6

Anne Baxter: A Bio-Bibliography (Karin J. Fowler)

Fowler, Karen J - Anne Baxxter A Bio-BibliographyActress Anne Baxter made her Broadway debut at age thirteen and won an Academy Award for Best Supporting Actress in films at age twenty-three. In a long and successful career on stage, screen, radio, and television, she played her most memorable roles as Sophie MacDonald in The Razor’s Edge (1946) and as Eve Harrington in All About Eve (1950), two enduring film classics. Baxter also led a diverse personal life, including an arduous and lonely stint as a pioneer wife in the Australian outback, which was related in her best-selling memoir, Intermission: A True Story (1976).

This bio-bibliography describes her life and career in a biography and chronology, and details her achievements in the different production media, with full credits, synopses, and review sources provided for the films and plays. An extensive bibliography notes focused and passing treatment of Baxter in a wide variety of books and periodicals.

Hardcover – 296 pp., index – Dimensions 24 x 15,5 cm (8,5 x 5,7 inch) – Weight 664 g (23,4 oz) – PUBLISHER Greenwood Press, Westport, Connecticut, 1991 – ISBN 0-313-27543-2

Anthony Hopkins: Too Good to Waste (Quentin Falk)

falk-quentin-anthony-hopkins-too-good-to-wasteNow 52 of age, Anthony Hopkins is enjoying the most successful period of his acting career, having created a string of memorable roles – on film, stage and television – including King Lear, Donald Campbell, Captain Bligh, Quasimodo, Pierre in War and Peace, Lambert Le Roux in David Hare’s Pravda and culminating in the tragically and ironically lovelorn Rene Gallimard in M. Butterfly, the phenomenal Broadway and West End stage hit.

Yet success has not come easily. Dogged by insecurity stemming from a lonely childhood and underachievement at school, Hopkins started to drink heavily just as his acting career seemed poised to take off. He put his professional reputation in jeopardy by arguing with directors and storming out of the National Theatre, and left his first wife and baby daughter for the indulgences of a Hollywood career.

In 1975, he woke up in a hotel room in Phoenix, Arizona, with no recollection of how he had got there. He suddenly found divinely inspired strength to declare his alcoholism openly and make a fresh start. For this, the first-ever authorized biography, QUENTIN FALK has interviewed family, friends, colleagues and critics about this remarkable actor’s life and career – a career that was, as Hopkins eventually admitted to himself, too good to waste.

Softcover – 210 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 458 g (16,2 oz) – PUBLISHER Virgin Books, London, 1995 – ISBN 0-352-32663-8

Anthony Mann (Jeanine Basinger)

Basinger, Jeanine - Anthony MannDirector of such often-revived films as Winchester ’73, The Glenn Miller Story, and El Cid, Anthony Mann enjoyed a lasting and important career as one of Hollywood’s premier filmmakers. Mann’s Westerns, noir pictures, and epics are admired and studied by fans and scholars alike, and he was an expert in the fundamental elements of cinema (movement and placement of the camera, composition in the frame, and careful editing). Jeanine Basinger’s Anthony Mann, which places the director’s visual style at the center of its analysis, was among the first formal studies of any filmmaker, and it set a standard in the field over twenty-five years ago. Long out of print and much in demand, this pioneering book is now available again, featuring complete coverage of those Mann films not discussed in the original work, as well as over fifty rare film stills. Wesleyan is proud to issue this expanded edition of an essential text, making it available to new generations of filmgoers and readers.

JEANINE BASINGER is Corwin-Fuller Professor of Film Studies at Wesleyan University, founder and curator of the Wesleyan Cinema Archives, and the author of nine books on film, including Silent Stars (1999) and The Star Machine (2007). She is a trustee of the National Board of Review and a trustee emeritus of the American Film Institute.

Softcover – 215 pp., index – Dimensions 22,5 x 15 cm (8,9 x 5,9 inch) – Weight 358 g (12,6 oz) – PUBLISHER Wesleyan University Press, Middletown, Connecticut, 2007 – ISBN 0-8195-6845-7

The Apu Trilogy (Robin Wood; edited by Ian Cameron)

wood-robin-the-apu-trilogy“One likes to begin a book with a bit of controversy, punching a few critical noses and offering one’s own for the return poke or smash that all too seldom comes. The reader always enjoys finding a few insults bandied around: aside from the dubious pleasure of sharing in a probably quite unjustified feeling of superiority, it gives him the sense that there must be some issue at stake for him to make up his own mind about. Alas, in the case of Satyajit Ray, it is next to impossible to achieve this desirable effect: there seems never to have been any controversy about him.

This certainly does not mean that there is uniformity of opinion about the value of his work: the critics with whom my own name has most often been linked, the founders and authors of Movie, reject him to a man. But then ‘reject’ is altogether too strong a word. Rather, they offer him the insult that is beyond insult: they ignore him. One once told me that Pather Panchali ‘seemed quite a nice little film,’ which seems to be about the maximum enthusiasm Ray’s films have aroused in those quarters. Critics who detest Jean-Luc Godard and Ingmar Bergman usually find them sufficiently interesting and stimulating to be worth the bother of attacking, but Ray appears to provoke in his detractors nothing more intense than apathy. Where most of Godard’s detractors wouldn’t dream of missing a new Godard film, there is a general sense among Ray’s that Mahanagar and Charulata wouldn’t be worth the time and bus fare. The corollary is that Ray’s admirers (in print at least) tend to be critics of the conservative Establishment. Film enthusiasts who don’t know Ray’s war well at first hand probably build up a mental image of it as the sort of primitive and literary cinema that has a solid, dull worthiness but is difficult spontaneously to enjoy or get excited about.

I propose to begin by attempting to do the detractors’ work for them: to elaborate, out of the shrug of indifference which is the most those hostile to his work seem willing to offer, a case against Ray (in order, naturally, refute it); to imagine, that is, the obstacles that interfere with other people’s response to films that have always communicated very directly and movingly to me.” – From The Introduction.

Satyajit Ray’s Panther Panchali was the first Indian film to gain much critical acclaim abroad. The remaining films in the trilogy, Aparajito (The Unvanquished) and The World of Apu, confirmed, even increased Ray’s reputation. This volume analyses the three films which remain Ray’s best-known work.

Softcover – 95 pp. – Dimensions 16,5 x 15 cm (6,5 x 5,9 inch) – Weight 133 g (4,7 oz) – PUBLISHER November Books, Ltd., London, 1972 – SBN 85631 002 6

Are the Stars Out Tonight? The Story of the Famous Ambassador Hotel and Cocoanut Grove, “Hollywood’s Hotel” (Margaret Tante Burk)

burk-margaret-tante-are-the-stars-out-tonight“Two points I want to make. The first, the story of the great Ambassador Hotel had to be told. For it was and is a vital cog, a veritable chronological moving part and motivation in the wheels of Los Angeles and Hollywood, then and now. A Los Angeles that keeps exploding with its newness and uniqueness, and a Hollywood that is legend second only to Camelot itself… a kingdom like Oz, a glory such as Greece, and a grandeur not unlike Rome.

And in the Ambassador that is home to both, this dazzling past, the hotel’s famous and beauteous people’s astonishing stories had never been recorded for posterity. Would that I could have had this warehouse of plots when I was penning stories for films and magazines. It’s safe to say that millions of features, articles and columns have been written but no real honest-to god book. Dramatic and historical data yes, but so voluminous with its thousands of characters and events, that no one dared tackle it until she came face to face, ear to ear and eye to eye with it. She? That’s the second point.

Every once in a while you see somebody and think, ‘Ah, there’s somebody I’d like to meet!’

And not often, but once in a while, you meet that person and say to yourself, ‘Now, this is someone I’d like to know better!’ And then every day, month or year you are glad you met her and richly delighted as you know her better. Having set that all down, then comes to me first of anybody, very clearly the name Margaret Burk. Of course, obviously since Mrs. Burk is the famed and coast to coast and border to border popular public relations executive, including in her portfolio the great and unequalled Ambassador Hotel, she has known and been loved by and leaned on by all the famous stars of every walk of life who have lived for five minutes or five years at the Ambassador. I want to put this down very carefully and clearly…

I have never known any woman so truly kind and so utterly without self-aggrandizement in my life. She is always thinking about you… about your needs or want… never about herself.

Because of these rare qualities she has been confided in… talked to… sought out… by all the greats that pass through this internationally loved hotel… and I should say with the greatest guest list of any hotel in America. Her mind being both dramatic and sensitive she has been told and remembered tales only she has heard. How she manages to be top in her field and retain such dignity… I don’t know. But she does. And it is we who are hoping she will enjoy and keep us under her wing. She has aided the Ambassador in becoming one of the really rare places.

As a journalist friend of mine Jane Gilman wrote, ‘The six most valuable words in many an Angelino’s vocabulary are: “I’m a friend of Margaret Burk’s.’ These may lead you into an interview on a television show, a recording contract, an art exhibit, a meeting with a celebrity or main attraction of an event that attracts thousands. ‘She thrives on challenge and hospitality, and when the phone rings in her plaque and trophy decorated office at the Ambassador, she is ready to help… whether business or no.’ You see what kind of a person I’m telling you about? And the natural outcome of the two coming together was Are the Stars Out Tonight?  You’ll be titillated reading about the famous elegant hotel in the very middle of the picture industry all these years. But also about the Social Elite and the Literary Lions and the Financial Fraternity who are her friends seeking both her advice and company. I know I have. Gosh, l’m glad I know her! And can sign myself her loving and admiring friend, Adela Rogers St. Johns.” – From The Introduction.

Hardcover – 192 pp. – Dimensions 28 x 21 cm (11 x 8,3 inch) – Weight 616 g (21,7 oz) – PUBLISHER Round Table West, Los Angeles, California, 1980 – ISBN 0-937806-00-5

Arletty: Confidences à son secrétaire (Michel Souvais)

Souvais, Michel - Arletty, confidences à son secrétaireArletty est née en 1898. Elle a connu deux siècles, deux guerres, l’occupation, le music-hall, la gloire, la peur, les femmes, les hommes. Elle a fréquenté des hommes politiques, des philosophes, des nobles, des comédiens, des dramaturges, des peintres et des écrivains. Elle s’est faite rebelle, froide, câline, spirituelle, piquante, amante, humaine, odieuse: insaisissable. Comme le prouve cette biographie.

Secrétaire particulier d’Arletty de 1978 à 1990, Michel Souvais est devenu bien plus que l’ami de la Grande Dame. Il est devenue son confident. Aujourd’hui, il revient sur le destin hors normes de l’une des figures les plus populaires et les plus légendaires de la scène et du grand écran.

Une biographie touchante et des anecdotes pleines de sensibilité et sans aucun voyeurisme, témoignage du respect profond et sincère de l’auteur pour elle dont il a partagé les dernières années.

Comédien, artiste-teintre et écrivain, MICHEL SOUVAIS, arrière-petit-fils de la Goulue, est né à Paris, dans l’êle de la Cité en 1946.

Softcover – 206 pp. – Dimensions 22,5 x 14 cm (8,9 x 5,5 inch) – Weight 293 g (10,3 oz) – PUBLISHER Éditions Publibook, Paris, 2006 – ISBN 274833224-5

Arnold: An Unauthorized Biography (Wendy Leigh)

leigh-wendy-arnoldHe’s “Arnold” to millions of fans around the world. Bodybuilding legend. Box-office superstar. Kennedy family member. But until now the real story of Arnold Schwarzenegger has never been told.

At the time of his fairy-tale marriage to Maria Shriver, his fans believed they knew all there was to know about this phenomenally successful self-made man. At twenty-one, he’d come to America from an obscure village in Austria, armed with little more than a perfectly muscled body and a fierce ambition. Nevertheless, he’d gone on to win the Mr. Olympia crown an unprecedented seven times, transforming bodybuilding into an internationally recognized sport. Then, despite a thick accent and little acting experience, he’d tackled Hollywood and emerged a major hit in such movies as Conan the Barbarian, The Terminator, Predator, and, later, Twins, becoming a millionaire many times over along the way. And, of course, he’d been linked with numerous beautiful women. Now his dazzling alliance with the Kennedy clan seemed to be the ultimate prize in a stunning rags-to-riches tale.

But what the public knows is only part of the truth. Arnold: An Unauthorized Biography tells the whole story. Based on two years of research on both sides of the Atlantic and scores of personal interviews with Arnold’s colleagues, lovers, relatives, childhood companions, friends, and rivals, the portrait that emerges is often startling. Complex, intelligent, driven, sometimes ruthless, often manipulative, Arnold is a man who has allowed little to stand in the way of his meteoric rise to success.

Journalist Wendy Leigh goes beyond the public image and explores Arnold’s troubled boyhood, his tortured relationship with his father, his sexual exploits, and his lifelong penchant for often-cruel practical jokes – jokes from which not even Maria is spared. From mentor Joe Weider to friend Kurt Waldheim, from the longstanding feud with Sylvester Stallone to the love affair with Brigitte Nielsen, from small-town gyms to celebrity mansions, the story of Arnold Schwarzenegger is a fascinating chronicle of talent, drive, bravado, charm, and opportunism.

WENDY LEIGH is an international journalist who began her career at BBC Television in London and whose articles have appeared in publications such as New Woman, Woman, US, People, Elle, and Cosmopolitan. She and her husband, Stephen Karten, who worked on this book, live in New York City.

Hardcover, dust jacket – 320 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 716 g (25,3 oz) – PUBLISHER Congdon & Weed, Inc., Chicago, Illinois, 1990 – ISBN 0-86553-216-8

L’Art du cinéma (Pierre Lherminier)

scannen0002Que le cinéma, le plus jeune des arts, apparaisse comme un pur divertissement ou une forme d’expression artistique aussi noble que la peinture, la musique ou les lettres, on ne peut nier l’importance qu’il a dans le monde entier. Derrière les images et les sons, la pensée de l’artiste (qu’il soit metteur en scène, comédien, scénariste, opérateur, monteur…) est présente et effective. Quelle est cette pensée, quels problèmes se posent à ces artistes, quelles solutions leur donnent-ils d’un film à l’autre ?…

A toutes ces questions répond l’anthologie. L’art du cinéma. Pierre Lherminier y a recueilli les textes capitaux, les propos les plus significatifs de tous ceux à qui le cinéma doit d’être un Art et non une simple industrie. Tous ceux qui ont fait eux-mêmes le cinéma s’expriment ici en hommes de métier sur ce métier et sur leur art.

Hardcover, dust jacket – 628 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 770 g (27,2 oz) – PUBLISHER Edition Seghers, 1960

The Art of Living Well: Looking Good, Feeling Great (Joan Collins)

Autographed copy Joan Collins

Collins, Joan - The Art of Living WellJoan Collins is one of the most glamorous women in the world, and in The Art of Living Well she reveals the secrets of how to look amazing, whatever your age. In her latest book, Joan shares many of her life experiences and the methods she has learned about how to deal with the bad and the good things in life. She will show you how to feel better about yourself inside and consequently you will look better.

The book includes glamour and how to achieve it: Joan writes about the women she admires including Audrey Hepbum, Catherine Zeta-Jones, Ava Gardner, Marlene Dietrich and her own mother; exercise: Joan’s program is suitable for all women. She is photographed step-by-step as she works out with her daughter Katy. Looking good takes discipline and organization and Joan does these exercises several times a week wherever she is in the world. Joan’s makeup secrets: Joan is photographed from bare faced to fully made up. This chapter includes tricks she learned from leading Hollywood make-up artist Whitey Snyder, who also worked closely with Marilyn Monroe. Joan’s top tips on eating super-healthily for super-youth and super-energy. This chapter also includes recipes from her favorite restaurants around the world.

Relationships, love and sex: Joan talks frankly about “everyone’s favorite subject,” including her relationship and marriage with Percy Gibson, tips on finding the right man and her views on sexual freedom for women. Skincare secrets, including Joan’s secrets for great skin.

Assertiveness: how to speak your mind, how to say no and mean it and how to avoid being manipulated. Also, Joan’s views on financial independence and how she handles difficult people and situations. Entertaining: Joan has thrown many parties in her life and a chapter is devoted to entertaining in her unique and individual style, including the full story of her wedding. Dressing for yourself and your lifestyle: clothes to suit all body shapes. Joan is  photographed in a series of classic outfits to form a basic wardrobe of 20 pieces. How to mix couture with high street and her advice on being well dressed.

Happiness: everyone’s ultimate goal. Joan has seen many highs and lows in her life and she reveals what makes her happy, how she handles conflict and bad times and her personal advice for happiness. Exclusive pictures by celebrity photographer Brian Aris, who photographed Joan’s marriage to Percy Gibson. Plus pictures from Joan’s private collection, all previously unpublished. Frank, insightful and delightfully entertaining, Joan Collins will show you how, as the years go by, you can be glamorous and stylish, look stunning, be sexy and have masses of energy… you can be just like Joan!

JOAN COLLINS is one of the most recognizable women in the world. As an actress she has appeared in over 55 films and 50 TV shows, excluding the internationally renowned Dynasty, which not only ran for nine years on prime-time television, but still plays worldwide and has made Joan, as Alexis Carrington Colby, an icon of glamour and an inspiration to many women. She has starred on Broadway and in the West End and amassed dozens of glittering awards, including the Golden Globe for Best Actress and the People’s Choice Award for Favorite Actress. Joan has published ten books, six inspirational and autobiographical, and four novels, including her recent best-seller, Star Quality. She was honored by the Queen in 1997 with an OBE for services to drama.

Hardcover, dust jacket – 224 pp., index – Dimensions 24 x 19,5 cm (9,5 x 7,7 inch) – Weight 939 g (33,1 oz) – PUBLISHER Sourcebooks, Inc., Naperville, Illinois, 2007 – ISBN 978-1-4022-0942-0

The Art of the American Film 1900-1971 (Charles Higham)

Higham, Charles - The Art of the American Film 1900-1971If any art form can properly be associated with America, surely it is the motion picture. The collected body of American film has succeeded in entertaining people throughout the world, as well as producing an admittedly smaller body that be called works of art. It is these films, and the artistic elements of other films, that are the subject of Charles Higham’s sweeping study, the first step-up-to-date history of the American film since 1939.

Basing his survey on close first-hand study of the films themselves, the author begins by discussing the evolution of the medium in the hands of such pioneers as Griffith and Ince. His fresh critical approach is intentionally at odds with the despressingly standardized analyses of most historians. Higham’s discussion moves from the directors whose work is of a largely rural bent – from Griffith in a direct line through Henry King, King Vidor and John Ford – to the school of urban sophistication fathered by Lubitsch and DeMille and continuing in Cukor, Wyler, and Capra. He shows how the gradual urbanization of the whole of American society in this century gradually destroyed the rich vein of pastoral cinema.

Higham richly illuminates the complex texture of the American film by separating out various schools, lines of influence, and development of styles. Above all, he is concerned to show how, in spite of the monolithic hardness of “the industry,” art and artists have miraculously managed to survive. No major figure is omitted, and many films thought to have been lost are discussed here at length. Through these pages, the reader can see how, in a mere seventy years, the American cinema has developed as an indigenous form, sharing with American literature and painting its humanists and anti-humanists, its sophisticated and its primitives, its pessimists and its optimists. And the collective nature of the medium is fully explored, showing the various contributions of the cinematographer, writer and actor to each film in turn.

Poet, teacher, critic, CHARLES HIGHAM brings an especially sensitive eye to bear on American film. For this major study, he worked closely with archives on both coasts, including the Library of Congress and George Eastman House. He is the author of Hollywood in the Forties, Hollywood Cameramen, and The Films of Orson Welles, and has been Regents Professor, teaching poetry and film, at the University of California, Santa Cruz.

Hardcover, dust jacket – 322 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 921 g (32,5 oz) – PUBLISHER Anchor Press / Doubleday, Garden City, New York, 1973 – ISBN 0-385-06935-9

As I Am: An Autobiography (Patricia Neal, with Richard Deneut)

neal-patricia-as-i-amPatricia Neal’s story is the stuff that legends have been made of: The American Mother Courage with the rich molasses voice and the smoldering eyes who has been through it all and beaten the odds to become the fiery inspiration for living life to its fullest. From a triumphant career as a Tony- and Academy Award-winning actress, she has faced devastating challenges and losses – sometimes privately, sometimes before an audience of millions: a notorious and passionate long-running love affair with Gary Cooper; the brain-damaging injury of her young son, Theo, followed with tragic speed by the death of her little daughter, Olivia; a crushing series of three near-fatal strokes and a miraculous recovery that made headlines around the world; and then, as the world continued listening to fairy-tale stories of her marriage to writer Roald Dahl, the wrenching and fruitless battle to keep her husband.

It was only at that point, when she believed she had lost everything, that Patricia Neal began to write… and in the process, to face her greatest challenge yet: to remember it all; to take stock and make sense of the turbulent events of her life, a life full of unimaginable heartache and joy. It was a five-year struggle, which she confronted, characteristically, with heroic strength, anger, and humor – a process of head-on confrontation with the ghosts and demons from her past and present. Once again, she has emerged victorious, with As I Am, one of the most stunning autobiographies you will ever read.

Many have spoken and written about Patricia Neal and her valiant battles against adversity. Now, she speaks for herself, correcting the record and telling for the first time her own story of a life that has been even more dramatic than we have ever realized. She writes, brilliantly and candidly, about her relationship with Gary Cooper, which now takes its rightful place as one of the legendary Hollywood romances; about her as one of our most sensational and celebrated actresses; about the special terror and grief of helplessly watching her son and daughter in danger; about having to learn to walk, talk, and even think all over again after her stroke, and then grappling to regain the will to live; all about her tempestuous marriage to Dahl, a man who loved her and ignored her, hurt her and helped her by turns, and who finally left her; and in the face of all this, about managing to come back unbeaten again and again through the power of faith and spirit, in the process growing into the very definition of the word ‘survivor.’

And it is all written with the full force of her legendary personality, at once gutsy, witty, heartbreaking, and brutally honest, with a bad girl’s bravado and an earth mother’s compassion. Here is Patricia Neal in her greatest role, as the indomitable heroine of her own incredible real-life story. The supporting players are some of the most remarkable figures of our time, including Ernest Hemingway, Ronald Reagan, Laurence Olivier and Vivien Leigh, Lillian Hellman and Dashiell Hammett, Paul Newman, John Wayne, Jack L. Warner, Elia Kazan and Eugene O’Neill.

Even the multitudes of her admirers who have followed each courageous step of Patricia Neal’s life will be thrilled and surprised by the portrait that appears in this extraordinary work – a larger-than-life, but at the same time touchingly human and downright earthy woman. As I Am is every bit as unforgettable as Patricia Neal herself.

Hardcover, dust jacket – 372 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 541 g (19,1 oz) – PUBLISHER Simon & Schuster, New York, New York, 1988

Astaire: The Man, The Dancer (Bob Thomas)

Thomas, Bob - Astaire The Man, The DancerIn January of 1933 a young Broadway star named Fred Astaire entered the RKO studios for a screen test. “Can’t act. Slightly bald. Also dances,” was the reaction of one official. Thus began the amazing film career of one of the world’s most celebrated dancers. Born Frederick Austerlitz, the son of an Austrian immigrant, Astaire soon traveled to New York with his mother and sister Adele. Together, the two young children would survive the grueling life of vaudeville road shows to become the biggest stage stars of the day, glorified and adored on both sides of the Atlantic. Starring in such hits as Lady Be Good, Funny Face, and The Band Wagon, the two worked directly with such artists as Irving Berlin, Fritz Kreisler, and George and Ira Gershwin. However, their success as a team would come to an end in 1932, after Adele quit the stage to marry the English nobleman Lord Charles Cavendish. Left to go it alone, “Moaning Minnie,” as his sister affectionately dubbed him, approached the Broadway stage with apprehension. And, just as he had feared, critics lamented the loss of Adele: “An Astaire must dance and still does very well – but not for the general good is he now sisterless.”

Undaunted by his sister’s departure and his poor screen test, Fred returned to Hollywood to be paired with another young dancer, Ginger Rogers. Rogers, who was concentrating on moving away from dancing and into straight acting, was against the idea of playing next to Astaire. However, their first attempt as a team, Flying Down to Rio, would prove to be the beginning of the most successful and dynamic partnership Hollywood has ever produced. Astaire and Rogers embodied a new kind of romance, supremely sophisticated yet accessible to everyone. Together they would go on to star in such memorable films as The Gay Divorcee, Roberta, Top Hat, Swing Time, and Shall We Dance?

In Astaire: The Man, The Dancer, Bob Thomas draws upon his forty-year friendship with Astaire in recreating the life and work of the man whose characteristic grace and style were admired for generations. Always hesitant to talk about himself, Astaire, for the first time, comments on his early youth; how he and the great choreographer Hermes Pan created his famous dance routines; each of his twenty-one dance partners, including Joan Crawford, Rita Hayworth, the erratic Judy Garland, Audrey Hepburn, Leslie Caron, Cyd Charisse, and Barrie Chase; and his passion for horse racing. He discusses how the devotion of his fans has brought him out of retirement several times; his marriage to his first wife Phyllis and her untimely death; and his love affair and marriage with a woman forty-four years his junior, jockey Robyn Smith.

Astaire: The Man, The Dancer captures the elegance and mystique of the most recognized and loved figure ever to dance across the silver screen. During nearly eighty years in every major entertainment medium, he has  persevered and excelled. He never quit, never passed up an opportunity to push himself and the dance to new levels of achievement. Astaire: The Man, The Dance – the first complete, up-to-date biography – is a fitting tribute to the man and his art.

BOB THOMAS has known Fred Astaire for over forty years and interviewed him many times. Thomas is the author of over twenty books, including biographies of Brando, Disney, and Joan Crawford. His most recent book, Golden Boy: The Untold Story of William Holden, was published by St. Martin’s Press in 1983. He lives in Encino, California.

Hardcover, dust jacket – 340 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 701 g (24,7 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1984 – ISBN 0-312-05783-0

As Time Goes By: Memoirs of a Writer (Howard Koch)

Koch, Howard - As Times Goes By Memoirs of a WriterHoward Koch first came to the attention of the American public on October 30, 1938, when his radio script for The War of the Worlds caused thousands of people to believe that an interplanetary battle had begun in Grovers Mill, New Jersey. Fear and panic spread throughout the East as multitudes phoned the police, sought refuge in shelters, or prayed for deliverance from aliens.

When the dust finally settled on the East Coast, there were neither Martians nor Howard Koch – he had moved to California to become one of Hollywood’s outstanding screenwriters. His screen career spans three major Hollywood studios and two decades, including his scripts for such movies as The Sea Hawk, The Letter, Sergeant York, Mission to Moscow, Letter From an Unknown Woman, and his Oscar-winning script for Casablanca, perhaps the most popular movie of all time.

Howard Koch’s memoirs include stories and anecdotes on the making of all these movies and on their stars, from Bette Davis, Ingrid Bergman, and Joan Fontaine to Humphrey Bogart, Errol Flynn, and Gary Cooper. But the book also details his work for Broadway stage, his childhood in upstate New York, and much, much more, for Howard Koch’s career almost came to an end when Hollywood in the 1950s suddenly found itself the subject of one of the most devastating witch-hunts in U.S. history.

Koch was exiled from Hollywood and forced to go to Europe to find work. The book details the intricacies of the McCarthy politics in the fifties, Koch’s flight overseas with his family, and his eventual victory in having his name removed from the blacklist that halted his career. Koch returned to the United States to write movies for Steve McQueen, Susannah York, and Sandy Dennis.

Today HOWARD KOCH lives with his wife, Anne, in Woodstock, New York, where he is still writing for both Hollywood and Broadway.

Hardcover, dust jacket – 220 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 474 g (16,7 oz) – PUBLISHER Harcourt Brace Jovanovich Inc., New York, New York, 1979 – ISBN 0-15-109769-0

Audrey: An Intimate Collection (Bob Willoughby)

Willoughby, Bob - Audrey an intimate collectionHis eyes for a bankable behind-the-scenes story, and personal treatment of his subjects, made Bob Willoughby one of the most successful magazine photographers in the United States.

Living in Hollywood, his first assignments were generally centred around the world of film making. One of the first of these was with a young actress names Audrey Hepburn, the fresh-faced star of William Wyler’s 1953 film, Roman Holiday, and his intimate collection of photographs maps the friendship that developed between the photographer and the woman that so enchanted him.

As Willoughby’s career took off so did Audrey’s, his lens capturing her rise to iconic status from behind the closed-set doors of films such as Green Mansions, The Children’s Hour, Paris When It Sizzles and My Fair Lady. Bob also recorded cherished personal moments between Audrey, husband Mel Ferrer and son Sean Hepburn Ferrer, as well as the succession of animals that became part of her extended family. As only such a personal anthology could, Willoughby’s photographs capture Audrey’s natural, unaffected joie de vivre, and add another dimension to an on-screen persona that had the power to touch the hearts of everybody who saw her perform.

Softcover, dust jacket – 216 pp. – Dimensions 30,5 x 24 cm (12 x 9,5 inch) – Weight 1.305 g (46 oz) – PUBLISHER Vision On Publishing, Ltd., London, 2002 – ISBN 1-903399-26-2

Audrey Hepburn (Barry Paris)

Paris, Barry - Audrey HepburnShe was the most beautiful film and fashion statement of her era, with or without the Givenchy designs. She was a ballet dancer, who never performed in a ballet. She was the world’s highest-paid film actress, who never took an acting lesson. She was Audrey Hepburn, and she had the aura of a beloved real-life princess.

With unprecedented access to family and friends, never-before-published photographs and meticulous research, biographer Barry Paris gives us a vibrant new portrait of Hepburn. Beginning with her childhood in Nazi-occupied Holland, he weaves the tale of her storybook career, its dizzying launch after the liberation, her title role on Broadway in Gigi, and her Oscar- and Tony-winning performances within the same year of her arrival in America. In the late 1950s and the 1960s, her star shone brighter with leads in Sabrina, The Nun’s Story, Breakfast at Tiffany’s, Wait Until Dark and My Fair Lady.

Over the years, Hepburn kept herself remote from Hollywood and the international filmmaking set. Some regarded her as a snob. But her isolation grew largely from her need to overcome a desperate sense of insecurity. Her son Sean Ferrer says it related back to “the loss of her father to the war, and to the fear that never left her… of having to perform, of the fact that she wasn’t as beautiful as other women, and therefore, she had to work harder… than anyone else.”

In 1980 she met and fell in love with Rob Wolders, the widower of Merle Oberon. With his assistance, from 1988 until the end of her life, Hepburn became special ambassador for the United Nations Children’s Fund. Her trips to Ethiopia and Somalia demonstrated her whole-hearted and tireless commitment. Never before had so great a star so vigorously lent herself to such a crusade.

Audrey Hepburn had a lasting influence on the way women look, dress and play the female role. In more than forty years, she starred in only twenty films, yet as Barry Paris deftly illustrates, she became the lady women have emulated for over half a century.

BARRY PARIS is the author of the acclaimed biographies Louise Brooks and Garbo. His articles have appeared in The New Yorker, Vanity Fair and American Film. He lives in Pittsburgh with his wife, the actress and singer Myrna Paris, and their children.

Hardcover, dust jacket – 452 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 896 g (31,6 oz) – PUBLISHER G.P. Putnam’s Sons, New York, New York, 1996 – ISBN 0-399-14056-5

Audrey Hepburn: A Bio-Bibliography (David Hofstede)

Hofstede, David - Audrey Hepburn a Bio-BibliograhyThough starring in only some twenty films and two engagements on Broadway, Audrey Hepburn earned her reputation through the quality of her work rather than the quantity of her performances. She was never driven by her career, and took years off between movies to spend with her family. As a child growing up in Arnhem when the Nazis invaded Holland, Hepburn witnessed the tragedy of war first-hand, and the impact of her experiences led her to a strong devotion to humanitarian causes.

This book chronicles the career of Audrey Hepburn and sheds light on her private and enigmatic life. The brief biography included in the volume overviews her experiences and provides a context for her work as a performer. The entries that follow are devoted to her individual performances and include cast and credit information, plot synopses, excerpts from reviews, and critical commentary on her work. Entries are grouped in chapters devoted to her stage, film, radio, and television appearances, while appendices list her awards. An annotated bibliography lists and describes sources of additional information about this enchanting performer.

Hardcover – 237 pp., index – Dimensions 24 x 15,5 cm (8,5 x 5,7 inch) – Weight 581 g (20,5 oz) – PUBLISHER Greenwood Press, Westport, Connecticut, 1994 – ISBN 0-313-28909-3

Audrey Hepburn: A Life in Pictures (edited by Yann-Brice Dherbier; foreword by Hubert de Givenchy)

Dherbier, Yann-Brice (ed) - Audrey Hepburn a Life in PicturesThere is no need to introduce Audrey Hepburn. She has become such an icon of cinema and fashion with her timeless style, the epitome of beauty, chic and glamour, that her image is now imprinted upon the collective consciousness. Audrey was always immaculate, whatever she wore. Whether it was just a ‘little black dress’ or an haute couture gown by Givenchy, she wore it with grace and elegance. Awarded an Oscar for her role in Roman Holiday in 1954, she became a legend with Breakfast at Tiffany’s in 1961. But behind the style and the glamour of the big screen lay a sensitive woman who never forgot her childhood experience of war, and who selflessly gave her time to the famine sufferers of Africa as an ambassador for UNESCO.

It is this rare, exceptional woman that we rediscover in Audrey Hepburn: A Life in Pictures.

Hardcover, dust jacket – 192 pp. – Dimensions 21 x 18 cm (8,3 x 7,1 inch) – Weight 800 g (28,2 oz) – PUBLISHER Anova Books Company Ltd., London, 2009 – ISBN 978 186205 828 6

Audrey Hepburn, An Elegant Spirit: A Son Remembers (Sean Hepburn Ferrer)

Autographed copy For Leo, that you … (unclear) this undying effort for our business… and for my mother… All the Best, Sean Hepburn Ferrer (signature)

Ferrer, Sean Hepburn - Audrey HepburnMy mother’s life was a success; she was graced with good choices. The first choice she made was her career. Then she chose her family. And when we, her children, were grown and started our lives, she chose the less fortunate children of the world. She chose to give back. In that important chose lay the key to healing and understanding something that had affected her throughout her entire life: the sadness that had always been there.’

In an era of Hollywood icons, no star shined brighter than Audrey Hepburn. Her charm, her grace, her frail humanity and, of course, her stunning face delighted moviegoers across the world. On-screen and onstage she dazzled millions as Gigi, Eliza Doolittle and Holly Golightly. But to her son Sean she was simply ‘Mummy’.

In the first insider portrait of Audrey Hepburn, Sean Hepburn Ferrer offers an intimate glimpse into the life of Hollywood’s most celebrated actress. In this emotional and candid memoir, Sean tells his mother’s remarkable story, from her childhood in war-torn Holland to the height of her fame to her autumn years far from the camera and the crush of the paparazzi. It is a rare look at Audrey not from the photographer’s lens, but through the eyes of the son who adored her.

Audrey Hepburn, An Elegant Spirit features nearly three hundred photographs, documents and artwork by Audrey herself, many of which have previously been unavailable. In this unprecedented memoir, Sean Hepburn Ferrer remembers the actress the world adored as only a son can.

More than a Hollywood biography, Audrey Hepburn, An Elegant Spirit is about the relationship between a son and his mother. Sean introduces us to an Audrey who was as profoundly sad as she was beautiful. Helpless to change the cruelties of the world and powerless against her own insecurities, Audrey was a devoted mother to Sean – “my best friend,” he calls her – and his brother Luca. When they were older, they were proud to see her mother use her fame to help the children of the world who were in need. As the spokeswoman for UNICEF, Audrey brought worldwide attention to the tragic lives of millions of impoverished children. And now Sean Hepburn Ferrer continues that work with the Audrey Hepburn Children’s Fund (www.audreyhepburn.com), to which he has donated his proceeds from this book.

SEAN HEPBURN FERRER was born in films. His mother is Audrey Hepburn, his father Mel Ferrer. He has worked in all aspects of motion picture development, production, post-production and marketing. Sean founded the Audrey Hepburn Children’s Fund to continue his mother’s legacy to helping children in need all over the world. Educated in Europe and fluent in French, Italian, Spanish, English and Portuguese, he lives in Santa Monica and Tuscany with his wife and two children.

Hardcover, dust jacket – 230 pp. – Dimensions 26 x 20,5 cm (10,2 x 8,1 inch) – Weight 1.075 g (37,9 oz) – PUBLISHER Atria Books, New York, New York, 2003 – ISBN 0-671-02478-7

Audrey: Her Real Story (Alexander Walker)

Walker, Alexander - Audrey, Her Real StoryAlexander Walker’s Audrey: Her Real Story is a triumph of research and insight, distinguished by the shrewd empathy that made his previous biographies best-sellers.

Drawing on his thirty-years acquaintance with Audrey, interviews with her closest associates and original documents in Hollywood, Britain, Ireland and Holland, Walker shows us the hopes, dreams, and darkest fears of a woman whose entire life was overshadowed by a terrible family secret. It was a secret which could have destroyed Audrey’s career, which was frequently on the very edge of discovery, but which she carried unspoken to her grave. In this book, the real story is told for the first time.

Audrey was beautiful, graceful, warm, effervescent. Without breaking her spell, Walker analyses her ascent to power and world fame, tracing the extraordinary combination of luck and talent that allowed a fragile little girl from a broken family, who nearly died in Hitler’s occupied Europe, to conquer, in one miraculous year, both the New York stage (as the impish Gigi) and the Hollywood screen (as the truant princess in Roman Holiday).

Through a broken engagement, two failed marriages and an ill-fated affair with William Holden, the family life Audrey desperately yearned for always eluded her. Then finally, she found her purpose. In a heartbreaking reflection of her own war-torn childhood, she devoted her last years to an unflinching campaign to help the starving children of Africa, even while her own life was being drained away. Audrey was unique, a star utterly unlike the others. Her story will move you to tears.

ALEXANDER WALKER is the author of nearly twenty books about the cinema and its stars, including best-selling biographies of Elizabeth Taylor, Greta Garbo, Joan Crawford, Bette Davis, Marlene Dietrich and Vivien Leigh, and the authorized life of Peter Sellers, as well as standard works on the coming of the Talkies, a monograph on Stanley Kubrick and the fullest account to date of the British film history from 1960 to 1985. He has been the London Evening Standard‘s influential film critic since 1960, has twice been named ‘Critic of the Year’ in the annual British press awards and is a Chevalier de l’Ordre des Arts et des Lettres. A prolific broadcaster on television and on radio, he wrote and narrated four series of Film Star for the BBC. He was born in Ireland, and educated there, on the continent and in the United States. He lives in London and between writing, reading and viewing makes skiing his obsession.

Hardcover, dust jacket – 319 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 724 g (25,5 oz) – PUBLISHER Weidenfeld and Nicolson, London, 1994 – ISBN 0 297 81437 0

Audrey Hepburn: The Captivating Story of Hollywood’s Princess (Ian Woodward)

Woodward, Ian - Audrey HepburnShe was ‘enchanting,’ ‘moon-kissed,’ ‘elfin’ – a star possessed of an indefinable magic that could never be tarnished by success. And yet the irresistible actress who won an Academy Award at twenty-four had only wanted to be a dancer…

As a child Audrey Hepburn lived in luxury, until the Nazi occupation of Holland turned her into a street-wise waif. How she survived the war, and the penniless years that followed, is as amazing as her meteoric rise to fame. In this fully illustrated biography Ian Woodward examines Hepburn’s many stage and film successes, including Gigi, Breakfast at Tiffany’s, My Fair Lady and Roman Holiday. She has starred with the most illustrious men, from Gregory Peck to Sean Connery, and is today a twice-divorced multi-millionairess. Yet Audrey Hepburn retains the humility of one who learnt at an early age that ‘human relationships are the most important thing of all.’

Softcover – 312 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 551 g (19,4 oz) – PUBLISHER W. H. Allen & Co, Ltd., London, 1984 – ISBN 0-86379-057-7

Autobiografie (Rutger Hauer, with Patrick Quinlan, Monique Brandt; originally titled All Those Moments)

hauer-rutger-rutger-hauer-autobiografieRutger Hauer is niet weg te denken uit de Nederlandse film- en televisiegeschiedenis, met de succesvolle Nederlandse serie Floris en de films Turks Fruit en Soldaat van Oranje. Zijn acteertalent bleef ook internationaal niet onopgemerkt, waardoor het Rutger Hauer lukte wat vele acteurs niet lukte: doorbreken in Hollywood.

Dit is het indrukwekkende levensverhaal van een eigenzinnige vijftienjarige die uitgroeide tot en acteur van wereldformaat. Rutger Hauer vertelt openhartig over zijn visie op Amerika en Nederland en de roerige filmindustrie. Daarnaast neemt hij ons mee naar de filmsets van de klassieke sciencefictionfilm Blade Runner, de roemruchte films Flesh + Blood, Buffy, Batman Begins, Mentor en dé cultfilm van 2005, Sin City.

RUTGER HAUER zet zich met zijn Starfish Association in voor met HIV besmette kinderen en zwangere vrouwen. De opbrengsten van dit boek komen ten goede aan deze organisatie.

Softcover – 216 pp. – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 429 g (15,1 oz) – PUBLISHER De Boekerij bv, Amsterdam, The Netherlands, 2007 – ISBN 978-90-225-4728-1

The Autobiography of Cecil B. DeMille (Cecil B. DeMille; edited by Donald Hayne)

De Mille, Cecil B - AutobiographyThe name of Cecil B. DeMille has become a household word to generations of moviegoers throughout the world. It has been linked with great accomplishment – and controversy – in the popular arts. Now the man himself steps out of the myth in his own vigorous, entertaining life-story that may well become one of the most significant and widely-read autobiographies of his time. His outspoken, often moving book reveals the humor, the imagination and the faith that made him a master of his industry and of his craft.

Writing with all the customary clarity and force, the author takes you back in time to a nostalgic earlier day of the American theatre. You meet, through his eyes, the men and women who have become the legends of our stage… Maude Adams, riding gaily on 8-year old Cecil’s sled… Evelyn Nesbitt, already a beauty at sixteen, at Mrs. Henry DeMille’s boarding school, pursued by the impetuous John Barrymore who left love letters for her on the tennis court… David Belasco, director and impressario, who lived with the DeMille family… E.H. Sothern and Charles Frohman, who, with Belasco, molded the author’s early career as actor and playwright… Mary Pickford, the idol of the silent films.

Cecil B. DeMille now reveals how Hollywood began… the amusing last-minute decision on the station platform at Flagstaff, Arizona, that brought them out to California… how his first film, The Squaw Man, was made in a stable with the stalls doubling as dressing rooms. Here is the inside story of the struggles, the mishaps, the pitfalls and dangers of the early days of Hollywood… the struggle to survive against “the Trust” and its hired strong-arm men… the attempted sabotage of DeMille’s precious film… the two attempts, from ambush, on the author’s life.

You’ll never forget the hair-raising scenes that occurred offstage and that threatened to destroy the infant company, such as the time a demented manager who came to shoot DeMille was hired as a stunt man… or the time when an enraged bull tossed, then charged, the matador of Carmen while the others helplessly looked on. You, too, will hold your breath with the crew and the cast of The Virginian as an escaped rattlesnake coils under the legs of the star. You’ll witness the disastrous showing of The Squaw Man that threatened DeMille with bankruptcy and failure.

Moviegoers will enjoy the author’s informative and authoritative asides on movie-making techniques – the problems of shooting, editing, casting, directing and acting, and the special effects of which DeMille was a master.

DeMille’s book reveals how the Bible exerted an unwavering influence on his personal and professional life… and how through his great religious films, The King of Kings and The Ten Commandments, he came to be called “a prophet in celluloid” by Billy Graham. Here is the inside story of DeMille’s historical refusal to pay a one-dollar assessment to a union’s political treasury and how this changed the course of his later years.

Here, too, are the memorable stories behind his epical films, such as The Plainsman, The Buccaneer, Union Pacific, North West Mounted Police, Reap the Wild Wind, The Story of Dr. Wassell, Samson and Delilah, The Greatest Show on Earth.

A novel based on DeMille’s life would seem incredible. Yet every moment of this drama lived by this creator of drama who was also a businessman, banker, aviator, and fighter for his beliefs, is true – a vivid, swift-moving, inspiring story of a dynamic, many-sided human being.

Hardcover, dust jacket – 465 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 1.045 g (36,9 oz) – PUBLISHER Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1959

The Autobiography of Will Rogers (Will Rogers; selected by and edited by Donald Day; foreword by Jim Rogers, Will Rogers, Jr.)

rogers-will-the-autobiography-of-will-rogersWill Rogers always said that he never met a man he did not like. Certainly he himself was one of the most universally beloved Americans of our century. Now Will tells his own story in his own words – the remarkable and revealing story of his life, his times, his experiences, his travels, and the many famous people who were his friends.

Will’s story covers the full span of his life, from his childhood and the days when he was a real cowboy riding the range, on through the exciting and eventful years during which his name became familiar all over the world. He tells about his modest beginnings, his part-Cherokee Indian heritage, his rodeo adventures, his first engagements in vaudeville, and then his Broadway triumph. From there the path of his career broadened and his popularity was unlimited as an entertainer and lecturer, as a newspaper and magazine columnist, and as a star of radio and motion pictures.

He visited every State of the Union and more than once circled the globe. Among his host of friends were such notables as Charlie Chaplin, Babe Ruth, Eddie Cantor, Al Smith, and two Presidents, Woodrow Wilson and Calvin Coolidge. And Will’s salty, colorful, perceptive impressions of the places he saw and the people he knew are all here in his Autobiography.

Best of all, here are the cream of Will’s unforgettable comments, observations, jokes, sayings, and opinions on just about everything and everyone – Democrats, Republicans, Hollywood, Disarmament, Russia, women’s clothes, diplomats, flying, city people vs. small town people, banquets, politicians, newspapers, war and peace, and anything else that was on his lively and searching and well-informed mind. Full of wit and wisdom, of common sense and sound advice, Will’s words, like his personality, are part of our American heritage.

Certainly we will remember Will’s wonderful movie characters, such as David Harum, Judge Priest, a Connecticut Yankee. But what we remember best about Will Rogers is Will himself – his homely philosophy, his delightful humor, his honest and unaffected concern for the truth and for the rights and happiness of his fellow citizens.

Here is your chance, in the pages of this book, to hear Will speak again, to meet with him and learn from him and, above all to enjoy the warmth of his personality and the refreshment of his words. They are words which are as timely today as when Will was alive, and because the story of his life and his thoughts is also the story of the years just past, his book has added value as a history of those years and as a guide for our future.

One of Will’s most famous sayings was: “It’s great to be great but it’s greater to be human.” His Autobiography is proof of his own humanity, of his greatness. And the fact that the American public has quickly lifted his story to best-seller heights of popularity is proof that Will is still very much alive in our hearts and minds.

Hardcover, dust jacket – 395 pp. – Dimensions 20,5 x 14 cm (8,1 x 5,5 inch) – Weight 499 g (17,6 oz) – PUBLISHER People’s Book Club, Chicago, Illinois, 1935, 1949

Ava (Charles Higham)

scannen0102Her husbands and lovers included Frank Sinatra, Artie Shaw, and Mickey Rooney, Howard Hughes, Howard Duff, and bullfighter Luis Miguel Dominguin. She was one of the last of the great Hollywood sex goddesses, studio packaged – her personal and screen lives deeply intertwined in a way that happened only in America in the heyday of the movies. She became one of the first of the liberated women, making her own life rules, choosing her own men. She was, and is, Ava – Ava Gardner – and in this penetrating biography, based in large part on interviews with those who knew her best, those who worked with her and those who lived with her, we get a definitive picture of a flamboyant, obsessive, compelling woman.

Ava Gardner got to Hollywood as the result of a silent screen test: her southern accent was too strong to be transmitted. She was 18; she knew nothing about acting; her motions were clumsy. But she projected sex: as MGM’s publicist said, there wasn’t a man who saw that test who wouldn’t have liked to take her to bed.

She learned how to move, how to act, how to speak – and she learned of her power over others. She had made a bet that within a year of reaching Hollywood, she would marry the biggest movie star in the world. And she did: Mickey Rooney.

Here is their story and that of the other men in her life: her husbands, her lovers, her special friends – including Ernest Hemingway and Robert Graves. And here are the behind-the-scenes stories of the movies that made her a star: The Killers, The Snows of Kilimanjaro, Mogambo, The Barefoot Contessa, Bhowani Junction, Night of the Iguana. The result is not just a biography, but a colorful story of the heyday of moviemaking.

CHARLES HIGHAM is Hollywood correspondent for The New York Times and the author of eight previous hooks on Hollywood. He makes his home in Los Angeles.

Hardcover, dust jacket – 267 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 487 g (17,2 oz) – PUBLISHER Delacorte Press, New York, New York, 1974 – ISBN 0-440-01394-1

Ava Gardner: “Love Is Nothing” (Lee Server)

server-lee-ava-gardnerMen, literally, had to prop themselves against buildings when she walked by – she was that beautiful. She was the sex symbol who dazzled all the other sex symbols. She was the temptress who drove Frank Sinatra to the brink of suicide and haunted him to the end of his life. Ernest  Hemingway saved one of her kidney stones as a sacred memento, and Howard Hughes begged her to marry him but she knocked out his front teeth instead.

Her charismatic presence, jaw-dropping beauty, and fabulous, scandalous adventures fueled the legend that Ava Gardner became: one of the great icons in Hollywood history – star of The Killers, The Barefoot Contessa, and The Night of the Iguana – one of the few stars whose actual life was grander and more colorful than any movie.

Ava Gardner: “Love Is Nothing” is the first complete biography of this extraordinary figure, the barefoot farm girl from North Carolina who became a Hollywood goddess. Prodigiously researched, the book is filled with fresh insight from hundreds of exclusive interviews with Ava’s colleagues, close friends, and lovers. Written with great style and a sense of time and place, it is a vivid recreation of a life of incredible glamor, hedonism, and self-destruction, a life painted in bold colors on a spectacular public canvas: big-studio Hollywood in the forties and fifties; MGM musicals and the birth of film noir; exotic locations from Pakistan, East Africa, and tropical Mexico to Sinatra’s Las Vegas, the Rome of La Dolce Vita, and the Spain of fearless bullfighters and murderous dictators.

But no less a spectacle is Ava’s tumultuous private life and inner torment, the price she paid for her great fame and beauty, and her lifelong, darkly romantic search for love. Lee Server’s account of the Gardner-Sinatra romance and marriage is the most detailed yet of this legendary pairing and full of new and sometimes shocking information about their passionate, stormy relationship.

Gardner’s last years were spent in London, and Server’s chapters about that solitary time in her life, when disease sprang up and attention died down, are raw and moving. Ava Gardner: “Love Is Nothing” is both an exceptional work of biography and a richly entertaining read – colorful, outlandish, and surprising. This is the definitive biography of Hollywood’s most glamorous, restless, and uninhibited star.

LEE SERVER is a writer, biographer, and chronicler of pop culture. His previous biography, Robert Mitchum: “Baby, I Don’t Care,” was named a Best Book of the Year by the Los Angeles Times.

Hardcover, dust jacket – 551 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 997 g (35,2 oz) – PUBLISHER St. Martin’s Press, New York, New York, 2006 – ISBN 0-312-31209-1

Ava: My Story (Ava Gardner)

gardner-ava-ava-my-story“If I don’t tell my side of the story,” Ava Gardner said, “it’ll be too late, and then some self-appointed biographer will step in and add to the inaccuracies, the inventions and the abysmal lies that already exist.

I want to tell the truth… about the three men I loved and married: Mickey Rooney, Artie Shaw and Frank Sinatra. I want to write about the Hollywood I knew from the early forties when I arrived wide-eyed from the cotton and tobacco fields of North Carolina, about the films I made, many in exotic settings all over the world, and the real behind-the-scenes stories, often a damn sight more dramatic than the movies themselves.

I want to remember it all, the good and bad times, the late nights, the boozing, the dancing into dawns, and all the great and not-so-great people I met and loved in those years.”

Over a period of more than two years, Ava Gardner filled some ninety tapes with the memories of her life as a sharecropper’s daughter turned legendary screen star, completing the last tape just a few months before her sudden death in January 1990. And here, now, is her story, as only Ava can tell it, as straightforward, irreverent and exciting as the woman herself.

The seventh child of a kindly farmer and his gregarious wife, she grew up a risk-taking tomboy who was happiest running barefoot through the fields. She was a pretty girl who knew what it was like to be dirt poor, and in 1940, at the age of eighteen, she was about to be transformed overnight from North Carolina hillbilly to MGM starlet. Within six months she was socializing with stars such as Lana Turner, Elizabeth Taylor and Peter Lawford, dancing at Ciro’s and the Trocadero and married to Mickey Rooney, the most popular entertainer in America. And that was only the beginning.

Over the next four decades Ava Gardner would dazzle the world with memorable roles in such film classics as Show Boat, The Bible and The Night of the Iguana. Here, she recalls the early days, from posing for cheesecake photos ‘sultry enough to melt the North Pole’, to battling stage fright with a shot of bourbon; from making The Snows of Kilimanjaro and The Barefoot Contessa, movies that brought her international fame, to her Oscar-nominated performance in Mogambo, playing opposite her screen idol, Clark Gable.

Here, too, with characteristic candour, Ava reveals her tempestuous private life: the three stormy marriages that ended in divorce; the passionate affairs with matadors and movie stars; the complex twenty-year friendship with eccentric multi-millionaire Howard Hughes; the romantic dreams, the doubts, the battles off screen and on; the wild times, and later, the quiet times of a hard-living, hard-loving screen siren who was rightly called the most irresistible woman in the world.

Hardcover, dust jacket – 315 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 653 g (23,0 oz) – PUBLISHER Bantam Press, London, 1990 – ISBN 0-593-2191-6

Avec ces yeux-là (Michèle Morgan)

Morgan, Michele - Avec ces yeux-làDe bonnes fées ont présidé à la naissance de Michèle Morgan. Comment en douter? A cinq ans, un astrologue lui prédit un destin exceptionnel. A dix ans, chaque fois qu’on lui demande ce qu’elle veut faire plus tard, elle répond invariablement: “du cinéma.” Huit ans plus tard, lors-qu’elle apparaît dans Le quai des brumes, son regard fait chavirer le cœur de la France entière et entre à jamais dans la légende.

Toutefois, les astres ne sont pas les seuls artisans de cette réussite éclatante, ni ce regard célèbre qui a fait dire à Jean Gabin: Avec ces yeux-là… Son destin, Michèle Morgan a été la première à y croire et à le vouloir, donc à le forger. La chance a fait le reste: une carrière qui, de Gribouille au Chat et la Souris – soixante films en tout – a fait de Michèle Morgan I’un des personnages-clés du cinéma français.

Cependant, les peines et les larmes ne l’ont pas ménagée. Michéle Morgan a connu toutes les épreuves qu’une femme peut rencontrer sur sa route. Elle a dû mener deux combats harassants et dramatiques: le premier pour reconquérir Mike, le fils de son premier mariage avec l’Américain Bill Marshall; le second pour tenter vainement d’arracher son second mari, Henri Vidal, à un terrible fléau…

Aujourd’hui, Michèle Morgan a retrouvé l’équilibre et la joie de vivre auprès de deux hommes: l’auteur et réalisateur Gérard Oury, et Mike, marié, et grâce à qui elle est devenue aussi la plus belle des grand-mères.

Softcover – 330 pp. – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 575 g (20,3 oz) – PUBLISHER Éditions Robert Laffont-Opera Mundi, Paris, 1977

A-Z of Silent Film Comedy: An Illustrated Companion (Glenn Mitchell; foreword by Kevin Brownlow)

mitchell-glenn-a-z-of-silent-film-comedySilent film comedy is not just Charlie Chaplin, Harold Lloyd, Buster Keaton and the Keystone Cops – though all of these illustrious names are thoroughly covered in Glenn Mitchell’s encyclopedic treatment of the subject.

Silent comedy is not exclusively American – although American acts familiar and unfamiliar are fully covered, from Mack Swain and Anita Garvin to John Bunny, Winsor McCay and the hitherto obscure Snakeville Comedies. Women are not forgotten – such as Gale Henry, Alice Howell, and Mabel Normand. Acts from outside the USA include Britain’s popular Fred Evans (‘Pimple’) and France’s Andre Deed. Pioneer comedy filmmakers such as George Albert Smith are also given extensive coverage.

Our view today of the silent era is a distorted one, in which few names bulk large and many others are forgotten. Glenn Mitchell unearths many lost gems of a bygone era – the era when audiences first learned how to laugh.

GLENN MITCHELL is an internationally recognized authority on early cinema comedy. He is a film journalist and a specialist in all forms of comedy, animation and music-hall. His previous publications, The Laurel & Hardy Encyclopedia, The Marx Brothers Encyclopedia and The Charlie Chaplin Encyclopedia are best-sellers.

Softcover – 256 pp. – Dimensions 25 x 18,5 cm (9,8 x 7,3 inch) – Weight 699 g (24,7 oz) – PUBLISHER B. T. Batsford, Ltd., London, 1998 – ISBN 0-7134-7939-6