Fabulous Boulevard (Ralph Hancock)
Wilshire Boulevard has been called the Fifth Avenue of the West, Highway to Hollywood, Champs Élysées of the Western Hemisphere, Glamour Boulevard of America. It is all of these, for it is the show window of Los Angeles, “Paradise on Parade,” and a cross-section of all America. But Wilshire Boulevard is more than these. Once it was the main-traveled Indian trail connecting the coastal villages of prehistoric times. Later, it was the road over which the romantic Spanish rancheros drove their cattle in the annual rodeo, and, at the turn of the century, it was the horse-and-buggy road connecting the boom town Los Angeles with the beach. Now it is the ultra-sophisticated commercial center serving eleven communities in the Los Angeles basin. In its sixteen miles are the world’s most beautiful department stores, most modern office buildings, most famous restaurants, oldest night club, and, in the La Brea asphalt pits, a visible link with the ancient geologic past. Here, side by side, stand the oldest and the newest in hundreds of contrasts.
Los Angeles began as a mud village of 44 souls in 1781, doubled its population every ten years until it now contains 2,250,000 people. If it continues to follow this pattern, it will be the world’s largest city by 1970. It is already the world’s largest in area. The romantic and fantastic history of this city is told here as the life story of a boulevard, the main street in the world’s most extraordinary city.
Here are all the picturesque personalities, strange events, peculiar economic pressures, unusual industrial developments, and hodgepodge of American population that have made a great boulevard the most talked-about portion of this most publicized town.
RALPH HANCOCK began writing for newspapers in St. Louis, moved on to Los Angeles and Santa Barbara, and then to Latin America where he was for many years foreign correspondent for American press services and director of publicity for TACA Airways. He is the author of many magazine articles and stories, and of twelve other books – most recently The Magic Land: Mexico; The Rainbow Republics: Central America, and Opportunities in Latin America. A widely-known lecturer and photographer, he took the color photographs of Wilshire Boulevard which appear on the covers and jacket of this book.
Hardcover, dust jacket – 322 pp., index – Dimensions 23 x 15,5 cm (9,1 x 6,1 inch) – Weight 601 g (21,2 oz) – PUBLISHER Funk & Wagnalls Company, New York, New York, 1949
Fade Out: The Calamitous Final Days of MGM (Peter Bart)
“What we face here is a once-in-a-lifetime opportunity – the chance to save a great studio,” Frank Yablans intoned gravely. “Kirk Kerkorian has given me an open checkbook. I can make any deal, go after any project!…”
“This is his last shot,” Yablans explained. “If we succeed, it’s back to the halcyon days.”
“And if not?…”
“Kirk locks up the studio and throws away the key.” – From Fade Out
It took Kirk Kerkorian nearly twenty years to wheel and deal to the point where all that remained of MGM was the faint meow of Leo the Lion. But the descent of that once regal movie powerhouse was occasioned by no small amount of glamour, humor and greed. And fortunately, author Peter Bart was in the thick of it all through some of the most exemplary years of MGM’s demise.
In Fade Out, we are treated to the big picture of a world-class studio over the past twenty years: a time of mergers and junk bond offerings, corporate musical chairs (with Kerkorian the only constant), the selling off of the whole film library (twice) and the company back lot. Even the historic sets and wardrobes of many of the MGM classics went on the block. Meanwhile, MGM produced a succession of movies: some of them successful, some sleazy, too many of them flops.
The close-up shots in the book focus on the Frank Yablans regime, of which Peter Bart was a part beginning in 1983. In those days the studio was thriving again, with potential blockbusters in development: a big western with Jack Nicholson and Lauren Hutton, a romance with Nick Nolte, a sequel to 2001: A Space Odyssey, a love story featuring Diane Keaton and Mel Gibson. Two years later the studio was left facing a sea of red ink along one of the most embarrassing breach of contract suits in Hollywood history.
The path of these unmitigated disasters was, fortunately for us, strewn with wonderful stories involving Hollywood’s biggest names, both on and off the screen.
This is not only a bizarre drama of colorful characters propelled across an Alice-in-Wonderland landscape littered with dashed hopes and bitter betrayals, but also a powerful story of corporate demolition in the 1980s.
PETER BART was a senior vice-president of MGM/UA, and has also served as a senior production executive at two other major studios. He has been a reporter for The New York Times and The Wall Street Journal. He is the author of two published novels and is currently the editor of Variety. Peter Bart lives in New York City.
Hardcover, dust jacket – 306 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 588 g (20,7 oz) – PUBLISHER Simon & Schuster, New York, New York, 1990 – ISBN 0-671-71060-5
Fame in the 20th Century (Clive James)
The rise of the media in the twentieth century changed the nature of fame: before people had been famous for what they had done; in the twentieth century many have become famous just for who they are. Film footage and modern fame began together, and what began as a flood has become a torrent: hundreds of thousands of images that have shaped reality and perhaps distorted it.
In this book, which accompanies his major eight-part tv series, the writer and television presenter Clive James looks at the nature of fame in the twentieth century, giving it his own unique interpretation – original, illuminating and funny. All the key international figures – from politics, art, literature, science, sport and crime – are here, starting with that strange but crucial turn of events by which Captain Scott, who got to the South Pole second, became a hundred times more famous than the man who got there first, thus inaugurating the peculiar nature of modern fame by which the coverage of an event alters its reality.
The screen stars, both on film and television, are a major presence. James Dean became a god without ever needing to become a man in the first place. Fame and an early death have kept him young. Was fame what Marilyn Monroe died of? And Elvis Presley?
In Fame In The Twentieth Century we have the excitement of watching the legends grow, and the satisfaction of finding out how. The reader will be entertained, enlightened, and maybe better able to face a world in which fame and its techniques are likely to grow more pervasive, not less.
CLIVE JAMES was educated at Sydney University and Cambridge, where he was President of Footlights. In addition to his runaway best-sellers Unreliable Memoirs and Unreliable Memoirs II & III: Falling Towards England and May Week Was In June, he has published three novels, Brilliant Creatures, The Remake and Brrm! Brrm!; four mock-epic poems; Flying Visits (about air travel); four books of literary criticism, and his collected poems, Other Passports: Poems 1958-1985. Between 1972 and 1982 he was the television critic for The Observer. The three volumes of selections from his column are Visions Before Midnight, The Crystal Bucket and Glued To The Box. There is an omnibus volume, On Television. Clive James appears regularly on BBC Television. In addition to the Fame In The Twentieth Century series, his programmes have included documentary Postcards from nine of the world’s capital cities, four series of his weekly entertainment show Saturday Night Clive, two series of The Talk Show With Clive James and a series of The Clive James Interview. His two-hour review of the decade Clive James On The 80s won the BAFTA Award for Best Light Entertainment Programme in 1989. In 1992 he was awarded the Order of Australia.
Hardcover, dust jacket – 256 pp., index – Dimensions 25,5 x 19,5 cm (10 x 7,7 inch) – Weight 910 g (32,1 oz) – PUBLISHER BCA, London, 1993
Famous Hollywood Locations: Descriptions and Photographs of 382 Sites Involving 289 Films and 103 Television Series (Leon Smith)
“The title of this book refers to the physical locations in and near the city of Los Angeles and the country of Mexico used to film segments of motion pictures and television series. All locations listed in this publication have been identified through review of films, videotapes, still photographs taken at the time of filming and printed matter relating to the motion picture and television series production. To confirm the authenticity of each site, I have personally visited all locations included in this book. The research for this book encompassed vast stretches of Los Angeles city and county, from the far reaches of the San Fernando Valley to the southern section of the city, and from the Pacific Ocean to East Los Angeles. Some of the material in this book has previously appeared in four other books written by this author (A Guide to Laurel and Hardy Movie Locations and Following the Comedy Trail, published by G.J. Enterprises in 1982 and 1984 respectively, and Following the Comedy Trail: A Compilation and Hollywood Goes on Location, both published by Pornegranate Press in 1988).
If you visit these locations, please remember that most of the residences are occupied and, of course, are private and that many of the commercial properties restrict entry without express permission. So please use discretion and courtesy. Do not trespass on private property or disturb the privacy of any person.
Also keep in mind that many locations are close to other locations. So to avoid backtracking, review the locations before a visit. For example, in downtown Los Angeles two War of the Worlds sites are just across the street from an L.A. Law site; the theater seen in La Bamba is close to the Carnation Building (the lobby of the Daily Planet from The Adventures of Superman television series) which, in turn, is very close to “ground zero” seen in Miracle Mile; the house seen in television’s Leave It to Beaver is only a few blocks from the house seen in Laurel and Hardy’s 1927 classic comedy Love ‘Em and Weep; the Culver City site of Barfly is but across the street from a location seen in A Nightmare on Elm Street 5: The Dream Child.
Additionally, many films begin at one location and end at another. Occasionally other locations are used in between. In such instances, the location first seen in the film will be the primary film location, with additional film locations listed in the narrative portion and cross-referenced in the appropriate sections of this book.
Take your time and plan your visit well. To provide as much assistance as I can, especially to visitors from out of the city of Los Angeles or the state of California – or the United States for that matter – I’ve grouped the sites geographically, beginning with the city of Los Angeles, followed by Hollywood, with the remaining communities listed in alphabetical order. The Thomas Brothers Map references listed throughout this text refer to coordinates in the current edition of the Thomas Brothers Guide, Los Angeles County Street Atlas and Directory, which is on sale at most Los Angeles stationery shops and bookstores, or can be ordered by mail from Thomas Brothers Maps and Books, 603 West Seventh Street, Los Angeles, CA 90017.
Note: After 76 years, Thomas Brothers redesigned their Los Angeles map books. The revisions begin with the 1992 edition and are included in the present work, as are page numbers and grids from previous Thomas Brothers map books for convenient reference. For the serious film buff, I have included a synopsis of each film, with applicable Academy Award nominations and Oscar winners. In addition, a comprehensive index containing names, places, monuments, landmarks, studios, films and television series is found at the back of the book.” – From The Preface.
Did you ever wonder where Beaver Cleaver’s house was? How about the mountain where King Kong had his hideaway? Or Mr. Roark’s mansion and lagoon on Fantasy Island? Of course, all were in Hollywood. This is a photographic guide to 382 sites in and around Los Angeles that have been used in film and television. Some are well known (Mann’s Chinese Theater, the Hollywood Bowl, the Los Angeles Zoo); others are obscure (such as the Hollywood Hills house used in Double Indemnity, the garden from Dark Shadows and the Indian head rock seen in Noah’s Ark). The sites are grouped geographically, and each entry includes the exact address and photographs of what the location looks like today. A brief plot background is also provided.
LEON SMITH was a retired Los Angeles Police Department detective.
Hardcover – 354 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 660 g (23,3 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 1993 – ISBN 0-89550-886-3
Fanny Brice: The Original Funny Girl (Herbert G. Goldman)
“I’ve done everything in the theatre except marry a property man,” Fanny Brice once boasted. “I’ve acted for Belasco and I’ve laid ’em out in the rows at the Palace. I’ve doubled as an alligator; I’ve worked for the Shuberts; and I’ve been joined to Billy Rose in the holy bonds. I’ve painted the house boards and I’ve sold tickets and I’ve been fired by George M. Cohan. I’ve played in London before the king and in Oil City before miners with lanterns in their caps.” Fanny Brice was indeed show business personified, and in this luminous volume, Herbert G. Goldman, acclaimed biographer of Al Jolson, illuminates the life of the woman who inspired the spectacularly successful Broadway show and movie Funny Girl, the vehicle that catapulted Barbara Streisand to super stardom.
In a work that is both glorious biography and captivating theater history, Goldman illuminates Fanny’s remarkable career on stage and radio – ranging from her first triumph as “Sadie Salome” to her long run as radio’s “Baby Snooks” – and her less-than-triumphant personal life. He reveals a woman who was a curious mix of elegance and earthiness, of high and low class, a lady who lived like a duchess but cursed like a sailor. She was probably the greatest comedienne the American stage has ever known as well as our first truly great torch singer, the star of some of the most memorable Ziegfeld Follies in the 1910s and 1920s, and Goldman covers her theatrical career and theater world in vivid detail. But her personal life, as Goldman shows, was less successful. The great love of her life, the gangster Nick Arnstein, was dashing, handsome, sophisticated, but at bottom, a loser who failed at everything from running a shirt hospital to manufacturing fire extinguishers, and who spent a good part of their marriage either hiding out, awaiting trial, or in prison. Her first marriage was over almost as soon as it was consummated, and her third and last marriage, to Billy Rose, the “Bantam Barnum,” ended acrimoniously when Rose left her for swimmer Eleanor Holm. As she herself remarked, “I never liked the men I loved, and I never loved the men I liked.” Through it all, she remained unaffected, intelligent, independent, and, above all, honest.
Goldman’s biography of Al Jolson has been hailed by critics, fellow biographers, and entertainers alike. Now, with Fanny Brice, Goldman provides an equally accomplished portrait of the greatest woman entertainer of that illustrious era, a volume that will delight every lover of the stage.
HERBERT G. GOLDMAN is a free-lance writer who lives in New York City. He is currently working on a biography of Eddie Cantor.
Hardcover, dust jacket – 308 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 752 g (26,5 oz) – PUBLISHER Oxford University Press, New York, New York, 1992 – ISBN 0-19-505725-2
Farber on Film: The Complete Film Writings of Manny Farber (edited by Robert Polito)
Manny Farber (1917-2008) was a unique figure among American movie critics. Champion of what he called “termite art” (focused, often eccentric virtuosity as opposed to “white elephant” monumentality), master of a one-of-a-kind prose style whose jazz-like phrasing and incandescent twists and turns made every review an adventure, he has long been revered by his peers. Susan Sontag called him “the liveliest, smartest, most original film critic this country ever produced”; for Peter Bogdanovich, he was “razor-sharp in his perceptions” and “never less than brilliant as a writer.”
Farber was an early discoverer of many filmmakers later acclaimed as American masters: Val Lewton, Preston Sturges, Samuel Fuller, Raoul Walsh, Anthony Mann. A prodigiously gifted painter himself, he brought to his writing an artist’s eye for what was on the screen. Alert to any filmmaker, no matter how marginal or unsung, who was “doing go-for-broke art and not caring what comes of it,” he was uncompromising in his contempt for pretension and trendiness – for, as he put it, directors who “pin the viewer to the wall and slug him with wet towels of artiness and significance.”
The excitement of his criticism, however, has less to do with his particular likes and dislikes than with the quality of attention he paid to each film as it unfolds, to the “chains of rapport and intimate knowledge” in its moment-to-moment reality. To transcribe that knowledge he created a prose that, in Robert Polito’s words, allows for “oddities, muddies, crises, contradictions, dead ends, multiple alternatives, and divergent vistas.” The result is critical essays that are themselves works of art.
Farber on Film contains this extraordinary body of work in its entirety for the first time, from his early and previously uncollected weekly reviews for The New Republic and The Nation to his brilliant later essays (some written in collaboration with his wife, Patricia Patterson) on Godard, Fassbinder, Herzog, Scorsese, Altman, and others. Featuring an introduction by editor Robert Polito that examines in detail the stages of Farber’s career and his enduring significance as writer and thinker, Farber on Film is a landmark volume that will be a classic in American criticism.
ROBERT POLITI, editor, is a poet, biographer, and critic whose books include Doubles, Hollywood & God, A Reader’s Guide to James Merrill’s The Changing Light at Sandover, and Savage Art: A Biography of Jim Thompson, for which he received the National Book Critics Circle Award. He directs the Graduate Writing Program at the New School in New York City.
Hardcover, dust jacket – 824 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 1.170 g (41,3 oz) – PUBLISHER The Library of America, New York, New York, 2009 – ISBN 978-1-59853-050-6
Father Goose: The Story of Mack Sennett (Gene Fowler)
“Mack Sennett may never have heard of Shakespeare’s admonition to suit action to the word. All the rollicking comedies sponsored by him showed superlative disdain for the word which embellishes or cloaks action. Motion pictures, to him, were entirely visual, a kaleidoscope of images which, unaided by literary devices, carried their own meaning. Sennett was scornful of the written word, as such. He depended largely on happy improvisations for his early pictures. His far-flung enterprises at length precluded a hit-and-miss dependence upon inspirations. There were as many as nineteen comedies in the process of being filmed simultaneously. The time would come when the five hundred French farces he had accumulated and revamped would be exhausted. If the most inventive dramatic chef threw these five hundred Gallic plots into a single casserole and let it simmer a fortnight, the result would be – Cinderella.
When high-salaried comedians were kept idle, due to lack of story material, Sennett’s blood-pressure mounted with the overhead. He had no recourse but to turn to the scriveners. “I don’t want what they write,” he rationalized. “I want the brains that are behind their writing.” Sennett’s distrust of the written word need not be taken for a gross illiteracy. He was convinced that authors seduced themselves with their own phrases. Besides, he was positive that a story gains more in the telling than in the writing. What cannot be remembered as oral narrative is not worth remembering. He clinched his argument beyond rebuttal by unexpectedly citing Homer and the Old Testament as monumental examples of word-of-mouth masterpieces.
It was fortunate that someone had provided him with such classic precedents, for it was on this ruling that he denied the appeals of his authors for typewriters and quills. These toolless artisans had to produce their plots and character studies vocally and extemporaneously. When any newcomer among the scribes pleaded for a sheet of paper or a pencil, Sennett would say: ‘Don’t write the story – tell it. You’ll always find people more willing to listen than to read.’
The telling of a tale is, at best, an ephemeral accomplishment. Its moment is brief; it is a child of the present, and it dies as it creates its effect. In the Sennett scheme, all stories were a compilation of fragments contributed under the exigencies of necessity and the flare of inspiration. No one man could claim fatherhood to the ultimate screen story. The work was all anonymous and communal. Thus was founded a new school of fragmentary writers – the gag-men. This inelegant title in no way indicates the vital contribution to motion pictures from these resourceful and sparkling artists. In every crisis they are called upon to perform miracles on moribund productions. Nowhere else in Hollywood did the gag-men enjoy such prestige as prevailed at Sennett’s Edendale studio. A miscellany of wags, bonded together by the loose camaraderie of contempt, made Mack ponder on human ingratitude. To instill a grain of esprit de corps and to create a semblance of organization, Sennett housed them in a bungalow of their own and sought for someone, in the role of ‘scenario editor,’ who could harness these unbroken colts. He experimented with several Führers. Craig Hutchinson was one of the early incumbents. When Hampton Del Ruth received a call, as a gag-man, he pondered over his qualifications. ‘What could you do with a fellow like me?’ he asked Hutchinson. ”I’m a playwright.’ ‘Don’t worry,’ replied Hutchinson confidently. ‘What we want is dramatists – men who can write drama tilted a bit. Put the silk hat on cock-eyed.'” – From Chapter 19, ‘Fiddlers Tree.’
Hardcover – 407 pp. – Dimensions 21,5 x 15 cm (8,5 x 5,9 inch) – Weight 712 g (25,1 oz) – PUBLISHER Covici Friede Pulishers, New York, New York, 1934
Featured Player: An Oral Autobiography of Mae Clarke (edited with and introduction by James Curtis)
When Mae Clarke arrived in Los Angeles in 1929, she was a headliner in vaudeville who preferred the New York stage to acting in movies. She went to work for Fox and planned to stay just long enough to fulfill het contract. Her stay lasted 63 years.
After distinguishing herself as Molly Malloy in Howard Hughes’ production of The Front Page, Mae Clarke took a two-day job at Warner Bros. that changed her life. In an unbilled part, she allowed James Cagney to grind a grapefruit in her face and, at the age of 20, achieved a kind of fame that would haunt her for the rest of her life.
This isn’t the story of a star, but rather a featured player – a talented actress who supported herself in movies and television for almost 40 years. Though hampered by failed marriages, bad luck, and a bout of mental illness, Mae Clarke managed to appear in 90 feature films, including such classics as Waterloo Bridge, Frankenstein, Lady Killer, Singin’ in the Rain, Pat and Mike, and Throughly Modern Millie.
Drawn from 32 hours of recordings made between 1990 and 1992, Featured Player is a fascinating first-person picture of Hollywood without the glamour. It is also Mae Clarke’s intensely personal story of survival and triumph.
MAE CLARKE (1910-1992) made her Broadway debut at the age of 15. She married dancer-comedian Lew Brice in 1928, and came to Hollywood the following year. Although she became famous for the grapefruit scene in The Public Enemy (1931), she was a versatile and respected actress who worked opposite James Cagney, Boris Karloff, Jean Harlow, Colin Clive, Pat O’Brien, Ralph Bellamy, John Gilbert, Lew Ayres, Lionel Barrymore, Bette Davis, Lee Tracy, Jack Holt, John Wayne, Chester Morris, and Edward G. Robinson. In 1951 she entered television and appeared on Dragnet, The Loretta Young Show, Hallmark Hall of Fame, Playhouse 90, Perry Mason, Ben Casey, F Troop, and Batman. She began work on Featured Player in 1990 and finished it shortly before her death at the age of 81. JAMES CURTIS is a marketing executive and consultant to the computer and health care industries. He is the author of Between Flops, an acclaimed biography of Preston Sturges, and A World of Gods and Monsters, the forthcoming biography of James Whale.
Hardcover, dust jacket – 295 pp., index – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 543 g (19,2 oz) – PUBLISHER Scarecrow Press, Lanham, Maryland, 1996 – ISBN 0-8108-3044-2
Federico Fellini: Een compleet overzicht van al zijn films (Chris Wiegand)
“Op 29 maart 1993 kreeg Federico Fellini zijn vijfde Oscar, een beeldje ter ere van zijn gehele oeuvre, dat werd toegevoegd aan het viertal dat hij al had voor Beste Buitenlandse Film voor La Strada (The Road, 1954), Le notti di Cabiria (The Nights of Cabiria, 1957), 8 1/2 (Otto e mezzo, 1963) en Amarcord (I Remember, 1973). De reis naar California voor de ceremonie viel de 73-jarige regisseur, die aan acute artritis leed, zwaar. Hij kwam aan bij het Dorothy Chandler Pavilion vergezeld en gesteund door onder andere Giulietta Masina, zijn vrouw en muze, en Marcello Mastroianni, de acteur die al geruime tijd bekendstond als zijn alter ego op het witte doek. Het gezelschap werd belaagd door horden fotografen, cameralieden en journalisten. Het tafereel zou niet hebben misstaan in La dolce vita (1960), het caleidoscopische meesterwerk dat Fellini in één klap internationale faam bracht en hem in zijn eigen land de titel il maestro bezorgde.
Fellini ontving de prijs uit handen van Sophia Loren, die hem beschreef als “een van de meestervertellers van het witte doek” – een toepasselijke titel voor een regisseur die ook journalist, cartoonist, gagman en scriptschrijver was geweest. Fellini, die zichzelf poppenspeler, circusbaas en uitvinder noemde, was tijdens die beroepen vóór alles meesterverteller. De vele journalisten die hem in Cinecittà interviewden, zullen dat bevestigen. Net als alle grote verhalenvertellers was hij ook een bedreven leugenaar. De mysterieuze regisseur, met zijn neiging tot zelfmythologisering en liefde voor ambiguïteit, wees de cinéma vérité af ten gunste van wat hij “cine-leugenachtigheid” noemde. Zijn commentaren liepen uiteen van raadselachtig tot gekmakend. Als Fellini il maestro was, was hij ook il imago: een begaafd goochelaar die niet alleen fascinerende verhalen op het scherm vertelde, maar ook magische draden omtrent zijn eigen leven spinde. “Ik heb mezelf volledig uitgevonden”, beweerde hij. “Een kindertijd, een persoonlijkheid, verlangens, dromen en herinneringen, allemaal om ze te kunnen vertellen.”
Bijgevolg bevinden Fellini’s biografen zich vaak in troebel water. In diverse interviews komen dezelfde verhalen terug, maar met andere data, personen die verdwijnen en details die onduidelijk worden. Voor Fellini waren echte herinneringen en filmfantasieën duidelijk inwisselbaar. Als we aan de regisseur denken, worden we herinnerd aan de woorden van Kris Kristofferson die worden geciteerd in Taxi Driver (1976), geregisseerd door een groot fan van Fellini, Martin Scorsese.” – From chapter 1, ‘Van Rimini naar Rome, 1920-1950.
Softcover – 191 pp. – Dimensions 25 x 20 cm (9,8 x 7,9 inch) – Weight 864 g (30,5 oz) – PUBLISHER Taschen GmbH, Keulen, Germany, 2003 – ISBN 3-8228-2696-0
Federico Fellini: His Life and Work (Tullio Kezich; originally titled Federico)
In 1963, with the revolutionary 8 1/2, Federico Fellini put his deepest desires and anxieties before the lens, permanently impacting the art of cinema in the process. Now, more than forty years later, film critic and Fellini confidant Tullio Kezich has written the work against which all other biographies of the filmmaker will be measured. In this moving and intimately revealing account of a lifetime spent in pictures, Kezich utilises his friendship with Fellini to step outside the frame of myth and anecdote that surrounds him – much of which, it turns out, is of the director’s own making.
A great lover of women and a meticulous observer of dreams, Fellini, perhaps more than any other director of the twentieth century, created films that embodied a thoroughly modern sensibility, eschewing traditional narrative along with religious and moral precepts. His is an art of delicate pathos, of episodic films that directly address the intersection of reality, fantasy, and desire that existed as a product of mid-century Italy – a country that was reeling from a Fascist regime as it struggled with an outmoded Catholic national identity. As Kezich reveals, the dilemmas Fellini presents in his movies reflect not only his personal battles but also those of Italian society. The result is a biography that explores both the machinations of cinema and the man who most grandly embraced the full spectrum of its possibilities, leaving his mark on it forever.
TULLIO KEZICH is the film critic for Corriere della Sera. The author of numerous books on cinema, as well as other subjects, he is also a playwright whose work is widely performed throughout Europe.
Hardcover, dust jacket – 444 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 774 g (27,3 oz) – PUBLISHER Faber and Faber, New York, New York, 2006 – ISBN 978-0-571-21168-5
Femme Noir: Bad Girls of Film (Karen Burroughs Hannsberry)
What could be more unsettling than the steely look on Gene Tierney’s face as she watches her young brother-in-law drown in Leave Her to Heaven? Or Barbara Stanwyck’s voice in Double Indemnity as she coolly tells her lover that it is straight down the line for both of us in their plot to murder her husband. Though often thought of as primarily male vehicles, films noirs offered some of the most complex female roles of any movies of the 1940s and 1950s. Stars such as Barbara Stanwyck, Gene Tierney and Joan Crawford produced some of their finest performances in noir, while such lesser known actresses as Peggie Castle, Hope Emerson and Helen Walker made a lasting impression on moviegoers with their roles in the genre. These six women and forty-three others who were most frequently featured in films noirs are profiled here, focusing primarily on their work in the genre and its impact on their careers. A filmography of all noir appearances is provided for each actress.
KAREN BURROUGHS HANNSBERRY is editor of the bimonthly film noir newsletter The Dark Pages and has written about the actors of film noir. She lives in Chicago.
[Portraits on Lauren Bacall, Joan Bennett, Ann Blyth, Peggie Castle, Jeanne Crain, Joan Crawford, Peggy Cummins, Rosemary DeCamp, Yvonne DeCarlo, Faye Emerson, Hope Emerson, Rhonda Fleming, Nina Foch, Sally Forrest, Ava Gardner, Gloria Grahame, Coleen Gray, Jane Greer, Jean Hagen, Dorothy Hart, Signe Hasso, Susan Hayward, Rita Hayworth, Virginia Huston, Adele Jergens, Evelyn Keyes, Veronica Lake, Ida Lupino, Dorothy Malone, Marilyn Monroe, Agnes Moorehead, Carthy O’Donnell, Dorothy Patrick, Jean Peters, Ella Raines, Ruth Roman, Gail Russell, Jane Russell, Lizabeth Scott, Barbara Stanwyck, Jan Sterling, Gene Tierney, Audrey Totter, Claire Trevor, Lana Turner, Helen Walker, Marie Windsor, Shelley Windsor, Loretta Young]
Hardcover – 633 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 967 g (34,1 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 1998 – ISBN 0-7864-0429-9
Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany’s, and the Dawn of the Modern Woman (Sam Wasson)
Audrey Hepburn is an icon like no other, yet the image many of us have of Audrey – dainty, immaculate – is anything but true to life. Here, for the first time, Sam Wasson presents the woman behind the little black dress that rocked the nation in 1961. The first complete account of the making of Breakfast at Tiffany’s, Fifth Avenue, 5 A.M. reveals little-known facts about the cinema classic: Truman Capote desperately wanted Marilyn Monroe for the leading role; director Blake Edwards filmed multiple endings; Hepburn herself felt very conflicted about balancing the roles of mother and movie star. With a colorful cast of characters including Truman Capote, Edith Head, Givenchy, “Moon River” composer Henry Mancini, and, of course, Hepburn herself, Wasson immerses us in the America of the late fifties before Woodstock and birth control, when a not-so-virginal girl by the name of Holly Golightly raised eyebrows across the country, changing fashion, film, and sex for good. Indeed, cultural touchstones like Sex and the City owe a debt of gratitude to Breakfast at Tiffany’s.
In this meticulously researched gem of a book, Wasson delivers us from the penthouses of the Upper East Side to the pools of Beverly Hills, presenting Breakfast at Tiffany’s as we have never seen it before – through the eyes of those who made it. Written with delicious prose and considerable wit, Fifth Avenue, 5 A.M. shines new light on a beloved film and its incomparable star.
SAM WASSON studied film at Wesleyan University and the USC School of Cinematic Arts. He is the author of A Splurch in the Kisser: The Movies of Blake Edwards, and the forthcoming Paul on Mazursky. He lives in Los Angeles.
Hardcover, dust jacket – 123 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 368 g (13 oz) – PUBLISHER HarperCollins Publishers, New York, New York, 2010 – ISBN 978-0-06-177415-7
50 Major Film-Makers (edited by Peter Cowie)
In the past fifteen years the work of the film director has been analyzed and discussed as never before. Not only the “fashionable” European filmmakers have found their reputations thus enhanced; Hollywood veterans from Hitchcock to Kazan have been studied in books and magazines throughout the world. During the vital period 1964-1973, International Film Guide, founded primarily to focus on the personal vision in cinema, selected “Five Directors of the Year” for each of its annual editions.
Now for the first time these essays have been gathered together in one remarkable volume, and form a valuable introduction to the most exciting (and often unfamiliar) names in modern cinema. All the material has been brought up to date, and each monograph is illustrated with attractive new stills.
The directors, who come from sixteen countries, are (in alphabetical order): Lindsay Anderson, Michelangelo Antonioni, Ingmar Bergman, Bernardo Bertolucci, Sergey Bondarchuk, Robert Bresson, Richard Brooks, Luis Buñuel, Claude Chabrol, Jacques Demy, Jörn Donner, Mark Donskoy, Federico Fellini, Milos Forman, Georges Franju, Milos Forman, John Frankenheimer, Bert Haanstra, Alfred Hitchcock, Kon Ichikawa, Joris Ivens, Miklos Jancso, Elia Kazan, Grigori Kozintsev, Stanley Kubrick, Akira Kurosawa, Joseph Losey, Sidney Lumet, Dusan Makavejev, Louis Malle, Jean-Pierre Melville, Jan Nemec, Nagisa Oshima, Pier Paolo Pasolini, Arthur Penn, Roman Polanski, Satyajit Ray, Alain Resnais, Eric Rohmer, Francesco Rosi, John Schlesinger, Evald Schorm, Jerzy Skolimowski, Jacques Tati, Leopoldo Torre Nilsson, François Truffaut, Jan Troell, Luchino Visconti, Andrzej Wajda, Orson Welles, Bo Widerberg.
PETER COWIE is founder and editor of the annual International Film Guide, which is now sold and reviewed in some sixty countries around the world. Now 35, Mr. Cowie has written and broadcast on films for the past fifteen years. Among his hooks are Seventy Years of Cinema, Antonioni-Bergman-Resnais, A Ribbon of Dreams: The Cinema of Orson Welles, and a two-volume history of Swedish cinema.
Hardcover, dust jacket – 287 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 948 g (33,4 oz) – PUBLISHER A. S. Barnes and Company, New York, New York, 1975 – SBN 0-904208-00-1
The Fifty-Year Decline and Fall of Hollywood (Ezra Goodman)
From its fade-in on D.W. Griffith guzzling gin and grabbing at a blonde, to its fade-out to the fat, succulent chicken soup that immortalizes the name of Louis B. Mayer at the MGM commissary – here is the real story of Hollywood.
Shocking, absorbing, explosive, venomous, this is a deadly serious book, not to be confused with cinematic nostalgia or fan-magazine hokum. It is a history of the movies that almost becomes an obituary. It is a book that names names and points the finger of blame at the men who have led Hollywood into what may well be its death agony.
The author feels that, far from being brought down by TV, Hollywood has been in decline for decades. Its period of genius, of experiment, of brilliance was the time of the giants – D.W. Griffith, Mack Sennett, Charlie Chaplin.
One whole chapter of this verbal autopsy is devoted to Griffith; another, by contrast, to Marilyn Monroe. One chapters pillory Louella Parsons, Hedda Hopper, and the kept press, the publicity-proud, talent-shy directors, the stars. No one is spared the author’s merciless, probing pen, and no one comes off well except the technicians, the little people – and some of the old-timers.
Here, in sum, is the full, fabulous and fascinating story of what happened to part of the American dream.
EZRA GOODMAN was born and educated in New York City. In the past twenty years, he has worked as publicity and advertising director at the 55th Street Playhouse, New York, as publicist for Warner Brothers, as Hollywood columnist for the New York Morning Telegraph and as Hollywood columnist and motion picture critic for the Los Angeles Daily News. In the early 1950s he became cinema critic for Time Magazine in New York, then Hollywood correspondent for the same publication. He has written feature articles on the movies for many other newspapers and magazines. In 1958 Mr. Goodman took a six-month trip around the world. His subsequent time has been spent writing this book, which is his first.
Hardcover, dust jacket – 465 pp., index – Dimensions 21,5 x 15 cm (8,5 x 5,9 inch) – Weight 710 g (25 oz) – PUBLISHER Simon & Schuster, New York, New York, 1961
Le fil bleu: Le roman de ma famille (Michèle Morgan)
Michèle Morgan a déjà raconté dans Avec ces yeux-là sa vie de star.
Aujourd’hui, c’est le roman de sa famille depuis la Révolution française qu’elle nous livre, à partir des récits de légende qui ont bereé son enfance.
Puisant dans ses souvenirs, fouillant archives et documents, sollicitant généalogistes et chereheurs, sa quête a duré dix ans.
Le résultat est une fresque passionnée, un grand roman d’aventures d’hommes et de femmes pris dans le tourbillon d’un siècle et demi d’histoire de France.
Plus de cinquante personnages, soldats de la Révolution, colonels d’empire, bourgeois du XIXe siècle, grands médecins, Mères-Courage, belles amoureuses, et artistes en vogue formet cet album de famille, raconté comme une saga où la vie devient roman.
“Familles, je vous hais,” clamait Gide.
“Familles, je vous aime,” lui répond Michèle Morgan dans ce livre où les Français retrouveront une part de notre passé commun, à travers une famille qui, par son histoire, peu à peu devient ici la nôtre.
Softcover – 377 pp. – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 526 g (18,6 oz) – PUBLISHER Librairie Plon, 1993 – ISBN 2-259-02680-X
The File on Robert Siodmak in Hollywood: 1941-1951 (Joseph Greco)
Robert Siodmak, who is considered the master of film noir thrillers and crime melodramas, has long been seen as a mere “assignment director,” never an artist in complete control of his work.
Joseph Greco’s study of Siodmak’s Hollywood career dispels this view and presents a unique perspective on the studio system and the director who used cunning to get his own way within it. He incorporates both archival evidence and stylistic analysis to show a distinct correlation between the production histories of Siodmak’s studio films and the director’s central artistic purpose.
Shedding new light on the career of this important film maker, this book is worthwhile reading for the film scholar, the lover of film noir, and the fan of Siodmak’s work.
Softcover – 223 pp. – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 310 g (10,9 oz) – PUBLISHER Dissertation.com, 1999 – ISBN 1-58112-081-8
Film Actors Guide (compiled and edited by Steven A. LuKanic)
“The Second Edition of the Film Actors Guide represents a quantum leap in credits heretofore unavailable to the reader unless you were willing to spend hours – or days – of research time trying to get this information from agents or the Screen Actors Guild. Now in one, albeit huge, volume, you can find the credits for over 5,400 working actors and actresses.
Due to the overwhelming response of our readers, we have made the following improvements and enhancements. You can now look up credits in the index. There are over 42,000 separate index entries. As Steven A. LuKanic so aptly notes, this index does not list every film made, nor does it list every actor or actress in every film. If an actor has died, then chances are, his or her credits are not contained in the index. We just don’t have enough room. It is, however, an index to every film and actor listed in this book. Now if you can’t remember the name of the other actors who were in An Officer and A Gentleman, you don’t have to despair… you can find it in the Index.
Steven has taken great pains to include all actors who have speaking parts in films – not just big films or big actors. So, don’t be surprised when you find credits for Rockets Redglare in addition to those for Robert Redford. Another enhancement is a listing showing actors and their agents. Producers, directors and studio executives have told us they would like a quick cross-reference of actors and their agents, and so here it is. It will make brainstorming for casting ideas a lot more fruitful. The one draw-back, if Steven couldn’t find your agent, or your agent wasn’t willing to give us information about whom they represent, then an actor’s name won’t appear here. This should be a warning to all actors. Please keep us advised of your agent so we can update this information. Remember, you can’t get hired if no one can find you!
The Academy Award information is a godsend for movie buffs as well as for those professionals in the industry. How terrific to not only be able to look up information by year, but also by person. And Katharine Hepburn’s record is still unbroken.
The Third Edition of Film Actors Guide will most likely be available on-line as well as in print. We will be adding photos. For those of you who are interested, please drop us a note and we will send information to you about having your photo included. As always, we welcome all comments, pro and con.” – ‘Letter from the Publishers’
Softcover – 680 pp. – Dimensions 28 x 21 cm (11 x 8,3 inch) – Weight 1.615 g (57 oz) – PUBLISHER Lone Eagle Publishing Co., Los Angeles, California, 1995 – ISBN 0-943-728-63-0
Film begrijpen (Ronald Bergen; originally titled Isms… Understanding Cinema)
Film begrijpen is de nieuwste uitgave in een reeks waarin eerder Kunst begrijpen, Architectuur begrijpen, Mode begrijpen en Religies begrijpen zijn verschenen. Op overzichtelijke wijze zijn de belangrijkste klassieke films en regisseurs gerangschikt naar genre. Dit boek, dat begint met het tijdperk van de stomme film, volgt de geschiedenis van de film vanaf het gouden Hollywoodtijdperk en de Franse nouvelle vague tot het eigentijdse Aziatisch minimalisme en alles wat daar tussenin ligt.
De belangrijkste genres worden afzonderlijk belicht, waarbij wordt ingegaan op het ontstaan ervan en de historische context. Naast de belangrijkste regisseurs worden de meest representatieve films genoemd. Er wordt aandacht geschonken aan bekende meesterwerken en acteurs, specifieke genrekenmerken en baanbrekende ontwikkelingen. Ook de carrières van enkele internationaal befaamde regisseurs, zoals Akira Kurosawa, Federico Fellini en Pedro Almodóvar worden besproken. Dit boek maakt de geschiedenis van de film toegankelijk door de verschillende genres, van het vooroorlogse expressionisme en screwballisme tot het naoorlogse teenagisme helder te definiëren en aan de hand van sprekende voorbeelden in een groter verband te plaatsen.
Softcover – 160 pp., index – Dimensions 20 x 13,5 cm (7,9 x 5,3 inch) – Weight 353 g (12,5 oz) – PUBLISHER Librero b.v., Kerkdriel, The Netherlands, 2011 – ISBN 978-90-8998-094-6
Film Crazy: Interviews With Hollywood Legends (Patrick McGilligan)
Patrick McGilligan, the acclaimed biographer of George Cukor, Robert Altman, Jack Nicholson and Fritz Lang, has interviewed many of Hollywood’s biggest stars and most important directors. In Film Crazy, McGilligan shares some of his finest interviews with film luminaries from his salad days as a young journalist working the Hollywood beat. He rides the presidential campaign bus with Ronald Reagen, visits Alfred Hitchcock during the making of the Master of Suspense’s last film, Family Plot, meets George Stevens at the Brown Derby, and conducts the last interview with the director of Shane and Giant. Other interview subjects captured for prosterity include rough-and-ready pioneer directors William A. Wellman and Raoul Walsh, likable actor Joel McCrea, actress – and the only female director of her era – Ida Lupino, French legend Rene Clair, and lowly-contract-writer-turned-studio-mogul Dore Schary. Film Crazy is a must for film students, scholars, and professionals.
PATRICK McGILLIGAN is the editor of the Popular Backstory series. A resident of Milwaukee, Wisconsin, he is also the author of several biographies on noted filmmakers George Cukor, Robert Altman, and Fritz Lang, the last of which was named a Notable Book of The Year by the New York Times.
[Interviews with Raoul Walsh, Clarence Brown, René Clair, George Stevens, Joel McCrea, Sheridan Gibney, Ronald Reagan, Dore Schary, Robert Stevenson, Ida Lupino, William A. Wellman, Alfred Hitchcock]
Hardcover, dust jacket – 279 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 464 g (16,4 oz) – PUBLISHER St. Martin’s Press, New York, New York, 2002 – ISBN 0-312-26131-4
Film: Criticism and Caricatures 1943-53 (Richard Winnington; selected with an introduction by Paul Rotha)
Richard Winnington was News Chronicle film critic from 1943 until his death in 1953 – a momentous period in cinema history which saw the rise of French, Italian and British cinema simultaneously with the late heyday of Hollywood. Winnington’s enthusiasms, at preview after preview, lit on a major proportion of what are now generally agreed to be the most important films of the period. At the same time, his column reminds today’s cinema-lover of some forgotten films of outstanding quality.
Winnington is to be ranked as a film critic with James Agee, Eric Knight, Otis Ferguson, André Bazin and Louis Delluc. His masterly economy of style, his persuasiveness and wit make his reviews devastating and compulsive reading two and three decades after they were written. The caricatures that accompanied them are no mere satirical likenesses. His figures, with their air of witless gaiety (or tragedy), wide-eyed glare and glitter, and melting simplicity – and his settings too, Georgian manor or Arizona desert – point eloquently and unerringly to the mood, the moral, and the ultimate quality of a film.
A strong thread of continuity runs through all Winnington’s criticism, both in words and drawings. This quintessential radical, critic of society, scourge of cant, compromise and phoneyism, saw each film as an honest critic should – in perspective with the growth of the cinema as an art form, undeflected by the outlook of promoters who cared only for monetary gain.
No one could be better qualified to make the present selection of Winnington’s work than Paul Rotha, whose own place in film history is assured. A close friend of Winnington, he gives in his introduction a vivid personal insight into the man and, quoting reminiscences of a number of his former colleagues, his always forceful impact on others. His selection comprises a choice from the earlier collection Drawn and Quartered (1948), further material from the News Chronicle from 1948 to 1953, and some longer pieces from other sources. Rotha does not neglect Winnington’s expressed aim, for the benefit of the addict, of ‘preserving from oblivion the contemporaneous lunacy of the out and out bad film.’
PAUL ROTHA, one of the leading pioneers of the British film industry, is internationally known for the numerous films that he scripted, directed and edited, such as Contact (1933), The Fourth Estate (1940), A City Speaks (1946), The World Is Rich (1948), No Resting Place (1950), The Life of Adolf Hitler (1961) and The Silent Raid (1963). Among his publications are The Film Till Now (1930, 1967), Documentary Film (1936, 1970), Movie Parade (1936, 1950) and Documentary Diary (1973). He is the only filmmaker to have been made an honorary member of the Critics’ Circle. His films have won frequent international awards.
Hardcover, dust jacket – 196 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 596 g (21 oz) – PUBLISHER Paul Elek, London, 1975 – ISBN 0 236 40007 X
Film Directors: A Complete Guide (compiled and edited by Michael Singer)
“With the anniversary of ten years in business (1982-1992) and nine years of publishing the venerable Film Directors: A Complete Guide, we thought it was time to give this book a slight facelift. Most of the changes are cosmetic, as our readers seem to be extremely happy with the content of the book. You will find all the sections you have come to know and love including a new one which will help in selecting from a group of foreign-based directors.
“A computer in every office,” seems to be as popular as the old, “a chicken in every pot,” of yesteryear. You have asked for computerization of our directories – this one in particular. It is being worked on, but judiciously. In our ten years in business, we have seen many companies come and go who have promised to provide the information we do, only “better, faster, more computerized, etc.” Admittedly, it has made us a little nervous thinking all our good work would be for nought. But then, one by one, we have seen the companies go out of business for a myriad of reasons: “it is too much work,” “not enough profit,” “Lone Eagle does it better,” etc. Of course, we agree with all their reasons, but like the third one best. As we have strived to bring you the best in the written word, we will also strive to bring you the best in terms of computerized information. We won’t be the first on the block to do it, but hopefully, when we do, we will be the best.
On another area of computerization, we have had requests for categorization of directors (and others) in terms of “action,” “comedy,” “horror,” etc. As Michael has so aptly stated in his introduction, we have steadfastly refused to comply with that request. Creativity does not seem to be spawned in pigeonholes. If we began, where would we end? Our one exception this year was to include a breakdown of countries with the names of the directors who have worked there. Because of strict guidelines regarding American directors working in foreign countries and vice versa, this seemed like a request we could satisfy.
We thank the entertainment industry for its overwhelming approval of our work and look forward to (at least) another ten years! And, as always, tell us where you are and/or who your agent is. You never know who is looking for you!” – ‘Letter from the Publishers’
Hardcover – 560 pp. – Dimensions 28,5 x 21,5 cm (11,2 x 8,5 inch) – Weight 1.955 g (69 oz) – PUBLISHER Lone Eagle Publishing Co., Los Angeles, California, 1992 – ISBN 0-943728-46-0
Film Dope, issues 1 – 10
Issue # 1 (December 1972), interview with Nestor Almendros; portraits  George Abbott –  Fred Astaire (52 pp.)
Issue # 2 (March 1973), interview with John G. Avildson; portraits  Mary Astor –  Lionel Barrymore (50 pp.)
Issue # 3 (August 1973), interview with Saul Bass; portraits  Richard Bartelmess –  Noel Black (50 pp.)
Issue # 4 (March 1974), interview with Daniel Boulanger; portraits  Alessandro Blasetti –  Pierre Brasseur (50 pp.)
Issue # 5 (July 1974), interview with Sir Arthur Bliss; portraits  Michael Brault –  Niven Busch (54 pp.)
Issue # 6 (November 1974), portraits of  David Butler  Borden Chase (54 pp.)
Issue # 7 (April 1975), portraits of  Paddy Chayefsky –  Alfio Contini (54 pp.)
Issue # 9 (April 1976), portraits of  James Cruze –  Henri Dacaë (54 pp.)
Issue # 10 (September 1976), interview with Jacques Demy; portraits of  Cécile Decugis –  Robert De Niro (50 p.)
Hardcover – 414 pp. – Dimensions 30 x 21 cm (11,8 x 8,3 inch) – Weight 1.555 g (54,9 oz) – 1972-1976
Film Dope, issues 11 – 20
Issue # 11 (January 1977), interview with Thorold Dickinson; portraits  Charles Denner –  Carlo di Palma (50 pp.)
Issue # 12 (June 1977), portraits of  George E. Diskant –  Gordon Douglas (46 pp.)
Issue # 13 (January 1978), interview with Max Douy; portraits of  Kirk Douglas –  Shelley Duvall (50 pp.)
Issue # 14 (March 1978), portraits of  Julien Duvivier –  Bernard Evein (50 pp.)
Issue # 15 (September 1978), portraits of  Tom Ewell –  W.C. Fields (50 pp.)
Issue # 16 (February 1979), interview with Gerry Fisher; portraits of  Gabriel Figueros –  George J. Folsey (50 pp.)
Issue # 17 (April 1979), portraits of  Henry Fonda –  Hugo Fregonese (54 pp.)
Issue # 18 (September 1979), portraits of  Fritz Freleng –  Tay Garnett (50 pp.)
Issue # 19 (December 1979), portraits of  Greer Garson –  Bert Glennon (50 pp.)
Issue # 20 (April 1980), portraits of  Rochus Gliese –  Lee Grant (46 pp.)
Hardcover – 496 pp. – Dimensions 30 x 21 cm (11,8 x 8,3 inch) – Weight 1.645 g (58 oz) – 1977-1980
Film Dope, issues 21 – 30
Issue # 21 (October 1980), portraits of  Kjell Grede  Loyal Griggs (54 pp.)
Issue # 22 (March 1981), interview with Paul Grimault; portraits of  – Paul Grimault  Tony Hancock (50 pp.)
Issue # 23 (September 1981), portraits of  Susumu Hani –  Susan Hayward (50 pp.)
Issue # 24 (March 1982), portraits of  Rita Hayworth  Winton C. Hoch (42 pp.)
Issue # 25 (November 1982), interview with Seth Holt; portraits of  Werner Hochbaum  Rock Hudson (46 pp.)
Issue # 26 (January 1983), portraits of  Clair Huffaker –  Thomas H. Ince (46 pp.)
Issue # 27 (July 1983), interview with Pat Jackson; portraits of  William Inge –  Maurice Jaubert (46 pp.)
Issue # 28 (December 1983), interview with Evan Jones; portraits of  Lionel Jeffries  Alfred Jungs (42 pp.)
Issue # 29 (March 1984), portraits of Pavel Jurášek  Ray Kellogg (46 pp.)
Issue # 30 (September 1984), interview with Michel Kelber; portraits of  Gene Kelly  Klaus Kinski (46 pp.)
Hardcover – 468 pp. – Dimensions 30 x 21 cm (11,8 x 8,3 inch) – Weight 1.650 g (58,2 oz) – 1980-1984
Film Dope, issues 31 – 40
Issue # 31 (January 1985), portraits of  Nastassja Kinski –  Günther Krampf (46 pp.)
Issue # 32 (March 1985), portraits of  Robert Krasker –  John Landis (42 pp.)
Issue # 33 (November 1985), portraits of  Charles B. Lang  Richard Leacock (46 pp.)
Issue # 34 (March 1986), portraits of  David Lean –  Alan Jay Lerner (46 pp.)
Issue # 35 (September 1985), portraits of  Carl Lerner –  Harold Lloyd (46 pp.)
Issue # 36 (February 1987), portraits of  Andrew Lloyd Webber –  George Lucas (46 pp.)
Issue # 37 (June 1987), portraits of  Bela Lugosi –  Shirley MacLaine (46 pp.)
Issue # 38 (December 1987), portraits of  Norman McLaren –  Jean Marais (46 pp.)
Issue # 39 (March 1988) addition sand corrections to entries  George Abbott –  Charles Aznavour (42 pp.)
Issue # 40 (January 1989), portraits of  Charles Aznavour –  Raymond Massey (46 pp.)
Hardcover – 452 pp. – Dimensions 30 x 21 cm (11,8 x 8,3 inch) – Weight 1.570 g (55,4 oz) – 1985-1989
Film Dope, issues 41 – 50
Issue # 41 (March 1989), portraits of  Richard Massingham –  Daryush Mehrjui (66 pp.)
Issue # 42 (October 1989), portraits of  Gaston Méliès –  Russ Meyer (46 pp.)
Issue # 43 (January 1990), portraits of  Sidney Meyers –  Paul Misraki (46 pp.)
Issue # 44 (March 1990), portraits of  Robert Mitchum –  Colleen Moore (42 pp.)
Issue # 45 (September 1990), interview with Oswald Morris; portraits of  Dudley Moore –  Vic Morrow (44 pp.)
Issue # 46 (March 1991), portraits of  Zero Mostel –  Patricia Neal (46 pp.)
Issue # 47 (December 1991), portraits of  Ronald Neame –  Jack Nitsche (46 pp.)
Issue # 48 (July 1992), portraits of  David Niven –  Bulle Ogier (46 pp.)
Issue # 49 (June1993), interview with Alun Owen; portraits of  Gerry O’Hara –  Fedor Ozep (46 pp.)
Issue # 50 (April 1994), portraits of  Yasujiro Ozu –  Christine Pascal] (46 pp.)
Hardcover – 474 pp. – Dimensions 30 x 21 cm (11,8 x 8,3 inch) – Weight 1.910 g (67,4 oz) – 1989-1994
Film Factfinder (edited by Camilla Rockwood)
Packed with fascinating information, Chambers Film Factfinder is a lively, informative collection of reference lists, biographies, film trivia and facts on a wide range of film-related topics. Individual examinations of film-producing countries from Australia to Zimbabwe give an international perspective on the industry, while coverage of 25 major film categories, genres and franchises ensures something to interest film fans of all types. Accessible but authoritative, Chambers Film Factfinder is perfect for new fans and serious film buffs alike.
Contents include people in film, film categories and genres, film-producing countries, 100 notable films, and film reference.
Contributors include Katie Brooks, Allan Hunter, Hannah McGill, Alan Morrison, Michael Munro, Alison Pickering, Camilla Rockwood and Liam Roger.
Softcover – 474 pp., index – Dimensions 20 x 13 cm (7,9 x 5,1 inch) – Weight 537 g (18,9 oz) – PUBLISHER Chambers Harrap Publishers, Ltd., Edinburgh, 2006 – ISBN 978 0 550 10197 6
Film Facts (Allan Hunter)
“Have you ever sat trying to recall the names of all the actors who formed The Magnificent Seven, or pondered just how many sequels have been made to Dirty Harry and what their titles were? Perhaps watching Basic Instinct has prompted a desire to know what other films Sharon Stone has appeared in or a crossword puzzle demands to know who provided the voice of Snow White in Disney’s animated classic. All this information and more can be found in the pages of Film Facts.
Film Facts is a user-friendly reference volume packed with information on 65 years of world cinema conveniently classified under three sections devoted to films, actors and directors. From Al Jolson’s cry of ‘wait a minute, wait a minute, you ain’t heard nothing yet’ in The Jazz Singer of 1927, the book comes right up to date with such recent titles as Howard’s End, The Crying Game and Scent Of A Woman. The broad sweep of material covered within the volume ranges from the major Oscar winners and biggest box-offices successes of each year to enduring cult classics and the cream of international productions.
A readily accessible volume, the book should satisfy puzzle fans, film buffs and those in pursuit of reliable information, whether trivial or otherwise. Comments, queries, suggestions and corrections will be welcomed care of the publishers.
Softcover – 467 pp. – Dimensions 19,5 x 13 cm (7,7 x 5,1 inch) – Weight 420 g (14,8 oz) – PUBLISHER Chambers Harrap, Ltd., Edinburgh, 1993 – ISBN 0-550-17257-2
Filmfront (a reprint edition annotated by Anthony Slide; new introduction by David Platt)
Reprinted here are all five issues of Filmfront, originally published by the National Film and Photo League between December 1934 and March 1935. The content provides modern readers with an insight into the socialist/communist approach to cinema in the United States during the Depression, with articles by Leo Seltzer, Sidney Marshall, Dziga Vertov, among others. Prominent space is given to Devil Dogs of the Air, The President Vanishes, The Wandering Jew, and some Hollywood films which might appear innocuous to the casual observer.
The volume opens with a new introduction, written at the age of eighty-two, by Filmfront‘s original editor, David Platt, the long-time film critic of The Daily Worker. The book is edited and annotated by prominent film historian Anthony Slide.
Hardcover, dust jacket – 146 pp., index – Dimensions 22,5 x 14 cm (8,9 x 5,5 inch) – Weight 347 g (12,2 oz) – PUBLISHER The Scarecrow Press, Inc., Metuchen, New Jersey, 1986 – ISBN 0-8108-1849-3
Film: Geschiedenis • Genres • A-Z van Regisseurs • Film Top 100 (Ronald Bergan; originally titled Eyewitness Companions – Film)
“In de VS waren in de jaren ’90 van de 19de eeuw de eerste films te zien in winkels met kinetoscopen. Je gooide een cent in een gleuf en kon door een kijkgat Fatima, de buikdansende sensatie van de Wereldtentoonstelling van 1896, zien bewegen. Wie had ooit kunnen denken dat dit nieuwe medium uiteindelijk de omvangrijkste amusementsindustrie ter wereld zou worden en tot de nieuwe kunstvorm van de 20e eeuw zou uitgroeien?
Vanaf het allereerste begin heeft de film miljoenen mensen over de hele wereld romantiek en escapisme geboden. Als op een vliegend tapijt voerde de film hen weg uit de harde realiteit. Het was een wondermiddel tijdens de depressie in de VS, opium voor het volk gedurende de Tweede Wereldoorlog, en ook de decennia daarna bleef het een middel om aan de werkelijkheid te ontsnappen. Uiteindelijk zou Hollywood uitgroeien tot de ‘droomfabriek’ die het meeste ‘materiaal waaruit onze dromen bestaan’ ging leveren.
Zoals uit de volgende bladzijden blijkt, heeft Hollywood vanaf de jaren ’20 van de 20e eeuw de filmindustrie wereldwijd gedomineerd. Toch is het niet de enige ‘speler’ op de mondiale filmmarkt. Dat film bij uitstek een internationale kunstvorm is, blijkt wel uit het grote aantal films uit ruim 50 landen; films die net zo divers zijn als de culturen waar ze uit voortkomen. Uit landen die lange tijd als filmlanden werden genegeerd, komen steeds vaker films die in het internationale circuit meedraaien.
Vooral de afgelopen decennia heeft de filmkunst zich vanuit de VS en Europa verbreid naar Midden- en Oost-Azië en naar de ontwikkelingslanden, met Iran als misschien wel het meest verbazingwekkende voorbeeld. Regisseurs met een unieke verbeeldingskracht, zoals Ousmane Sembene en Souleymane Cissé, zijn uit Afrika afkomstig. China, Hongkong, Taiwan en Korea hebben films voorgebracht met spectaculaire visuele effecten en een fascinerende inhoud. In Spanje en in de Latijns-Amerikaanse landen heeft een enorme heropleving plaatsgevonden. In Denemarken, dat sinds de belangrijke regisseur Carl Dreyer filmisch amper nog meetelde, kwam eind jaren ’80 van de 20e eeuw een vernieuwingsbeweging op gang.
De grenzen tussen de Engelstalige films en die uit de rest van de wereld vervagen steeds meer; zoals blijkt uit de culturele kruisbestuiving tussen sterren en regisseurs. Een kind in de VS heeft evenveel kans een Japanse animatiefilm te zien als een Walt Disney tekenfilm en westerse jongeren zijn even bekend met Aziatische vechtsportfilms of Bollywoodfilms als het publiek in het Oosten met Amerikaanse films. Maar de film voorziet de wereld niet alleen maar van amusement, ze staat ook bekend als de ‘zevende kunst’. Al in 1916 beschreef de Duitse psychiater Hugo Münsterberg onder meer het unieke vermogen van de film om met tijd en ruimte te spelen.” – From the Introduction.
Softcover – 510 pp., index – Dimensions 22 x 13 cm (8,7 x 5,1 inch) – Weight 865 g (30,5 oz) – PUBLISHER Focus / Unieboek bv, Houten, The Netherlands, 2007 – ISBN 978-90-475-0026-1
The Filmgoer’s Companion: 6th Edition (Leslie Halliwell)
This edition of Halliwell’s Filmgoers Companion continues to provide an unmatched wealth of information on thousands of American, British, and European actors, directors, writers and producers, from the earliest pioneers of cinema to today’s hottest box-office stars. In its pages, movie buffs will find biographies, filmographies and a complete listing of Academy and European film award winners.
In addition, unlike its competitors, this remarkable resource also contains special features such as entertaining quotes from actors, directors and critics from around the world; entries on fictional characters and popular film themes; the Halliwell “rosette,” which recognizes the outstanding achievers of the industry; a brief chronological history of the cinema; and a specially selected list of recommended books on film history.
Now in its 6th edition, Halliwell’s Filmgoers Companion has been in continuous publication since its first edition in 1965, and its reputation as the most comprehensive and authoritative reference on the film industry is well deserved. It is a must for movie fans, students, teachers, critics and anyone else who loves the magic of the silver screen.
Softcover – 825 pp. – Dimensions 23 x 16,5 cm (9,1 x 6,5 inch) – Weight 692 g (24,4 oz) – PUBLISHER Avon Books, New York, New York, 1977 – ISBN 0-380-50419-7
Film in het juiste perspectief (Philip Kemp; foreword by Christopher Frayling; originally titled Cinema: The Whole Story)
Cinema heeft na een stormachtige ontwikkeling een belangrijke plaats in onze samenleving verworven. Een verslag van onze huidige tijd maken, meer te weten komen over de levens van anderen en ontsnappen aan de realiteit van alledag, zijn belangrijke menselijke drijfveren. Cinema heeft zich onder invloed van verschillende maatschappelijke en culturele omstandigheden op geheel eigen wijze ontwikkeld. Waarom besloot men die allereerste films te maken? Welke films hebben culturele verschillen overbrugd en zijn wereldwijde iconen geworden? Waarom is een bepaalde regisseur of acteur zo belangrijk geweest?
Film in het juiste perspectief begint met een diepgravend historisch overzicht waarin de ontwikkeling van film en de context van de maatschappelijke en culturele veranderingen worden geplaatst. De tekst, die chronologisch is ingedeeld, beschrijft de ontwikkeling van de cinema, van de allereerste voorstellingen en de gouden eeuw van het filmtheater tot drive-in bioscopen en gigantische bioscoopcomplexen. De rijk geïllustreerde, diepgravende tekst beschrijft elk filmgenre, van de allereerste stomme films, propagandacinema en nieuwsfilmpjes tot grootschalige musicalproducties, Hollywood- en Bollywoodblockbusters, cultfilms, verrassende arthouse-successen en klassieke komedies. In dit boek besteden we ook aandacht aan de ideeën en werken van schrijvers, regisseurs en acteurs.
Individuele meesterwerken die de hoofdkenmerken van elk genre of elke tijdsperiode vertegenwoordigen, worden uitvoerig besproken. Alles wordt uitgelegd, van camera- en acteertechnieken tot animatiestijlen en het maatschappelijk belang van de film. Zo krijgt u een goede indruk van de beroemdste films aller tijden. Ontdek wat van een film een klassieker maakt, waarom sommige acteurs een sterrenstatus verwerven en waarom de meest veelbelovende scripts soms een teleurstellende flop opleveren.
PHILIP KEMP is filmcriticus en -historicus en schrijft voor Sight and Sound, Total Film en DVD Review. Hij doceert filmjournalistiek aan Leicester University en Middlesex University en is de schrijver van Lethal Innocence: The Cinema of Alexander Mackendrick. SIR CHRISTOPHER FRAYLING was rector aan het Royal College of Art en voorzitter van de Arts Council England en de Design Council. Hij is een gerenommeerd historicus, criticus en presentator en heeft achttien boeken en talloze artikelen en essays over diverse aspecten van onze culturele geschiedenis geschreven, met name over film.
Hardcover, dust jacket – 576 pp., index – Dimensions 25 x 17,5 cm (9,8 x 6,9 inch) – Weight 1.950 g (68,8 oz) – PUBLISHER Librero bv, Kerkdriel, The Netherlands, 2011 – ISBN 978-90-8998-156-1
Film Journal (Eve Arnold)
Throughout her career, Eve Arnold alternated between serious documentary photography and working behind the scenes on numerous films. At a time when Hollywood studios controlled every aspect of their actors’ image, Arnold’s candid photographs showed actors at their most intimate and their most compelling: Marilyn Monroe sharing a private moment with Arthur Miller, Marlene Dietrich, uncharacteristically girlish in the recording studio, Michael Caine and Candice Bergen doing an impromptu tango number and an exhausted Richard Attenborough stealing a nap in between shooting.
Eve Arnold: Film Journal is a collection of these famous film stills along with the notes and impressions made by Arnold during the shoot. As her camera revealed the unseen sides of Hollywood legends, Arnold also became privy to their private lives. In her Film Journal, she writes memorably about the tensions and dramas on the film sets, of Marilyn Monroe combing her pubic hair during an interview, Simone Signoret discussing her husband Yves Montand’s infidelities, Joan Crawford sneaking in vodka in a Pepsi cooler, and Marlene Dietrich recounting her night with John F. Kennedy.
With eighty previously unpublished photographs, including many old favorites, Eve Arnold: Film Journal is a classic from one of the great photographers of our time.
EVE ARNOLD was born in Philadelphia, Pennsylvania. A full-time member of Magnum since 1955, she is a Fellow of the Royal Photographic Society and was selected ‘Master Photographer’ by New York’s International Center of Photography, the world’s most prestigious honour. Eve Arnold lives in London.
Hardcover, dust jacket – 255 pp., index – Dimensions 25,5 x 18,5 cm (10 x 7,3 inch) – Weight 919 g (32,4 oz) – PUBLISHER Bloomsbury Publishing Plc, London, 2002 – ISBN 0 7475 5917 1
Film Noir (Alain Silver, James Ursini; editor Paul Duncan)
“Hoe kon een Amerikaanse filmcyclus een van de invloedrijkste bewegingen in de filmgeschiedenis worden? Tijdens de klassieke periode van de film noir, die duurde van 1941 tot 1958, werd dit soort films door de toenmalige critici belachelijk gemaakt. Lloyd Shearer, die een stuk schreef voor het zondagsmagazine van The New York Times (“Crime Certainly Does Pay,” 5 augustus 1945), karikaturiseerde ‘misdaadfilms’ als ‘moordzuchtig, ‘wellustig’ en ‘vol bloederig geweld.’ De grootste filmmaatschappijen – Paramount, Twentieth Century Fox, MGM en Warner Bros. – gaven hun ‘misdaaadfilms’ meestal de B-status en brachten ze tegelijk met een andere, belangrijkere film in roulatie. De andere grote maatschappijen, RKO, Universal, United Artists en Columbia, en Poverty Row studio’s als de Producers Releasing Corporation (PCR), deden niets anders dan aan de lopende band dit soort films produceren. Er waren natuurlijk prestigieuze uitzonderingen, bijvoorbeeld The Maltese Falcon (1941, Warner Brothers), Laura (1944, Twentieth Century Fox) en Double Indemnity (1944, Paramount) die genomineerd werden voor een Oscar, maar ook al kregen deze films belangrijke onderscheidingen, filmcritici deden er toch geringschattend over. Sterker nog, Shearer richt zijn pijlen in bovengenoemd artikel vooral op Double Indemnity.
Hoe kwam het dan dat films waar de pers zo’n afkeer van had en die de filmindustrie minachtend afdeed als commercieel oninteressant, het predikaat ‘film noir’ meekregen? Hoe konden ze zo’n grote invloed uitoefenen op de twee daaropvolgende generaties filmmakers, waaronder Roman Polanski, Francis Ford Coppola, François Truffaut, Martin Scorsese, Claude Chabrol, Lawrence Kasdan, Luc Besson, Quentin Tarantino, Takeshi Kitano, David Fincher, Bertrand Tavernier, Stephen Frears, Spike Lee, Bryan Singer en Neil Jordan? Hoe komt het dat deze beweging, die ‘neo-noir’ heet, na meer dan dertig jaar nog springlevend is? Neo-noir is een uitdrukking die voor het eerst werd gebruikt en uitgebreid werd besproken door Todd Erickson in de tweede uitgave van Film Noir: An Encyclopedic Reference to the American Style (1987). Deze periode begon met films als Polanski’s Chinatown (1974), Coppola’s The Conversation (1974), Scorsese’s Taxi Driver (1976) en Kasdan’s Body Heat (1981) en de beweging brengt nog steeds films voort, bijvoorbeeld Jordan’s Mona Losa (1986), Tarantino’s Reservoir Dogs (1992) en Pulp Fiction (1994), Finchers Seven (1995), Singers The Usual Suspects (1995) en Frears’ The Grifters (1990) en Dirty Pretty Things (2003). Hoe komt het dat de oorspronkelijke Franse woorden film noir ingebed zijn geraakt in hedendaagse Engelse woordenboeken en onderdeel zijn geworden van het lexicon van iedere zichzelf respecterende jonge filmmaker?” – From chapter 1, “Wat is ‘noir’?”
Softcover – 192 pp. – Dimensions 25 x 20 cm (9,8 x 7,9 inch) – Weight 867 g (30,6 oz) – PUBLISHER Taschen GmbH, Köln, Germany, 2004 – ISBN 3-8228-3580-3
Film Review 1985-6, Including Video Releases (F. Maurice Speed)
This year sees the forty-first edition of F. Maurice Speed’s Film Review. In addition to the Review’s regular features – including reviews of the year’s film releases, the ‘Letter from Hollywood’ by Anthony Slide, an appraisal of the ‘new faces’, listings of film awards and festivals, an ‘In Memoriam’ section and reviews of film books of the year – there is a complete listing of the year’s video releases. Also included are features on the Australian cinema and Hollywood sequels and remakes.
Readers both old and new will find in Film Review an invaluable reference source and an enjoyable read, complemented by a generous selection of movie stills. ‘Mr. Speed’s formula could not fail to please most of the people most of the time; despite having spent an estimated six years of his life in cinemas viewing films, his enthusiasm never seems to flag and every entry constitutes a well thought-out, concise critique of the film in question. The tone is intimate but never esoteric. As befits a book dealing with a largely visual medium, it is lavishly illustrated.’ – This is London. ‘Mr. Speed’s review of the year is a joy to browse through – an absolute must for any true film buff. Here is a critic with an obvious love of this most seductive of art forms.’ – South Wales Evening Post.
MAURICE SPEED began his working life as an apprentice on the Harrow Observer. His work has usually shown a bias towards cinema topics, and he has spent an estimated six years of his life in viewing cinemas. For many years he was associated with What’s On in London. He has also contributed to Reynolds News, the News of the World and the Los Angeles Times. His books include the pre-war Movie Cavalcade, the Western Film and TV Annual and a
thriller entitled They Rubbed Him Out. Mr. Speed is currently resident in Wimbledon.
Hardcover, dust jacket – 192 pp., index – Dimensions 28 x 20,5 cm (11 x 8,1 inch) – Weight 798 g (28,1 oz) – PUBLISHER Columbus Books, London, 1985 – ISBN 0-86287-230-8
The Films In My Life (François Truffaut; translated by Leonard Mayhew)
One of the most prolific and influential of today’s film directors, François Truffaut has chosen from among his critical writings articles and reviews that illuminate the imagination and the evolution of the art of filmmaking. The director of The Four Hundred Blows, Stolen Kisses, Jules and Jim, and Adèle H., shares not only his vast experience and technical knowledge but his passionate involvement in and his unabashed love for his métier.
In this illuminating, strict yet tolerant book, Truffaut shows how to look at and what to look for in his movies, how to relive the making of films, how to think about them in a new way. Intended for the student of films as well as the general movie-going public, this volume includes sections on American and “Hollywood” directors, forgotten films by important directors, the New Wave, Japanese filmmakers, and the most important European directors. And the great French director pays tribute to his heroes – Orson Welles, Charlie Chaplin, Luis Buñuel, Ingmar Bergman, Alfred Hitchcock, Carl Dreyer, Jean Vigo, Jean Cocteau.
[Chapters on Robert Aldrich, Alexandre Astruc, Claude Autant-Lara, Ingmar Bergman, Jacques Becker, Claude Berri, Budd Boetticher, Humphrey Bogart, Robert Bresson, Luis Buñuel, Frank Capra, Claude Chabrol, Charlie Chaplin, René Clément, Henri-Georges Clouzot, Jean Cocteau, George Cukor, Jules Dassin, James Dean, Jacques Doillon, Carl Dreyer, Federico Fellini, John Ford, Samuel Fuller, Abel Gance, Jean-Luc Godard, Sacha Guitry, Howard Hawks, Alfred Hitchcock, Albert Lamorisse, Fritz Lang, Elia Kazan, Keisuke Kinoshita, Stanley Kubrick, Charles Laughton, Mervyn LeRoy, Anatole Litvak, Joshua Logan, Ernst Lubitsch, Sidney Lumet, Joseph L. Mankiewicz, Kenzi Mizoguchi, Yasushi Nakahira, Louis Malle, Anthony Mann, Jean-Pierre Melville, Jean-Pierre Mocky, Robert Mulligan, Max Ophuls, Otto Preminger, Nicholas Ray, Jean Renoir, Alain Resnais, Jacques Rivette, Roberto Rossellini, Claude Sautet, Douglas Sirk, Josef von Sternberg, Laszlo Szabo, Frank Tashlin, Jacques Tati, Edgar Ulmer, Roger Vadim, Agnès Varda, Charles Vidor, Jean Vigo, Orson Welles, Billy Wilder, Robert Wise]
Hardcover, dust jacket – 358 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 679 g (24,0 oz) – PUBLISHER Simon and Schuster, New York, New York, 1978 – ISBN 0-671-22919-2
The Films of Alan Ladd (Marilyn Henry and Ron DeSourdis; introduction by Lloyd Nolan)
Alan Ladd appeared in more than thirty motion pictures, playing either “bit” or extra roles, before an astute producer recognized his enormous appeal and introduced him to the former actress Sue Carol, then an emerging talent agent.
The result was the leading role in Paramount’s screen version of This Gun For Hire and screen history.
Born in Arkansas in 1913, Alan Ladd moved with his family to the San Fernando Valley in California while he was a teenager. An excellent aquatic performer, Ladd became the swimming and diving champion of his high school and even aspired to the Olympic team. After graduation he held a series of odd jobs, finally becoming a “grip” at Warner Bros. He then took acting lessons at the Ben Bard School of Acting and worked his way into screen roles.
His success as a Sue Carol star led to his divorcing his wife and Miss Carol’s divorcing her husband. She became not only his wife and agent but the guiding light behind what became one of the legendary screen careers. For years Alan Ladd headed the Hollywood top ten box office attraction list. His career waned for several seasons until his best-remembered role, that of the retired gunfighter in Shane, again catapulted him to the top. After Shane another decline in good roles eclipsed his career, and his final screen role in The Carpetbaggers was a secondary lead. He died under peculiar circumstances on January 29th, 1964. He was fifty-three years old.
This book is the complete record of Alan Ladd’s life and career. Hundreds of stills from all of his films illustrate the text and each film is presented with synopsis, cast, credits and selected reviews. The authors, Marilyn Henry and Ron DeSourdis, spent years in preparing this volume and finding the rare candid photographs illustrating Alan Ladd’s off-screen life. The Alan Ladd they present in their intimate biographical study emerges as a far different personality from the tough guy image which was the actor’s major screen persona. Lloyd Nolan, one of Ladd’s closest friends and a frequent co-star, offers a trenchant introduction.
Nebraska-born MARILYN HENRY spent much of her childhood in movie houses. An early talent for art gave her her first ambition: the designing of movie star paper dolls. From this she graduated to the advertising field, where she spent twenty years doing copy, layout, and design, and was practically a one-woman department. For the past several years Mrs. Henry has been a host on her local Evansville, Indiana, PBS television station, WNIN-TV, where she introduces and discusses old films in a program called Superstar Movies. She is also a weekly contributor to the movie buff magazine Classic Images. Mrs. Henry lives in Evansville with her husband and two sons. RON DeSOURDIS, who lives in Massachusetts, has also been a movie buff since childhood. He is an avid collector of movie memorabilia.
Hardcover, dust jacket – 254 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.080 g (38,1 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1981 – ISBN 0-8065-7036-5
The Films of Alfred Hitchcock (Robert A. Harris, Michael S. Lasky)
“He’s a man who always looks like he’s just come from a funeral. His rotund Santa Claus body is never without a dark navy blue suit, white shirt, and banker’s tie. His face, in public, is usually void of any distinct expression. A man of mystery – an enigma. But for Alfred Hitchcock, the Master of Suspense, this seems right, doesn’t it?
As French director François Truffaut once said in the auteur magazine he helped found, Cahiers du Cinema, ‘Hitchcock revels in being misunderstood, more so because it is on misunderstandings that he has constructed his life. Hitchcock is a Hitchcockian character; he loathes having to explain himself. He must realize, however, that one day he will have to behave like his characters who assure their salvation by admitting this. But to admit that he is a genius is difficult, particularly when it is true. We can never dispute the formal genius of Hitchcock even though we are still squabbling over his responsibility for the scenarios he shoots.’
Hitchcock sparkles with menacing glee, especially when he has pulled off one of the practical jokes he delights in. Hitchcock’s humor is with him constantly. He feels his pièce de résistance was achieved by what he did to the hundreds of millions of people who viewed Psycho, many of whom were afraid to take showers for weeks after. But it’s probably the Hitchcock of television fame that most people have come to know: a man unperturbed by anything short of a world holocaust. His public persona then, whether shaped intentionally or naturally, is one of an obese Englishman who is cool, calm, and collected. Another practical joke? Perhaps.
In 1973 Hitchcock was to receive an honorary degree from Columbia University. He agreed to speak to a group of film students for the occasion. His latest film, Frenzy, had just been released, and some clever students got the idea of creating a table decoration consisting of a bag of potatoes and a striped tie – the two important motifs of the picture. The table was placed directly in front of the director’s chair so there would be no way of its being overlooked. The students anxiously waited to assay his reaction, but not once during the entire proceedings did he give the slightest indication of recognition. Perhaps it’s because Hitchcock thinks he has been irreversibly typed. ‘It has been said of me,’ he notes, ‘that if I made Cinderella, the audience would start looking for a body in the pumpkin coach. That’s true. If an audience sees one of my productions with no spine-tingling, they’re disappointed.’
Even when Alfred Hitchcock stood up in his box at New York’s Avery Fisher Hall on April 29, 1974, and accepted the loving applause of the 2,700-odd people that had come to the gala evening in his honor, he didn’t seem to be visibly affected. The Film Society of Lincoln Center in New York created an entire evening devoted to his career of expert filmmaking, and at the end of what seemed to be a too-short selection of highlights from his fifty-three films, the entire audience rose en masse to show their gratitude. After many minutes he raised his hand to still the crowd, and in his inimitable monotone said, ‘As you have seen on the screen, scissors are the best way.’ This was a reference to the murder scene from Dial M for Murder that had particularly shocked the black-tie and evening-gown gathering. That’s all he said except for a brief filmed section at the end of the clips in which he declared how deeply touched he was at the honor. Like a drowning man, he had just seen his whole life flash before his eyes, he stated, but this time without so much as getting his feet wet.” – From the chapter ‘People Think I’m a Monster.’
Softcover – 248 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 754 g (26,6 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1976 – ISBN 0-8065-0619-9
The Films of Anthony Quinn (Alvin H. Marrill; foreword by Arthur Kennedy)
One of the most successful and highly respected motion picture actors, internationally acclaimed in his profession, is Anthony Quinn. Quinn was fourteen years old when he preached sermons for Aimee Semple McPherson in her Angelus Temple in Los Angeles; at sixteen he was a sparring partner for Primo Carnera; a year later he engaged in occasional duets with the legendary Chaliapin. Before he had reached his twenty-first birthday Quinn had acted with Mae West and shared drinks with John Barrymore.
For the first quarter-century of his acting life Quinn’s career was fairly uneventful. His early screen roles seemed equally divided among slick-haired hoodlums, angry Indians, and sullen gigolos. Few of these performances drew critical attention, though many audiences responded to the menacing quality of his character projections. Eventually the power of his acting ability was revealed. Vivid and often memorable characterizations in Lust tor Life, La Strada, Ride Vaquero and, of course, Zorba the Greek earned him the applause of his peers and public acceptance as a major artist.
This book is a complete wrap-up of Anthony Quinn’s career, including his powerful interpretations on the stage in A Streetcar Named Desire and Beckett. Every film in which Quinn appeared is described, along with casts, credits, synopses and reviews of the important films. More than 400 photographs, including rare candids, illustrate the volume.
The sympathetic and revealing biography of Quinn as both man and artist bears out the perceptive foreword by Arthur Kennedy, who writes of his friend as a “man who lives life to the fullest.”
Hardcover, dust jacket – 256 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 941 g (33,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0470-6
The Films of Bing Crosby (Robert Bookbinder)
An international legend was born in Tacoma, Washington, in 1904 when Catherine Harrigan Crosby gave birth to Harry Lillis Crosby. The family moved to Spokane during the boy’s childhood and it was during his student days at Gonzaga High School, and later Gonzaga University, that he acquired the nickname “Bing.” After leaving school, he worked as a ranch hand, a lumberjack, a janitor and a newspaper carrier before discovering that his future was in music and entertainment.
His first partner was Al Rinker (Al on the piano, Bing at the drums and doing the vocals), and the duo did well enough to catch the eye of the then King of Jazz, Paul Whiteman, who hired them for his band. A third member was soon added to the team, and the Rhythm Boys were born. The trio (Harry Barris was the third member) was so successful that Whiteman featured them not only with the band but in his first major film, King of Jazz. After leaving Whiteman, the trio worked briefly for Gus Arnheim, another stellar band of the period, before disbanding in 1931. Bing Crosby had commenced his solo career!
Crosby’s career is unique in the annals of American entertainment. He has conquered every medium save one (the Broadway stage) and recently he has even rectified that by playing a limited run concert at the Uris Theatre in New York. A top recording star, a sell-out star when he made personal appearances at movie palaces, a major radio and television personality, Crosby made more than fifty feature motion pictures from King of Jazz in 1931 through the made-for-TV Dr. Cock’s Garden in 1971. Of these films, twenty-three were among the top ten box office hits of their release years, and he won an Oscar for one of them, Going My Way. Crosby’s versatility has been demonstrated by the enormous range of his ability… from the inspired foolishness of the Bob Hope-partnered Road pictures to the tragedy of The Country Girl.
The Films of Bing Crosby has captured the complete career of this protean star. Every film in which he appeared is documented with casts, credits, synopses and author comments. More than 400 photographs, many extremely rare, illustrate the text. And the biographical introduction presents a revealing portrait of the private and public Bing Crosby, the man who had two happy families. After the death of his first wife, actress Dixie Lee (when his four sons were grown), he remarried and founded another family with actress Katherine Grant.
ROBERT BOOKBINDER is a graduate of the University of San Francisco who dabbled in college theater before turning his attention to his primary field of interest, film history. Now teaching cinema studies at the University, he recently taught classes dealing with the classic horror films of Universal studios, the great Warner Bros. movies of the thirties and forties, and the motion picture career of Humphrey Bogart.
The Films of Bing Crosby involved two years research preparation and is Mr. Bookbinder’s first published book.
Hardcover, dust jacket – 256 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.135 g (40,0 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1977 – ISBN 0-8065-0598-2
The Films of Boris Karloff (Richard Bojarski, Kenneth Beals)
One of the twentieth century’s most versatile and dedicated actors was Boris Karloff, who literally became a legend during his long and fruitful lifetime.
Born of a respected British family, most of whose men followed careers in the military or diplomatic services, Karloff early decided to become an actor. He emigrated to Canada, where he changed his name from Charles Edward Pratt to the more dramatic one with which he was identified the rest of his life. Karloff’s early days in the theater were grueling. He had difficulty finding work and frequently joined traveling theatrical companies, playing a variety of roles in one-night stands in small towns. Eventually he found himself in New York, and his roles on the Broadway stage led back to Hollywood, where he had played extra bits during the early days of silent pictures.
Karloff’s extraordinary career ran the gamut from those silent days to his enormous successes in the Frankenstein films and over 80 other roles on screen, as well as an extensive series of appearances on the Broadway stage and in television. His range of versatility saw him play everything from pathetic monsters to the evil executioner of The Tower of London to his jolly, pseudo-frightening Captain Hook in Peter Pan on the stage.
This book is the complete record of Boris Karloff’s career, covering his films, his radio and television performances, and his theater roles. Every film in which he appeared in more than 50 years of performing is discussed. There are complete screen credits, synopses and reviews of the major films. The book is illustrated with more than 400 photographs, including many candid shots and pictures from the late star’s private collection.
RICHARD BOJARSKI is a freelance artist and writer. A graduate of New York City’s School of Industrial Art, he has been interested in films since childhood. A member of many film societies in Manhattan, he has written many articles for national film magazines in the fantasy field. He has also narrated a portion of a feature film called The Mystery of Hanged Man’s Cove. KENNETH BEALS, now residing in California, is a longtime film buff.
Hardcover, dust jacket – 287 pp. – Dimensions 28,5 x 21,5 cm (11,2 x 8,5 inch) – Weight 1.240 g (43,7 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1974 – ISBN 0-8065-0396-3
The Films of Boris Karloff (Richard Bojarski, Kenneth Beals)
One of the twentieth century’s most versatile and dedicated actors was Boris Karloff, who literally became a legend during his long and fruitful lifetime.
Born of a respected British family, most of whose men followed careers in the military or diplomatic services, Karloff early decided to become an actor. He emigrated to Canada, where he changed his name from Charles Edward Pratt to the more dramatic one with which he was identified the rest of his life. Karloff’s early days in the theater were grueling. He had difficulty finding work and frequently joined traveling theatrical companies, playing a variety of roles in one-night stands in small towns. Eventually he found himself in New York, and his roles on the Broadway stage led back to Hollywood, where he had played extra bits during the early days of silent pictures.
Karloff’s extraordinary career ran the gamut from those silent days to his enormous successes in the Frankenstein films and over 80 other roles on screen, as well as an extensive series of appearances on the Broadway stage and in television. His range of versatility saw him play everything from pathetic monsters to the evil executioner of The Tower of London to his jolly, pseudo-frightening Captain Hook in Peter Pan on the stage.
This book is the complete record of Boris Karloff’s career, covering his films, his radio and television performances, and his theater roles. Every film in which he appeared in more than 50 years of performing is discussed. There are complete screen credits, synopses and reviews of the major films. The book is illustrated with more than 400 photographs, including many candid shots and pictures from the late star’s private collection.
RICHARD BOJARSKI is a freelance artist and writer. A graduate of New York City’s School of Industrial Art, he has been interested in films since childhood. A member of many film societies in Manhattan, he has written many articles for national film magazines in the fantasy field. He has also narrated a portion of a feature film called The Mystery of Hanged Man’s Cove. KENNETH BEALS, now residing in California, is a longtime film buff.
Hardcover, dust jacket – 287 pp. – Dimensions 28,5 x 21,5 cm (11,2 x 8,5 inch) – Weight 1.240 g (43,7 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1974 – ISBN 0-8065-0396-3
The Films of Carole Lombard (Frederick W. Ott; introduction by Charles Champlin)
“To think about Carole Lombard now, nearly thirty years after her death in a Nevada plane crash, is to be reminded again that the movies are unique among all the arts in the strange and often unsettling things they do to our perceptions of time and reality. Old movies may fade, literally, but in a curious sense they never really die and they seldom really age. They preserve action eternally, so that their endlessly repeating events are always happening now, before our very eyes.
And so it is that watching yesterday’s films, like those of the lady celebrated in this book, can be a profoundly affecting and even disturbing experience, because we are seeing them in a kind of multiple perspective. They are now, and yet were long ago, and were perhaps a distant day’s make-believing about an even more distant day. We watch with a sad, keen awareness of what the fates, savage or benign, have long since visited upon the handsome young players gesturing there before us on the screen. We are reminded of their mortality – and of our own – but we are reminded also of the special magic which the movies have bestowed upon them, enabling them to go on dazzling us, perky and vibrant and imperishable, in the days after tomorrow just as in the dimming days before yesterday.
The trickeries of time and film seem never so haunting to me as in the interrupted life of Carole Lombard. She would have been sixty-one as I write this, and would I daresay have remained a remarkably alluring adornment in our day. It was clear that her lithe figure and the superb face with those unforgettably sculpted cheekbones would have lent themselves to maturity with matchless grace. And it takes no great effort to imagine for her an age-defying, soul-deep romantic élan, infused now as then with a kind of intelligent sensuality.
I suppose it is true to say that she died at the peak of her beauty, powers and fame, yet it may be even truer to say that her greatest achievements were still to come. I say this not out of easy sentiment but from a feeling that, as prototypical of her time as she was, she was also well ahead of her time. She was all Woman and all Liberated, a third of a century before the ladies began to demand full and unfettered citizenship.” – The Introduction by Charles Champlin.
Softcover – 192 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 648 g (22,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1972 – ISBN 0-8065-0449-8
The Films of Cary Grant (Donald Deschner; introduction by Charles Champlin)
“The commissary at Shepperton Studios on the fringe of London. A raw and wind-whipped day outside. A pleased and excited burble of lunchtime conversations inside. An Academy Award-winning actress lunches with her director and with her young co-star, who would soon have an Academy nomination of her own. Nearby sits the male star of a phenomenally successful American television series.
Shepperton is in full swing – the storm before the lull of the late Sixties – and in the commissary is an almanac’s – worth of the famous and near-famous from both sides of the camera. Suddenly a wave of silence, as tangible as a draft, moves forward from the door. The Oscar-holding actress stops in mid-sentence. The debonair television star stares at the visitor like a bleacherite at a Hollywood premiere. Cary Grant, the well-silvered hair touseled by the wind, collar up against the chill, an untidy folder of business papers under his arm, a secretary scurrying to keep up, has popped in to see an associate.
He strides through the room, trying to be unaware of the paralyzing effect he has had on all other activity, giving half-embarrassed smiles and nods to familiar faces, looking for all the world like a Hitchcock hero on the lam and bluffing his way through a party he’s crashed in hopes of eluding pursuers. He joins his friends, and the lunchtime murmurations resume. But he doesn’t stay long, and another watchful hush follows him to the door and out into the gray English winter afternoon.
The memory is indelible, because no other actor could have had anything like so stunning an effect on an audience of fellow professionals who had, after all, watched many a star rise and wane and many a talent blossom and fade. There is another memory. A warm summer night at Malibu. The designer Jean Louis and his wife Maggie are giving a party for their house guests, Rudolf Nureyev and Dame Margot Fonteyn. The guest list ranges from Anouk Aimée to Loretta Young. The Rolls-Royces it laid end to end would have stretched halfway to Santa Barbara, and, as I remember, they did. Toward three in the morning, Shirley MacLaine is frugging with Nureyev to the four-piece rock group. Cary Grant and Dyan Cannon wander in from a stroll on the beach (they plunged into matrimony a few days later) and pass through the rooms amidst a cone of awed silence and turned heads. They watch the dancing.
‘I don’t know,’ says Grant, grinning. ‘When I dance with a girl, I like to hold her. I mean, that’s the pleasure of it.’ He gazes at the floor space between the dancers and lifts his eyebrows in the look of startled, innocent disbelief which generations of light comic actors have tried hard to duplicate. ‘Uhn-uhn. Don’t like it,’ Grant was saying. ‘And another thing. Bucket seats. Bucket seats are an abomination.’ His hands measure the vast, incommunicable gulf between bucket seats. ‘I don’t know what the world is coming to.’ He grins again, wraps his arm around Miss Cannon and they move off to say good night to their hostess.” – From The Introduction by Charles Champlin.
Softcover – 277 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 803 g (28,3 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1973 – ISBN 0-8065-0500-1
The Films of Charlie Chaplin (Gerald D. McDonald, Michael Conway, Mark Ricci)
“Upon the completion of Charlie Chaplin’s first film, the officers of the Keystone Company were pessimistic, Mack Sennett was bewildered, and Henry Lehrman, the director of the film, was furious with the new actor. Chaplin himself was wondering if it would not be wiser to return to the stage.
Some months before this, Mack Sennett and Mabel Normand had seen Fred Karno’s London Comedians in ‘A Night in an English Music Hall.’ When Ford Sterling later gave notice that he was leaving the Keystone Company, they both thought of the funny man who had played the ‘Inebriated Swell’ in this skit. He seemed a likely replacement for Sterling, but they did not remember his name or know where he was then playing. Eventually, Charles Spencer Chaplin was located and signed at $ 150 a week. Through the gates of the Keystone Studio the twenty-five-year-old comedian entered the movies. This event, which has turned out to be so important to motion pictures and to our culture, occurred more than a half-century ago. Chaplin, who was to become ‘the greatest theatrical artist of our time,’ the ‘most familiar human figure in the world,’ first appeared in films early in the year 1914. As the villain of a one-reel comedy, his costume was distinguished by a frock coat, a top hat, a drooping mustache, and a monocle. The film, called Making a Living, was a typical Keystone comedy of frenzied disorder, an exercise in skul-duggery which inevitably led to a chase. It was made with a minor cast, except for Chester Conklin in a small role, and with a director who already considered the film to be a flop.
A New York writer for the Moving Picture World was assigned to review Making a Living. Chaplin’s name was unknown to him; his name, unfortunately, is unknown to us. But he should be honored as the author of the first published appraisal of Chaplin as a film actor. The anonymous writer spotted a new performer on the screen, an agile rogue who kept up a running fire of comic business aided by his monocle, cane, and detachable cuffs. It was all ‘fresh and unexpected fun’ to him. ‘The clever actor who takes the role of the nervy and very nifty sharper in this picture,’ he wrote, ‘is a comedian of the first water, who acts like one of Nature’s own naturals.’
Before this extraordinary review could bring comfort to the studio or exert any influence to have the characterization repeated in further films, the Little Tramp had come upon the scene. From his memories of men seen on London streets and on the stages of its music halls, Chaplin had a moment of inspiration which we can accept but cannot explain. From it came the invention of his screen character: what he was to wear; how he was to walk; what were to be his reactions to the outrageous fortunes of the comic world. Somehow he was able to settle this by the time he made his second film, Kid Auto Races at Venice.” – From the chapter ‘Charlie: One of Nature’s Own Naturals.’
Softcover – 224 pp., index – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 732 g (25,8 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1965 – ISBN 0-8065-0241-X
The Films of Charlton Heston (Jeff Rovin)
“Charlton Carter was born in Evanston Hospital in Evanston, Illinois, on October 4, 1923, the son of Lilla and Russell Whitford Carter. While the boy was still young, Mrs. Carter, whose maiden name was Charlton, and her son took the surname of Lilla’s second husband, Heston. A mill-operator, Mr. Heston moved his family to St. Helens, a town in the upper Michigan woods. Years later, his stepson would note, ‘I loved it up there. I did all my schooling in a one-room schoolhouse.’ There, he picked up the acting bug. There was little companionship in this Michigan town, a community of a hundred-odd people, so Chuck learned to amuse himself by acting out the stories his father read to him. He did his first job of public acting in a school play at the age of five, playing Santa Claus. ‘Since it was a one-room schoolhouse with an enrollment of thirteen, landing the role was hardly due to unusual talent on my part.’ After almost ten years of isolation in the ‘sticks,’ the Hestons returned to the big city, to Winnetka, Illinois, a Chicago suburb, where he attended New Trier High School. ‘I was very unhappy,’ Heston admits. ‘It was so remote in Michigan that when I first returned I remember actually being scared to death of the automobile traffic and the noise and everything else that goes with a big city.’
Speaking of his new home, Heston continues, ‘I now went to a social kind of school, and I had never even learned to dance. And kids are the most conventional people in the world. It is more important than anything else for them to conform, and I was a kind of oddball. I was driven into being independent. I was very, very unhappy.’ Too, Heston was small for his age until he was sixteen, when he shot to six-foot-two. After graduating from high school, Heston won a scholarship to Northwestern University, where he majored in speech and theatre, and played leads in many of the shows presented by the school’s famous theater department. ‘I knew then that this was what I wanted,’ he says, ‘and I’ve never wanted anything else.’” From the chapter ‘Charlton Heston: Introduction to the Man.’
Softcover – 224 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 639 g (22,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1977 – ISBN 0-8065-0741-1
The Films of Clark Gable (Gabe Essoe; foreword by Charles Champlin)
“The tales they were spinning might be – often were – the silliest kind of cotton candy nonsense. But whatever they were saying, the movies from the beginning could not help telling a good deal about all of us as well. Their heroes and heroines reflected the real if improbable aspirations of vast numbers of moviegoers, dreams of courage, wit, wealth, security, adventure, desirability and love. And even though Hollywood’s heroes and heroines might be large magnifications of reality, they also at some basic level reflected the audience’s vision of itself. The stars’ priorities as displayed on the screen were the audience’s priorities. And this rough parallel was, as indeed it still is, a prerequisite for stardom.
Clark Gable was the greatest heroic male star of his time, and to think about him now, at the beginning of the 1970s, is to realize with sorrow and a double sense of loss how much we and the world have changed and how distant and uncomplicated his time already seems. He was unabashed virility, but the world moves toward unisex. He was an outdoorsman, but the outdoors is being macadamized in our day. He portrayed men of action and instinct, and we survivors feel paralyzed by numbers, rules, costs and awareness. To think about Gable now is to experience an almost unutterable nostalgia, not only for the gruff and dashing figure he was but for the unsubtle and straightforward period in which he moved.
No small part of Gable’s great charm and attractiveness was that he always seemed to view Gable the Film Star with a kind of half-amused, half-chagrined detachment, as if parading before cameras was not quite the sort of thing a grown man ought to be doing. In fact he worked very hard at his craft, but our impression of his bemusement made the roles somehow seem all the more virile and credible. No one after him has played the raffish, roguish male nearly so well; it is a lost art, as it is a lost breed.
Although they were contemporaries, Gable and Humphrey Bogart, for example, already seem to have arisen in different eras: Bogart anticipated the later day of the faintly or heavily neurotic sophisticate who was likely to be anti-heroic if not actively villainous. Bogie was heroic, but he tended to be the abashed or reluctant hero. Gable, the unabashed hero was reluctant to be drawn into the very modern world (witness the rebellious adman in The Hucksters or, far more tellingly and impressively, the cowboy born out of his time in The Misfits).
It is not quite right, for once, to say that an era died with Clark Gable. The truth is that an era had predeceased him. The kingdom of film over which he reigned for so long had begun to crumble and change a decade at least before his death. But more than that, the kind of hero-figure Gable was has come to seem an impossible dream in our days – not undesirable but unachievable. And this, of course, is a commentary not on Gable but on all of us, tethered by the paper chains of circumstance and vibrating to the hum of computers.
Gable the King – impudent, free, rascally, courageous, resourceful, direct, uncomplicated, charming, all-male but without need to over-assert it, sane and self-reliant, gallant and natural – remains what we would wish to be, but what we sense we can now fully be only in spirit. We make do with lesser and more brittle gods.” – The Foreword by Charles Champlin.
Softcover – 255 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 719 g (25,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1970 – ISBN 0-8065-0273-8
The Films of Elizabeth Taylor (Jerry Vermilye, Mark Ricci)
“Elizabeth Taylor. Her name has long been a household word. She is one of the great beauties of our time, which makes her any photographer’s dream. But more often than not, it’s been her devil-may-care, unorthodox lifestyle that’s captured the attention of a public, if not disapproving of her behavior, only too ready to purchase the next periodical featuring her on its cover or offering to reveal hidden secrets about her private life.
As a child in the Hollywood limelight, she was already in many ways a woman. At twelve, her voluptuous figure yet unformed, she faced movie cameras with the cool assurance of a pro and the uncanny facial beauty of an adult. Casting such an unusual-looking child was not always easy, but Elizabeth Taylor was fortunate enough to be under contract, throughout the years of her physical and thespian development (1943-1960), to that king of Hollywood studios, Metro-Goldwyn-Mayer. It was a luxurious hothouse environment that nurtured her metamorphosis from beautiful child to stunning adolescent to full-blown actress in a series of films which, while largely undeserving of time-capsule preservation, were nevertheless shrewdly devised stepping-stones to a career that might not otherwise have developed.
Elizabeth’s persistent mother set her on the performing trail. Studio executives cannily exploited her natural attractions and kept her there. To date, the thirty-three years of the actress’s career have been sparked with rumors of retirement, of forsaking her career for a life of luxurious relaxation, commuting between her many homes far-flung about the western world. Her gradual development as a movie queen of skill as well as beauty helped keep her there. So did her need for the means with which to maintain her lifestyle. And with the realization that she did have some talents as a performer, Elizabeth Taylor came to enjoy acting, no longer as a mere showcase for pretty clothes against Technicolored backgrounds.” – From the chapter ‘The Star.’
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 708 g (25 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1976 – ISBN 0-8065-0656-3
The Films of Errol Flynn (Tony Thomas, Rudy Behlmer, Clifford McCarthy; foreword by Greer Garson)
“Dear Reader – Surprised to find Mrs. Miniver between the covers with Don Juan and Robin Rood? So am I. Usually the foreword to a book is written by an authority on either the subject or the author. I cannot qualify on either count. The honor fell to me mainly, I suspect, because my screen image contrasts piquantly with that of Errol Flynn.
But please accept a brief word, anyhow, from one who has found this book most interesting reading. I think you will enjoy it, too, as a definitive record of a film star’s unique career, and a correlated and perceptive portrait of the real-life personality as it differed from or duplicated his alter ego on the screen. The paradox of the actor is always an intriguing study. Those in the audience who stop to think about it at all must wonder how often is the laughing Pagliacci hiding a broken heart? And is it possible that our swashbuckling screen hero in real life is an insecure, lonely and unhappy man…?
Personally, I believe the contrast is seldom that absolute. Actors, like other people, are not usually sharply schizophrenic so much as a complex of overlapping and interrelated qualities, both active and latent. Consider this book for example… it could well have been titled The Mask and the Man, for while Errol Flynn will be remembered by movie fans as the handsome, confident cavalier, the romantic conqueror in boudoir and battlefield, his friends and companions also will remember facets totally at variance with the heroic illusion. But they will remember, too, his wit and charm, his lifelong love of ocean and sailing ships, his fascination with sagas of buccaneers and soldiers of fortune, and his desire to live life fully as a gay, daring adventure – and these were characteristics which reconciled the man and the image.
Surely no actor could impersonate so splendidly Robin Hood, Don Juan, Captain Blood and the rest, unless he had some of their potential within himself. Unfortunately, he had little satisfaction in playing these roles and felt frustrated by continually being typecast. What a pity he couldn’t thoroughly enjoy playing the dashing hero, knowing that he was nonpareil in this field, and that he was able to make a unique contribution by bringing into our careful, regimented world a bright flash of poetry-in-action and deeds of derring-do.
The reminiscences collected from many people for this book are revealing and, interestingly enough, quite consistent; maybe, after all, we are pretty good at seeing through each other’s disguises! I remember my own impression when I met Errol Flynn for the first time, except for casual encounters at social and industry events, when we were co-starred in That Forsyte Woman at MGM. We greeted each other warily on the first day of shooting, in an electric atmosphere of mutual apprehension, while gleeful columnists and set-siders waited breathlessly for the predicted clash between MGM’s Nice Lady and Warners’ Bad Boy. It never came. Instead, there was swift rapport, easy friendship, and a deal of harmless fun and laughter… happy memories of a picture that wasn’t much, I am afraid, for the audience, but was a ball for the cast and crew that made it.
I found Errol much more objective and modest than many performers. He was satirically deprecating about himself as a screen idol and as the target of scandal journalists and night-club comedians. In our picture he tackled a new type of role and revealed an unsuspected and admirable talent for characterization. ‘Thank Heaven – at last an escape from cloak and dagger stuff!’ he remarked. If he had lived longer – and more temperately – he would probably have emerged as the serious actor he longed to be, although I think eventually he would have preferred to earn a reputation as a writer. Another irony: the celebrated Casanova was no doubt a great man with the ladies (although I am sure he never bothered any woman who didn’t want to be bothered), but he probably preferred the company of men and fellow roisterers. I think women baffled him. He was going through the break-up of his second marriage at the time the picture was being filmed, and he was deeply disturbed about it. He never discussed his personal problems, but any passing references to his ex-wives and his children were always courteous, humorous but without malice, and with an unmistakable underlying feeling of affection and rueful regret.
Soon afterwards, he left for England, hoping to unwind and relax by putting some distance between himself and his then current difficulties. He was facing a blue phase of personal loneliness and professional uncertainty, and he knew it, but he took leave of us all with his customary debonair insouciance. I met him a few years later at a friend’s party in New York, and for one startled moment I didn’t recognize him, he looked so ill and changed. His life was one of highs and lows, and he burned himself out much too soon. In thinking of him, let us remember, above all, that to millions of people the world over he brought exhilarating and joyous entertainment, and lifted their imagination and their spirits out of the doldrums and tensions of day-to-day living with a glorious vision of adventure, chivalry and romance.” – The Foreword by Greer Garson.
Softcover – 221 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 643 g (22,7 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1969 – ISBN 0-8065-0237-1
The Films of Fay Wray (Roy Kinnard, Tony Crnkovich)
Fay Wray’s film career encompassed much more than her memorable turns as a damsel in distress. Wray appeared in 77 feature films between 1925 and 1958, playing leading roles in 67. Sadly, the true breadth of her career is not readily apparent today, as many of her films, including her entire silent film output, have been lost or are available only on a limited archival basis.
This heavily illustrated filmorgraphy of Wray’s work at last makes obvious her sizeable contribution to the film industry. Following a career overview, it covers first her early silent feature film appearances; then her “leading lady” period in popular horror thrillers and other films in the sound era; and finally her later-day supporting roles. Appendices document her theatrical film shorts and television appearances. Commentary throughout includes first-person interviews with Fay Wray.
Researcher ROY KINNARD is also the author of McFarland’s Science Fiction Serials (1998) and Horror in Silent Films (1999) and editor of McFarland’s “The Lost World” of Wiullis O’Brien (1993). Commercial artist TONY CRNKOVICH has written for Classic Images. They both live in Chicago.
Hardcover – 181 pp., index – Dimensions 26 x 17 cm (10,2 x 6,7 inch) – Weight 542 g (19,1 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 2005 – ISBN 0-7864-2129-0
The Films of Frank Sinatra (Gene Ringgold, Clifford McCarty)
“Frank Sinatra’s legendary career has been so all encompassing it is impossible to chronicle all aspects of it in one book. And although his talent remains as potent as it was during his reign as ‘The Voice’ it seems the ideal time to reflect on his career as a motion picture star now that he has announced his ‘retirement’ plans.
No other show business personality, past or present, has had quite the success, notoriety, or public involvement in his career as the phenomenon known as Frank Sinatra. Other singers of popular songs have been more highly regarded but are certainly less durable. Other actors are more talented and sought after but few of them can match the charm, ease, competence, and professionalism which generates audience interest in all his performances. Other recording stars have sold more records and made much more money at it but none have enjoyed the longevity and high calibre of artistry which almost all Sinatra platters contain. Surely no other superstar has aroused so many mixed feelings about his private as well as his public image.
It’s not surprising that he has rightly been named ‘The Chairman of the Board’ of all show business. Who else but a man of his total talent deserves to be so called?” – From The Introduction.
Softcover – 249 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 706 g (24,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1971 – ISBN 0-8065-0384-X
The Films of Fredric March (Lawrence J. Quirk)
“Fredric March has been an actor for fifty-one years, forty-two of them on the screen. Behind him are seventy movies, a score of Broadway plays, radio and television appearances, narrations of documentaries, dramatic readings, tours for the State Department. He has been married for forty-four years to the talented actress Florence Eldridge, and has two children, now grown, and several grandchildren.
One of America’s most respected and admired stars, March’s career has brought him two Academy Awards as well as a number of nominations; several Antoinette Perry Awards; numerous citations and degrees: and a variety of plaques sufficient to fill the guest-house walls his New Milford, Connecticut estate. The Marches have always cultivated a many-sided life, involving years of busy creative labor (often as co-stars) and much travel all over the world.
In addition to his well-deserved acclaim for solid dramatic triumphs in all media over five decades, March is also a symbol of the romancing, swashbuckling, glamorours Hollywood of the golden days of the thirties and forties, in which he ranked with such male stars as Clark Gable, Gary Cooper, Errol Flynn, Cary Grant, Spencer Tracy, Leslie Howard, and Paul Muni. But though March’s screen career was fully as vital and romantic as theirs, his private life was notably more stable than most.
He has appeared opposite a dazzling roster of great feminine stars of screen and stage, including Greta Garbo, Norma Shearer, Joan Crawford, Katharine Hepburn, Claudette Colbert, Olivia de Havilland, Loretta Young, Veronica Lake, Merle Oberon, Carole Lombard, Barbara Stanwyck, Myrna Loy, Ruth Chatterton, Ann Harding, Constance Bennett, Sylvia Sidney, Janet Gaynor, Kay Francis, Miriam Hopkins, Margaret Sullavan, Kim Novak, Sophia Loren, Tallulah Bankhead and Helen Hayes. Though March’s references to these ladies are kind, his favorite co-star is Florence Eldridge, with whom he has appeared in all media for forty-five years.
Equally adept in comedy and drama, in costume romance and modern-dress, March as an artist has displayed a thousand faces. He has played Christopher Columbus; Mark Twain; Benvenuto Cellini; pirate Jean Lafitte; Anna Karenina’s Vronsky; Mary of Scotland’s Earl of Bothwell; the President of the United States; Eugene O’Neill’s father; Jean Valjean; Robert Browning; the Angel of the Lord; Death; Arthur Miller’s Willy Loman; Joan Crawford’s husband in Susan and God; Thornton Wilder’s Mr. Antrobus; Tolstoy’s idealistic Prince Dmitri; George Kaufman’s Tony Cavendish; tired businessmen; ambitious corporate executives; returned World War II veterans; Doctor Jekyll and Mr. Hyde; intrepid World War I aviators; smug politicians; Philip of Macedonia; inspired clergymen; anti-Nazi refugees; Joseph Conrad heroes; and fading movie star Norman Maine – no variety of characterization has escaped his interpretation.” – From the chapter ‘Fredric March: His Life and Career.’
Softcover – 255 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 856 g (30,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1971 – ISBN 0-8065-0413-7
The Films of Fred Zinnemann: Critical Perspectives (edited by Arthur Nolletti, Jr.)
Fred Zinnemann, celebrated director of such classic films as High Noon, From Here to Eternity, and A Man for All Seasons, is studied here in a book-length work for the first time. Zinnemann’s fifty-year career includes twenty-two feature films, which are characterized by an unshakable belief in human dignity, a preoccupation with moral and social issues, a warm and sympathetic treatment of character, and consummate technical artistry. In discussing such issues as the role of Zinnemann s documentary aesthetic throughout his career, the relationship between his life and his art, his use and construction of history, and the central importance of women characters in his films, The Films of Fred Zinnemann lends new perspectives to the work of a major filmmaker and makes a significant contribution to the study of American cinema.
ARTHUR NOLLETTI, Jr. is Professor English at Framingham State College. He is co-editor, with David Desser, of Reframing Japanese Cinema: Authorship, Genre, History.
Hardcover – 286 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 565 g (20 oz) – PUBLISHER State University of New York, Albany, New York, 1999 – ISBN 0-7914-4225-X
The Films of Gary Cooper (Homer Dickens)
“Of all the men who have acted in motion pictures, none has come as close to portraying the embodiment of the American man as Gary Cooper. The image he projected from the screen was the personification of the ideal American, i.e., the tall, handsome, soft-spoken gentleman with unswerving integrity and sincerity, overcoming adversity regardless of the odds – or the situation. He was popular with men and women alike, and was the hero of children.
Cooper had a way of injecting his own likeable self into whatever he did or with whomever he played. For the most part, it seemed to work. Some consider him the greatest of natural screen actors; others, however, think of him only as a ‘personality star.’ During his peak period, 1935-1945, he proved, even to his detractors, that he was an actor of subtlety and depth. While he was never known for his loquacity, neither was ‘yup’ and ‘nope’ his total vocabulary, although no one enjoyed kidding about this more than he did. This ‘man of few words’ myth came about through his natural shyness with strangers, but close friends like Ernest Hemingway, the Duke and Duchess of Windsor, Jack Benny, Jock Whitney, and James Stewart knew better.
Cooper possessed a keen business mind and an uncanny intuitive sense about what was theatrically right. He seemed to know when and where to make the right move, much to the consternation of those around him. A simple man at heart, he was as much at home sitting on the hard ground by a campfire as he was on a plush sofa in an elegant drawing room.
Hollywood, sometimes a cruel master, didn’t seem to affect Cooper. He was always the same person. His friend Richard Arlen once said, ‘Some people are just nice guys, and nothing – not even Hollywood – can change it. Coop just likes people; it’s as simple as that.” From the chapter ‘Gary Cooper, The American Man.’
Softcover – 281 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 819 g (28,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1970 – ISBN 0-8065-0279-7
The Films of Gene Kelly: Song and Dance Man (Tony Thomas; introduction by Fred Astaire)
“Writing a foreword about Gene Kelly is not all that easy for me. I mean there would naturally be some opinions – ‘Oh, of course, he had to say that.’ Many people think of dancers as being too aware or jealous of one another. Such is not the case here. I think I know Gene pretty well. He has his easier, lighter moods and also his very serious moments, which are only natural with an artistic temperament.
I worked with him in one movie – a massive MGM production, Ziegfeld Follies, filmed in 1944-45. We got along fine with the many discussions, not particularly arguments, that are bound to occur when you’re in rehearsal together on a creative basis. It’s ‘How about this?’ or ‘No – not that’ sort of thing that goes on, but I don’t recall that we ran into any particular obstacles. I had heard that he was sometimes tough to work with, being a perfectionist and all that. And when you have two so-called perfectionists belting away at each other, you might get some kind of fireworks when it applies to a couple of hoofers. That gave me some concern.
However, Gene was not tough with me. He was very respectful – maybe because of my seniority in years. Besides, I was doing my utmost not to be objectionable because I was aware of the fact that he was a very strong and gymnastic young man. I had seen him pick up Ed Sullivan once and carry him off stage like a suitcase. Well – joking aside, as I said there were really no obstacles that deterred us from arriving at what I think proved to be an enjoyable and successful song-and-dance version of a number called The Babbitt and the Bromide, which was originally written by the Gershwins, George and Ira, for my sister Adele and me in our Broadway stage production musical comedy Funny Face in 1927.
Doing that number with Gene in a totally different form was, of course, a challenge for both of us but we always felt that it did work out well, largely due to his creative contributions, and I feel that it became somewhat of a memorable screen musical item. That was the only thing we did together. Kelly is a man of multiple talents – dancer-singer-actor-director-producer – completely engulfed when at his work. His many successes speak for themselves. Gene is also a devoted family man. My respect for him as a person and an artist is unbounded.” – The Introduction by Fred Astaire.
Softcover – 243 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 715 g (25,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1974 – ISBN 0-8065-0543-5
The Films of Gina Lollobrigida (Maurizio Ponzi)
“It is by no means a simple matter to write about Gina Lollobrigida the actress. It is much easier to write about Gina Lollobrigida the star. But, can the two be separated? In Hollywood there would be little point, whereas in Italy they appear to be antithetical, though before going any further we perhaps should define the terms better. Is Alberto Sordi a star? Was Anna Magnani an actress? Or Toto an actor / star? If such terms are applied to Nino Manfredi or Ugo Tognazzi, or even to Jean Gabin, then they immediately seem to take on a derogatory tone. On the other hand, it is quite normal to apply them to certain social phenomena. Gina Lollobrigida is such a social phenomenon. In the Italian cinema, the difference between the actor of a theatrical background and the one whose career began on the screen has always been greater than elsewhere, especially during the early post-war years and indeed up until the end of the 1960s.
Neo-realism’s dictate that ‘actors be taken from the street’ derives essentially from the many dialects that exist in the Italian language, dialects that were absent from the language spoken by stage actors, who were widely employed, too widely perhaps, in pre-war Italian cinema. The ‘nouveIle vague’ in Italy was really looking for faces whose physiognomy and expressiveness corresponded to a particular dialect. In fact, even though the criteria by which Vittorio De Sica chose Franco Interlenghi for Sciuscià and Lamberto Maggiorani for The Bicycle Thief were different from those of Mario Costa when he approached Franca Marzi on a train and Gina Lollobrigida in Via Margutta. Both directors were prompted by the same motives when they engaged professional voices to dub their ‘finds.’ Actors or actresses, as the case may be, who were to prove all the more successful wherever they managed to identify with a distinct ‘type.’ The voice had to complement the screen persona. And Gina Lollobrigida is Italy’s pre-eminent film star (Sophia Loren follows her, at least in chronological order), although throughout her career she tried tenaciously to gain recognition as an actress. We must, therefore, speak of both the star and the actress. We must analyze why this is such a typically Italian phenomenon, and why sometimes the two amalgamate offering Lollobrigida her greatest opportunities.
What triggered the Lollobrigida phenomenon? ‘La Lollo,’ as she was affectionately called, saw her career commence in a way totally different from the usual Hollywood method of personality building. There was no advance planning, no publicity campaign, little professional advice. On the contrary, she was exploited, first hesitantly, then with increasing momentum, until her exploiters suddenly realized that she was like an untapped gold mine.
Gina’s career began during the rebirth of the Italian cinema in the early post-war years. Many of the Italian actresses acquired fame and some international celebrity during the period. Few survived as ‘names’ in the ensuing 20 years. Alida Valli, beautiful and mysterious, scored nicely in several Italian films before shining briefly for David O. Selznick in Hollywood; Isa Miranda, ‘femme fatale,’ had a quick moment as star of both Italian and American films; and Valentina Cortese, the lovely and witty actress, also had a brief Hollywood career. Then there were the others, whose careers were even shorter. The luminous Luisa Ferida met with an early death. Clara Calamai, Mariella Lotti, Dina Sassoli and Elli Parvo were quickly neglected. Forgotten too were Lilia Silvi, Irasema Dilian, Maria Denis and Adrianna Benetti. Of the male stars Amadeo Nazzari, Gino Servi, Massimo Girotti, Andrea Chocchi and, of course, Vittorio De Sica (both as actor and director) were to become internationally famous. Anna Magnani, Sophia Loren, Marcello Mastroianni, Vittorio Gassman and the comedian Toto made their screen debuts in late post-war years. The Italian cinema needed new names for the ‘nouvelle vague,’ in which there was considerable scope for women. Women who had experienced the war, the resistance. But there was scope for beauty, too, for the girl whose beauty blazed her way to independence. Behind the beauty competition phenomenon, this chimera which hid an ages-old ideal (woman as a creature to admire and exploit), the young Italian girls were beginning to make a stand. Finally they could put into practice the things they had seen, and continued to see, in American films, a society model that even fascism had adopted. The bikini and the household appliance, the swimming pool and the health resort, the big city and the talent scout, the front cover of a glossy magazine and travel to romantic places, a scantily covered bosom and a black ‘combinaison.’ These were the ingredients. some imported, some endemic, used to frame the florid, gushing beauty of the many starstruck young girls who aspired to a screen career.” – From the chapter ‘La Lollo.’
MAURIZIO PONZI was born in Rome on May 8, 1939. From 1962 to 1968, he was an editor of the magazine Filmcritica and has been co-editor of Cinema & Film and a contributor to Cinema 60 and Cahiers du Cinema. In 1968, he directed his first film, The Visionary, which was followed by Equinox (1971) and Raoul’s Case (1975). In 1972, he directed and edited, in collaboration with Pier Paolo Pasolini, December 12th. For television he has directed, among others, Stefano Junior (1969), Eternal Day (1970), The Voice of Torture (1973), The Lost Years (1978) and Hedda Gabler (1979). In the past decade, he directed a half-dozen successful films. This is his first book.
Softcover – 143 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 483 g (17 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1982 – ISBN 0-8056-1093-5
The Films of Ginger Rogers (Homer Dickens)
“Few motion-picture stars have projected what could be termed an ‘American image,’ as well as Ginger Rogers. Ginger’s evolution as a screen actress grew out of a native humor and an instinctual sense of what was right. Her straightforwardness, honesty, and naturalness of playing made her a favorite with moviegoers over four decades. Despite her years in vaudeville and on the stage, Ginger is a product of the motion picture, where she nurtured, and eventually perfected, a style all her own.
Her humor was never forced, her emotional scenes were believable, and her singing and dancing, while not spectacular, were good. Her teaming with Fred Astaire in 1933 proved to be a lucky break for them both. Ginger’s career had reached a virtual standstill while Astaire, a brilliant stage dancer, knew nothing about screen technique or the projection of a screen personality. It has been said that she gave him sex appeal and he gave her class; whatever it was, they clicked.
Life magazine described Ginger this way: ‘Ginger has become an American favourite – as American as apple pie – because Americans can identify themselves with her. She could easily be the girl who lives across the street. She is not uncomfortably beautiful. She is just beautiful enough. She is not an affront to other women. She gives them hope that they can be like her. She can wisecrack from the side of her mouth, but she is clearly an idealist. Her green eyes shine with self-reliance. She believes in God and love and a hard day’s work. She is a living affirmation of the holiest American legend: the success story.’
In an article written in 1966 for Films in Review, she was quoted as saying, ‘My first picture was Kitty Foyle. It was my mother who made all those pictures with Fred Astaire.’ Ginger never said that line; it was pure fiction. But the fact that she might have said it is of more importance. This is the kind of humor that Ginger Rogers has been delighting audiences with since she was fourteen. Making comparisons, Time magazine once wrote: ‘Less eccentric than Carole Lombard, less worldly-wise than Myrna Loy, less impudent than Joan Blondell, she has a careless self-sufficiency which they lack.” – From the chapter ‘Ginger Rogers: The American Girl.’
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 733 g (25,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0681-4
The Films of Gregory Peck (John Griggs; introduction by Judith Crist)
“They had faces then, the men who took over the still-silver screen during and after World War II, providing proper role models for the boys and romance for the girls and, in some cases, satisfying performances and rewarding, even enduring, portraits and perceptions for grown-ups. Like the idols who had their worshippers in the thirties and forties, that new generation of male movie stars (in contrast to our contemporary box-office stars) came – and went – with the final glory days of the great studios. Only a handful endured. But it is not his durability – a continuing career that has yielded 49 films in 37 years – that has given Gregory Peck his stature. Neither is it the face – that handsome Abe Lincoln look in features and stance, that clean-cut ‘strength’ in the matinee-idol countenance – that provides his timeless intergenerational appeal. Nor is it the vast variety of more than 40 different characters he has played that offers the major interest in Gregory Peek’s film work.
Certainly there is that solidity – and stolidity – of personality that holds our confidence, that sense of integrity and righteousness that is inherent in his every portrait, be it of hero or of villain. Somewhere within that man we know is the best of us, in fact or aspiration. And as John Griggs’s biography makes clear, it is a characteristic maintained on and off the screen. What is interesting about his work, beyond its variety and scope, is that Peck created a series of prototypes or, indeed, role models and model roles that transcended, in some cases, the film itself and remain memorable beyond the context. These go beyond his being the Hemingway hero twice over, with The Macomber Affair and The Snows of Kilimanjaro; his bridging of time in Captain Horatio Hornblower; the wartime derring-doing of Twelve O’Clock High or The Guns of Navarone.
He came to his image of virtue early in his career, with Elia Kazan’s Gentleman’s Agreement, as the magazine writer exploring anti-Semitism among middle-class and professional folk. Given the naiveté the novel and film imposed upon the character, Peck nevertheless created the enduring image of the restrained and cool but obviously caring investigative reporter. Three years later, in Henry King’s 1950 The Gunfighter, in what remains one of his great performances, he gave us the ideal and ultimate portrayal of the malaise of the professional gunslinger, of the inner turmoil of a man risking his life for a reunion with his estranged wife and child with a dream of a new life, making clear to us the tragedy of a ‘hero’ whose time has gone. Peck showed us the end of a legend and gave posthumous grandeur to a wasted life.
Think of the romantic older-man-younger-woman escapade, of the charmer with ulterior motives losing his heart and knowing the futility thereof, and instantly there’s the image of Peck in William Wyler’s 1953 Roman Holiday, with Peck the American newsman and Audrey Hepburn, in her screen debut, the exquisite runaway princess. Peck set a standard for the romantic hero-heartbreaker who suffers the heartbreak, a model all-American (versus the Cary Grant) sophisticate. And after another three years, amid the suds-and-soap of Nunnally Johnson’s 1956 The Man in the Gray Flannel Suit, Peck became the prototype of the man of sensibility and responsibility who finally says ‘shove Madison Avenue!’ and asserts human values over those of the executive suite.
But it was in 1963, with the reverse coin of The Gunfighter, that Peck gave us his greatest role model, his portrait of Atticus Finch, in Robert Mulligan’s To Kill a Mockingbird. As a widower and lawyer raising his two children in a small Alabama town in the thirties, Peck faced the dual task of controlling his inner wrath in fighting racial injustice and of evidencing both that restraint and passion to the youngsters. Peck’s portrayal of a man of compassion, of strength and of intelligence in both his public and private aspects is unforgettable – a triumph of performance, let alone of not letting the two children, and a third who joins them in their escapades, steal the movie right out from under him.
These are Peck’s outstanding archetypical roles in my memory, crowded with other characters he made his own. The variety still astounds – but it is the ‘face’ – all its aspects – that endures.” – The Introduction by Judith Crist.
Softcover – 239 pp. – Dimensions 27 x 19,5 cm (10,6 x 7,7 inch) – Weight 766 g (27 oz) – PUBLISHER Columbus Books, Ltd., London, 1984 – ISBN 0-86287-362-2
The Films of Greta Garbo (Michael Conway, Dion McGregor, Mark Ricci; introduction by Parker Tyler)
“Garbo. This will not be a drooling piece about her. But just to speak her name, or write it, is to evoke what I would call, after much brooding on the subject, a presence in a Madame Tussaud’s of the imagination. The world we live in, where fame is a white heat perpetuated by a labyrinth of mirrors, engenders that sort of imagination in all of us… in all of us except, perhaps, Garbo. Greta Garbo would never undergo the hot-wax masking that makes for lifelike accuracy if your image is going into Tussaud’s. For all I know, her image is already there, although I don’t recall seeing it during my first and only visit to that attraction. Since Tussaud’s is the most horrible place in which I’ve ever seen the human being imitated at full length and in clean three dimensions, I soon fled in disgust. When, on a flight of stairs, I ducked under the rope regulating upgoing and downgoing traffic, a guard standing by was so shocked he tried to restore the proper order of things. But I was adamant. Tussaud’s is the world reincarnated as surface truth and nothing but.
This is the scandal of Tussaud’s; whether regarding fame or notoriety: its total, alienating worship of surface facts. It is a world meticulously purged of all humor. Garbo was a woman who had everything but – yet the ‘but’ does not imply she lacked humor. Surface signs in anyone, even false eyelashes, a beard, the roles assumed by actors, are mere indications of things within; they never represent only flesh, hair, face powder, lipstick, fashion ‘accessories.’ However much artifice is present, it is ‘trued’ by the apparent aim. Garbo as an actress was a fabulous chameleon. Notice, in this book, how much a hairdo alone can transform her in person and in mood; also, how much severity is communicated by her profile in contrast with her fullface. With a younger woman facing her, she automatically assumes an extra, rather masculine, dignity: something removed and enigmatic. This characteristic may be enhanced by the corners of her mouth, which take a deep dip when she assumes a solemn expression. Yet how much girlishness she could call into her face, as so many illustrations here attest! In her last film, Two-Faced Woman, she looks at times like a matron who has decided to reduce – and succeeded. Yet even at this last stage of her acting career, she could call forth youth, at will, from face and body.
Moral and emotional aims have their own transitions in individuals. Part of the art of acting is to reflect the difficulty of these changes, which raise important questions in human affairs despite the individual’s identity, including his sexual identity. At a crucial moment of Shakespeare’s Hamlet, its hero makes a complex play on terms of identification when King Claudius calls himself, ‘thy loving father, Hamlet.’ Hamlet catches him up: ‘My mother-father and mother is man and wife, man and wife is one flesh; and so, my mother.’ Notice the singular verb – the only verb in the sentence although the subjects are plural and of different sexes. No bagatelle, that paradox… Ken-
neth Tynan paid it considerable heed when he announced to the reading (and seeing) public that Garbo – Mr. Tynan said it with obvious relish – is ‘a girl.’” – From the chapter ‘The Garbo Image’ by Parker Tyler.
Softcover – 155 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 452 g (15,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1968 – ISBN 0-8065-0148-0
The Films of Hedy Lamarr (Christopher Young)
“During the 1930s and 1940s, Hollywood was truly the great dream factory. From the sound stages and production lots of its studios, the directors, movie stars, and technicians who labored on this gigantic production line sent forth a series of packaged dreams that seemed endless. In those years of Depression and war, they were products we needed badly. And on this talented production line, not one of those packagers of dreams was more beautiful or exciting than Hedy Lamarr. Hers was the beauty and excitement that once made a Paris audience gasp ‘Ecstasy!’ and so named her most famous movie.
But after a galaxy of headaches and heartaches caused by six ill-starred marriages, the loss of a fortune, and a well-publicized arrest on a shoplifting charge, Hedy Lamarr still believes that her beauty brought on most of her troubles. ‘Everywhere I find men who pay homage to my beauty and show no interest in me,’ she complained once. One foolish young man even killed himself when she refused to marry him, and her first husband was so jealous of her that he locked her up in his palace.
When she arrived in the United States, Ed Sullivan wrote in his column that she was the most beautiful woman of the century. Few could dispute that assertion. When you looked at the raven hair and sensuous mouth, the upturned nose and tranquil dark eyes, you were transfixed by what you saw. ‘The most beautiful girl in all Europe,’ Max Reinhardt, the great director and impresario, called her. ‘She is conceded by most artists to be the outstanding beauty of the decade, and she is also one of the most vivacious and interesting,’ said famed cover photographer Paul Hesse of the Hedy Lamarr he knew at the height of her Hollywood popularity. ‘She is stimulating, witty, breezy, and altogether fascinating.’ In Ziegfeld Girl, Tony Martin sang You Stepped Out of a Dream to her. It seems an apt description of the Viennese beauty who graced thirty European and American movies between 1930 and 1957.
She was born Hedwig Eva Maria Kiesler on November 9, 1914 in Vienna, Austria. Her parents were Emil and Gertrud Kiesler. Her father was the well-to-do manager of the Kreditanstalt Bankverein, one of the leading banks in Vienna, who had come from Lemberg in the West Ukraine. Frau Kiesler was the former Gertrud Lichtwitz, born in Budapest and fifteen years younger than her husband. She had had aspirations of becoming a concert pianist but gave up the idea when her daughter was born. From that time on, all of her attention was focused on her daughter.” – From the chapter ‘Hedy Lamarr: You Stepped Out of a Dream.”
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 833 g (29,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1978 – ISBN 0-8065-0698-9
The Films of Ingrid Bergman (Lawrence J. Quirk)
International stage and screen star, Academy Award-winner Ingrid Bergman is as much at home on the stage in Paris or Stockholm as she is before the Hollywood cameras.
Miss Bergman has had a dazzling career. And this book is the complete record of that career, which has spanned more than thirty years of stardom. Every film Miss Bergman made is recaptured in this book, complete with casts, credits, synopses, and reviews. The volume also includes the actress’ stage career and her triumphs both in New York and abroad. In addition there is a perceptive and revealing biographical study which throws new light on Miss Bergman both as an actress and a woman.
More than four hundred photographs illustrate the book, including many family and candid shots from the star’s private collection, some of which have never been previously reproduced.
LAWRENCE J. QUIRK, whose Films of Joan Crawford was nationally successful, is one of the country’s foremost film authorities. He has written innumerable film pieces for various magazines and is now at work on filmographies of Paul Newman and Fredric March, as well as a biographical study of his late uncle, James R. Quirk, who was the founder and long-time mentor of Photoplay magazine, most successful of the film fan monthlies.
Hardcover, dust jacket – 224 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 993 g (35,0 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1970 – ISBN 0-8065-0212-6
The Films of Jack Lemmon (Joe Baltake; introduction by Judith Christ, tribute by Walter Matthau)
Equally at home in dramatic and comedy roles, Jack Lemmon has ranged from such dissimilar roles as the straitjacketed alcoholic in Days of Wine and Roses to the more domesticated partner in The Odd Couple – “the man with clenched hair.”
Winner of an Academy Award for his powerful performance in Save the Tiger, Lemmon will soon have completed his first quarter-century as a stage and screen star. This book is the complete record of that career, covering in depth every play, film and television show in which the actor appeared. It contains casts, credits and detailed synopses as well as comments by Lemmon himself on most of the roles he essayed. Nearly four hundred photographs illustrate the text, including many rare candid shots and snapshots from the actor’s private collection.
Boston-born, Harvard-educated Lemmon was cooperative and revealingly frank in his sessions with author Joe Baltake, which helped him make the biographical study a warm and revealing portrait of the actor and the man.
JOE BALTAKE has been first-string film critic for the Philadelphia Daily News ever since his graduation from Rutgers University in 1968. An avid movie buff and film historian, he has contributed articles to Films in Review and is co-founder and co-chairman of the National Society of Film Historians. He is currently putting the finishing touches on an original screenplay, The Apple-Tree Waiting Room.
Hardcover, dust jacket – 255 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.135 g (40,0 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1977 – ISBN 0-8065-0560-5
The Films of James Cagney (Homer Dickens)
“From the time Cagney was a small boy in the sweltering streets of New York, he yearned for the country. ‘I had an aunt who lived out at Sheepshead Bay. We used to go out there; I saw them making those early movies in Brooklyn with John Bunny and Flora Finch.’ Of those sojourns to the ‘wild’ country of Brooklyn, he later stated: ‘I’m so thoroughly happy in the country and so thoroughly unhappy in the city,’ and added. ‘Like most city kids I was country-crazy. I still am.’
He is an expert on soil conservation, and much of his movie wealth has been invested in scientific farm research. He used to claim that the best way to keep from going Hollywood was to stay away from it between pictures. Said Cagney at the height of his career: ‘Give me a couple of days on a farm branding cattle, fixing fences or milking cows and I can recharge my batteries completely.’ In the thirties, the Cagneys paid $ 85,000 for a house that was built in 1728 in Edgartown on Martha’s Vineyard, the resort island off the coast of Massachusetts.
Jimmy is a gentleman farmer in the truest sense of the phrase. He is also reportedly a millionaire, with four farms that pay for themselves, a home in Beverly Hills and a New York City apartment.
Two of his farms are in California. In the East, he owns a 700-acre dairy farm near Millbrook (Dutchess County), New York, where he crossbreeds Scots Highland cattle with Shorthorns and Herefords. He has a milk herd of Friesian-Holstein cows and sells more than 1,000 quarts of milk daily. He and Billie, his wife of fifty years, divide most of their time between their farm near Millbrook and the place on Martha’s Vineyard. Their adopted son, James, Jr., married a girl he met while in the Marine Corps named Jilly Lisbeth Inness, of South Portland, Maine, in 1962. Cagney’s daughter Cathleen (“Casey”) is now Mrs. Jack Thomas. The Cagneys are proud grandparents.
Cagney was once asked to address the students of the University of Maine concerning soil conservation, and he has narrated many radio programs on this subject during the past few years. He came out fighting to preserve the Hudson Valley from Consolidated Edison’s proposed power plant at Storm King Mountain in the mid-sixties. He identified himself in his telegrams to Robert F. Kennedy (N.Y.), Thomas H. Kuchel (Cal.) and Rep. Richard L. Ottinger (N.Y.) as a long-time conservationist joining other Hudson Valley residents in fighting particularly to preserve the spawning grounds of striped bass. Which only goes to prove that James Cagney may have retired from films, but he never retired from life.” – From the Introduction.
Softcover – 249 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 724 g (25,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1972 – ISBN 0-8065-0412-9
The Films of James Mason (Clive Hirschhorn; with some second thoughts by James Mason)
James Mason, one of the most distinctive of all male film personalities, has made over ninety pictures. Starting in 1935, in Late Extra in which he played a newspaper reporter, his career on both sides of the Atlantic has been a series of scintillating successes and forgettable flops. But always the distinctive Mason voice and persona have given countless hours of pleasure to millions of cinemagoers the world over.
As the man women loved to hate in such films as The Man in Grey, Fanny by Gaslight and The Seventh Veil, he soared to stardom and success, finding himself at the top of the Motion Picture Popularity Poll in 1945. A year later, after making Odd Man Out for Carol Reed, he received the Daily Mail‘s ‘Oscar’. In the same year, he and Margaret Lockwood were voted the country’s most popular stars.
James Mason is very much a personality off the screen as well as on it, and, while he has not actually taken a whip to anyone in the manner of his sadistic Lord Rohan in The Man in Grey, in the forties he lashed the British film industry and the men in charge of it with words and articles hardly guaranteed to enhance his popularity within the business. Finally, in 1948, after completing The Upturned Glass, he and his wife Pamela (the actress, Pamela Kellino) left for the United States where he went on to make such films as Rommel – Desert Fox, Five Fingers, Julius Caesar, A Star Is Born and 20,000 Leagues Under the Sea. In 1960 he returned to Britain to make a delightful comedy called A Touch of Larceny. A brief period in American television, a couple of years later, gave him a decided taste for character work, after which he went on to distinguish himself in such roles as Timonides in The Fall of the Roman Empire, Bob Conway in The Pumpkin Eater, Gentleman Brown in Lord Jim, Trigorin in The Sea Gull, Mr. Leamington in Georgy Girl and Rafe Compton in Spring And Port Wine. The book brings his career up-to-date with his most recent films, including The Mackintosh Man and The Marseille Contract.
The Films of James Mason is the first comprehensive study of this controversial actor’s work, and offers the reader a fascinating survey of his career. And as Mason’s career spans nearly forty years of film-making, the book is also an invaluable source of reference to the film-buff interested in the changing face of the motion-picture industry.
CLIVE HIRSHHORN was born in 1940 in Johannesburg, South Africa. He obtained a B.A. degree at the University of the Witwatersrand, and, after arriving in Britain in 1963, became a story-editor for ABC TV at Teddington. After a brief spell as a pop columnist on the Daily Mail, he joined the Sunday Express as a profile writer. From 1966 to 1970 he was that paper’s film critic, and is now their theater critic and show business interviewer.
Hardcover, dust jacket – 256 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.160 g (40,9 oz) – PUBLISHER LSP Books, Ltd., London, 1975 – ISBN 0 85321 063 2
The Films of Jean Harlow (Michael Conway, Mark Ricci)
“Jean Harlow was born Harlean Carpenter on March 3, 1911 in Kansas City, Missouri. Her parents were Montclair Carpenter, a Kansas City dentist, and the farmer Jean Harlow. (Although Harlean did not assume her mother’s maiden name until the beginning of her film work, I shall hereafter refer to her as Jean Harlow.) She began her education at Miss Barstow’s School for Girls in Kansas City, but after her parents divorced, ten-year-old Jean moved to Los Angeles with her mother. Three years later, they returned to Kansas City to be near Jean’s maternal grandparents. Her mother married Marino Bello and Jean enrolled as a student at Ferry Hall in Lake Forest, Illinois.
While she was attending this school, she eloped with a young businessman, Charles F. McGrew. When the couple moved to Los Angeles, sixteen-year-old Mrs. McGrew fell in with the Hollywood crowd. A girl friend who was playing bit parts in films gave her the idea of working as an extra. Having obtained a card from the Central Casting Bureau, she found the first of her many extra jobs in a Fox film, and Harlean Carpenter McGrew became Jean Harlow. Jean’s mother and stepfather were near enough to watch over and assist her then, as they did throughout her career.
It should be brought out at this point that Jean was not the usual star-struck teenager who wanted to make it big in films. She did the extra work as a lark. McGrew, however, did not particularly care for his wife’s hobby. Neither did Jean’s grandfather, S.D. Harlow, a wealthy real estate man in Kansas City. Jean had signed a contract in August, 1928, to appear in Hal Roach’s comedy short subjects. This was a step up from extra work, but she only appeared in two productions, because her grandfather made known his disapproval of films and threatened to disinherit her. He even came to Hollywood, but his ruffled feathers were smoothed and Jean’s name stayed in his will.
Jean went back to doing extra work in films, but she and McGrew dissolved their marriage in June, 1929. She got a small role and her first billing in Paramount’s Saturday Night Kid, after which she went back to playing bits for a short time. (See the summary of Jean’s early work for titles of films she appeared in.) Whether she wanted it or not, Jean’s big break came. Howard Hughes was producing a three-million-dollar film, Hell’s Angels, about air warfare during the first World War. Greta Nissen had been signed for the female lead as the lascivious Helen, but her Swedish accent was not suited to this film, and Hughes was looking for a replacement. Jean met Hughes, and he placed her under contract to his Caddo Company and gave her the part of Helen.
Hell’s Angels is today regarded as a classic. Although the critics of the day considered the film to be superior technically, they found the acting inadequate and could not accept the three leading players as British. Still, it should be remembered that all film actors had suddenly been confronted with the sound medium and were working at a disadvantage. Many silent film stars faded into oblivion, while stage actors were becoming the new stars in Hollywood.
Jean was singled out by some critics for a particular blast; yet, despite the adverse criticism, she achieved immediate fame. The public was less concerned with her acting ability because she had what few others did – star quality. Star quality may seem to be an expression that only fan magazines use, but it is meaningful in many cases. Marilyn Monroe had this quality and she was a big hit with the public because of it, even when she had small roles in films. Films about gangsters and the prohibition era were growing in popularity. When Little Caesar was released, it was an immediate hit. Every studio got on the bandwagon, and when Howard Hughes lent Jean to other studios, she appeared first as a good bad girl in MGM’s The Secret Six. Because Jean was able to show some softness in her part, her performance was better. Billed seventh in the cast was Clark Gable, who was to work again with Jean a year and a half later, when he reached stardom.” – From the chapter ‘Jean Harlow, Filmography and Commentary.’
Softcover – 152 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 468 g (16,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1965 – ISBN 0-8065-0147-2
The Films of Joan Crawford (Lawrence J. Quirk)
“Joan Crawford is a typically American film star. She is American in that she projects enterprise, resiliency, and drive in her performances. She is also American in that she hangs on to her gains. She has been a leading cinema personality for forty-three years through eighty films – and for ten of those years she has also been a successful businesswoman.
Among her on-screen images: the shop girl who aspires to better things; the ambitious prostitute who seeks respectability – and the man to help her get it; the lady-thief who assumes the manners and mores of the aristocrats she is fleecing; the stenographer who wants to rise from a drab life on a ladder of men; the stranded carnival girl who seeks a haven; the man-shark who steals the husbands of less aggressive women.
Miss Crawford is also expert at portraying screen characters in the throes of romantic passion. She has gone colorfully mad because her love was not returned. She has been hurt because she chose to love a heel. She has been a factory girl entranced by a seedy chiseler. She has been a hard-boiled, emotionally insulated stage star softened by love.
Other Crawford roles: a physically afflicted woman who must learn the rules of life and love from the ground up; an unloving wife who prizes her well-kept house above her husband; an overly indulgent mother who makes an emotional monster of her child; a rich widow with a penchant for handsome beach bums; a lonely spinster who marries too hastily and discovers her young husband is a psychotic; a self-centered magazine editor in love with a married man; a domineering, sadistic head nurse in a mental hospital; an ex-mental hospital inmate suspected of axe murders.
In the 1925-1927 period, she was little more than a big-eyed MGM ingenue who won Charleston contests in her off-hours. By 1928 she was box-office. By 1939 she had developed first-class acting skills. And in 1945 she won an Academy Award, followed in subsequent years by a number of Best Actress Oscar nominations.
In 1938 she was labeled ‘box-office poison.’ From 1943 to 1945 she was out of a job. She weathered other career slumps in 1948 and 1954. She was divorced thrice, widowed once – and has not tried marriage again in nearly a decade. Along the way, she has raised four adopted children to adulthood.
There are six periods in the Crawford film career. The jazz baby and peppy ingenue (1925-1929); the modern girl, languorous, cynical, world-weary (1930-1933); the sophisticated, hollow-cheeked clotheshorse (1934-1940); the accomplished dramatic actress (1941-1952) ; the seasoned, adaptable veteran (1953-1957); and the star emeritus who divides her time between film roles and a New York business career (1958 to date).” – From the chapter ‘Joan Crawford: The Actress and the Woman.’
Softcover – 222 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 649 g (22,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1973 – ISBN 0-8065-0008-5
The Films of John Frankenheimer, Forty Years in Film: John Frankenheimer Talks About His Life in the Cinema (Gerald Pratley)
This book traces the career of the maverick American director John Frankenheimer from his early days in television and his debut film, The Young Stranger in 1956, to Birdman of Alcatraz, The Manchurian Candidate, Grand Prix and The Fixer, to the most recent projects for HBO and his latest film, Ronin.
Author Gerald Pratley, the film critic and commentator, has assembled over the years interviews with Frankenheimer in which the director talks both informatively and entertainingly about his career. The result is a book which not only examines the films in detail but also provides commentary from the director himself, thus making this a very personal study of a filmmaker and his work. Pratley also offers fascinating first-hand ‘On Location’ reports for many of the films.
In a series of recollections, the director talks openly about his career, its highlights and successes as well as its failures and low points. He gives graphic descriptions of how his films were made, who he worked with and how he has survived through the rapidly growing and changing film industry in America.
Over the years, Frankenheimer has worked with many actors and maintained particular working relations with stars such as Burt Lancaster who appeared in several of Frankenheimer’s earlier films such as Birdman of Alcatraz, The Train, and Gypsy Moths; and Alan Bates who starred in The Fixer. In more recent years, Frankenheimer has worked with respected actors such as Raul Julia and Kyle MacLachlan in his films for HBO, which is now a major force in the making of films for television in the United States.
It’s not just the stars who are discussed in Frankenheimer’s recollections but many of the director’s colleagues in the making of the films. The producers, the script writers, the photographers and editors all contribute to his vivid account. The director talks frankly and sometimes critically about his relationship with the studios, about the American film industry as a whole, and about the personalities he has encountered over his long career in the industry.
This is the definitive book on Frankenheimer, a director whose work has in turn been daring, extravagant, innovative and always interesting. This book is also about being an American film director during the past four decades – it speaks clearly of the very particular world that makes the most extraordinary demands on individuals and will be of interest to those who want to know more about not just Frankenheimer but also the mechanics of film-making and about the American film industry of recent times.
GERALD PRATLEY was born and educated in London, and moved to Canada in 1946 when he joined the Canadian Broadcasting Corporation (CBC) as a writer-producer. Between 1948 and 1975, he worked extensively as a critic and commentator on the cinema for CBC. He has taught Canadian and international cinema at various universities in Canada and the United States. He was director of the Stratford International Film Festival (1971-76). He has written books on Otto Preminger, David Lean, and John Huston. In 1984, Gerald Pratley was made a member of the Order of Canada. Until 1990, he was director of the Ontario Film Institute, which he founded in 1968. He currently teaches Film History at Ryerson Polytechnic University in Toronto.
Hardcover, dust jacket – 294 pp., index – Dimensions 26,5 x 20,5 cm (10,4 x 8,1 inch) – Weight 1.035 g (36,5 oz) – PUBLISHER Cygnus Arts, London, 1998 – ISBN 0 934223 47 5
The Films of John Garfield (Howard Gelman; introduction by Abraham Polonsky)
“I met John Garfield when I went to see him and his partner, Robert Roberts, to tell them the story of Body and Soul. A new friend, Arnold Manoff, had just come to work at Paramount Pictures, just a few blocks away from Enterprise Studios. Manoff had been trying to make something of the Barney Ross story, but somehow he wasn’t getting anywhere, and since he found me numb with Paramount, he suggested that I go over and see what I could do with some sort of prizefighter story for Garfield. But first, we had lunch at Lucey’s. The match game was going on all around us, but Manoff was telling me about John Garfield and Enterprise. He made it sound like an ironic dream. It was.
Arnold Manoff is one of the best short-story writers of the depression years. That world of want, poor New York Jews, the Enlightenment, and Utopian Socialism, the Life of Reason haunting the glorious future, was the heart of Body and Soul. It is Romance with Rebellion. Clifford Odets, of course, was an electric part of this literary movement, and his plays were their enchanting vision, but Garfield was the star for the whole world, the romantic Rebel himself. In a way, I found the ambiguity of the movies much like the souls of Odets and Garfield when I got there after the war. John McNulty was at Paramount when I turned up. ‘What was I doing there?’ he asked me. I belonged back in New York. The race track was the only real thing around. The whole place was a fraud. He himself was just hanging in to get enough money to go back to the city, and he cursed Los Angeles, the sunlight, the palm trees, and the movies. He took me onto a set, the first I saw before the Paulette Goddard one, and he showed me Alan Ladd standing on a box for a tight two-shot in a love scene. ‘This is it,’ he said. ‘Go home.’ He never went home, but the Blacklist sent Garfield and me back to New York.” – From The Introduction by Abraham Polonsky.
Softcover – 224 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 663 g (23,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0620-2
The Films of John Wayne (Mark Ricci, Boris Zmijewski, Steve Zmijewsky)
“Wayne is as rough and tough and as kind and gentle and as resourceful as any American who ever crossed the country in a covered wagon. I wonder if any of those men of the Old West could match him, when it comes to guts or shooting a horse. This guy is a throwback to the old days. The clue to Wayne is that he is by taste and by way of life, typical of the ruggedly individualistic nineteenth century frontiersman he portrays so persuasively. Like his screen image, he believes in Abe Lincoln, gallantry to women, a patriarchal family life and ‘rough, lusty wild guys who can change into heroes for the cause of liberty.’
Wayne surrounds himself with tokens of American folklore. He has some of the most comprehensive private collections: paintings, sculpture and rare books on the American Indian and cowboy. Here is a man who takes bigger risks in real life than does the one-dimensional screen image he portrays. ‘I’m not the sort to back away from a fight. I don’t believe in shrinking from anything. It’s not my speed. I’m a guy who meets adversities head on,’ remarked Wayne.
His discovery was inevitable. He had what the guys in central casting call ‘the natural look.’ That means he shot it out with the forces of evil; when he roamed the badlands in search of purity or when he rode triumphant into the sunset, he placed between image and audience a shadow of honest reality. John Wayne is Hollywood’s most misunderstood man and underestimated talent. In his forty years Hollywood’s most durable money-making star (total film grosses are estimated at 400 million), he has shown only a few facets of his volatile and complex personality.” – From The Introduction.
Softcover – 288 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 685 g (24,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1970 – ISBN 0-8065-0286-7
The Films of Josef von Sternberg (Andrew Sarris)
Josef von Sternberg’s career and reputation from 1925 to the present are critically estimated in this first comprehensive survey of all of the director’s eighteen films. His contributions to cinema, his concern with style, his pictorial sense and his views of romantic love are described in detail. The essential aesthetic elements in Sternberg’s work are defined; and to dispel the widely accepted premise that his art is subordinate to the mystique of Marlene Dietrich, Mr. Sarris reveals the broader currents that have often obscured the remarkable evolution of the director’s own innovations. The extensive notes on each of the films provide incisive analyses of the elements that gravitated Sternberg’s individual artistic concepts from his first films (Salvation Murders, Underworld, The Lost Command) and his glittering association with Marlene Dietrich in seven films (The Blue Angel, Morocco, Dishonored, Shanghai Express, Blonde Venus, The Scarlet Empress, The Devil Is a Woman) to his later work (Shanghai Gesture, Anatahan).
All of the films reflect his preoccupation with the production arts and physical reality. Sternberg preferred the artificial setting to the real one, contrived lighting and special effects to natural lighting, camera movement and slow dissolves to montage. Since the same qualities were common to the silent German cinema, Sternberg has sometimes been associated with it – even though he was born in Vienna (1894) and learned his craft in American studios. It is Mr. Sarris’ thesis that in a sense Sternberg was ahead of his time in that he is less concerned with storytelling and more with elemental human relations. The text is supplemented by full film credits and illustrations.
ANDREW SARRIS is film critic for The Village Voice, free-lance writer of articles on the motion picture for periodicals, lecturer and panelist, and is a member of the Program Committee for the fourth New York Film Festival at Lincoln Center. He has his own weekly program, Films in Focus, for radio station WBAI in New York.
Hardcover, dust jacket – 56 pp. – Dimensions 24 x 21 cm (9,5 x 8,3 inch) – Weight 434 g (15,3 oz) – PUBLISHER The Museum of Modern Art, New York, New York, 1966
The Films of Katharine Hepburn (Homer Dickens)
“In its years of churning out movies, Hollywood has had its share of rebels and, upon occasion, has even been known to employ the services of a few ladies, in the true aristocratic sense of the word. Yet, in 1932, the Hollywood community was hardly prepared for – or ready to accept – the strong-minded, extremely promising, and much too frank Katharine Hepburn, a rebellious lady par excellence.
Perhaps more than any other profession, the motion picture industry has required its practitioners to expose their private lives to the gaze of an overly inquisitive public. The studios’ reasons for this policy, not at all groundless, were primarily to cultivate the continued interest of the attending public. Stars were to be generous to the public at large in such matters as granting interviews, signing autographs, and so on. This conduct was, in other words, the name of the game in Hollywood society.
Miss Hepburn, who swiftly became a celebrity, fought in her inherently thoroughbred style to distinguish between her private and her professional life, declaiming, ‘My privacy is my own and I am the one to decide when it shall be invaded.’ She was tremendously eager to make good as an actress and, even though innately shy, she possessed enough good New England horse sense, dauntless enthusiasm, boundless energy, and brash bravado to give her plenty of speed. Her angular looks, high-bred Connecticut ‘accent’ (which was likened by some to a buzz saw), and complete candor increased her detractors ten to one in those early years. In her general unwillingness to adhere to the rules of the game, Kate hired a Rolls-Royce to take her about the film capital, dressed casually in slacks and sandals, wore little or no make-up, refused to coo in the established starlet manner, avoided nosy fan-magazine writers, and paraded around with her pet gibbon monkey while her contemporaries were accompanied by sleek and sassy Russian wolfhounds.
Despite all this – and perhaps a little because of it – Katharine Hepburn brought a distinguished touch of class to her movies and projected a magic all her own. Although more of a unique personality than a versatile actress, she never gave a bad account of herself in any of her performances. Even when, on frequent occasions, the material was less than stimulating, she more often than not inspired others to give more of themselves for a total effect. Any general unevenness in her performances seems merely to give rise to differences in the estimation and evaluation of her work.” – From the chapter ‘Rebellious Lady.’
Softcover – 244 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 753 g (26,6 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1971 – ISBN 0-8065-0361-0
The Films of Kirk Douglas (Tony Thomas; introduction by Vincente Minnelli)
“Working with Kirk Douglas in the three films we made together was for me the most rewarding and stimulating collaboration within my memory. Lust for Life was the second of our pictures. My mind goes back to that especially because Vincent Van Gogh was one of the most controversial, contradictory and complex of men. A terrible and maddened genius, often sublime, sometimes grotesque. Fortunately, he left behind some five volumes of letters to his brother Theo, in which he discusses with great emotion his way of life at the moment, his views on paintings and other painters, and an enormous variety of subjects. But, the letters are maddening because he wilt argue with passion and conviction the affirmative of an idea, and then, often in the same letter, turn around and just as convincingly take the negative point of view.
One comes away with one’s own conviction of how he would have behaved under certain conditions. It is any man’s guess, and that is what makes the analysis so challenging. There may be many ways of conceiving the subject, and many of them can be right. That is the extraordinary thing about our relationship on the picture, that we so often agreed and saw it the same way. We started in France. I had been on another picture, and the day after finishing I flew to Arles in Southern France where they had been keeping a wheat field alive chemically for me to stage the suicide of Van Gogh. He was painting his last picture ‘Wheatfield with Crows’ when he had his last attack and shot himself.
I had very little time to work with the producer and author, except on the more broad aspects of the story, and had to make up for it now as we started the shooting in Arles. ‘The Yellow House’ had to be rebuilt on the original site because it had been bombed out during the war, I was embarrassed to learn, by the Americans. Most of our shooting was done in Europe in the actual places where Van Gogh had lived and worked during his tempestuous life. Arles, St. Rémy (the actual asylum where he was incarcerated), the Borinage district in Belgium where he was assigned as lay minister to the coal miners, the Dutch countryside, his father’s house, and the tiny church where his father was minister. Aubers, about twenty miles outside of Paris (where he had gone to be treated by Dr. Gachet), in the inn where he had died across from the Marie, which he painted. Also, Amsterdam, where, besides our location shooting, we also shot in the studio Van Gogh painting ‘The Potato Eaters’ and ‘The Weaver’ series, so it was necessary to redramatize many of the scenes and incorporate new ones as these locations gave us a whole different vision of the events.
Fortunately, the producer of the picture, John Houseman, was with us at all times. He is also a writer of great imagination and great taste, and it was here that Kirk proved an enormous contributing ally. Many of the touches in the film were based on his ideas. There is no more exciting thing for a director than the search with an actor for the meaning of an illusive and challenging character. Kirk is blessed with tireless energy, a willingness to try anything, and a complete disregard as to how he looks. He could not care less about being the handsome hero. His enthusiasm and devotion to the project is contagious and transmits itself to the crew, the cast, and everyone connected with the picture.
Also, Van Gogh was a painter and painters have usually been notoriously unconvincing on the screen. Together we studied the paintings and drawings in the books and museums and analyzed the way Van Gogh must have painted, passionately and brutally, with every nerve alive in his body and with the same ferocious energy with which he gave his friendship and his love and the way he met every happening in his short and tragic life.
Aside from his astonishing likeness to Van Gogh (he is depicted in various scenes with some of Vincent’s many self-portraits), Kirk Douglas achieved a moving and memorable portrait of the artist – a man of massive creative power, triggered by severe emotional stress, the fear and horror of madness. In my opinion, Kirk should have won the Academy Award for which he was nominated. So here’s to Kirk, with affection, admiration, and amazement.” – The Introduction by Vincente Minnelli.
Softcover – 255 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 727 g (25,6 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1972 – ISBN 0-8065-0501-X
The Films of Lana Turner (Lou Valentino; foreword by Mervyn LeRoy)
“What a vivid recollection I have of my first meeting with Lana. Billy Wilkerson, the publisher of the Hollywood Reporter, had spotted her in a little soda place and sent her to Solly Baiano, a casting director for Warner Bros. At the time I was producing and directing pictures for Warner Bros., and I was looking for a sexy young girl to play a small but important part in a picture I was about to do called They Won’t Forget. The problem was that she had to be more than just sexy; she had to be seductive and desirable, yes, but innocent and untouched by life as well.
I had already tested thirty girls and I was getting irascible. The combination of sex appeal and innocence is hard to find, believe me! Anyway, the phone rang and it was Solly. ‘Mervyn,’ he said, ‘I think we have the girl you are looking for. I’ll send her over. Her name is Judy Turner.’ I was sure that this Judy Turner would be just another disappointment. My secretary buzzed me. ‘A Miss Turner is here,’ she said. ‘Send her in,’ I said. I shuffled the pages on my desk, looking for a scene from the picture for her to read. She was supposed to be a teen-aged innocent who is murdered in the first few minutes of the picture. I looked up. A girl with dark hair stood in the doorway, so nervous her hands were shaking. She had on a blue cotton dress. Her hair was impossible. It looked as if she had never put a comb through it. She wasn’t wearing any make-up and she was so shy she could hardly look me in the face. Yet there was something so endearing about her that I knew she was the right girl. She had tremendous appeal, which I knew the audience would feel. The first thing I said to her was, ‘Do you want to sign a contract?’ ‘I’ll have to ask my mother,’ she answered. It was only when I had a contract drawn up putting Julia Jean Mildred Frances Turner under personal contract that she knew it wasn’t all a dream.
The first day before the camera, she came through just as I knew she would. I felt sorry for her, and I knew audiences would too. Her shyness – and Lana was painfully shy – made me want to help her. She was an untutored kid, but she had a wonderful personality. Lana always had a bubbling, irrepressible sense of humor. She had it then, and she has it today. In those days, her humor showed itself by a carefree attitude. She wasn’t conscious of the tremendous break that had come her way. She wanted to play and have fun like most youngsters. But I was taking her career seriously even if she wasn’t. I knew she had great possibilities. The first thing I did was to suggest that she change her name. And what a lucky name it turned out to be for her. I tried to help Lana in other ways too. Although her mother worked hard to provide her with shelter and clothes, there was very little room in their budget for luxuries. I recall once when Lana couldn’t go to this big function that was being attended by everyone who was anyone in Hollywood because she didn’t have a formal dress. I bought her one. I knew it was important that she be seen by all the right people.
As time went on I saw Lana mature. She had a mind that literally soaked up knowledge. She wanted to learn and she wanted to be a star. When I left Warners to go to Metro, I took her with me, but I gave her her release so she would be free to sign with Metro. I wanted her to find herself, to be somebody. Needless to say, she surpassed my wildest expectations. By the time we did films like Johnny Eager and Homecoming together, I could see how much Lana had learned about the business. Sure, luck played a big part in Lana’s success story. But let me tell you about luck. It only happens to those who are ready for it. Success is never an accident.
Hollywood couldn’t give talent if it wasn’t already there, inside them, waiting to be developed, to be nurtured. What Hollywood could do was to bring that talent out into the open… so far out into the open that it could be projected on a screen sixty feet high.
Some years back, I wrote a book called It Takes More Than Talent. In it, I tried to tell how much more it takes to achieve success in Hollywood than mere talent. Star quality is a necessary ingredient, to be sure, but I have always maintained that you can’t be a really fine actor or actress without heart. You also have to possess the ability to project that heart, that feeling and emotion. And you’ve got to have a good amount of determination and courage. Gable had it. So did Tracy and Harlow and all our truly great stars. Lana? Yes, Lana had all of these qualities. And she still has them.” – The Foreword by Mervyn LeRoy.
Softcover – 288 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 809 g (28,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1976 – ISBN 0-8065-0724-1
The Films of Laurel and Hardy (William K. Everson)
“It has suddenly become the ‘in’ thing to be Laurel & Hardy admirers. The spectacular, but labored and only intermittently funny comedy ‘special’ The Great Race (1965) was dedicated to Laurel & Hardy, which was a nice and doubtless sincerely meant tribute, although it’s a pity that it couldn’t have been a film more worthy of them. The controversial and not wholly successful The Loved One, also from 1965, actually had far more kinship with some aspects of their comedy, and I suspect that, given a choice, they would have preferred their dedication on that film.
The cult worship that so often follows the belated discovery, or rediscovery, of unrecognized stars (or for that matter directors or writers) can be a both annoying and dangerous thing. Annoying because most of the analyses and tributes were made earlier, albeit in less pretentious terms. Dangerous because over-adulation can often build up a wall of resentment against its objects, who are usually wholly innocent of any involvement in or promotion of a cult movement, often dislike it, and usually refuse to take it seriously. There’s danger too in that the object of sudden hero-worship may begin to take his disciples too seriously and try to live up to the interpretations they have imposed on his work. For a while, in the 20s, this happened to Charlie Chaplin. More recently, William Wyler, Alfred Hitchcock, Robert Wise, Joseph Losey and George Stevens are just a few of the fine film craftsmen who put their best and most cinematic work behind them when their cults insisted (perhaps rightly, but at the wrong time) that they were artists and geniuses of the first magnitude.
What a pity it is that most cultists are sheep, unwilling to express their enthusiasm until it is fashionable to do so and until time has proven them right beyond any possibility of contradiction. If the cults have any value at all, it would be when the targets of their bouquets are still young, fresh, and experimental. Then the prestige of cult-support might warrant really important properties being tossed their way when they are creatively best equipped to handle them.
Now Laurel & Hardy are a cult. It’s a trifle grating (not that they don’t warrant the widest acclaim and a position on the same pedestal with Buster Keaton and Charlie Chaplin) and the immediate reaction to all of the Johnny-come-lately critics is, ‘Fine, but where were you when the boys were making all of these films that you now analyze in such minute detail?’ The answer, of course, is that they were either too young (hardly their fault, although it doesn’t excuse the rather egocentric attitude that their generation is the first really to appreciate Laurel & Hardy), or that they were too busy building other and then more fashionable cults – to Lubitsch, perhaps, or to the Marx Brothers.
Fortunately, Laurel & Hardy will survive all this. So many of the ‘best’ cults are based on general unavailability of the films, thus having a snob value as well. It’s easy to foster a Louise Brooks cult (no slight intended, for the lady is a good friend of mine, a perceptive film critic, and certainly one of the most magnetic of all movie personalities) when her films can only be seen by those fortunate enough to have entry to the archives, and when the written words and hymns of praise cannot be disputed. The Laurel & Hardy films are around more than ever – in their original form, in the fine compilations constructed by Robert Youngson, on television, in theatres, even in 16mm and 8mm home movie form for the permanent delight of both student and plain admirer. Furthermore, almost all of their films have been preserved, only three or four of the earlier ones apparently having vanished, and even these may well turn up eventually. Too, the cult-worship comes too late to affect their wonderful performing style and unique film grammar; at worst it can only send the imitation Laurel & Hardy merchants off on the wrong track, a fate they richly deserve.
Cults don’t last too long. Ingmar Bergman and Jean-Luc Godard have already ‘had it.’ Michelangelo Antonioni and Alain Resnais should get the axe next. Maybe in a year or two the Laurel & Hardy cult will die too, perhaps when the Wheeler and Woolsey or Jack Benny movies of the 30s become the new ‘in’ thing. Then all that will be left will be those of us who love their work, and have always loved it. And of course, the Laurel & Hardy films, where even the flaws and weaknesses are somehow part of a consistent pattern.
I don’t think any comedians have ever brought more laughter to the world than Laurel & Hardy. Keaton was wittier and cleverer, Chaplin a greater overall artist and dramatist. But in terms of sheer laugh content and brilliance of comic invention and construction, Laurel & Hardy take second place to no one. Their humor is universal and timeless, and inevitably – owing to the dearth of original comedy creators in the field today – their comedies must seem even funnier as time goes on. So I suppose it’s useless to complain about the Laurel & Hardy ‘cult.’ There’s bound to be another one in 2036, with perhaps a special one-hundredth anniversary screening of Our Relations; and another renaissance a few hundred years later. And who knows what the prints will be like by then? (Some of them aren’t so good even now!) Let’s just enjoy them while we can.” – The Introduction.
Softcover – 223 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 659 g (23,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1967 – ISBN 0-8065-0146-4
The Films of Mack Sennett: Credit Documentation from the Mack Sennett Collection at the Margaret Herrick Library (compiled and edited by Warren M. Sherk)
Mack Sennett will always be remembered as the “King of Comedy” as well as for the Keystone Kops, the custard pie, and the Sennett Bathing Beauties. In 1951 he donated his career papers and photographs to the Academy of Motion Pictures Arts and Sciences’ Margaret Herrick Library. The files in the Mack Sennett Collection contain script material, cutting room sheets, preview notes, main title and subtitle (intertitle) sheets, complete production reports, final synopses, and stills for Sennett films produced between 1912 and 1933. The Films of Mack Sennett contains credits for 855 films as well as appendixes of sample material from the collection, a chronological index of film titles, and a list of working titles and production numbers.
This invaluable reference tool provides an unprecedented source of credits; gleaned from primary source material, for actors, directors, cinematographers, and writers who worked for Sennett. The Films of Mack Sennett is an important contribution to the documentation of the history of silent film comedy.
WARREN M. SHERK is a special collections archivist at the Academy of Motion Pictures Arts and Sciences’ Margaret Herrick Library.
Hardcover – 320 pp., index – Dimensions 23 x 15,5 cm (9,1 x 6,1 inch) – Weight 656 g (23,1 oz) – PUBLISHER The Scarecrow Press, Lanham, Maryland, 1998 – ISBN 0-8108-3443-X
The Films of Mae West (Jon Tuska; introduction by Parker Tyler)
This book mirrors the remarkable career of a remarkable woman – Mae West. Her career in entertainment began when she was seven and it is still flourishing today. It is a career without parallel on both stage and screen. Mae West’s career reflects not only the changes in entertainment and the arts of the past half-century, but also the almost complete revolution in American sexual morality.
Born in Brooklyn before the turn of the century, Mae West scored her first Broadway success in a musical comedy called A la Broadway. The show failed, but recognition was given to Miss West’s scenes, and she worked steadily from that time on in featured acts on the vaudeville circuit and in leading roles in Broadway shows starring such luminaries as Ed Wynn, Al Jolson, Leon Errol, and Charles King. She even had Harry Richman as her accompanist in some of her vaudeville engagements.
The fame which brought her fortune – and also notoriety and a brief prison stay – began in earnest with the series of plays she wrote and sometimes starred in – Pleasure Man, Sex, The Constant Sinner, and Diamond Lil. The plays brought her headlines, an international reputation, and, in 1932, a Hollywood debut in one of the new talking films, called Night After Night. Thus Mae West’s film career was launched and, though brief, it glowed with an incandescence no other performer brought to the screen.
From her first film to her (thus far) last appearance in Myra Breckinridge, this book covers in depth every motion picture in which Mae West has played. Her sensational successes, She Done Him Wrong and I’m No Angel, are analyzed and interpreted, as is My Little Chickadee, Miss West’s only film with W.C. Fields. This should have been a hilarious comedy, and the author probes the reason why it was only intermittently amusing.
This book has been intensively researched and covers every aspect of Mae West’s appearances in vaudeville, on the stage and screen, on radio, in night-clubs – wherever – including her never-to-be-forgotten Las Vegas act, “Mae West and Her Muscle Men.” Hundreds of rare photographs document this first complete record of Mae West’s career, along with stills from all the films.
Here is a chance to look back at the “shocking” Mae West, who dared to poke fun at sex at a time when even the word was taboo.
JON TUSKA, who devoted two full years to the preparation of this book, is the executive editor of Views and Reviews, one of the nation’s foremost film magazines. The Films of Mae West is the first published book.
Hardcover, dust jacket – 190 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch – Weight 964 g (34,0 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1973 – ISBN 0-8065-0377-7
The Films of Marilyn Monroe (Michael Conway, Mark Ricci; tribute by Lee Strasberg, introduction by Mark Harris)
“Marilyn Monroe was a legend. In her own lifetime she created a myth of what a poor girl from a deprived background could attain. For the entire world she became a symbol of the eternal feminine. But I have no words to describe the myth and the legend. I did not know this Marilyn Monroe.
We, gathered here today, knew only Marilyn – a warm human being, impulsive and shy, sensitive and in fear of rejection, yet ever avid for life and reaching out for fulfillment. I will not insult the privacy of your memory of her – a privacy she sought and treasured – by trying to describe her whom you knew to you who knew her. In our memories of her she remains alive, not only a shadow on a screen or a glamorous personality.
For us Marilyn was a devoted and loyal friend, a colleague constantly reaching for perfection. We shared her pain and difficulties and some of her joys. She was a member of our family. It is difficult to accept the fact that her zest for life has been ended by this dreadful accident.
Despite the heights and brilliance she had attained on the screen, she was planning for the future; she was looking forward to participating in the many exciting things which she planned. In her eyes and in mine her career was just beginning. The dream of her talent, which she had nurtured as a child, was not a mirage. When she first came to me I was amazed at the startling sensitivity which she possessed and which had remained fresh and undimmed, struggling to express itself despite the life to which she had been subjected. Others were as physically beautiful as she was, but there was obviously something more in her, something that people saw and recognized in her performances and with which they identified.
She had a luminous quality – a combination of wistfulness, radiance, yearning – to set her apart and yet make everyone wish to be part of it, to share in the childish naivete which was at once so shy and yet so vibrant. This quality was even more evident when she was on the stage. I am truly sorry that the public who loved her did not have the opportunity to see her as we did, in many of the roles that foreshadowed what she would have become. Without a doubt she would have been one of the really great actresses of the stage.
Now it is all at an end. I hope that her death will stir sympathy and understanding for a sensitive artist and woman who brought joy and pleasure to the world. I cannot say goodby. Marilyn never liked goodbys, but in the peculiar way she had of turning things around so that they faced reality – I will say au revoir. For the country to which she has gone, we must all some day visit.” – Tribute delivered by Lee Strasberg at the funeral of Marilyn Monroe, Thursday, August 9, 1962.
Softcover – 160 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 548 g (19,3 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1964 – ISBN 0-8065-0145-6
The Films of Marlene Dietrich (Homer Dickens)
“Marlene Dietrich is a woman. But don’t let an apparently simple statement mislead you. It is a woman’s nature to be complex and simple at will, whichever pleases her at the moment. Perhaps this is why they have fascinated men – and members of their own sex – since the beginning of time. There are no two alike. Despite all you have read, heard, or thought about her, it is Dietrich the woman who today survives the golden age of Hollywood, a splendiferous era of star-making, the likes of which we shall never again see.
Nowadays, there are no shadows cast by great studios, and businessmen sit where once ruled men of creativeness and imagination. Yet, at a time when she makes very few film appearances, Marlene Dietrich still commands attention wherever she goes and whatever she does. What is it that can still a noisy room to utter silence? Certainly not just a glamorous appearance. Few of her contemporaries possessed this quality, which has enabled Dietrich to appeal to the moviegoers of today as she did to those of yesterday. The future, too, seems to be hers, for the quality I speak of is not confined to any particular medium or time and thus it is twice as difficult to define – if, indeed, it can be defined at all.
Dietrich seems to possess an inner magic (for want of a better word) which she, as a woman, knows how to utilize to its fullest extent. This is coupled with a wisdom acquired over the years – from her acting, her associates, her friends, and a strong will to improve upon what she already has. Thus, she has become more than just a ‘body.’ She has become a mind and body. As a performer she senses what audiences need and want, knows just what of herself to give, and when to break off, leaving them not only enriched but longing for more. This is why Dietrich the woman is stressed, not the actress, the entertainer, the chanteuse, the authoress – she is all of these and more, but they are only a small part of the enigma which was created solely for the movies and has confounded all by its infinite variety and seemingly endless longevity.
Upon her arrival in the United States in mid-1930, the publicity hawks at Paramount Studios began to veil her background in mystery and half-truths, thus hoping to create a ‘Paramount Garbo.’ (Her creator, Josef von Sternberg, undoubtedly commanded this campaign to satisfy his urge to be responsible for a sublime ‘creation’). Comparisons between Garbo and Dietrich, to set the record straight, had actually begun in Germany as early as 1929. At first, Dietrich gave no interviews and would only be seen in the company of von Sternberg. It soon became apparent to studio executives that comparison to Metro’s lady was absurd. Dietrich could hold her own – and did.
Although she disliked participating in publicity of any kind, her mentor assured her this was a neccessary evil and advised her to go along with the campaign as best she could. The public, he reminded her, determined whether or not a studio’s player became a star. Soon she began admitting nothing – letting her publicity releases speak for themselves. And what a useless barrage of ‘facts’ they were. Her birthplace was changed. Her father and stepfather changed places and sometimes merged into one. Dates ran together. Even her age – not that it really ever mattered – was never the same twice in a row. Anywhere between 1898 and 1904 was given, preferably the latter. In 1964 Marlene Dietrich’s birth certificate was reportedly located in an East Berlin registry and sent to West Berlin officials. Perhaps even this document’s authenticity can be challenged. Who knows?
But, anyway, this scrap of paper tells us that Maria Magdalene Dietrich was born on December 27, 1901, in the West Berlin district of Schöneberg. She was the second daughter born to Louis Erich Otto Dietrich, an officer in the Royal Prussian Police, and his wife, the former Wilhelmina Elisabeth Josephine Felsing, daughter of Conrad Felsing (then head of the famous Felsing jewelry firm in Berlin). The Dietrichs maintained a strict German household. They were of that middle-class aristocracy whose ancestors had enjoyed not only wealth but position – leaving their descendants with a tradition to live up to. Little Maria Magdalene gained a tremendous self-discipline from the severity of this early upbringing, but at the same time a strong-willed nature was being nurtured. She and her older sister Elizabeth were taught proper etiquette and, from a governess, gained a workable knowledge of French and English.
Not long after the Dietrichs moved to Weimar, the capital of the Grand Duchy of Saxe-Weimar-Eisenach, Herr Dietrich died. Although they were very young, the girls missed their father. Their mother, having a penchant for military men, soon met and later married Edouard von Losch, of the highly respected Regiment of Grenadiers. In the role of stepfather to the girls, von Losch won their immediate love and respect.
Frau von Losch noticed a musical talent in her younger daughter at an early age, and soon Maria Magdalene was taking both piano and violin lessons. In her late teens she made remarkable strides in her violin studies, and by 1921 her mother, now a widow a second time (Herr von Losch had died at the Russian front during the final months of World War I), managed to enroll Maria Magdalene in Berlin’s highly acclaimed Hochschule für Musik, the
State musical academy.
Her future looked bright as a concert artist. Maria Magdalene approached her studies with fantastic vigor and spent many hours daily practicing her lessons over and over until perfection was reached. But a concert career was not to be hers. It was soon discovered that over-practice had produced a large ganglion on the primary nerve of her left wrist, which left but one alternative: stop the study of the violin at once, or suffer serious consequences.” – From the chapter ‘The Legend Lives On.’
Softcover – 223 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 720 g (25,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1968 – ISBN 0-8065-0007-7
The Films of Marlon Brando (Tony Thomas)
“On the evening of December 3, 1947, just before the curtain rose on the opening performance of A Streetcar Named Desire at the Ethel Barrymore Theatre in New York, Marlon Brando received a telegram from the author of the play: ‘Ride out boy and send it solid. From the greasy Polack you will someday arrive at the gloomy dane. For you have something that makes the theatre a world of great possibilities. Ever gratefully, Tennessee Williams.’
Brando has never played Hamlet and it seems unlikely he ever will. Despite his success and his fame, and wide recognition as a great actor, Brando has shown little enjoyment in his ability to act. More often than not he has deprecated the craft of acting, claiming it as a talent within the range of almost every human and minimizing his own achievements on the stage and on the screen: ‘This business of being a successful actor. What’s the point if it doesn’t evolve into anything. All right, you’re a success. You’re accepted, welcomed everywhere. But that’s all there is to it.’
Marlon Brando’s opinions run counter to those of his admirers. He has, as Shakespeare put it, had fame thrust upon him, and unlike almost all other actors, the gift has made him uncomfortable in the attention it has brought him. For most of his life Brando appears to have been at odds with the world, and perhaps with himself. He was a lonely boy who grew into a solitary man, withdrawn and brooding, seemingly unfriendly and yet, as Elia Kazan observes, ‘He is one of the gentlest people I’ve ever known. Possibly the gentlest.’ Brando has refused to play the role of superstar, although he is precisely that. He loathes publicity and generally avoids interviews with the press, and on those occasions when it has been necessary for him to talk to reporters, he has flatly refused to discuss any area of his private life.” – From the Introduction.
Softcover – 246 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 720 g (25,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1973 – ISBN 0-8065-0481-1
The Films of Martin Ritt: Fanfare for the Common Man (Gabriel Miller)
The first in-depth critical analysis of Ritt’s films and a justification of his renown as America’s premier social-issues filmmaker.
In a Hollywood career that spanned more than thirty years, Martin Ritt (1914-1990) directed twenty-six films. Among them were some of Hollywood’s most enduring works – Hud, Hombre, The Spy Who Came in from the Cold, The Molly Maguires, The Front, and Norma Rae.
In addition to displaying a passionate commitment to social issues, Ritt’s body of work represents a sustained exploration of the American myth and American national character. This study of his films shows how his work articulates the communal, agrarian ideal and its perversion as industrialism and urbanism have denatured the landscape.
Encompassing a hundred years of American life, these films follow the common man through the chronology of social history, including the arrival of the railroads in the West, coal mining in nineteenth-century Pennsylvania, Jack Johnson’s rise as the first black heavyweight champion of the boxing world, the television blacklist, spying and the Cold War, trade unions, and the war in Vietnam. The subjects he treats project a cultural framework for examining what America means as a nation and as an experience.
The sixties was the decade of Ritt’s most sustained achievement. This period culminated in his masterpiece, The Molly Maguires, perhaps the finest film ever made on the subject of American labor. In the first detailed analysis of this great realistic film, The Films of Martin Ritt: Fanfare for the Common Man shows that its greatness lies in Ritt’s complex interweaving of love and friendship, the labor struggle, the story of the immigrant dream, and the ideal of upward mobility.
The book includes analyses of all twenty-six films, including such early works as Edge of the City and The Long Hot Summer, as well as such later successes as Norma Rae, Sounder, and Murphy’s Romance. Ritt’s work in theater, notably in the Group Theatre, which he joined in 1937, and his being blacklisted from television during the 1950s, informed his directorial philosophy throughout his career. Many recognize him as America’s finest director of social films.
GABRIEL MILLER is chair of the English department at Rutgers University, Newark. He is the author of Screening the Novel (1980), John Irving (1982), and Clifford Odets (1989).
Hardcover – 240 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 545 g (19,2 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2000 – ISBN 1-57806-276-4
The Films of Nicholas Ray (Geoff Andrew)
Nicholas Ray, a director at odds with the American film-making establishment for most of his career, made over 20 films including such cult classics as They Live by Night, Johnny Guitar and Rebel Without a Cause. He was a major source of inspiration to the French critics of the 1950s, who became the directors of the nouvelle vague, and in their own turn an important influence on later filmmakers. His deeply felt disillusionment, both with American life in general and with the American movie establishment in particular, manifested itself in films that were for the most part, profoundly personal contributions to what was something of a factory conveyer-belt.
The Films of Nicholas Ray is one of the first in a new series of companions to the work of a wide range of controversial filmmakers written with a keen cinema-goer mind.
Softcover – 226 pp., index – Dimensions 21,5 x 13,5 cm (8,5 x 5,3 inch) – Weight 338 g (11,9 oz) – PUBLISHER Charles Letts & Co., Ltd., London, 1991 – ISBN 1 85238 165 5
The Films of Norma Shearer (Jack Jacobs, Myron Braum)
“Norma Shearer reminds me of a very precious jewel in a glamorous setting of fame. Her tapes try of life has been brilliantly shaded with exciting experiences, dramatic episodes, and outstanding successes, both here and abroad. She was and still is the personification of femininity and charm – she possesses a certain spiritual quality and a sweet sincerity in manner that have entranced all who have been privileged to know her.
Our paths crossed often, professionally and socially, during the luxurious star-studded era of Hollywood, when stars were presented like royalty. In all the years I knew Norma, I never heard her speak one word of criticism of anyone. Norma was one of the few motion-picture stars who dressed with excellent taste off-screen as well as in her productions. She possessed a unique chic and a certain scintillating quality that, coupled with her talent and beauty, captivated her audiences throughout the world. Her exquisite gowns and costumes for her glamorous roles were designed by Adrian, the world-renowned MGM fashion designer and artist, whose creations were works of art, and Norma Shearer knew how to wear them with dignity and grace.
After her marriage to Irving G. Thalberg, the genius, director-producer of MGM Studios, Norma seemed to increase her fame and, through his direction and inspiration, she further developed her many talents. As Angelo Patri expressed it, ‘Behind each great achievement there is usually a friend… who stirs the ashes of our spent dreams… to him all honor, all love is due.’ Norma Shearer will always shine as a brilliant star in the Hall of Fame. – Peggy Hamilton.
I truly feel someone of more importance than I should write the foreword to a book about Norma Shearer. It should be one of her peers, one of the movie greats, not someone she discovered. Not that I am not honored. My feelings about Miss Shearer are very deep, and I am always proud to share them. As a child she gave me great enjoyment through all of her motion pictures. She is an idol, with her talent, her beauty, her glamor, and more important, her warmth and love as a person. She was responsible for my discovery, she made it possible for me to have a chance: she opened a whole new world for me. I love her. I love her because she is a beautiful person. I don’t know how to express my appreciation for a human being any better than that. – Janet Leigh” – The Foreword.
Softcover – 250 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 731 g (25,8 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1976 – ISBN 0-8065-0606-7
The Films of Paul Newman (Lawrence J. Quirk)
“Paul Newman is the most successful and envied male film star of his era. At forty-six he gets a million dollars a picture, and he has his own film company with a percentage of the profits. He has for thirteen years been married to a beautiful actress who is as talented as he is and who has the balance and unselfishness to complement rather than combat him. He has six children of two marriages, ranging in age from twenty to five, of whom he is deeply proud. He has had four Academy Award nominations and has won numerous other acting awards, and is highly respected, as of 1971, for his scandal-free private life and his genuine and sincere concern for liberal political aims and humanitarian ideals. He also lives a common-sense, disciplined life, and in his own nonsentimental, practical way cares deeply about people.
Newman started off as an actor of comparatively narrow range and through quiet persistence and channeled energy has expanded the horizons of his talent to the point where the mannered, gimmicky style of his early years has given way to a mellow, balanced, underplayed acting technique that surpasses in essential eloquence the image of his more flamboyant years.
When he first came to widespread public notice in his first film, The Silver Chalice, in 1954, he was dismissed as a Brando lookalike, another also-ran Actors Studio product from TV and the theater. He then undertook a slew of film roles that won him increasing respect in Hollywood and with the film public: the character actor of Somebody Up There Likes Me, the tormented introvert of The Rack, the glamorous gangster of The Helen Morgan Story, the matinee idol of Until They Sail and The Long Hot Summer, the young-man-on-the-make-for-love-and-success of The Young Philadelphians and From the Terrace.
He tended to get lost in splashy epics like Exodus but when handed an intimate story about an obsessed pool-shark, as in The Hustler, or a sensitive man probing his own complex inner depths, as in Cat on a Hot Tin Roof, or a beach boy mourning the passing of youth as in Sweet Bird of Youth, he proved his creative mettle, and in spades. Always at his weakest in comedy, he did develop, with patient efforts through the years, a reasonable facility in this genre, though neither Newman nor anyone else expected he would ever catch up with Cary Grant.
Always, he has sought out creative people – producers, directors, writers, other gifted actors – and has spurred them on to solid accomplishment in partnerships which led to fine pictures like Hud, Cool Hand Luke, Rachel, Rachel and Butch Cassidy and the Sundance Kid. In Hud he gave a classic portrayal of a thoroughly amoral man. In Cool Hand Luke he delineated with telling impact the anguished-but-stubborn defiance of a prison camp loner. In Rachel, Rachel he spread his wings as a director for the first time and guided Joanne Woodward through a sensitive study of the buried life in a heart-hungry woman.” – From the chapter ‘Paul Newman: The Actor and the Man.’
Softcover – 224 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 653 g (23 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1971 – ISBN 0-8065-0385-8
The Films of Rita Hayworth: The Legend and Career of a Love Goddess (Gene Ringgold)
“Of all the beautiful women of Hollywood’s world of make-believe who can be regarded as examples of that commodity called the manufactured ‘movie star,’ Rita Hayworth is certainly among the most memorable, based solely on her accomplishments, personal and professional, against what may justly be called overwhelming odds. Now, decades after her finest hours, her name still conjures up a glorious memory of the movies’ golden age of glamor.
The creation of Rita Hayworth, from the unlikely foundation of one Marguerita Carmen Cansino, surpassed the expectations of even her most impassioned mentors and attracted a legion of devotees who worshipped her as unstintingly as if her charisma had been a genuine rather than an acquired aura. Even the films of her legendary years, when she was the silver screen’s Technicolored Love Goddess, are fairly forgettable except for her endowment of them with innate sexuality, a natural inner sensuality and an undefinable glamor that did much more than titillate audiences. Instead, her image suggested, none too subtly, that she was willing to fulfill and enjoy the promise of surrender that her face, her voice and her entire bearing proclaimed to every male she enchanted. Women found in her brash, bold-faced performances an honest and seductive sophistication that each of them secretly wished she had or could emulate.
This true Hayworth image was apparent only in isolated moments in a handful of her early films. It was actually her appearance in Rouben Mamoulian’s 1941 Technicolor remake of Blood and Sand that led to her international stardom. Rouben Mamoulian was actually Miss Hayworth’s first director to be keenly aware of her screen potential and astute enough to take full advantage of it. And in summing up her basic appeal he said: ‘Rita Hayworth was never the most beautiful woman to grace the screen. And when I first encountered her she was not even an especially resourceful actress. But all this is beside the point. Many women, much more beautiful, haven’t the least idea of how to deport themselves in front of a camera or to even suggest that there is a remote possibility that they could learn to act. And some rather ordinary-looking actresses, with truly remarkable talent, are totally incapable of even suggesting they possess a quality of beauty. But Rita Hayworth is different. She made you believe in both her beauty and her ability whenever she was on screen. I did a test of her and instead of attempting to convey wanton lust with just her eyes or even her entire face, she used her entire body to do it – and do it with an animal grace that no actress I have ever known has come close to equaling.’” – From the chapter ‘Rita Hayworth Superstar.’
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 836 g (29,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1974 – ISBN 0-8065-0574-5
The Films of Robert Taylor (Lawrence J. Quirk)
”Visits with Robert Taylor at his Mandeville Canyon ranch were always among the more pleasurable highlights of my annual Hollywood trips. He was a true gentleman and a finer artist than he would admit to himself or to others. He was well-educated, socially tactful, kind, and highly intelligent. I don’t think he was a great actor, but he is missed more than many of the great men and great actors I have known. His was a solid journeyman’s talent, and he made the most of it during his thirty-five years before the cameras. The exceptional handsomeness which helped him become a star at twenty-four was, in his view, always more of a liability than an asset, and, as Lloyd Nolan and other co-workers of Taylor have reminded us, Taylor didn’t seem to realize that good looks were an important aspect of the acting profession, aesthetically pleasing to the female audience that adored him and to the male audience that increasingly came to identify with him after his romantic roles of the 1930s gave way to more rugged, adventurous parts in the 1940s and 1950s.
In those thirty-five years (1934-1969), Robert Taylor never got within shouting distance of an Academy Award, though many of his admirers felt that such films as Above and Beyond (1953) and The Last Hunt (1956) entitled him to at least a nomination. He was modest and philosophical about this. ‘I was just a guy gifted with looks I had done nothing to earn, who fell into a career that I was never overly ambitious about. I did what I was told, tried to give my best at all times, kept one foot moving in front of the other, and the years and the work piled up,’ he told me.
In line with his gentlemanly code, he never revealed his more personal relationships to the press. Of the domineering, hard-driving Barbara Stanwyck, he would only say, when asked why their marriage broke up, ‘I never talk about a lady. Let’s just say Barbara is a very strong personality. I respect her deeply and treasure her friendship, which has always remained constant.’ And he added, ‘I always felt her talent was far greater than my own; it came easier to her, and she made the most of her gifts, as her many Oscar nominations prove.’
Nor would he discuss his mother Ruth, a neurotic hypochondriac who waxed increasingly possessive over her only child after Taylor’s father died and whose devouring obsession with him and endless attempts to interfere in his life throughout his adulthood brought him much sorrow and tension. Job-like, Taylor would only say, ‘She was my mother; she was widowed and ill and alone. I’ve done the best I could for her and I don’t regret it.’
For his female co-stars – and he acted with the greats, including Greta Garbo, Joan Crawford, Norma Shearer, Hedy Lamarr, Greer Garson, Barbara Stanwyck, Irene Dunne, Margaret Sullavan, Vivien Leigh, Jean Harlow, Myrna Loy, Katharine Hepburn – he had only kind and gracious words, and when he had reservations about them, he either said nothing at all or edited his remarks with considerate tact. But when he felt someone he admired was being unfairly maligned, he was quick to spring to the defense.
For instance, in a 1965 published magazine interview with me he said of Jean Harlow, ‘She was warm, outgoing, deeply kind, not at all the monster some writers have made of her.’ Of Norma Shearer: ‘A perfectionist.’ Of Joan Crawford: ‘Fun to work with. Driving. Ambitious. And wonderfully generous and kind to people she really liked.’ Of Margaret Sullavan: ‘Enchanting. Her talent warranted a much bigger career than Hollywood ever allowed her.’ Of Shelley Winters: ‘Warm, human, a genuine talent in the great tradition.’ Of Greta Garbo and Camille he said in that same interview, ‘Working with [her] was a magical experience. I was just a scared kid of twenty-five and she was thirty-one and in full bloom, already a fantastic legend. Some people tell me it’s my best performance, and if it is, I can thank her and director George Cukor. You can’t work with a woman like that without catching a spark from her, and Cukor is an expert at bringing out the best in actors.’
And when Louis B. Mayer was under posthumous attack from several writers and stars, Taylor sprang to his old boss’s defense, and his words, quoted from another of my interviews with him, attracted much attention in the Hollywood Reporter in 1964: ‘Some writers have implied that L.B. was tyrannical and abusive and a male prima donna who outacted his actors. As I knew him he was kind, fatherly, understanding and protective. He gave me picture assignments up to the level my abilities could sustain at the time, and was always there when I had problems. I just wish the young guys today had a studio and boss like I had in those days; it made us stars. We were groomed carefully, kept busy in picture after picture, thus getting exposure, and my memories of L.B. will always be pleasant.’ Incidentally, Joan Crawford was one of the few other stars whose success Mayer had made possible, who publicly defended him after his death. When I asked Taylor why he had not kicked up more of a fuss over the pedestrian roles handed him at MGM in the 1930s through the 1950s, he laughed and said, ‘I never did see the sense in endless quarreling with studio bosses and energy-draining displays of temperament. My way was right for me. My metabolism doesn’t lend itself to the Davis-Cagney brand of high-pressure careering. I stayed with one studio (MGM) for twenty-four years, did my work, took what they gave me to do, and while I wasn’t happy with everything, I scored pretty well.” – From The Introduction.
Softcover – 223 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 638 g (22,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0667-9
The Films of Ronald Colman (Lawrence J. Quirk)
“When Ronald Colman was coaxed from the London stage in 1917 to do his first English film, a two-reeler called The Live Wire, he was twenty-six years old, knew nothing about the technique of camera acting, and though he was nominally the leading man, he was deputized to help the crew move furniture and props amidst primitive and elementary production conditions. He was green, shy and unsure of himself, and awkward physically because of a limp from a 1914 war wound; a casting bureau later put in its records the words: ‘He doesn’t screen well.’
When he made his last film, The Story of Mankind, in 1957, he was sixty-six years old and world-famous, a veteran of forty years in the cinema and fifty-six movies. Appropriately cast in that final movie as The Spirit of Man, he radiated even in his twilight period the full-blown effulgence of a screen persona that was distinctive and inimitable.
Gracious, mellow, benign, sophisticated and consummately wise, he bowed out, in that movie and in that year of 1957, with all his old world courtesy and polished grace unimpaired – neither withered by age nor rendered stale by custom.
Colman was a type – the archetypal English gentleman – that was much admired in the 1920s and 1930s when civilized, well-bred, polished screen heroes were held in high regard and universally admired. Leslie Howard, Clive Brook, the young David Niven and the early Laurence Olivier, Herbert Marshall – these fitted his category – but none approached the master. Colman alone gave the world, through the medium of his films, that combination of exceptional good looks, poetic grace and a strong tinge of mysticism in his aura that enchanted and intrigued millions.
In the idealistic, climb-the-highest-mountain, dare-to-dream-and-do, reach-for-the-unattainable-star cinema that flourished in the 1920s and 1930s, Colman was the greatest idealist and dreamer-doer of them all.” – From The Introduction.
Softcover – 255 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 723 g (25,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1977 – ISBN 0-8065-0675-X
The Films of Shirley MacLaine (Patricia Erens)
Ever since Shirley MacLaine, an unknown understudy in the chorus line of The Pajama Game, stepped forward on a moment’s notice to replace Carol Haney, MacLaine has been a show business legend. For over two decades she has danced, sung, and clowned her way across the American screen delighting audiences in such memorable films as The Apartment. The Children’s Hour, Irma la Douce, and Sweet Charity. As a performer of rare talents, MacLaine is one of the few female stars to survive the transition from ingenue to mature woman and to retain her popularity through the 1970s when so many actresses have faded from the scene.
Patricia Erens’s The Films of Shirley MacLaine traces MacLaine’s career from her childhood in Arlington, Virginia, filled with tomboy pranks and ballet lessons, to the struggling years in New York as a hoofer in several Broadway musicals. It covers her big break, which led to a starring role in Alfred Hitchcock’s The Trouble with Harry through to her newest film, The Turning Point. In between, the book chronicles MacLaine’s offbeat antics as one of Hollywood’s most nonconformist stars, including her political activities, her foreign travels, her open marriage, her liberal commitments, and her efforts to establish herself as an independent woman in the hard-nosed male world of film business.
Most particularly, The Films of Shirley MacLaine takes a close look at the films themselves. Each chapter gives a complete plot summary, production information, critical response, and an analysis of MacLaine’s unique contribution. Ms. Erens charts the growth and development of the MacLaine persona warm-hearted, dumb broad who is used and abused by men. Ms. Erens shows how MacLaine’s private life contradicts this image and points out films that offer another perspective on this versatile actress. Seen as a whole, MacLaine’s career reveals her talents as both a fine dramatic actress as well as a zany comedienne.
The book ends with Macl.aine’s recent projects – her trip to Nationalist China, the documentary on this event, the disastrous television series Shirley’s World, her spectacular triumph on the Broadway stage, and her long-awaited return to the movies.
Included in the text are filmographies for all of MacLaine’s films and a comprehensive bibliography on her career. Profusely illustrated, The Films of Shirley MacLaine is a delightful and important document about an engaging woman. Throughout, MacLaine’s vibrant personality shines through to reveal a unique star, one of Hollywood’s most talented.
PATRICIA ERENS grew up in Washington, D.C., and attended The Washington School of Ballet with Shirley MacLaine. She received her master’s degree from The University of Chicago and is completing her doctorate in film studies at Northwestern University. Ms. Erens has taught at Northwestern University, The University of Chicago, and Rosary College. In addition, she is the author of Sexual Stratagems: The World of Women in Film and Akira Kurosawa: A Film Reference Guide. In recent years she has written film articles for numerous publications, including Variety, Film Comment, Sight and Sound, and Women & Film.
Hardcover, dust jacket – 202 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 910 g (32,1 oz) – PUBLISHER A. S. Barnes & Co., Inc., New York, New York, 1978 – ISBN 0-498-01993-4
The Films of Shirley Temple (Robert Windeler)
“Without possibility of argument she was the most famous child in the world. The image of her very public childhood belongs to the ages, although she never made a single motion picture that she or anybody else thought was really any good. Starting in movies at the age of three, Shirley Temple was just playing games, and so, in a sense, were the tens of millions in her audience. The chief game was called “Beat the Depression” (a harsh reality never visible in any of Shirley’s fantastical films), and more than any other person, she did just that – at least according to Franklin D. Roosevelt, who presided over the United States of America for all the years she was a child star.
In the 1930s, six-year-olds of all ages made Shirley Temple box-office queen of the world for a record four years running, when she was aged seven to ten (although her parents and the studio lied that she was six to nine). She was Time‘s ‘cinemoppet,’ and the youngest person ever to appear on the magazine’s cover; the youngest person ever listed in Who’s Who; and the youngest ever to get an Academy Award.
Not only was she a kind of midget folk heroine, she was also an attraction for the world’s great, who also beat a path to her dressing room door. Eleanor Roosevelt, Noël Coward, J. Edgar Hoover and Thomas Mann left the soundstages of 20th Century-Fox (as all her prominent visitors did) proudly wearing a Shirley Temple Police Force badge. Her official eighth birthday (really her ninth) brought more than 135,000 presents from around the world, including a baby kangaroo from Australia and a prize Jersey calf from a class of schoolchildren in Oregon. In 1938 her income was the seventh highest in America (the top six were industrialists, including MGM’s Louis B. Mayer), at $ 307,014, and that was just before she started earning $ 300,000 per picture, and making three or four a year.
Others had paved the way for the possibility of a Shirley Temple. Principally, they were Mary Pickford (who, while in her twenties and thirties, played children of ten or twelve in silent features), Jackie Coogan (who played The Kid with Charlie Chaplin in 1920, and Peek’s Bad Boy and Oliver Twist), and Hal Roach, with his Our Gang series beginning in 1921. But they had worked their magic in combinations of drama, melodrama and mayhem in silent movies. Shirley was born in 1928, the year sound films really took over, and she made her first one-reelers in 1932, the year Pickford retired. Shirley had a brand new medium in which both more and less were required of a child. There was less acting, certainly, but more singing, dancing, shaking the finger, bowing the mouth to actually say something – like ‘oh, my goodness’ – and, above all, dimpling. And no one did any of those things better or more appealingly than Shirley.
The child stars who came after her were different too. Mickey Rooney and Judy Garland were really adolescents with other kinds of situations in their films, and Judy’s musicals – albeit escapist – had more lasting merit than Shirley’s and were made in Technicolor, something Shirley experienced only briefly. Tiny Margaret O’Brien in the 1940s was more of an actress than Shirley, and at her most brilliant in scary circumstances. World War II brought more serious subject matter to films. As realism overtook fantasy in the movies in the 1950s there was no longer a place for child stars. Brandon de Wilde and Hayley Mills were the two exceptions in the 1950s and 1960s. In 1974 ten-year-old Tatum O’Neal won an Oscar as the con-child in Paper Moon. But as Buddy Ebsen, Shirley’s dancing partner in 1936’s Captain January groused, ‘That’s no child, that’s a hoodlum. Where did they go?’
Where indeed. But while she lasted, little Shirley Temple was an original. As Bill ‘Bojangles’ Robinson, her most famous dancing partner, put it: ‘God made her just all by herself – no series, just one.’ When she got to be a gangly thirteen-year-old, Shirley wisely retired from movies, to go to school for the first time. She came back with limited success for a series of roles as a teenager, and quit the film world for good in 1949. She was twenty-one, just at the age most people start working for a living, and her self-earned fortune of between three and four million dollars was intact.
At that age she had already survived her young marriage to John Agar, and the divorce from him that had created the only scandal of her life. She was the mother of a year-old daughter and ready to try marriage and motherhood all over again. More importantly, she survived the whole of her early life and emerged as a sane and contributing human being. Whatever reservations others may have had about Shirley Temple as an adult, she herself had none.” – From The Introduction.
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 836 g (29,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1978 – ISBN 0-8065-0725-X
The Films of Sophia Loren (Tony Crawley)
“Sophia Loren is Horatio Alger, Italian style. In an industry created to manufacture dreams and spew out old players for new with relentless regurgitation, she has survived 25 years, from lowly ‘extra’ to luminous legend, living out the biggest drama of all: scunizzi, or street-urchin, into the world’s most durable and desired movie queen and actress.
Born into Mussolini’s fascist Italy, she has grown in beauty, stature, style – above all, that commanding style – personality and years to see her sister marry the ex-Duce’s son; brought up a ferry ride from the glistening Capri, too poor ever to afford the trip, she returned to be guided around the enchanting isle by no less a cinematic god than Clark Gable; raised in a hell and hail of bombs, blood, tears and miseria, she has drawn upon and from that most bitter childhood to win the first Hollywood Oscar ever awarded to a foreign actress in a foreign-language film; and battling both her nation and her church, she finally married the one man she loved and then, due to the formidable riches both attained in their fantasy-filled world of cinema, she was able to give birth to the children that it had seemed for so long she was physically incapable of carrying and bearing.
CindereIla, Italian style, then. Which, aptly enough, became the British title for one of her films napoletana. The project, a fairy story starring a genuine fairy story, lost its magic charm at the box-office; but there is no more suitable subtitle for the life of Loren. From sharing a bed with two grandparents and a maiden aunt to owning several plush homes scattered around Europe, including a veritable palace in her sumptuous 50-roomed, 16th-century villa at Marino, near Rome, is pure Cinders copy. With her voluptuous shape – a face and frame she admits to be ‘a unity of irregularities’; legs that talk; Etruscan eyes that sigh; and all-over Vesuvian contours, only out-deafened in their clarion call to arms by the over-generous appeal to the senses when the complete equipment is viewed in a vision of motion – she is, most definitely, definitively, Italian: Neapolitan. As for style… ah. If only they could bottle it. She is truly gifted in all facets of the kind of stellar style already trickling out of screen fashion when she was an extra, and which she, alone among the post-war superlegends, continues to imp art – in her own incandescent, shimmering way.” – From The Introduction.
Softcover – 256 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 722 g (25,5 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1974 – ISBN 0-8056-0700-4
The Films of Spencer Tracy (Donald Deschner; introduction by William O. Douglas; contribution by Stanley Kramer)
“I can’t explain why I was never able to say to him what I wanted to say: that he was a great actor. Everyone else said it a thousand times over, but I never managed it. Once I told him I loved him. That came quite easily, and he believed me and was emotional about it. But I was afraid to say, ‘Spencer, you’re a great actor.’ He’d only say, ‘Now what the hell kind of thing is that to come out with?’ He wanted to know it; he needed to know it. But he didn’t want you to say it – just think it. And maybe that was one of the reasons he was a great actor. He thought and listened better than anyone in the history of motion pictures. A silent close-up reaction of Spencer Tracy said it all.
Those who know say that nobody – but nobody – could drink or fight or cause more trouble than Tracy in his early days in Hollywood. He came to California out of a smash success on Broadway as Killer Mears in The Last Mile and started a one-man rebellion. The studio publicity departments kept a lot more out of the papers than they put in. But he did Captains Courageous and Boys Town and a lot of other great things. And he looked and behaved like Everyman. Clark Gable was taller and more handsome and more of a sex symbol, but in Test Pilot all the men and half the women in the audience wanted Tracy to get Myrna Loy.
He was full of surprises. He never stopped rebelling, but he did stop drinking. And who could have forecast that the red hair would turn pure white? Or that he would rent a house on a hillside and, instead of going out every night, never go out at all? His intimate friends came to him, a few people at a time, on the hillside where he held court and exchanged gossip and news and conversation: Chester Erskine from The Last Mile, the Kanins, Katharine Hepburn, George Cukor, and Jean Negulesco from the full years, Abe Lastfogel, his agent. I brought up the rear like a chapter titled ‘The Last Decade.’ No matter what play or performance or book might be discussed, nothing could match his insatiable desire for plain gossip. What went on at the Daisy Club was really a fascination. He announced and savored as a choice tidbit each new pairing off of the jet set. I never understood his sources – most of the time I thought he made it all up – but usually he was right.” From the chapter ‘Film-Making With Spencer Tracy’ by Stanley Kramer.
Softcover – 255 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 734 g (25,9 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1968 – ISBN 0-8065-0272-X
The Films of the Forties: The Most Treasured Films Of One Of the Great Decades in Motion Picture History, 1940-1950 (Tony Thomas)
“Perhaps I should begin with a few words about what this book is and what it isn’t. This is a personal assessment of one hundred major feature films produced in Hollywood in the 1940s. I have hoped to give a comprehensive account of just one level of creativity in those years – Hollywood’s upper level. However, there were many other areas of great productivity – B-pictures, cartoons, shorts, newsreels, and the trailers. I hope this book may inspire someone to cover those other celluloid regions, populated by Blondie, the Bowery Boys, Dr. Kildare, Maisie, Charlie Chan, Sherlock Holmes, Tarzan, James Fitzpatrick, Joe McDoaks, the Wolf Man, and Westbrook Van Vorhees’ stentorian narration of The March of Time. They were all as much a part of movie programming in the forties as the main features. (…) The forties were, with room for academic argument, the years of Hollywood’s greatest productivity and its last great decade. The decade began with feelings of uncertainly – Hollywood was ever subject to the tremors of doubts and fears – as the Second World War caused the movie markets to diminish, and it ended with even greater doubts and fears. By the end of 1949 it was obvious that television would become a major entertainment industry and draw millions away from their moviegoing habits. Also, to Hollywood’s grief the U.S. government finally exercised its antitrust laws and forced the studios to divest themselves of their chains of theaters, which had given them block-booking distribution and almost automatic profits. Adding to the miseries of the moguls were the severe demands of the trade unions, which would drastically increase the costs of production. and the political witchhunts that brought feelings of disgust and dissent. The forties spelled the end of the old Hollywood, but between the extremes of 1940 and 1949 came a canyon of plenty.
I can only hope that my selection from this boom period will please others as much as it pleases me.” – From chapter 1, ‘Explaining the choice.’
[Films reviewed are, from 1940: Of Mice and Men, Broadway Melody of 1940, Rebecca, Waterloo Bridge, Pride and Prejudice, Strike Up the Band, Spring Parade, The Philadelphia Story, The Mark of Zorro, Kitty Foyle, Meet John Doe, The Sea Wolf, The Lady Eve, Love Crazy; 1941: Moon Over Miami, Texas, Smilin’ Through, They Died With Their Boots On, Suspicion, How Green Was My Valley, Two-Faced Woman, Woman of the Year; 1942: King’s Row, This Gun For Hire, My Favorite Blonde, My Gal Sal, Now Voyager, The Road to Morocco, The Palm Beach Story; 1943: Shadow of a Doubt, The Hard Way, The Ox-Bow Incident, The Constant Nymph, Holy Matrimony, The Phantom of the Opera, Heaven Can Wait, Corvette K-225, The Gang’s All Here, Lassie Come Home; 1944: The Lodger, Jane Eyre, Going My Way, Double Indemnity, Gaslight, The Adventures of Mark Twain, Two Girls and a Sailor, Summer Storm, Meet Me in St. Louis, Laura, National Velvet; 1945: The Suspect, The Woman in the Window, A Song to Remember, Murder My Sweet, The Picture of Dorian Gray, Anchors Aweigh, Mildred Pierce, Roughly Speaking, State Fair, The Lost Weekend, Kitty; 1946: The Spiral Staircase, The Postman Always Rings Twice, To Each His Own, Anna and the King of Siam, The Big Sleep, The Killers, The Al Jolson Story, My Darling Clementine, The Razor’s Edge; 1947: Boomerang, The Farmer’s Daughter, Duel in the Sun, The Ghost and Mrs. Muir, The Miracle on 34th Street, Life With Father, The Secret Life of Walter Mitty, Crossfire, The Hucksters, Kiss of Death; 1948: Call Northside 777, A Double Life, I Remember Mama, Summer Holiday, Four Faces West, A Foreign Affair, Red River, Sorry Wrong Number, Johnny Belinda, The Adventures of Don Juan; 1949: A Letter to Three Wives, Portrait of Jennie, The Great Gatsby, White Heat, Intruder in the Dust, She Wore a Yellow Ribbon, Samson and Delilah, All the King’s Men, The Heiress, Twelve O’Clock High]
Softcover – 279 pp. – Dimensions 28 x 21 cm (11 x 8,3 inch) – Weight 941 g (33,2 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0571-0
Films of the Golden Age, issues 1-5
Issue # 1 (Summer 1995) includes articles on Patricia Neal, Vivien Leigh, Ona Munson, The Costumes of Gone With the Wind, Lafe McKee, Lois Moran, Stella Stevens, A Movie Lover’s Guide to Hollywood Cemeteries, Marguerite Clark, Aline MacMohan, Hollywood Babylon Babylon, Daredevils of the West (92 pp.)
Issue # 2 (Fall 1995) includes articles on James Dean, Helen Kane, Noël Coward, Kathleen Freeman, Judy Garland, Leonid Kinskey, Brian Aherne, Billy Batson, Gary Cooper, Anita Page, Heroines of the B Western (100 pp.)
Issue # 3 (Winter 1995-1996) includes articles on Mystery of the Wax Museum, Myrna Loy, Gloria Grahame, Rex Allen, Mickey Rooney, Mae Marsh, Hollywood Dream Factories, W.S. Van Dyke, Kay Francis, The Great Waltz, Yakima Canutt, James Cagney, The Eagle’s Talons, Deanna Durbin (100 pp.)
Issue # 4 (Spring 1996) includes articles on Flirting With Love, Jeanette MacDonald, Patric Knowles, Ann Rutherford, Royal Dano, Hollywood Dream Factories part II, Carole Landis, Priscilla Bonner, Butterfly McQueen, Dorothy Provine, Billie Burke, C. Aubrey Smith, Zorro (serial), Craig Reynolds, Barbara Pepper (100 pp.)
Issue # 5 (Summer 1996) includes articles on George O’Brien, Don Gallery, Nelson Eddy, Nita Naldi, Ben Johnson, Singers Acting in Films, Cleo Moore, Kent Taylor, Heather Angel, The Big Parade, Peg Entwistle, Mitchell Leisen, Sunset Carson (100 pp.)
Hardcover – 492 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.075 g (37,9 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 1995-1996
Films of the Golden Age, issues 6-10
Issue # 6 (Fall 1996) includes articles on Grace Bradley Boyd, Holalong Cassidy, John Wayne, Jack Buchanan, Diana Serra Cary, Cathy O’Donnell, Hollywood Hot Spots, Stephanie Bachelor, Sabu, Sheree North, Una O’Connor (100 pp.)
Issue # 7 (Winter 1996-1997) includes articles on Dorothy Lamour, Antonio Moreno, Stephanie Bachelor, John Payne, Hollywood Hot Spots part II, Mary Astor, Clark Gable, Sam Wood, Lash LaRue, Maureen O’Hara, Donald Curtis (100 pp.)
Issue # 8 (Spring 1997) includes articles on Rosina Lawrence, James Lydon, Robert Stevenson, Humphrey Bogart, Margaret Sullavan, Singers Acting in Films part II, Yakima Canutt, Mabel Paige, Hollywood High Alumni Museum, Milton Sills, Wayne Morris (100 pp.)
Issue # 9 (Summer 1997) includes articles on Jean Parker, Alice White, William Powell, Paul Fix, Albert Rogell, Henry Walthall, Andrew Stone, Robert Stack, Hollywood Cemeteries part II, Alice Terry, The Lone Ranger, Pamela Tiffin (100 pp.)
Issue # 10 (Fall 1997) includes articles on Dracula, Lew Ayres, Sharon Tate, Ruth Chatterton, Gene Kelly, Evelyn Ankers, Jack Padjan, Nancy Kelly, Renie Riano, Esther Williams, William Wyler, Robert Mitchum (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.100 g (38,8 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 1996-1997
Films of the Golden Age, issues 11-15
Issue # 11 (Winter 1997-1998) includes articles on Constance Bennett, Tommy Bond, Tyrone Power, Marilyn Harris (The Flower Girl from Frankenstein), Nancy Kelly part II, Travis Banton, Harold Lloyd, Susannah York, Jack Larson, The Birds (100 pp.)
Issue # 12 (Spring 1998) includes articles on Helen Chandler, Mervyn LeRoy, Maris Wrixon, Judy Canova, Eleanor Parker, Errol Flynn, Artie Shaw, Ben Lyon, Miklos Rozsa (100 pp.)
Issue # 13 (Summer 1998) includes articles on Veronica Lake, Fay McKenzie, Edna May Oliver, Vincent Sherman, Maris Wrixon part II, Aldo Ray, Judy Tyler, Joe Ryan (100 p.)
Issue # 14 (Fall 1998) includes articles on Anna Lee, Jimmy Durante, Evelyn Venable, Tallulah Bankhead, Ken Annakin, Irene Dunne, Richard Todd (100 pp.)
Issue # 15 (Winter 1998-1999) includes articles on Norma Shearer, Marian Marsh, Jack Elam, First National Pictures, Fredric March, Gertrude Michael, Dorothy Dandridge (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.110 g (39,2 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 1997-1999
Films of the Golden Age, issues 16-20
Issue # 16 (Spring 1999) includes articles on Virginia Mayo, Joan Caulfield, Philip Trent, Rouben Mamoulian, Lex Barker, Colleen Moore, Katherine Emery, Carol Lynley (100 pp.)
Issue # 17 (Summer 1999) includes articles on Born to Kill, Robert Taylor, Peggy Hopkins Joyce, Elsa Lanchester, Joan O’Brien, Wynne Gibson, Nancy Drexel, Michael Curtiz, Betty Hutton, Jill Esmond (100 pp.)
Issue # 18 (Fall 1999) includes articles on Written On the Wind, Judy Holliday, Alice Faye, Henry Hathaway, Tala Birell, William Eythe, Luana Walters, Interrupted Melody, Joan Leslie (100 pp.)
Issue # 19 (Winter 1999-2000) includes articles on Audrey Long, Leslie Howard, Mary Nolan, Leatrice Joy, Gale Storm, The Cisco Kid, Jack Haley (100 pp.)
Issue # 20 (Spring 2000) includes articles on Lost Horizon, Barbara Whiting, Audrey Long part II, John Garfield, Johnny Mercer, Sally Forrest, George Formby, Errol Flynn (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.120 g (39,5 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 1999-2000
Films of the Golden Age, issues 21-25
Issue # 21 (Summer 2000) includes articles on Earth vs. Flying Saucers, Maureen O’Sullivan, Shirley Temple, Henry Koster, Barbara Whiting part II, Michael York, Eleanore Witney, Clifton Webb (100 pp.)
Issue # 22 (Fall 2000) includes articles on Planet of the Apes, Olivia de Havilland, Joan Fontaine, Allyn Joslyn, Zita Johann, Nancy Carroll, Samuel Marx, Quicksands, Phyllis Haver, Signe Hasso (100 pp.)
Issue # 23 (Winter 2000-2001) includes articles on Ann Sothern, George Sanders, Marguerite Chapman, Allyn Joslyn part II, Carol Reed, Robert Young (100 pp.)
Issue # 24 (Spring 2001) includes articles on Linda Darnell, Van Johnson, Olga Baclanova, Una Merkel, Laraine Day, Susan Hayward (100 pp.)
Issue # 25 (Summer 2001) includes articles on The House on 92nd Street, Carole Lombard, Edward Morris, Dana Andrews, Douglas Fairbanks Jr., The Aitken Brothers [Harry Aitken, Roy Aitken] (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.130 g (39,9 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 2000-2001
Films of the Golden Age, issues 26-30
Issue # 26 (Fall 2001) includes articles on With a Song In My Heart, Ida Lupino, Mitzi Gaynor, Red Skelton, Robert Newton, Marta Mitrovich (100 pp.)
Issue # 27 (Winter 2001-2002) includes articles on Frances Dee, Mitzi Gaynor part II, Robert Walker, Kathryn Grayson, Kurt Krueger (100 pp.)
Issue # 28 (Spring 2002) includes articles on The Grapes of Wrath, Lana Turner, Herbert Marshall, Dick Simmons, Denny Miller, Detour (100 pp.)
Issue # 29 (Summer 2002) includes articles on Alexander’s Ragtime Band, Lizabeth Scott, Efrem Zimbalist Jr., Jane Greer, Ray Milland, Richard Whiting (100 pp.)
Issue # 30 (Fall 2002) includes articles on Joan Blondell, Columbia’s Crime Doctor Series, Edmund Gwenn, Janet Munro, Helena Carter, The Motion Picture and Television Fund’s Hospital and Health Center (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.115 g (39,3 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 2001-2002
Films of the Golden Age, issues 31-35
Issue # 31 (Winter 2002-2003) includes articles on Cara Williams, Evelyn Keyes, Robert Donat, Susan Hayward, Irene Manning, Charley Grapewin (100 pp.)
Issue # 32 (Spring 2003) includes articles on Hedy Lamarr, The Roaring Twenties and the Hollywood Gangster Film, June Allyson, Natalie Paley, A Tour Guide’s Hollywood, The Films of Preston Sturges (100 pp.)
Issue # 33 (Summer 2003) includes articles on Greer Garson, Clara Bow, Virginia Bruce, Walter Catlett, Ben Turpin, The Rise and Fall of the Movie Musical 1927-1972 (100 pp.)
Issue # 34 (Fall 2003) includes articles on Merle Oberon, Glenn Strange, Vera Vague, Executive Suite, Our Favorite Films of the Golden Age, Nan Leslie, Jane Nigh, Paula Corday (100 pp.)
Issue # 35 (Winter 2003-2004) includes articles on Alan Curtis, Jane Wyman, John Bowers, Allen Jenkins, Goodbye My Fancy, Big House USA, The Man on the Flying Trapeze (100 pp.)
Hardcover – 500 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 1.090 g (38,4 oz) – PUBLISHER Muscatine Journal / Lee Enterprises, Inc., Iowa, 2002-2004
Films of the 1920s (Richard Dyer MacCann)
Contains essays and articles from seventeen noted film studies experts, including Lewis Jacobs, Tom Milne, John Tibbetts, Gaylord Carter, Robert and Helen Merrell Lynd, and Anthony Slide. Chapters provide the reader with a well-rounded view of the societal influences that inspired the films and the techniques that directors, filmmakers, and actors used to portray the world around them. Appendixes list studio activity in the 1920s, give listings of the titles and directors noted in all five volumes of the series, and provide annotations for each film.
RICHARD DYER MacCANN is the author of well over forty published articles and twelve books. He has served as the Hollywood correspondent for the Christian Science Monitor and as editor of Cinema Journal. He has produced five works on film and two video series, which include half-hour lectures that coordinate with the books in this series.
Hardcover, dust jacket – 130 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 361 g (12,7 oz) – PUBLISHER The Scarecrow Press, Lanham, Maryland, in association with Image & Idea, Inc., Iowa City, Iowa, 1996 – ISBN 0-8108-3255-0
The Films of Warren Beatty (Lawrence J. Quirk)
“Warren Beatty has always been an actor who doesn’t like to act. He has made only fifteen movies in seventeen years. He has detoured on several occasions to produce the films in which he has starred (Bonnie and Clyde, 1967; Shampoo, 1975), and produced and directed his 1978 release, Heaven Can Wait. Politics and women have taken up as much of his attention over the years as has his acting career. He lives his own life his own way, and at forty-one (as of March 30, 1978) he has never married. But he is canny about money, and has made many millions from his carefully arranged percentage deals. In his teens he told a high school sweetheart, now Mrs. Ann Colgan of Ardsley, New York, that ‘the only reason he would marry would be to have a child and that would be to satisfy his ego.’ And when sister Shirley MacLaine told an interviewer, ‘Warren’s very much into money,’ his comeback was: ‘In our system there’s nothing foolish about money, so when you have made a lot of money they take you seriously.’
Beatty has never troubled himself unduly about being liked or disliked, and has been termed: ‘A very private man who only incidentally toils in a very public business.’ He has had perhaps as busy a sex life as any man in films, and with a wide variety of female partners, some of them well-publicized dalliances, but resolutely refuses to discuss this aspect of his life. ‘Not only is it bad taste, but there are others involved, so I would be betraying their privacy as well as my own,’ he answers when pressed on more personal matters.” – From the chapter ‘Warren Beatty: Actor and Man.”
Softcover – 222 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 726 g (25,6 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1979 – ISBN 08065-0758-6
The Films of William Holden (Lawrence J. Quirk)
William Holden has been a film star for 34 years and has made close to 60 films. Over the years he has reaped many rewards, both artistic and monetary, including an Academy Award, and he has been admired by his peers for the consistent level of his work.
A native Californian, Holden began his career playing bit parts at Paramount. It was actually his Paramount test which led Rouben Mamoulian to select him for the lead in the film version of Clifford Odets’ Golden Boy. From 1938 to the present Holden has played in a wide spectrum of roles in films ranging from program comedies to such critical and financial successes as The Bridge on the River Kwai, Sunset Boulevard and Stalag 17.
This book is not only the complete pictorial record of Holden’s career but, as well, a penetrating biographical study of a youth who went from “typical, all-American boy” to a much-travelled, widely-involved and sophisticated man whose avocations now take precedence over his acting career. Holden owns a safari club and game preserve in Kenya and has been a force in the movement to preserve birds and other game in Africa.
More than 400 photographs illustrate the book, including dozens of rare candid pictures.
LAWRENCE J. QUIRK, an acknowledged film historian, has contributed articles on motion pictures to The New York Times, Variety, Motion Picture Daily, and Art Films, among others. He is the author of The Films of Joan Crawford, The Films of Fredric March, The Films of Ingrid Bergman and The Films of Paul Newman.
Hardcover, dust jacket – 255 pp. – Dimensions 28 x 22 cm (11 x 8,7 inch) – Weight 939 g (33,1 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1975 – ISBN 0-8065-0375-0
Film Stars: A Book of 30 Postcards
When audiences heard Bobbie Gordon, the child actor playing Al Jolson as a boy in The Jazz Singer, they were enthralled. The talkies had arrived , and with them a new era of glamor and stardom. Many actors and actresses never crossed over to the talkies, and for some it was touch and go. MGM held their breath as audiences waited a full thirty minutes into the film Anna Christie for the Swedish-born actress, Greta Garbo, to say her first lines in English. In the event, her low voice and thick accent confirmed her enigmatic image and her stardom. She was up against many greats – Marlene Dietrich as the cabaret singer in Morocco, Barbara Stanwyck, Margaret Sullavan, Myrna Loy, and Joan Crawford who said of Norma Shearer, “How can I compete with her, when she sleeps with the boss?”
[Postcards of Mickey Rooney, Norma Talmadge, Rudolph Valentino, Marlene Dietrich, Errol Flynn, Irene Dunne, Ivan Lebedeff, Robert Mitchum, Greta Garbo, Joan Crawford, Margaret Sullavan, Gloria Swanson, Viola Dana, Mary Pickford, Pearl White, Antonio Morena, Betty Blythe, Mary Brian, Frank Lawton, Katharine Hepburn, Douglas Fairbanks Jr., Maureen O’Sullivan, Lois Wilson, Carole Lombard, Myrna Loy, James Cagney, Jean Harlow, Clark Gable, Bing Crosby, Maurice Chevalier]
Softcover – Dimensions 15,5 x 10,5 cm (6,1 x 4,1 inch) – Weight 152 g (5,4 oz) – PUBLISHER Magna Books, Leicester – ISBN 1-85422-383-6
De Films van John Wayne (Ivan Scheldeman)
“Lang geleden, toen ik nog een broekvent was, kreeg ik een kick telkens iemand op de televisie John Wayne (bijna) perfect nabootste: rauwe, slepende stem, de ene schouder hoger voorovergeduwd dan de andere, en vooral die onnavolgbare beroemde gang van hem. Net alsof hij met bijeengeknepen knieën naar het toilet moest. Nu, als volwassene, betekent die held uit mijn kinderjaren, die “goeie” cowboy, een steracteur en een fenomeen waarvoor mijn bewondering en respect met de dag toenemen: John “Duke” Wayne.
Over Duke schrijven is net een handschoen oprapen, de uitdaging aanvaarden en een ware nek-aan-nek race beginnen met een springlevende geest in een stervend of dood lichaam. John Wayne films bespreken is hetzelfde werk-, adem-, eet-, rusttempo, kortom leeftempo aannemen als deze reus. Of hij aan allerlei slepende ziektes lijdt, of als een abonnee tussen ziekenhuizen en filmstudio’s heen en weer pendelt, of hij bij het ter perse gaan van dit werk al dan niet overleden is, biologisch althans, het doet er allemaal niet toe. Ik vind het haast vanzelfsprekend dat Duke onsterfelijk is. Toch was hij in zijn laatste levensjaren een schaduw geworden van wat hij ooit was, de kaarsrechte, imposante cowboy. In zijn laatste prenten zien we een vergrijsde Duke de Held overeind houden. De berg Wayne afgebrokkeld tot een rimpelig vet lichaam. Maar met een duivels genoegen sleepte hij zich verder door zijn één of twee nieuwe films per jaar en kondigde hij zijn fans een nieuw John Wayne decennium aan.
Je vraagt je af welk ‘appeal’ er nog overblijft om fans te doen blijven komen kijken naar zijn films. Wellicht diezelfde ‘screen presence’ die hem boven water hield in zijn B westerns en hem ten slotte naar de roem leidde. Of misschien omdat John Wayne negeren hetzelfde betekent als ‘the American Dream’ opgeven. Of gewoon omdat er nu eenmaal geen betere film is als een goeie John Wayne film.” – The Foreword.
Softcover – 130 pp. – Dimensions 22,5 x 15,5 cm (8,9 x 6,1 inch) – Weight 272 g (9,6 oz) – PUBLISHER Cinema Magazine, Borgerhout, Belgium, 1979
Final Cut (Steven Bach)
Heaven’s Gate is probably the most discussed, least seen film in modern movie history. Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. It was also the film that brought down one of Hollywood’s major studios – United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. W. Griffith, and Charlie Chaplin. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven’s Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.
This is the intimate, inside story of how a group of brilliant corporate executives and a genius movie director overcame all obstacles to create Hollywood’s greatest flop and destroy one of Hollywood’s great studios. A combination of comedy and tragedy, low farce and drama in high places, this incredible account is written by one who was deeply connected with the disaster – and who survived to tell the tale that could have happened only in the spheres of big-buck movie-making today.
Softcover – 479 pp., index – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 267 g (9,4 oz) – PUBLISHER New American Library, New York, New York, 1985 – ISBN 0-451-40036-4
The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten (Gerald Horne)
Before he attained notoriety as Dean of the Hollywood Ten – the blacklisted screenwriters and directors persecuted because of their varying ties to the Communist Party – John Howard Lawson had become one of the most brilliant, successful, and intellectual screenwriters on the Hollywood scene in the 1930s and 1940s, with several hits to his credit including Blockade, Sahara, and Action in the North Atlantic. After his infamous, almost violent, 1947 hearing before the House Un-American Activities Committee, Lawson spent time in prison and his lucrative career was effectively over. Studded with anecdotes and based on previously untapped archives, this first biography of Lawson brings alive his era and features many of his prominent friends and associates, including John Dos Passos, Theodore Dreiser, F. Scott Fitzgerald, Charles Chaplin, Gene Kelly, Edmund Wilson, Ernest Hemingway, Humphrey Bogart, Dalton Trumbo, Ring Lardner, Jr., and many others. Lawson’s life becomes a prism through which we gain a clearer perspective on the evolution and machinations of McCarthyism and anti-Semitism in the United States, on the influence of the left on Hollywood, and on a fascinating man whose radicalism served as a foil for launching the political careers of two Presidents: Richard Nixon and Ronald Reagan. In vivid, marvelously detailed prose, Final Victim of the Blacklist restores this major figure to his rightful place in history as it recounts one of the most captivating episodes in twentieth century cinema and politics.
Hardcover – 360 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 654 g (23,1 oz) – PUBLISHER University of California Press, Los Angeles, California, 2006 – ISBN 0-520-24372-2
Finding My Way: A Hollywood Memoir (Martha Hyer Wallis)
Actress Martha Hyer’s struggle to “be somebody” brought her a rewarding career in Hollywood and an enduring marriage. But it also brought her terrifyingly close to the brink of spiritual and financial bankruptcy. With wit and honesty, Hyer chronicles her Depression-era childhood in Fort Worth, Texas, her rise from hopeful starlet to respected supporting actress during the heyday of the big studios, and her final spiritual awakening.
Hyer appeared in 65 films from the late forties to the mid-sixties, including Sabrina, Houseboat, Some Came Running (for which she was nominated by the Motion Picture Academy for Best Supporting Actress), The Carpetbaggers, and Ice Palace. She was happily married to producer Hal B. Wallis until his death in 1986. Finding My Way provides a surprising glimpse of a little-known Hollywood – “where ordinary life goes on,, where people whose faces are known worldwide buy extension cords in hardware stores and stop at the convenience store for a carton of milk on the way home” – and affectionate anecdotes about Hyer’s friends and co-stars such as Katharine Hepburn, William Holden, and Cary Grant.
Along the way Hyer’s dream of worldly success became a nightmare as her efforts to maintain the lifestyle expected of one of Hollywood’s great couples trapped her in a secret spiral of debt and deceit. Hitting rock bottom, she surrendered her life to God and experienced an enlightenment that has become the center of her life. The works of spiritual teacher Joel Goldsmith illuminated her path and explained her new sense of God’s grace.
Candidly told, and including 12 pages of photos from her own collection, Hyer’s account of her journeys, both outward and inward, offers a unique and intriguing perspective on the pursuit of fame and the ultimate meaning of living well.
Hardcover, dust jacket – 133 pp. – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 351 g (12,4 oz) – PUBLISHER HarperCollins Publishers, Inc., New York, New York, 1990 – ISBN 0-06-250938-1
The First Century of Film: Career Profiles of Who Was Who in the American Film Industry (Martin S. Quigley)
“The biographies in this book are of those motion picture figures whose primary work was in the American film industry, and who passed away prior to August 31, 1994. For biographies of living figures, the reader is directed to current editions of the International Motion Picture Almanac. The majority of the career profiles in this book appear as they were originally published in the International Motion Picture Almanacs 1929-1994, Quigley Publishing Co., Inc. The biographies in the Motion Picture Almanac were and are annually submitted directly to the person profiled for any necessary corrections and approval. Biographies have been edited for current usage and accuracy. Some additional biographies of motion picture pioneers have been written by the editorial staff for this volume.
We have tried, with much effort, to include biographies of as many significant personnel as space would allow. Any omissions are in no way a commentary on someone’s contributions to the motion picture industry. Nor do the sizes of those entries that do appear reflect a person’s importance. Several of the leading studio and distribution decision makers’ careers are summed up in only four or five lines because their position, which they may have held for several decades, can be elaborated upon no further. However, these individuals’ contributions to the film industry over that period of time may have been vast.” – From the Editors Notes.
Hardcover – 319 pp. – Dimensions 26 x 18 cm (10,2 x 7,1 inch) – Weight 1.140 g (40,2 oz) – PUBLISHER Quigley Publishing Company, Ltd., New York, New York, 1995 – ISBN 0-900610-54-9
The First Film Makers (Richard Dyer MacCann)
Again Richard Dyer MacCann has brought his editorial skills to the task of presenting for the student and the general reader what movie making was like in the earliest days in America. This time he tells the stories of the lives, works and fortunes of the most talented and prolific early American directors. Not only did they express themselves as artists. They also became popular, rich, and famous.
Through autobiographical writings and the appraisals of contemporaries and more recent historians, provides the reader with a background for understanding how Thomas H. Ince, William S. Hart, D.W. Griffith, and Erich von Stroheim did their work. He also reveals some of the conflicts in critical views about them, past and present.
Many teachers will agree that these hard-to-find selections are invaluable source materials to go along with more traditional texts. From the latest scholarship on Edwin S. Porter and Alice Guy Blaché to the little-known “realist manifesto” of Thomas H. Ince and the latest judgments on the value of Griffith’s later works as art – the reader will find rewards and surprises here.
Dr. MacCann’s introductory essays also provide new ways of looking at the philosophy and motivations of these early creative titans. His view of Erich von Stroheim will cause some controversy among traditional supporters of that temperamental man, and his analysis of D.W. Griffith’s relations with his associates, especially Lillian Gish, may give pause to pure auteurists.
Professor RICHARD DYER MacCANN’s degrees are from Kansas, Stanford, and Harvard, and he has taught at USC, Kansas, and Iowa. From 1951 to 1960 he was Hollywood correspondent for The Christian Science Monitor, and from 1967 to 1976 was editor of Cinema Journal. He is the author of forty published articles and eight books, including Hollywood in Transition, Film: A Montage of Theories, and The People’s Films. He has produced a number of works on film and videotape, including a series of 12 half-hour illustrated lectures coordinate with the titles of the books in this series.
Hardcover, dust jacket – 313 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 547 g (19,3 oz) – PUBLISHER The Scarecrow Press, Inc., Metuchen, New Jersey, in association with Image & Idea, Inc., Iowa City, Iowa, 1989 – ISBN 0-8108-2229-6
The First Lady of Hollywood: A Biography of Louella Parsons (Samantha Barbas)
Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America’s premier movie gossip columnist and in her heyday commanded a following of more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra – as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her “just folks,” small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 film Citizen Kane and her use of blackmail in the service of Hearst’s political and personal agendas. As she traces Parsons’s life and career, Samantha Barbas situates Parsons’s experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched, The First Lady of Hollywood is both an engrossing chronicle of one of the most powerful women in American journalism and film, and a penetrating analysis of celebrity culture and Hollywood power politics.
SAMANTHA BARBAS has a Ph.D. in American History from the University of California, Berkeley, and is the author of Movie Crazy: Fans, Stars, and the Cult of Celebrity (2001).
Hardcover, dust jacket – 417 pp., index – Dimensions 23 x 15,5 cm (9,1 x 6,1 inch) – Weight 748 g (26,4 oz) – PUBLISHER University Press of California, Berkeley, California, 2005 – ISBN 0-520-24312-0
The First Time (Cher, as told to Jeff Coplon)
Cher. There’s really no one quite like her. She’s been a pop star, a TV star, a movie star, and a wife and a mother, yet as The New York Times has written, she’s still “a funny, gutsy woman” who is also “genuine” and “down to earth.”
And, in The First Time, Cher tells about the important first-ever events in her life: memories of her mother; the first movie, Dumbo, at age four, when she peed in her pants rather than to go the bathroom and miss anything; her first public performance (a fifth grade production of Oklahoma!); the first time she met her father (at age 11); the first taste to feel good; her first bra; her first kiss; her first boyfriend; the first time with Sony Bono (at age 16, in a platonic arrangement in which she cleaned his apartment); the first time in a recording studio (singing backup for Phil Spector); the first hit record (“I Got You, Babe”); the first time she met the Rolling Stones; the first time she felt like a star; the first fall from grace (when her records stopped selling); her first Bob Mackie gown; the first “Sonny & Cher” TV show; her first tattoo; her first bad boy (Greg Allman); her first solo stage show; the first apology from Sonny; the first Academy Award nomination (Silkwood); her first fight with a director (Peter Bogdanovich, director of Mask); her reunion with Sonny (on the “David Letterman Show,” 1987); first mook from Queens (Rob Camiletti); her first Academy Award (Moonstruck); her first extramarital affair; her first infomercial; the first time she realized her daughter was gay; and her eulogy for Sonny.
And much, much more – the true story of the events that shaped Cher’s life, told in her own inimitable way, with dozens of photographs, most from her own albums. The First Time is frank, funny, surprising, occasionally outrageous, sometimes sad, and always completely honest – like Cher herself.
Hardcover, dust jacket – 270 pp. – Dimensions 24 x 18,5 cm (9,5 x 7,3 inch) – Weight 831 g (29,3 oz) – PUBLISHER Simon & Schuster, New York, New York, 1998 – ISBN 0-684-80900-1
The First Tycoons (Richard Dyer MacCann)
The fascinating story of the silent screen in America (1896-1926) has been told by many voices in a hundred books. In The First Tycoons, Richard Dyer MacCann has brought some of those voices together with the cumulative effect of a connected narrative.
It is focused on the businessmen and production executives who made possible the inventive artists and the works of art of those first thirty years. Adolph Zukor, Marcus Loew, William Fox, Carl Laemmle, Jesse L. Lasky, and Samuel Goldwyn were also interesting in their own right – the earliest of those bosses we talk about today as “real showmen.”
There are 46 selections, with Lasky, Goldwyn, and Zukor (founders of the company which became Paramount Pictures) prominent among the 28 different authors, along with such well-known film historians as Terry Ramsaye, Benjamin Hampton, Kenneth Macgowan, Arthur Mayer, and Arthur Knight. Some of these selections are: ‘The Nickelodeon,’ ‘The Trust Fight,’ ‘The Growth of Universal,’ ‘The Coming of the Feature Film,’ ‘The Battle of the Theaters,’ ‘The Origins of United Artists,’ ‘The Saga of Ben-Hur.’
The First Tycoons is a source book for students and teachers and a treasury for general readers and classic film fans. It is intended as the first of five anthologies which will include silent-era directors, stars, comedians, and films, emphasizing contemporary observers, autobiographies, and evaluations by historians.
Professor RICHARD DYER MacCANN has taught at USC, Kansas, and Iowa, and was for ten years editor of Cinema Journal for the Society for Cinema Studies. From 1951 to 1960 he was Hollywood correspondent for The Christian Science Monitor. He has produced a number of works on radio, film, and videotape, including Degas: Master of Motion at USC and the Iowa “Quiet Channel” series, and is the author of forty published articles and six books, including Hollywood in Transition, Film: A Montage of Theories, and The People’s Films. The University of Iowa Video Center has produced a series of 12 half-hour illustrated lectures by Dr. MacCann, coordinated with the books in this series and with the same titles. Programs number 2 and 3, like this volume, are about “the first tycoons.”
Hardcover, dust jacket – 259 pp. – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 482 g (17 oz) – PUBLISHER The Scarecrow Press, Inc., Metuchen, New Jersey, in association with Image & Idea, Iowa City, Iowa, 1987 – ISBN 0-8108-1949-X
Five for Hollywood: Their Friendship, Their Fame, Their Tragedies (John Parker)
When the Golden Age of Hollywood was over and the 1950s dawned, the door stood open for a fresh generation of stars. Five young actors took their new places on screen and became sensations. They were five for Hollywood: Elizabeth Taylor, Rock Hudson, Natalie Wood, Montgomery Clift and James Dean.
In their different ways each epitomized the mood and ambitions of the youth of their day. Sexy, rebellious, alluring, these five young stars emerged as idols of their generation, and through their work and mutual friendship, through love and tragedy, they became intimately bound up with one another. But their lives were ultimately torn apart – in many ways by the system that created them – and today only one of them, Elizabeth Taylor, is still alive. They left behind a legacy of classic films like Rebel Without a Cause, Giant and Suddenly, Last Summer. This fascinating and extensively researched book follows the dreams, struggles, achievements and anguish of these influential and perennially popular stars. In their entangled stories biographer John Parker encapsulates the entire mystique of Hollywood during an era that witnessed the disintegration of the studio system, the advent of television, the nightmare of McCarthyism and the realism of postwar America – a period of stunning glamour and fatal delusion, spectacular hype and scandalous hypocrisy.
Through firsthand accounts of co-stars and friends, Five for Hollywood provides a unique and penetrating view of the film industry during a crucial period of change. And in the drama of these lives and careers, it unfolds an irresistible and searing story no Hollywood scriptwriter could have imagined.
JOHN PARKER has been a journalist all his working life and has always had a special interest in film. His previous books are King of Fools, a biography of the Duke of Windsor, and The Princess Royal, a biography of Princess Anne. He lives in England.
Hardcover, dust jacket – 297 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 738 g (26 oz) – PUBLISHER Lyle Stuart, New York, New York, 1991 – ISBN 0-8184-0539-2
500 Best British and Foreign Films to Buy, Rent or Videotape (edited by Jerry Vermilye; selected by the National Board of Review of Motion Pictures, and the editors of Films in Review)
The rapid growth of the home-video phenomenon has left the movie viewer bewildered by an array of options. 500 Best British and Foreign Films to Buy, Rent or Videotape narrows these choices down to the best films and is an essential guide for both the serious connoisseur and the weekend buff – anyone who wants to make an informed decision about what to see.
Selected by some of the most renowned film authorities in the United States, this complete, alphabetical listing includes the year of release, running time, director(s), and leading players. A concise synopsis of each movie’s story line and history heightens the viewer’s enjoyment.
Included are such classics as The Browning Version, The Lady Vanishes, M, and Goodbye, Mr. Chips, and more contemporary movies such as Tom Jones, Das Boot, 8 1/2, A Man for All Seasons, The French Lieutenant’s Woman, Dr. Zhivago, the early James Bond movies, The Man Who Fell to Earth, Kiss of the Spider Woman, The Living Daylights, and Prick Up Your Ears, to name a few.
The National Board of Review of Motion Pictures was begun in 1909 to combat censorship and is the oldest film organization in the world. lts periodical, Films in Review, published since 1950, has been the industry’s magazine of record, currently circulating in over sixty countries.
JERRY VERMILYE is the author of ten film-related books. For twenty years he has been the Movie / Opera Listing Editor for TV Guide.
Softcover – 526 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 772 g (27,2 oz) – PUBLISHER William Morrow, New York, New York, 1988 – ISBN 0-688-06897-9
Flashback: Nora Johnson on Nunnally Johnson (Nora Johnson)
Here is an entertaining, moving, and often hilarious life of Nunnally Johnson – newspaperman, short-story writer, playwright, screenwriter, movie producer and director. Johnson was one of the bright young men Hollywood attracted in the thirties – and one of the few who prospered and flourished there right from the start, beginning a distinguished career that would continue well into the sixties.
It’s all recounted with charm and humor and insight by Nunnally’s daughter Nora – herself a noted novelist and screenwriter. With affection and utter frankness she has created the memorable portrait of a man who was, by turns, a dedicated craftsman, a devoted family man, a hard drinker, a womanizer, a quiet tyrant, and a loving friend.
Johnson did classic work in Hollywood. He adapted Steinbeck’s The Grapes of Wrath for the screen; he wrote and directed the films The Man in the Gray Flannel Suit and The Three Faces of Eve. He knew many of the movie greats as friends – everyone from Groucho Marx and Darryl F. Zanuck to Lauren Bacall and Humphrey Bogart. He is best remembered by those close to him for his stern professionalism, his uninsistent style, and his legendary off-the-cuff wit.
This book, by one of the people who knew him best, offers a delightful glimpse of Nunnally Johnson in all his guises – from his freewheeling days at the city desk to his last years in Hollywood. It is a labor of love – a memoir and a celebration of a most remarkable man.
NORA JOHNSON is the author of the novel The World of Henry Orient, and she co-wrote the script for the screen version with her father – who later wrote the book for a musical adaptation, Henry, Sweet Henry. Her other books include Pat Loud: A Woman’s Story, and she has also written several screenplays on her own. Her articles and short stories have appeared in The New Yorker, McCalls, and numerous other national publications. Ms. Johnson lives in New York City.
Hardcover, dust jacket – 369 pp., index – Dimensions 21 x 14 cm (8,3 x 5,5 inch) – Weight 530 g (18,7 oz) – PUBLISHER Doubleday & Company, Inc., Garden City, New York, 1979 – ISBN 0-385-13406-1
Florence Lawrence, The Biograph Girl: America’s First Movie Star (Kelly R. Brown)
Florence Lawrence’s film career began just as the cinema was being born. She recognized the wonder and appeal of the fledgling industry, and her early work with the Vitagraph company gained her a legion of fans and a reputation as a willing and hard working actress. In 1908 she appeared in Romeo and Juliet – America’s very first screen Juliet. By 1909, she was working steadily for the Biograph studio – she was dubbed “the Biograph girl” – and was being praised for her “personal attractions” and “very fine dramatic ability.” But just as Lawrence was the first movie star in the industry, she was also one of the first to be undone by it. Hindered by setbacks, grueling work schedules, self-imposed retirements, three marriages, repeatedly unsuccessful comeback attempts, Lawrence finally committed suicide in 1938.
This impressively researched piece of film history represents the first full-length biography of Florence Lawrence, also called “The Girl of a Thousand Faces.” Among the photographs are some never before published. A complete filmography of Lawrence’s entire career is provided. A summary chapter includes comments from various critics and historians, addressing how Lawrence is important to film history.
Journalist and film researcher KELLY R. BROWN lives in Statesville, North Carolina
Hardcover – 216 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 499 g (17,6 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 1999 – ISBN 0-7864-0627-5
Focus on Orson Welles (edited by Ronald Gottesman)
Not only has Orson Welles given us such major works as Citizen Kane, The Magnificent Ambersons, Touch of Evil, and Chimes at Midnight, but he has also been a prime influence on such modern directors as Stanley Kubrick, Louis Malle, Roman Polanski, and Robert Aldrich, says Ronald Gottesman, editor of this volume.
In this book, Gottesman presents articles by such noted film commentators as Joseph McBride, Stephen Farber, and Peter Bogdanovich that examine the films of Orson Welles. The articles offer instructive insights into Welles’ innovative use of film, ranging from an overview of Welles’ directorial career by Richard T. Jameson to an analysis of his unorthodox use of sound by Phyllis Goldfarb. Although Orson Welles has been the source of controversy for the past three decades, says Gottesman, little has been known authoritatively about his life or the intellectual, political, or economic circumstances that shaped the form and content of his films. Now, through this book, readers will be able to further understand the cinematic genius of Orson Welles.
RONALD GOTTESMAN is Director of the Humanities Center for Advanced Interdisciplinary Studies and Professor of English at the University of Southern California. He is the editor of Focus on Citizen Kane and co-general editor for the Film Focus series (Prentice-Hall).
Hardcover, dust jacket – 218 pp., index – Dimensions 21 x 14,5 cm (8,3 x 5,7 inch) – Weight 382 g (13,5 oz) – PUBLISHER Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1976 – ISBN 0-13-949214-3
Fonda: My Life (Henry Fonda, as told to Howard Teichmann)
The triumphs and tragedies of Henry Fonda’s private life are as dramatic and astounding as his celebrated career. He has had five wives, two of whom, Frances Brokaw, mother of Jane and Peter, and movie star Margaret Sullavan, committed suicide. His friends number among the greats of Hollywood, Broadway, and Washington and include James Stewart, Lucille Ball, and the Kennedys. His stage and screen career has spanned over five memorable decades, and he is unquestionably one of America’s greatest actors.
Now for the first time, Henry Fonda tells the extraordinary story of his life and loves, his films and plays, his children and friends – in a frank, revealing, anecdotal book drawn from 200 incredible hours of candid conversation with noted biographer and playwright Howard Teichmann. With great warmth and affection, he speaks of his youth in Nebraska (where Marlon Brando’s mother induced him to take up acting), of being down and almost out in Depression-stricken New York with roommate James Stewart, and of his experiences in the Navy during World War II. With him, we relive the highlights of his fabulous career, his glory days in Hollywood and Broadway, and his unforgettable performances – such as the roles he played in Mister Roberts, The Grapes of Wrath, Young Mr. Lincoln, War and Peace, and even his newest movie, On Golden Pond, with Katharine Hepburn (whom he had never met before) and daughter Jane. He talks with candor and tenderness about the five women he married – the two whose lives ended so tragically; Susan, mother of his adopted daughter, Amy; Afdera, his ltalian “Countess”; and the lovely Shirlee, his present wife. He looks with pride upon Jane and Peter, who have become stars in their own right despite their stormy upbringing, and frankly reveals what they felt toward him as children and what they feel now.
Audiences identify Henry Fonda with total integrity. Fellow professionals revere his craftsmanship and commitment. These powerful qualities come to play in this spellbinding autobiography of a multidimensional figure who has become a legend in his own time. Fonda: My Life is as honest, as thoughtful, as fascinating, as wryly witty, as entertaining as the man himself. It is irresistible reading.
HENRY FONDA was born in 1905 in Grand Island, Nebraska. His most recent starring role is in the film On GoIden Pond. He and his wife, Shirlee, live in Bel Air, California. HOWARD TEICHMANN is author of Alice: The Life and Times of Alice Roosevelt Longworth; Smart Aleck: The Wit, Word and Life of Alexander Woolcott; and George S. Kaufman: An Intimate Portrait. He lives in New York City with his wife, Evelyn.
Hardcover, dust jacket – 372 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 798 g (28,1 oz – PUBLISHER New English Library, New York, New York, 1981 – ISBN 0-453-00402-4
The Fondas (Gerald Cole, Wes Farrell)
With films like The Grapes of Wrath, Coming Home, Easy Rider and On Golden Pond, the Fonda family have blazed a unique trail across the world’s cinema screens, provoking adulation and envy, excitement and controversy in near equal measure. But their uniqueness does not lie in their exceptional individual talents as both Hollywood stars and respected dramatic actors. It does not lie in their considerable success at the box-office, nor even in the
extraordinary fact that a single family should boast such an array of gifts. What makes Henry, Jane and Peter unique is their remarkable ability – exercised over fifty years – to embody, both in their lives and their acting, values and aspirations that chime almost uncannily with those of the America they know and knew.
Henry Fonda, who died in 1982, made a hero of the common man, transforming himself into America’s liberal conscience and lending enormous appeal to the honesty, decency and simplicity of his mid-western upbringing. Born into stormier times, Jane has turned from sex symbol to revolutionary to committed political activist, dedicated to producing work that is as controversial as it is entertaining. Peter gave voice to the disaffected youth of the sixties and created a vision of a decade that stands among the classics of the cinema.
In this superbly illustrated book Gerald Cole and Wes Farrell provide a comprehensive survey of the Fondas’ achievements, with stills from all their major triumphs. It will appeal to all students of the Fonda phenomenon, and every film fan.
GERALD COLE is the author of Gregory’s Girl, Britannia Hospital and Clint Eastwood. WES FARRELL has long been an admirer of the Fondas.
Hardcover, dust jacket – 192 pp. – Dimensions 25 x 19 cm (9,8 x 7,5 inch) – Weight 763 g (26,9 oz) – PUBLISHER W. H. Allen & Co., Ltd., London, 1984 – ISBN 0 491 03153 X
The Fondas: The Films and Careers of Henry, Jane and Peter Fonda (John Springer; with appreciations by John Steinbeck, Joshua Logan, Robert Ryan)
“In 1967, that celebrated raconteur, bon vivant and sometime publisher, Bennett Cerf, phoned Henry Fonda, his voice concerned. ‘Hank, I’ve just read the manuscript of a novel that an affiliate of ours is going to publish. It’s just about the most scurrilous thing I’ve ever read – about an actor and his daughter – and the writer has done everything possible to identify the characters with you and Jane.’ ‘Does it refer to us by name?’ ‘No, he hasn’t gone quite that far – but nobody will have any doubts about with whom he expects the characters to be associated. I wanted you to know we are severing all connections with the publisher, but I think you ought to read the book and see your lawyer.’
Fonda, as always, was calm. ‘I don’t want to read the book. I don’t have time for crap like that. And there’s not much point in seeing my lawyer – there have been enough scandal stories about us all which actually have used our names in connection with all kinds of lies. It used to infuriate me but I don’t give a damn anymore. Anybody who knows us – anybody we care about – knows what is true about us. The others – well, if they get their kicks out of thinking those things are true, there’s not much we can do except ignore them. We’re not about to dignify them with any attention at all.’
The novel came out – a wretched thing written by someone safely using a pseudonym, although coyly admitting his real identity when the book achieved some notoriety. We won’t advertise author or book by naming them here. The Fondas made no protest, issued no statements, paid no attention at all. The few column items, which tried to start a controversy, soon ceased.
There are a lot of stories they tell about the Fondas. Some of them were enthusiastically aided by Jane Fonda in her earlier interviews, when she eagerly promoted the image of an unconventional and uninhibited girl, and later by Peter in his era as the ‘spokesman’ for the rebellious younger generation. Henry has consistently refused to comment on any of them or to answer any of the more outrageous interviews given by his offspring. In spite of those stories you hear, the Fondas could not be closer as a family. Jane and Peter stay at Henry’s house when they are in New York and all three are constantly on the long-distance telephone to each other when they are separated. Any estrangement – and there have been a few – is no more serious than a normal family argument, and is over as quickly. A recent magazine article had some pretty rough items about the family in quotes from Peter Fonda. Peter admitted that he had, indeed, said all of these things but claimed that they had been taken out of context from an interview he had given some years before when he thought it was the thing to turn on that most convenient target of the Establishment, his father. The Fondas were all hurt by the article but neither Henry nor Jane made any public comment about it. Peter did but only to admit his own blame and explain how the situation had changed. But people would much rather hear about a juicy family feud than read about a warm and close family relationship.
Here we deal only with the careers of this present-day first family of Broadway and Hollywood – careers unmatched by any other parent and children in the American theater.
There have been others, most notably Douglas Fairbanks, Sr. and Jr.; the well-known character actors, Tyrone Power and Jason Robards, and their even better-known sons; Maureen O’Sullivan and Mia Farrow; Robert Montgomery and Elizabeth; Judy Garland and Liza Minnelli; Osgood and Anthony Perkins; Maurice Costello and his daughters, Dolores and Helene; Bing Crosby, Frank Sinatra, Joan Crawford, Nancy Carroll (Patricia Kirkland), Robert Sterling and Ann Sothern (Tisha Sterling), Helen Hayes (James MacArthur), June Walker (John Kerr), Ruth Taylor (Buck Henry), Joel McCrea, Jennifer Jones and Robert Walker, Loretta Young (Judy Lewis), Lila Lee (James Kirkwood), Mickey Katz (Joel Grey), and others – all of whom have produced children who have been variously successful in the show business world. Perhaps the family closest to the Fondas in celebrity for both parent and progeny are the British Redgraves. And, of course, the successful siblings range all the way from the Barrymores to Warren Beatty and Shirley MacLaine.
But, in America, the family Fonda seems to stand alone. Almost every story about them has referred to them with the same cliché. But why not? It has a nice, lilting, alliterative sound and it’s true. Henry, Jane, Peter – they really do rate the designation of The Fabulous Fondas.” – From The Introduction.
Softcover – 279 pp. – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 976 g (34,4 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1970 – ISBN 0-8065-0383-1
Forever Liesl: A Memoir of The Sound of Music (Charmian Carr, with Jean A. S. Strauss)
The Sound of Music is more than a classic movie. It is a cultural phenomenon. Its magic lives on in the minds and hearts of everyone it has touched. Now, one of the members of the 1965 film’s cast tells what it was really like to be a part of the phenomenon. Charmian Carr, who captivated moviegoers as Liesl “Sixteen Going on Seventeen” von Trapp, shares her memories of making the movie that shaped her life and captures just why The Sound of Music means so much to so many.
Forever Liesl brims with heartwarming anecdotes and funny moments, from romances on the set to wild nights at the Bristol Hotel in Salzburg. Charmian recounts how she won her role with no acting experience, the near disaster as they filmed the dance in the gazebo, and her relationships – then and now – with her six celluloid siblings. She answers the question she is asked most often: What was Julie Andrews really like? Charmian also offers some of her favorite stories from fans and friends of the film, as well as a delightful treasury of photographs. And she reveals why she left acting for motherhood and a new career in interior design (with clients including Sound of Music devotee Michael Jackson), what she learned when she met the real von Trapp children, and how The Sound of Music has helped her get through stormy times in her own life.
Forever Liesl celebrates the spirit of the movie and what it stands for: family love, romance, inspiration, nostalgia, and the joy and power of music. A must-have for any Sound of Music fan, Forever Liesl is sure to be one of your favorite things.
CHARMIAN CARR was twenty-one when she played Liesl von Trapp in The Sound of Music, which won five Academy Awards, ran for almost five years in its initial release, has been seen by an estimated one billion people, was named one of the three most popular films of all time by the People’s Choice Awards, and became the longest-running video best-seller in history. Now an interior designer, Carr continues to promote the movie on special occasions. In addition to her extensive work in commercials, she has made numerous television appearances, including hosting a segment of the A&E special about Rodgers and Hammerstein. She lives in Encino, California. JEAN A.S. STRAUSS is the author of Birthright (Penguin), has two sons, and lives in Claremont, California, where her husband is a college president. Charmian and Jean met at an event at the Hollywood Bowl in 1998.
Hardcover, dust jacket – 245 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 505 g (17,8 oz) – PUBLISHER Viking, New York, New York, 2000 – ISBN 0-670-88908-3
Forever Mame: The Life of Rosalind Russell (Bernard F. Dick)
When it comes to living life to its fullest, Rosalind Russell’s character Auntie Mame is still the silver screen’s exemplar. And Mame, the role Russell (1907-1976) will always be remembered for, embodies the rich and rewarding life Bernard F. Dick reveals in his biography of this Golden Age star, Forever Mame: The Life of Rosalind Russell.
Drawing on personal interviews and information from the archives of Russell and her producer-husband Frederick Brisson, Dick begins with Russell’s childhood in Waterbury, Connecticut, and chronicles her early attempts to achieve recognition after graduating from the American Academy of Dramatic Arts. Frustrated by her inability to land a lead in a Broadway show, she headed for Hollywood in 1934 and two years later played her first starring role, the title character in Craig’s Wife.
All of her films are discussed along with her triumphal return to Broadway, first in the musical Wonderful Town and later in Auntie Mame. Forever Mame details Russell’s social circle of such stars as Loretta Young, Cary Grant, and Frank Sinatra. It traces an extraordinary career, ending with Russell’s courageous battle against the two diseases that eventually caused her death: rheumatoid arthritis and cancer. Russell devoted her last years to campaigning for arthritis research. So successful was she in her efforts to alert lawmakers to this crippling disease that a leading San Francisco research center is named after her.
BERNARD F. DICK is a professor of communication and English at Fairleigh Dickinson University and is the author of Hal Wallis: Producer to the Stars and Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood.
Hardcover, dust jacket – 288 pp., index – Dimensions 21 x 15,5 cm (8,3 x 6,1 inch) – Weight 540 g (19 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2006 – ISBN 978-1-57806-890-6
Forever Young: The Life, Loves and Enduring Faith of a Hollywood Legend – The Authorized Biography of Loretta Young (Joan Wester Anderson)
Joan Wester Anderson paints an honest portrait of Loretta Young, a woman dedicated to her family, to her career, but above all, dedicated to her God. In Forever Young, Anderson reveals the actress’ passion for unforgettable performances on-screen, but whose proudest accomplishment was helping others at street shelters as she grew older. Forever Young is the inspirational story of Loretta Young, whose life expressed all the frailty of the human condition, but whose faith shone brightly, giving her the indelible mark of a star.
Miss Young made an impressive 100 films in just twenty-five years. She worked with Frank Capra (Platinum Blonde, 1931), John Ford (Four Men and a Prayer, 1938), and Orson Welles (The Stranger, 1946). She co-starred with Grant Withers, Clark Gable, Spencer Tracy, Cary Grant, Gary Cooper, Douglas Fairbanks Jr., William Holden, Tyrone Power, and James Cagney. She won an Oscar in 1948 for her portrayal of a Swedish maid in The Farmer’s Daughter, beating out Rosalind Russell (Mourning Becomes Electra). Five years later, Young moved to television, becoming the queen of Eisenhower-era matrons in The Loretta Young Show, which ran for an impressive eight years.
In 1994, Loretta Young’s “adopted” daughter, Judy Lewis, announced that Young and Clark Gable were her biological parents – a claim that Young, who had co-starred in The Call of the Wild (1935) with the then-married actor, has now answered definitely in Forever Young: The Life, Loves and Enduring Faith of a Hollywood Legend. This is Loretta Young’s remarkable story.
JOAN WESTER ANDERSON, author of the best-selling Where Angels Walk, was born in Evanston, Illinois. She began her writing career in 1973 with a series of family humor articles for local newspapers and parenting magazines. She was a monthly columnist for two national magazines during the 1980s and has published more than one thousand articles and short stories in a variety of publications, including Woman’s Day, Modern Bride, Virtue, Reader’s Digest, and the New York Times Syndicate. Her thirteen books include Where Angels Walk: True Stories of Heavenly Visitors, which was on the New York Times best-seller list for over a year, has sold almost 2 million copies, and has been translated into fourteen languages. Published in fall of 1994 were the sequel to Angels, titled Where Miracles Happen, and for children, An Angel to Watch Over Me. Both books were written in response to suggestions from readers, and both appeared frequently on Publisher’s Weekly‘s Religion best-seller list. Her eleventh book, Where Wonders Prevail, was published in November 1996; her twelfth, Angels We Have Heard on High, in November 1997. Her most recent, The Power of Miracles, was released in November 1998. Joan and her husband have five adult children and one grandchild.
Hardcover, dust jacket – 285 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 686 g (24,2 oz) – PUBLISHER Thomas More Publishing, Allen, Texas, 2000 – ISBN 0-88347-467-0
For My Eyes Only: John Glen, Director of Five James Bond Films (John Glen; foreword by Roger Moore)
For My Eyes Only gives the inside story behind the making of eight Bond movies with candid and often hilarious behind-the-scene stories of the stars and crew that made the Bond name. During the 1980s John Glen directed all five Bond movies, including For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights and License to Kill. But Glen’s Bond association goes back further, having been closely involved in the making of On Her Majesty’s Secret Service, The Spy Who Loved Me and Moonraker. The filming details of some of the most memorable stunts ever committed to celluloid are published here for the first time, along with unseen stills and storyboards.
But more than this, For My Eyes Only is the story of a life in film. A career that ranged from groundbreaking television shows Danger Man and Man in a Suitcase through film classics The Third Man, The Italian Job and Superman, to big-budget films with Marlon Brando and Richard Burton.
An entertaining read and an enlightening look at the filmmaking process, this is a book for all Bond fans, film enthusiasts and film students.
JOHN GLEN was born in Sunbury-on-Thames in 1932. After an exciting childhood dodging World War II bombs he started working at Shepperton Studios as a messenger. Graduating to the cutting rooms, he eventually became a film editor. His career as a director started with shooting close shots of gadgets and car chases for TV series. Legendary producer Albert “Cubby” Broccoli noticed his editing work on the Bond films and invited him to become the director on For Your Eyes Only, starring Roger Moore. John is still active in the film industry but now takes time to travel with his wife, Janine, between homes in London and Western Australia.
Hardcover, dust jacket – 240 pp., index – Dimensions 25,5 x 19,5 cm (10 x 7,7 inch) – Weight 979 g (34,5 oz) – PUBLISHER B.T. Batsford, London, 2001 – ISBN 0-7134-8671-6
Forties Film Talk: Oral Histories of Hollywood, with 120 Lobby Posters (Doug McClelland)
“To start, a word or two thousand about Evelyn Keyes. In late April, 1991, Miss Keyes, who has appeared in some of Hollywood’s biggest films from Gone With the Wind to The Jolson Story to Around the World in 80 Days, came to New York City to promote the second volume of her memoirs titled I’ll Think About That Tomorrow. Since she was one of the most active and talented stars of the 1940s, the screen’s great golden decade and the subject of this book, I decided to venture forth from my home on the New Jersey seashore and interview her.
Jennifer Romanello, the publicity woman from Miss Keyes’ publisher, E. P. Dutton, arranged our meeting for what turned out to be a warm, sunny spring afternoon at Manhattan’s Regency Hotel, where the Los Angeles-based Miss Keyes was staying during this stop on her hectic, multicity book tour. So far so good. When I arrived at the Regency at the appointed hour, three o’clock, a message was waiting for me to call another publicity person at Dutton.
Oh-oh, I thought, Miss Keyes has been detained at some other interview and is cancelling our session – after I’ve come all the way into New York expressly for this purpose. Just off the lobby I found a pay phone over which my latest Dutton contact explained, ‘Miss Keyes has had an accident. At first we thought we’d have to cancel the interview, but she has just informed us that she still wants to see you.’ I was given the number of her room and went up.
Miss Keyes, holding a hand towel with ice in it to her forehead, opened the door while publicity woman Romanello tended to business on the phone. ‘What happened?’ I asked immediately. Smiling, the thin but still vivacious septuagenarian explained, ‘I’m such a klutz. I fell!’ It seems that only an hour and a half before, the Misses Keyes and Romanello were leaving the building where the star had just done a television interview when suddenly, for whatever reason, Miss Keyes tripped and fell on the sidewalk, hitting her forehead above the right eye. She was taken to the emergency room of a local hospital, but cut that short to return to the Regency. She was now waiting for the hotel doctor to arrive.
She was in excellent spirits, though, bouncing in and out of her chair and moving quickly and energetically around the small accommodations. I said, ‘I can’t possibly add to your stress by asking you to do an interview now, Miss Keyes.’ ‘Sit right down,’ she quickly instructed, adjusting her impromptu icepack. ‘Of course we’ll do the interview. I’m all right. It’s Jennifer over there I’ve been worried about. She was hysterical when the accident occurred. Weren’t you?’ A much paler Jennifer, still on the phone, smiled sickly.
So we began the interview, my admiration for this cheerful, chatting, wounded actress soon to know no bounds. About half-way through, the doctor arrived. By then, Miss Keyes had a welt the size of an egg above her temple. Furthermore, it was rapidly turning a shiny black that was spreading down to the area around her right eye. The doctor asked her some questions, said it didn’t appear to be a fracture and put a small dressing on the slight skin laceration. He told her what to watch for in case of complications. When he realized he was treating a Hollywood actress, however, he became so grinningly effusive, almost giggly, that I thought he was going to ask her to autograph a prescription pad.
He left and the interview continued. Whenever I looked up from my notebook scribblings, I could literally see the skin around Miss Keyes’ eye darkening. Conscience-stricken at my imposition, I ended the interview somewhat earlier than I’d planned. Departing, I advised the ever-smiling and congenial patient to rest. ‘Oh, I’m going to the theater tonight,’ she chirped. A couple of days later, as scheduled, she was off to Boston, the next stop on her book tour. Evelyn Keyes, with her courage and spirit and dedication to the job at hand, was the living embodiment of the old adage ‘The show must go on’ that was prominent in many vintage Hollywood films. In fact, the incident related here makes her seem the perfect representative of the screen’s most lustrous epoch, the 1940s. Films then had warmth and vitality, were adventurous and accomplished, moved well and entertained – all qualities shared with the peripatetic, irrepressible Evelyn Keyes.
As New York Post columnist Cindy Adams commented when she reported on Miss Keyes’ accident and subsequent stalwart behavior during our interview, ‘They don’t make ’em like that anymore.’ For those who might still ask, ‘What made the forties so special?’ there were several factors. Film techniques had become more fluid and skillful. During the early days of sound, ushered in by the great success of 1927’s The Jazz Singer, starring Al Jolson, microphones were sometimes hidden in flower arrangements. Actors supposed to whisper sweet nothings into the ears of their leading ladies instead had to direct their terms of endearment to the inevitable floral spreads on nearby tables. And rolling cameras, so noisy in the beginning, had to be wrapped in large, soundproof cases to prevent them from being heard on the soundtracks. By 1939, the kinks had been ironed out to such an extent that we often hear that year – which produced such films as Gone With the Wind, The Wizard of Oz, Ninotchka and Stagecoach – called the screen’s greatest. (And 1946 was often called the screen’s last great year.) In the wake of 1939 came Hollywood’s most prosperous, productive and creative decade: the forties.
The moguls, or studio bosses, were at the peak of their might. Erstwhile junk dealers, glove salesmen, furriers and song-pluggers, who in some cases had become the nation’s highest salaried men, ruled the dozen or so Hollywood studios then, and did so with a sometimes crude but always genuine love for movies. They sought out and hired the best talent in the world to work behind and in front of the cameras. As World War II loomed, many of the great European stars, directors, writers, cinematographers and craftsmen fled the Holocaust for Hollywood. All of this provided a rare amalgam of talent that helped to enrich the American film as never before or since. For instance, the German filmmakers’ predilection for chiaroscuro played a major role in the creation of a new and popular Hollywood genre, the ‘film noir’ (usually urban melodrama enacted on dark, dank streets). Also standing out among the Westerns, dramas, musicals, comedies, costume sagas, biographies and swashbuckling epics were the social commentaries. For the first time, Hollywood seriously tackled the problems of racial prejudice, mental illness and alcoholism. Hungry for escapism, wartime audiences, especially, flocked to the films of that time in greater number than at any other time in motion picture history. And the star system, eventually to wilt during the breakdown of the nurturing old studio contract system, was still in full flower.
In the latter half of the decade, storm warnings went up. Washington’s House Committee on Un-American Activities began its reinvestigation of alleged Communist infiltration and subversion of the American film industry. In the ensuing hysteria that reached a climax in the fifties, a number of film people were jailed and or blacklisted. Some deaths were even attributed to the pernicious aftermath of committee investigation. Meanwhile, the government, claiming antitrust violations, forced the Hollywood studios to divest themselves of their film theater chains. The biggest blow of all, though, was the new entertainment medium called television, first gawked at in shop windows but soon attracting the moviegoing audience in alarming proportions. Hollywood and the quality of films were never the same again.” – From The Preface.
[Interviews with Iris Adrian, June Allyson, Robert Arthur, Lew Ayres, John Beal, Ralph Bellamy, Joan Bennett, Eddie Bracken, Lucille Bremer, Vanessa Brown, MacDonald Carey, Marguerite Chapman, Nancy Coleman, Luther Davis, Laraine Day, Rosemary DeCamp, Myrna Dell, Julius J. Epstein, Joan Evans, Alice Faye, Geraldine Fitzgerald, Rhonda Fleming, Nina Foch, Susanna Foster, Kathryn Grayson, Jane Greer, Signe Hasso, Celeste Holm, Victoria Horne, Marsha Hunt, Ruth Hussey, Gloria Jean, Evelyn Keyes, Andrea King, Kurt Kreuger, Priscilla Lane, Janet Leigh, Joan Leslie, Viveca Lindfors, Dorothy McGuire, Catherine McLeod, Irene Manning, Victor Mature, Virginia Mayo, Constance Moore, Dick Moore, Dennis Morgan, Dorothy Morris, Janis Paige, David Raksin, Ann Richards, Lina Romay, Elizabeth Russell, Ellis St. Joseph, Richard Sale, Ann Savage, Risë Stevens, James Stewart, Barry Sullivan, Audrey Totter, William Travilla, Claire Trevor, Ruth Warrick, Barbara Whiting, Robert Wise, Alan Young]
Hardcover – 447 pp., index – Dimensions 26 x 17 cm (10,2 x 6,7 inch) – Weight 1.065 g (37,6 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 1992 – ISBN 0-89950-672-0
Forty Days With Marilyn (Hans Jørgen Lembourn)
On the first day, she did not even keep their appointment. It was on the fourth day that they finally met. On the tenth day they became lovers. This is the story of a love affair, between a Danish author and journalist and the legendary Marilyn Monroe. Hans Jørgen Lembourn wanted to write a film for her. Instead, for forty days of his life, he lived with her or in the shadow of her elusive personality. He is frank about their love, about her attitude to men, to her husbands, to herself, about her drinking and about the pills she relied on, about her private life and her career.
‘I wouldn’t mind if you wrote about me sometime,’ she said. ‘You’re welcome to tell it all sometime. But not until after I’m dead.’ It has taken the author nearly twenty years to bring himself to do so. The result is not only a touching evocation of an affair, but a tender, understanding portrait of Marilyn Monroe which at last brings her alive as a puzzled, enchanting, contradictory human being.
HANS JØRGEN LEMBOURN is a Danish author, journalist, teacher, politician. He was a war reporter in Greece during the civil war in 1947, and for a number of years he worked in Africa, the USA and the Far East. He has written for Danish newspapers and periodicals, is the author of many novels and works of non-fiction, and was a Member of Parliament from 1964 to 1977. Since 1973 he has been married to Ellen Winther Lembourn, the Danish opera-
Hardcover, dust jacket – 214 pp. – Dimensions 21,5 x 13 cm (8,5 x 5,1 inch) – Weight 376 g (13,3 oz) – PUBLISHER Hutchinson of London, London, 1979 – ISBN 0 09 139010 9
Four Fabulous Faces: Gloria Swanson, Greta Garbo, Joan Crawford, Marlene Dietrich (Larry Carr; introduction by Adela Rogers St. Johns)
“Why these four fabulous faces? Why this choice? Because, more than any other of their contemporaries, these lour living legends have lasted longest, endured best and still are outstanding and shining examples of beauty and glamour, continuing to possess those qualities which attract and fascinate, and which command attention, enthusiasm and approbation.
Gloria Swanson, Greta Garbo, Joan Crawford and Marlene Dietrich have been written about, talked about, photographed and painted more often than any other woman of the 20th century. During their long careers and public lives, all four have undergone a gradual metamorphosis, reflecting both personal and social change, which mirrored and helped set the style and look of succeeding decades. They have exerted a tremendous influence on women all over the world who copied their clothes, style and makeup. When Swanson bobbed her hair in the early 20s, millions of women rushed to imitate her. Remember Garbo’s long bob, Empress Eugenie hat and her famous slouch? And Crawford’s enormous mouth and eyes, broad shoulders and “Letty Lynton” dress? And Dietrich’s famous slacks and mannish apparel, her cock leathers and boas, fishtail skirts and flesh-like gowns? They are part of our fashion heritage.” – From the Preface.
“A return to a glamorous past when times in art often seem to speak another language, scientific, mediocre, ugly and grim, is the secret yearning of many hearts. When romance has vanished in favor of so-called realism – as though the rose were not as real as the manure – I find even the young peering back to see what it was like then.
With Hollywood giving off the same aura as Pompeii, with the big studios no longer in existence, with absurd costs and considerable lack of talent sending the younger producers and stars in all directions for new fields, we still have a desire to know what it was like then. Then – in the old days of making Gone with the Wind, the old days of John Gilbert and Greta Garbo, of Humphrey Bogart and Ingrid Bergman at their peak, of Bette Davis bringing Elizabeth the Great to life in one of her never-equaled performances, of The Movie Star, Gloria Swanson wedding the first Title, of Marlene Dietrich becoming – actually – a star overnight in a picture called The Blue Angel, of Joan Crawford sweeping all before her from Our Modern Maidens to Mildred Pierce.
These I have let flow from this battered typewriter without second thought, for they are things I remember with love, with, I hope, a kind of loyalty, and certainly with that tragically abused word nostalgia – and it is tragically abused because even with the help of Roget’s Thesaurus I can think of no other. I want to see again what I once knew so well – the glamorous romantic pioneer days of The Movies. The days when indeed A Movie Star was the ONLY all – encompassing star except maybe Babe Ruth. When Lon Chaney’s death stopped the telephone company’s switchboards for hours with weeping prayers and disbelief. When Tom Mix created the Western. When the talkies came it was to us rather like Sherman marching through Georgia. And the little old California town, streets lined with orange trees and peppers and adobe mansions, was the Capital of the Film Art and Industry.” – From the Introduction by Adela Rogers St. Johns.
Softcover – 492 pp. – Dimensions 27,5 x 21,5 cm (10,8 x 8,5 inch) – Weight 1.635 g (57,7 oz) – PUBLISHER Penguin Books, Ltd., Harmondsworth, Middlesex, 1970 – ISBN 014 00 4988 6
The Fox That Got Away: The Last Days of the Zanuck Dynasty at Twentieth Century Fox (Stephen M. Silverman)
A powerful man and his determined son, an internationally famous dream factory where money is no object, and a battle between giant egos staged on the most lavish playgrounds in the world. This is the inside story of a family and a corporation torn from within by greed, envy and a blind need to control.
Movie mogul Darryl F. Zanuck believed that the kingdom he had built – 20th Century-Fox – was impregnable to outside conquest. Little did he dream that the power who would eventually dethrone him in one of the nastiest battles of Hollywood history would be none other than his own son, Richard D. Zanuck. In the best Hollywood tradition, this drama was played out on a larger than life scale against a glamorous international setting. There is a cast of supporting players that formed the Zanuck coterie – from their innumerable “yes men” to the old man’s many mistresses. Darryl F. Zanuck emerges from these pages as the prototypical arrogant, womanizing, autocratic movie mogul: a throwback to the lavish days of Hollywood past. When faced with opposition from his son Richard and his wife Virginia, he reacted the only way he knew how – he set out to destroy them. The irony is that in the new Hollywood, Darryl F. Zanuck was as much of an anachronism as the early talkies that were the basis of his empire.
The Fox That Got Away is filled with high drama. It is a story that will not be soon forgotten, and a look at the workings of an industry that never fails to fascinate.
STEPHEN M. SILVERMAN, for years chief entertainment correspondent for The New York Post, has also written for nearly every major American publication. A previous book, Public Spectacles, was published by E. P. Dutton in 1981. He is currently at work on a biography of David Lean. Mr. Silverman lives in New York City.
Hardcover, dust jacket – 356 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 742 g (26,2 oz) – PUBLISHER Lyle Stuart, Inc., Secaucus, New Jersey, 1988 – ISBN 0-8184-0485-X
Fragments: Portraits from the Inside (André de Toth; foreword by Martin Scorsese, preface by Bertrand Tavernier)
“I regard Fragments not merely as a Hollywood memoir (though it is a fine one), but as a unique record of a remarkable man’s journey through some of the most significantly shaping events of this century… his work acquires a poignance, a bold humor and an enthralling narrative drive that I found irresistible.” – Richard Schickel, Time.
“de Toth is an unsing hero.” Martin Scorsese.
André de Toth’s remarkable, eccentric and utterly compelling memoir opens amidst the enchanted café society of pre-war Budapest. With a novelist’s sense of time and place, he propels the reader through a series of snapshots from his fantastically eventful life, from Vienna, Paris and London to Hollywood – where he encountered many of the legendary figures of cinema’s golden age.
Ever the maverick, de Toth avoids the anodyne clichés of the show biz biography. Brutally honest and frequently self-deprecating, Fragments is a memoir with bite.
ANDRÉ DE TOTH now lives in Los Angeles where he is finishing his third novel. His motto is: “Don’t be careful – have fun! I did!”
Hardcover, dust jacket – 466 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 958 g (33,8 oz) – PUBLISHER Faber and Faber, London, 1994 – ISBN 0-571-17222-9
Frame-Up! The Untold Story of Roscoe “Fatty” Arbuckle (Andy Edmonds)
He was the hot new favorite of the silver screen – he was called “The Balloonatic” and “The Prince of Whales.” In 1921, Roscoe “Fatty” Arbuckle was the highest-paid film comedian of the day. He had three films in the can, was happily married, and was at the peak of his success. Yet today, many people remember him only as a purported rapist. What they do not know is that the truth of his story has remained untold for seventy years and that he was completely innocent.
On September 5, 1921, Arbuckle threw an “open house” to celebrate his new $ 3 million Paramount contract. It was a noisy party with booze and dancing, which ended abruptly when a starlet named Virginia Rappé let out a horrifying scream. One account claims that when the police arrived Arbuckle threw something out of the window and said, “There goes the evidence.” And from that moment on, so did the truth behind one of Hollywood’s most shocking scandals.
It has been said that Arbuckle assaulted Rappé with a champagne bottle. Others maintain he was nowhere near her when she screamed. One fact, however, overwhelmed everything else in the hurly-burly: Rappé died five days after the incident. Arbuckle was then charged with with first-degree murder and was rail-roaded through three rails before finally being acquitted. By this time his million-dollar career was devastated, his life in ruins.
Andy Edmonds, one of America’s top investigative reporters, now reopens the case of Roscoe “Fatty” Arbuckle and recreates California’s glittering Roaring Twenties. Edmonds presents completely new, “lost,” suppressed, heretofore-unrevealed evidence to determine what really happened behind the scenes at Fatty’s infamous party. And using evidence from Arbuckle’s court testimony, and personal interviews with Arbuckle’s first wife and the Paramount staff, she makes a compelling case against the Hollywood moguls who created Arbuckle and then systematically destroyed him. Edmonds finds answers to such devastating questions as: Why did the key witness at the trail lie and then escape perjury charges? What sinister role was played by Paramount chief Adolph Zukor? What was the personal toll on a talented actor who ended as an innocent victim in a nefarious frame-up?
ANDY EDMONDS’s Frame-Up! is a fascinating look at the make-believe world of Charlie Chaplin, Mack Sennett, Mabel Normand, D.W. Griffith, Buster Keaton, Douglas Fairbanks, and Mary Pickford, as well as Roscoe “Fatty” Arbuckle, America’s funniest man, for whom it all became deal real.
Hardcover, dust jacket – 335 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 686 g (24,2 oz) – PUBLISHER William Morrow and Company, Inc., New York, New York, 1991 – ISBN 0-688-09129-6
François Truffaut: Een compleet overzicht van zijn al films (Robert Ingram; edited by Paul Duncan)
“‘Ik ben iemand van de dialoog, alles in mij is in conflict en vol tegenstrijdigheden. Herinneringen vertellen nooit meer dan de halve waarheid, hoe zorgvuldig je ook op zoek gaat naar de waarheid: alles is altijd gecompliceerder dan je denkt. Misschien dat je in een roman de waarheid dichter kunt benaderen.’
Met deze woorden vatte de 20e-eeuwse schrijver André Gide kort en krachtig het dilemma samen waar autobiografen mee worstelen. Fictie heeft minder beperkingen dan de autobiografie. Auteurs zijn waarschijnlijk beter in staat de werkelijkheid te benaderen, aangezien zij niet gebonden zijn aan waarheid. Truffaut kwam al vroeg in zijn carrière tot deze conclusie.
Details van zijn privé-leven, zelfs intieme details, verwerkte hij in zijn films: soms direct, bijvoorbeeld als het personage Antoine Doinel in Antoine et Colette een appartement betrekt tegenover Colette, waarmee Truffaut aan zijn eigen verhuizing refereerde naar het huis tegenover dat van Liliane Litvin. Ook het grimmige “het is mijn moeder, meneer, zij is dood” is een spijbelsmoes die Antoine in Les quatre cents coups en Truffaut in zijn jeugd gebruikte. Soms veranderde in de film alleen de plaats van handeling. Zo ontmoette Antoine Colette tijdens een concert, terwijl François Liliane in de Cinémathèque ontmoette. De geschiktheid en de impact van de gebeurtenis waren voor het verhaal doorslaggevend. Op die manier “lagen elementen uit Truffauts (…) jeugd en adolescentie in zijn films niet op het niveau van het verhalende detail, maar op dat van de onderliggende structuren en thema’s, hetgeen verdergaat dan alleen het persoonlijke.”
Het was niet alleen in de films uit de Doinel-cyclus of La nuit américaine dat het autobiografische detail voor stof zorgde. “Ik had altijd de indruk, en hij zei dat ook zelf, dat Truffaut in zijn aanpassingen evenveel over zichzelf zei als in zijn originele scenario’s,” schreef Suzanne Schiffman. Een film als Jules et Jim, naar de roman van Henri-Pierre Roché, zegt net zoveel over Truffaut als een Doinel-film. De roman van Roché trok de aandacht van Truffaut, omdat hij aspecten in het leven van de auteur herkende. Truffaut lichtte juist die ervaringen, karakters en ideeën uit de roman die met die van hemzelf overeenkwamen.” – From the Introduction.
Softcover – 192 pp. – Dimensions 25 x 20 cm (9,8 x 7,9 inch) – Weight 863 g (30,4 oz) – PUBLISHER Taschen GmbH, Köln, Germany, 2002 – ISBN 3-8228-3582-X
François Truffaut: Letters (François Truffault; edited by Gilles Jacob and Claude de Givray; translated and edited by Gilbert Adair; foreword by Jean-Luc Godard; originally titled François Truffaut Correspondence)
The letters of François Truffaut represent the testimony of one of the best-loved filmmakers of our time.
With the characteristic variety of mood and tone so evident in his films, these letters document the development of Truffaut from a rebellious boy to a mature filmmaker in the last years of his life, and reveal the warmth, humanity, idealism and sharp wit of a man whose work was his lifelong passion.
His correspondents include other celebrated filmmakers like Alfred Hitchcock and Louis Malle, and here is also a first-hand account of his famous argument and subsequent break with Jean-Luc Godard. But there are also letters to his real intimates, friends from his boyhood days.
Films were Truffaut’s life. He felt they sould be personal works of art, intimate, funny and humane. The energy and clarity of mind which he employed to identify these aspects of film are reflected in the qualities of the man himself, and as the letters show, a man who was a constant and loyal friend.
Hardcover, dust jacket – 589 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.110 g (39,2 oz) – PUBLISHER Faber and Faber Limited, London, 1989 – ISBN 0-571-14121-8
Frank Borzage (Hervé Dumont; foreword by Martin Scorsese; originally titled Frank Borzage, Sarastro à Hollywood)
This work brings to readers of English a comprehensive and engaging treatment of one of America’s greatest, if largely forgotten, film directors. Originally published in 1993 study, Dumont’s celebrated study has been translated from the French by Canadian Jonathan Kaplansky.
Here is complete coverage of Borzage’s entire career – the more than 100 films he made and the effect of those films on movie audiences, especially between 1920 and 1940. Lavishly illustrated with 120 photographs, the book also contains a complete filmography, a chronological bibliography, and an index.
HERVÉ DUMONT is the director of the Swiss National Film Archive (Cinémathèque Suisse) and the author of several works on film history. His History of Swiss Cinema (Lausanne 1987) earned the Jean Mitry Award, and Frank Borzage, Sarastro à Hollywood (the French edition of the present work, Paris-Milan 1993) received the Prix Simone Genevois. He lives in Lausanne, Switserland. JONATHAN KAPLANSKY has also translated novels, poetry, and short fiction, as well as other biographies. His articles have appeared in Palimpsestes and Circuit. He lives in Ottawa, Canada.
Hardcover – 420 pp., index – Dimensions 26 x 18 cm (10,2 x 7,1 inch) – Weight 929 g (32,8 oz) – PUBLISHER McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 2006 – ISBN 0-7864-2187-8
Frank Capra: Interviews (edited by Leland Poague)
Few Hollywood directors had a higher profile in the 1930s than Frank Capra (1897-1991). He served as president of the Academy of Motion Picture Arts and Sciences and of the Screen Directors Guild. He won three Academy Awards as best director and was widely acclaimed as the man most responsible for making Columbia Pictures a success.
This popularity was established and sustained by films that spoke to and for the times – It Happened One Night, Mr. Deeds Goes to Town, Meet John Doe, and Mr. Smith Goes to Washington. These replicated the nation’s hopes and dreams for a national community. He worked with some of the brightest stars in Hollywood – James Stewart, Clark Gable, Jean Arthur, Gary Cooper, Barbara Stanwyck, Claudette Colbert, Bette Davis, Donna Reed, and Ann-Margret.
Capra’s interviews express his connection to the national audience and explore his own story. He was a Sicilian immigrant boy who survived rough-and-tumble beginnings to become Hollywood’s most bankable director. In reflecting on his life, almost every one of his films was a parable of acclaim verging on disaster. He spent much of the 1940s in uniform while making films for the War Department. Although Capra was an optimist, World War II and his series of Why We Fight films called his legendary optimism into question. His postwar film It’s a Wonderful Life (1946) gave an answer to those questions with an astonishing directness Capra never equaled again.
In 1971 he published his autobiography, The Name Above the Title. Many of the interviews collected here come from this period when, as an elder statesman of motion picture art and history, he reflected on his long career. The interviews portray the Capra legend vividly and demonstrate why the warm relations between Capra and his audiences continue to inspire acclaim and admiration.
LELAND POAGUE, a professor of English at Iowa State University, is the editor of Conversations with Susan Sontag (University Press of Mississippi). He is the author of Another Frank Capra and The Cinema of Frank Capra: An Approach to Film Comedy.
Softcover – 207 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 406 g (14,3 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2004 – ISBN 1-57806-617-4
Frank Capra: The Catastrophe of Success (Joseph McBride)
Frank Capra: The Catastrophe of Success is the first major biography of one of the greatest directors in Hollywood history, the man behind such classic films as It Happened One Night, Mr. Deeds Goes to Town, You Can’t Take It With You, Mr. Smith Goes to Washington, and It’s a Wonderful Life. In the typical Frank Capra film, the hero is a man of the people who faces a tremendous challenge and finds the optimism, faith, and courage to emerge triumphant. Capra’s films are idealistic, patriotic, full of human comedy, and often sentimental – so much so that skeptics have called them “Capracorn.” His best work is rich in social commitment; as Graham Greene once wrote, Capra had a “sense of responsibility… a kinship with his audience, a sense of common life, a morality.”
Moviegoers, encouraged by Capra himself, often assumed that his own life was like one of his movie fairy tales, this immigrant from Sicily was “an inspiration to those who believe in the American Dream,” in the words of John Ford. But as Joseph McBride reveals in this meticulously researched biography, Capra was a much more complex man than the public ever realized. McBride examines in detail the evolution of Capra’s great films, his troubled collaboration with such screenwriters as Robert Riskin and Sidney Buchman, and his work with such stars as Clark Gable, Gary Cooper, and James Stewart; Barbara Stanwyck, Claudette Colbert, and Jean Arthur. He analyzes the long and fruitful working relationship between Capra and Harry Cohn of Columbia Pictures, where Capra made nearly all his major films.
Hollywood’s spokesman for the “common man” repaid his debt to his adopted country by making Army propaganda films during World War II, yet as the Red Scare shook the film industry in the postwar years, Capra panicked when his loyalty was questioned. The elements of social criticism in his films and his personal and professional associations with leftists and liberals cast suspicion on him in that era, despite his record of deeply felt patriotism. In the most surprising revelation in the book, McBride shows how far Capra was willing to go to clear his name.
Frank Capra:. The Catastrophe of Success is the result of more than seven years of work. It is drawn from extensive archival research and interviews with 175 people who knew or worked with Capra, as well as many hours of interviews with Capra himself. In this biography, Joseph McBride gives us the definitive portrait of one of our greatest filmmakers.
JOSEPH McBRIDE is a reporter and reviewer who has covered the film industry for Daily Variety in Los Angeles since the early 1970s. An internationally known film historian and critic, he is the author of such books as Orson Welles, John Ford (with Michael Wilmington), and Hawks on Hawks. His scriptwriting credits include the American Film Institute Life Achievement Award television specials honoring James Stewart, Fred Astaire, John Huston, Lillian Gish, and Frank Capra, for which he received a Writers Guild of America Award and two Emmy nominations. Mr. McBride is married to Dr. Ruth O’Hara and has two children, Jessica and John.
Hardcover, dust jacket – 768 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.220 g (43 oz) – PUBLISHER Simon & Schuster, New York, New York, 1992 – ISBN 0-671-73494-6
Frankly, My Dear: Gone With the Wind Revisited (Molly Haskell)
How and why has the saga of Scarlett O’Hara kept such a tenacious hold on our national imagination for almost three-quarters of a century? In the first book ever to deal simultaneously with Margaret Mitchell’s beloved novel and David O. Selznick’s spectacular film version of Gone with the Wind, film critic Molly Haskell seeks the answers. By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David O. Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.
Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate seventy years later.
MOLLY HASKELL is a writer and a film critic. She has lectured widely on the role of women in film and is the author of From Reverence to Rape: The Treatment of Women in the Movies.
Hardcover, dust jacket – 244 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 449 g (15,8 oz) – PUBLISHER Yale University Press, New Haven, Connecticut, 2009 – ISBN 978-0-300-11752-3
Frank Sinatra, My Father (Nancy Sinatra)
Autographed copy Scott – Thank you for everything. Love, Nancy Sinatra, January ’87
Even more than a daughter’s marvelous, surprising biography of her legendary father, this is Sinatra on Sinatra – a vivid, loving portrait by a star about a superstar. Taking the reader backstage into the glowing, at times painful world both have shared – as well as inside their unique family – this lavish volume is actually two books in one: a glorious album of glamorous and rare photographs, plus an intimate, understanding memoir that only Nancy Sinatra could have written.
Nancy has spent well over fifteen years preparing her book, and the result is a sumptuous feast for the eye and the heart. Here she gives us her own special inside story of her father: from his birth and boyhood in Hoboken, through the first big breaks in showbiz, to the heights and depths of Hollywood, Washington, New York, London, Hawaii, Brazil, and the world. And as she gives us the story of The Voice through many other voices as well (among them Cary Grant, Bing Crosby, Rosalind Russell, Mia Farrow, Tommy Thompson, Garson Kanin, Sammy Davis, Jr., Nancy Reagan, Gregory Peck) – and, frequently, in the voice of Frank Sinatra himself – we come to know the tempestuous, generous, controversial, charismatic, and complex man behind the elusive image.
Through the years, much has been written about the legend. Now for the first time, many of the truths behind the tales, the anecdotes, the agonies, and the triumphs of Francis Albert Sinatra are revealed. With over 400 rare and classic color and black-and-white photographs – as well as appendices, bibliography, a selective illustrated discography and filmography – Frank Sinatra, My Father is the celebrity book of the decade – one that will touch and be treasured by readers around the world.
NANCY SINATRA, first-born child of a fifty-year-phenomenon, long had a view of her father as that of a young man “in a black bow tie and black patent leather shoes who was always going away.” She was brought up as a somewhat protected Hollywood kid, studied music, made hit records, toured Vietnam, starred in movies, performed on the road with her father, and today continues to be vitally occupied in public and private life.
Hardcover, dust jacket – 340 pp. – Dimensions 28 x 23,5 cm (11 x 9,3 inch) – Weight 1.780 g (62,8 oz) – PUBLISHER Doubleday & Company, Inc., Garden City, New York, New York, 1985 – ISBN 0-385-18294-5
Fred Astaire (Roy Pickard)
Anyone who deserves the title “all-time Hollywood great” more than Fred Astaire would be difficult to find. He was and is an original, one of the twentieth century’s incomparable entertainers. Producers had only to give him a tune, an idea, and a prop and he would come up with something magical. He would dance with shoes that seemed to come alive, bring an amusement arcade to sparkling life, perform with a hatstand, even, given half the chance, dance on the ceiling!
This lavishly illustrated book presents the full story of both Fred Astaire the man and Fred Astaire the dancer. It covers his early years on Broadway and the London stage with his sister Adele, his early Hollywood days at RKO, the golden years at MGM in the 1940s and 1950s, and his later career on television and in more dramatic roles in movies.
Astaire lived through and was an essential part of the most exciting age the cinema has ever known. The magic and glamour of that golden age is captured within the pages of this sumptuous book which recalls all of his greatest films, the stories behind the making of these movies, the filming of his dance routines with his famous leading ladies, and his constant striving for perfection.
Comments from the great American composers who wrote for him, the actresses who starred with him, and the directors who worked with him enrich each chapter and contribute to a portrait of Astaire – a portrait of an elegant man dressed in top hat, white tie and tails who became the supreme song and dance man of this century.
ROY PICKARD is a well-known film journalist, author, and broadcaster. A contributor to numerous film and video magazines, he has written some dozen books on the cinema, including the best-selling The Oscar Movies, The Hollywood Studios, and Who Played Who in the Movies. He has also co-written Horrors: A History of Horror Movies. He works regularly for BBC Radio and has scripted several prestigious series devoted to movies, including The Golden Age of Hollywood, a twenty-four part history of the film capital narrated by James Mason, a ten-hour tribute to Walt Disney entitled When You Wish Upon a Star, and The Million Dollar Musicals. He has been a regular broadcaster on radio for several years, has his own film series on the BBC World Service and has appeared regularly on Radio 2’s Around Midnight and Night Ride and Radio 4’s Kaleidoscope.
Hardcover, dust jacket – 192 pp., index – Dimensions 30,5 x 22,5 cm (12 x 8,9 inch) – Weight 1.280 g (45,2 oz) – PUBLISHER Crescent Books, New York, New York, 1975 – ISBN 0-517-458047
The Fred Astaire & Ginger Rogers Book (Arlene Croce)
Fred and Ginger! Ginger and Fred! To delicious songs from America’s greatest popular composers, they danced a chain of love duets across the thirties that remain today the untouchable standard for American theatrical dancing. In The Fred Astaire & Ginger Rogers Book, Arlene Croce gathers together a thousand faces and production details about the nine (plus one) Ascaire-Rogers movies and marries them to a dazzling, comprehensive analysis of all the Fred and Ginger numbers from those films. Lavishly keyed into the text at appropriate points are over one hundred related photographs plus two flip sequences: Waltz in Swing Time, and Let Yourself Go. Here is the definitive book on a memorable alliance. Fred and Ginger are together again – forever.
ARLENE CROCE, the renowned dance critic, was born in Providence, R.I. She started writing about the movies when she moved to New York in the fifties. She founded Ballet Review in 1965, and contributed articles on dance to various publications until she became dance critic of The New Yorker in 1973. She is the author of three collections of dance criticism: Afterimages, Going to the Dance, and Sight Lines.
Softcover – 191 pp. – Dimensions 21 x 18 cm (8,3 x 7,1 inch) – Weight 357 g (12,6 oz) – PUBLISHER E.P. Dutton, New York, New York, 1987 – ISBN 0-525-48371-3
Fred Astaire: His Friends Talk (Sarah Giles)
Flying Down to Rio, Shall We Dance?, The Band Wagon, Daddy Long Legs, Funny Face, That’s Entertainment – for seven decades, with a dozen different partners, on the stage, on the screen, on television, Fred Astaire was the heart and soul of dance. He was perfection. He was class. He was irresistible. But who was he really, behind the top hat and tails?
For the first time, Fred Astaire comes to life in the words of the people who knew him best and loved him most. In order to discover the personal side of this intensely private man, Sarah Giles traveled all over the world talking to his family, his friends, his peers. She spoke with Audrey Hepburn, Alfred Vanderbilt, Ginger Rogers, Rudolf Nureyev, Leslie Caron, Peter Duchin, and seventy-five others, including Freds foot doctor, his grocer, and the maître d’ at his favorite restaurant. Even the Queen Mother, the Rajmata of Jaipur, and First Lady Nancy Reagan consented to express their feelings about the legend whom everyone adored.
In this unusual book, Freds nearest and dearest reminisce about his likes and dislikes, his habits, his energy and perfectionism, and his humor. His former housekeeper tells what he liked for breakfast, lunch, and dinner. His colleagues and friends describe his feelings for his wild sister and his two very different wives. His beloved daughter, Ava, reveals Fred Astaire as the doting father.
Accompanied by over 200 photographs, many never before seen, Fred Astaire is the quintessential personal album of the man who bewitched us with his feet and beguiled us with his charm.
SARAH GILES, who is English, was raised in Paris, and currently resides in New York. She is Vanity Fair magazine’s editor-at-large and was formerly features editor at the London Tatler. This is her first book.
Hardcover, dust jacket – 210 pp., index – Dimensions 28,5 x 21,5 cm (11 x 8,5 inch) – Weight 1.140 g (40,2 oz) – PUBLISHER Doubleday, New York, New York, 1988 – ISBN 0-385-247471-9
Fred Zinnemann: An Autobiography (Fred Zinnemann)
Fred Zinnemann has written a unique eyewitness account, recalling fifty years of film-making and more than twenty major films. Here, in the director’s own voice, is the story of the making of such films as High Noon, From Here to Eternity, Oklahoma!, A Man for All Seasons, The Day of the Jackal, Julia and The Nun’s Story.
Zinnemann tells it all with generosity and a wry sense of humour, he is aided by more than 400 superb photographs which, in a novel way, form a visual narrative of his life and work.
He believes that a director should be an optimist with a strong instinct for taking chances: working in the heart of the film industry, he was known as a maverick disregarding, time and again, the established wisdom of the movie business. He was one of the first to insist on authentic locations and mix stars with ‘civilians’ when assembling his actors. And, although the casting of Deborah Kerr ‘against type’ with Burt Lancaster in From Here to Eternity caused a stir, the film received eight Oscars.
Zinnemann was responsable for the screen debuts of Montgomery Clift, Marlon Brando and Meryl Streep. Other actors and actresses he has worked with read like a Who’s Who of the movie business: Spencer Tracy, Gary Cooper, Orson Welles, Deborah Kerr, Grace Kelly, Audrey Hepburn, Vanessa Redgrave, Frank Sinatra and Sean Connery among them. His autobiography will be seen as a key work in understanding the history of cinema in its classic period.
FRED ZINNEMANN was born in Austria in 1907. At the age of twenty-two he left for America and, having directed his first film, The Wave, in 1934 for the Mexican government, he made more than twenty major films during the following fifty years.
Among his professional awards are a US Congressional Award, four Oscars, nine Oscar nominations, five New York Film Critics’ Awards, Fellowships of the British Film Academy (BAFTA) and the British Film Institute (BFI), The Order of Arts and Letters (France), the Donatello Award (Italy) and others of equal distinction.
Fred Zinnemann lives in London most of the time with his English wife, Renée. They have one son, Tim, and three grandchildren.
Hardcover, dust jacket – 256 pp., index – Dimensions 26,5 x 21 cm (10,4 x 8,3 inch) – Weight 1.240 g (43,7 oz) – PUBLISHER Bloomsbury Publishing Ltd., London, 1992 – ISBN 0-7475-1131-4
Fred Zinnemann: Interviews (edited by Gabriel Miller)
“I just like to do films that are positive in the sense that they deal with the dignity of human beings.”
Fred Zinnemann (1907-1997) was one of Hollywood’s most honored directors. In a career that spanned fifty years, he won four Academy Awards, and directed such classic movies as From Here to Eternity, A Man for All Seasons, The Day of the Jackal, and High Noon.
Covering over thirty years of conversations, Fred Zinnemann: Interviews provides a revealing glimpse into the director’s vision as he discusses in his cultivated, elegant voice his varied experiences as a filmmaker. He defends himself against charges that his films are too objective or unemotional. He reminisces about his experiences with independent director Robert Flaherty and his early years in the American studios, and recounts his disappointment and frustration over his abortive attempt to film Man’s Fate. Filled with intelligent commentary and recollections about all of his important work, the interviews disclose an artist committed to his craft, his vision, and the human enterprise.
Despite the range of genres in which he worked – the Western, the musical, film noir, and the “social problem” film – Zinnemann was aesthetically committed to social realism. Due in part to his training under Flaherty and his upbringing in Austria, where he witnessed firsthand the rise of fascism, Zinnemann was always drawn to stories that highlighted the testing of conscience in people caught up in a historical moment. World War II provided the backdrop to much of his work. As he put it, “I have always been concerned with the problem of the individual who struggles to preserve personal integrity and self-respect.”
GABRIEL MILLER is a professor of English at Rutgers University, Newark, and has written several other books on film and theater.
Softcover – 161 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 320 g (11,3 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2005 – ISBN 1-57806-698-0
The Friedkin Connection: A Memoir (William Friedkin)
Autographed copy To Leo – With best wishes, William Friedkin 7/22/2013
With such seminal movies as The Exorcist and The French Connection, Academy Award-winning director William Friedkin secured his place as a great filmmaker. A maverick from the start, Friedkin joined other young directors who ushered in Hollywood’s second Golden Age during the 1970s. Now, in his long-awaited memoir, Friedkin provides a candid portrait of an extraordinary life and career.
His own success story has the makings of a classic American film. He was born in Chicago, the son of Russian immigrants. Immediately after high school, he found work in the mailroom of a local television station , and patiently worked his way into the directing booth during the heyday of live TV. An award-winning documentary brought him attention as a talented new filmmaker, as well as an advocate for justice, and it caught the eye of producer David L. Wolper, who brought Friedkin to Los Angeles. There he moved from television (one of the last episodes of The Alfred Hitchcock Hour) to film (The Birthday Party, The Boys in the Band), displaying a versatile stylistic range. Released in 1971, The French Connection won five Academy Awards, including Best Picture and Best Director, and two years later, The Exorcist received ten Oscar nominations and catapulted Friedkin’s career to stardom.
Penned by the director himself, The Friedkin Connection takes readers on a journey through the numerous chance encounters and unplanned occurrences that led a young man from a poor neighborhood to success in one of the most competitive industries and art forms in the world.
From the streets of Chicago to the executive suites of Hollywood, from star-studded movie sets to the precision of the editing room, from the passionate new artistic life as a renowned director of operas and his most recent tour de force, Killer Joe, William Friedkin has much to say about the world of moviemaking and his place within it.
Written with the narrative drive of one of his finest films, The Friedkin Connection is a wonderfully engaged look at an artist and an industry that has transformed who we are – and how we see ourselves.
WILLIAM FRIEDKIN lives in Los Angeles, California.
Hardcover, dust jacket – 497 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 860 g (30,3 oz) – PUBLISHER Harper, New York, New York, 2013 – ISBN 978-0-06-177512-3
Fritz Lang: Interviews (edited by Barry Keith Grant)
“When I write a scene, sometimes I close my eyes and sketch out the movements, the faces… I live a long time with my characters before I begin shooting.”
The films of Fritz Lang (1890-1976) spanned six decades – from the silent era through the golden age of German Expressionism of the 1920s and the classic studio system in Hollywood to the rise of the international co-production. In Hollywood he worked for every major studio except Disney. He made blockbusters, modest B movies, and everything in between. Among his films are classics of German cinema – including Metropolis and the Kafkaesque M. In America he made some of the most notable crime movies (Fury), noir films (The Big Heat), and Westerns (The Return of Frank James) of the studio era. Despite the different time periods, nations, and genres in which he worked, his films remain stylistically consistent.
Lang, notoriously difficult, granted relatively few interviews apart from short publicity exchanges in the promotion of his films. This fascinating collection covers his conversations about his life and his works during a momentous period of film history. They reveal how cinema for Lang was an intensely personal art. “For me,” he said, “cinema is a vice. I love it intimately. I’ve often written that it is the art form of our century.”
BARRY KEITH GRANT, a professor of film studies and popular culture at Brock University in St. Catharines, Ontario, Canada, is the author of Voyages of Discovery: The Cinema of Frederick Wiseman, co-author of The Film Studies Dictionary, and editor of The Dread of Difference: Gender and the Horror Film, Documenting the Documentary: Close Readings of Documentary Film and Video, and Film Genre Reader.
Softcover – 195 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 380 g (13,4 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2003 – ISBN 1-57806-577-1
Fritz Lang: The Nature of the Beast (Patrick McGilligan)
Fritz Lang is the visionary director of Metropolis, M, Fury, The Big Heat and over thirty other memorable films. But what lurks behind this legendary genius?
Did Fritz Lang murder his first wife, who died mysteriously after discovering him in the arms of his scriptwriter (and then became his second wife and a leading figure in Nazi cinema)? Did Lang really refuse an offer from Hitler to become the Third Reich’s ‘Führer of Film’ before he fled to the United States? Was he a sensitive artist or a sado-masochist whose cruel on-set behaviour was mirrored in a sordid love life crowded with prostitutes and mistresses?
During his life Lang was a master storyteller who embroidered the details of his life with great invention. He encouraged publicity, but discouraged the truth. Patrick McGilligan has spent four years interviewing Lang’s few remaining contemporaries, researching government and cinema archives and investigating the myths created by Lang. In this definitive biography, McGilligan reconstructs the fascinating, flawed human being behind the monster with the monocle.
PATRICK McGILLIGAN is the author of George Cukor: A Double Life, Robert Altman: Jumping off the Cliff, Cagney: The Actor as Auteur and a biography of Jack Nicholson, Jack’s Life. He lives in Milwaukee, Wisconsin, with his wife and children.
Hardcover, dust jacket – 548 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 958 g (33,8 oz) – PUBLISHER Faber and Faber, London, 1997 – ISBN 0-571-19175-4
From Caligari to California: Eric Pommer’s Life in the International Film Wars (Ursula Hardt)
Erich (later Eric) Pommer (1889-1966), a native of Germany, was one of the great producers and promoters of film in this century. He had a life-long commitment to German film despite his emigration in 1933 and his work in France, Britain, and the United States during the Hitler years. As German producer, studio executive, and film politician in the pre-Hitler era, he was an innovator and pioneer – a vital force in leading German cinema to international acclaim with successes such as The Cabinet of Dr. Caligari, The Nibelungen, and The Blue Angel. As Motion Picture Control Officer of the U.S. Military Government he undertook, from 1946-49, the difficult task of rebuilding West Germany’s film industry from the ashes of the Second World War. He succeeded brilliantly, but not without paying the hefty price of becoming embroiled in the turmoil of postwar German politics, which made him many friends, but also many enemies. This book is the first detailed account in English of the remarkable career of Pommer, who became a legend in his own lifetime.
Hardcover – 256 pp., index – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 481 g (17 oz) – PUBLISHER Berghahn Books, Providence, Rhode Island, 1996 – ISBN 1-57181-025-0
From Hollywood With Love: An Autobiography of Bessie Love (Bessie Love; introduction by Kevin Brownlow)
Born Juanita Horton in Texas at the turn of the century, Bessie Love began her career in 1915 in the film studio of D.W. Griffith. She possessed an extraordinary beauty and an acting ability which rapidly established her as a major star of the silent era, playing opposite such leading men as Douglas Fairbanks and William S. Hart. Despite her popularity, employment was by no means constant, and when the talkies arrived she was playing vaudeville. It proved to be the best thing she could have done; the talkies needed people with stage experience, and she was getting plenty. In 1928 Metro-Goldwyn-Mayer featured her in Broadway Melody and a new career began.
She came to England in the mid-1930s. Denied acting jobs by the closure of the theaters at the outbreak of war, she became an assistant at Ealing Studios. Since then she has sustained such an active life that old age has quite forgotten to claim her. Her object is to act, and while she cheerfully plays cameo parts, some of her recent roles have been substantial – notably her brilliant and moving performance as Vanessa Redgrave’s mother in Isadora.
Bessie Love was a very remarkable girl. Who else would have inspired Irving G. Thalberg to make an emergency hundred-mile dash to rescue her ailing father, only to remember when it was too late that he was, after all, Irving G. Thalberg, in charge of an enormous studio, and that it was pay day and only he could sign the cheques. She remains a remarkable woman, and her autobiography is graced with the warmth, sparkle and straightforwardness which have characterized her life.
The daughter of a cowboy, BESSIE LOVE was born Juanita Horton, in Texas. She was brought up in Los Angeles and in 1915, about to leave school, she decided to take a look for a summer job. With the sparkle and straightforwardness which were to characterize her acting career, she arrived at the studio of D.W. Griffith, the most influential director of the time, insisted she had an appointment, and soon found herself face to face with the great man. Griffith was immediately struck by her extraordinary beauty and before the day was over, Bessie Love found herself in the rehearsal room of Intolerance surrounded by famous actors, undergoing the ordeal of an audition. When the rehearsal was over, Griffith instructed her to return the following Monday for a test. Bessie Love said she couldn’t. She’d be at school…
Hardcover, dust jacket – 160 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 480 g (16,9 oz) – PUBLISHER Elm Tree Books, Ltd., London, 1977 – ISBN 241 89342 9
From Quasimodo to Scarlett O’Hara: A National Board of Review Anthology 1920-1940 (edited by Stanley Hochman; introduction by Robert Giroux)
A veritable cinémathèque between covers, here is a mouth-watering collection of vintage reviews, articles, and rare photographs from the classic but hard-to-find 1920 to 1940 issues of the National Board of Review Magazine. Now everybody who loves the movies (is there anyone who doesn’t?) can relive the Golden Age of prewar American and European filmmaking.
To fight censorship by promoting good films, the National Board of Review Magazine covered in loving detail American movies ranging from Maurice Tourneur’s The Last of the Mohicans and Rex Ingram’s Scaramouche to Alfred Hitchcock’s Rebecca and Victor Fleming’s Gone With the Wind. European films, often scanted in American publications, were represented by reports on such masterpieces as Sergei Eisenstein’s Alexander Nevsky, Marcel Pagnol’s The Baker’s Wife, Julien Duvivier’s Poil de Carotte, Fritz Lang’s Metropolis, and Jean Renoir’s La bête humaine [The Human Beast], among others.
Signed or unsigned, the reviews and articles were the work of critics such as Alistair Cooke, Iris Barry, Gilbert Seldes, Richard Griffith, Jay Leyda, H.A. Potamkin, Isabel Bolten (writing as Mary Miller), Nigel Dennis, James Shelley Hamilton, Evelyn Gerstein, and Frances T. Patterson – it was she who gave the first course on film at Columbia University. Writing clearly and without jargon, these men and women revealed a sophisticated understanding of film that was not to be equaled until André Bazin assembled the staff of his Cahiers du Cinéma.
The articles include analyses of their art by directors Jean Cocteau, Robert Flaherty, Fritz Lang, and Alfred Hitchcock; a discussion of montage by Slavko Vorkapic; and an investigation into the role of the screenwriter by Dudley Nichols. The collection concludes with a roundup of “Fifty Years of Films” by Richard Griffith, who was to succeed Iris Barry as head of the Museum of Modern Art’s innovative film department. There are over 100 illustrations.
ROBERT GIROUX, the future editor and publisher who joined the National Board of Review Board in the 1920s, provides an introductory memoir that sets this wealth of material in its historical perspective. STANLEY HOCHMAN is General Editor of the Ungar Film Library. His publications include American Film Directors and translations of Eric Rohmer and Claude Chabrol’s Hitchcock and André Bazin’s French Cinema of the Occupation and Resistance.
Hardcover, dust jacket – 432 pp., index – Dimensions 26 x 18 cm (10,2 x 7,1 inch) – Weight 1.135 g (40,0 oz) – PUBLISHER Frederick Ungar Publishing Co., New York, New York, 1982 – ISBN 0-8044-2381-4
From Scarface to Scarlett: American Films in the 1930s (Roger Dooley)
The publication of this definitive, all-inclusive history of American films in the 1930s marks and honors the 50th anniversary of the golden decade of the silver screen. In this lively, literate showcase of masterpieces from Hollywood’s heyday, Roger Dooley discusses the films, the genres and trends, the stars and studios, the directors and the myths that contributed to America’s daydreams during the bleakest hours of the Depression, 1930-1939.
“Those ten phenomenal years seem ever more incredible as they recede in time,” writes DooIey in his Prologue. “Granted that movies were then a giant industry, whose aim was to make the biggest profit by pleasing the widest public, the wonder is how many really fine pictures were produced within, or in spite of, the system. Even the most routine ‘B’ films still show an unself-conscious verve, pace and vitality, a crisp professionalism all too seldom seen today…
“Indeed, never in theatrical history was such an abundance and variety of acting, writing, directing and designing skills concentrated in one place… However mercenary their motives, the movies’ moguls played Medicis to many of the finest artists of their time.”
One of the most mammoth books ever written about Hollywood, From Scarface to Scarlett is the first to examine the film output of the ’30s in its entirety – 5,000 films, of which the author has seen over 3,000 and read reviews of all the others! By dividing them into fifty distinct genres, he covers such well-known categories as gangster and prison films, horror and spy movies, musicals and screwball comedies as well as such less often recognized groups as films about kept women, campus life, religious figures, and sections on millionaires, doctors, lawyers, and journalists. Included is a rare view of screen censorship through actual excerpts from the famous 1930s Motion Picture Production Code.
The book concludes with a chapter on films released in 1939, a year considered by many as the dazzling zenith Hollywood was never again to attain. The year in which exactly 365 feature films were released included The Wizard of Oz, Dark Victory, Gunga Din, Goodbye Mr. Chips, Destry Rides Again, Ninotchka, Babes in Arms, Wuthering Heights, Mr. Smith Goes to Washington, Intermezzo, The Women, Stagecoach and in December 1939, as the culminating cinematic event of the decade, Gone With the Wind.
Roger Dooley’s writing is as filled with fun and anecdotes as it is with impeccable scholarship. His blending of astute film criticism, a wealth of facts and trivia about behind-the-scenes particulars, and the perspective of a social historian make this a work that will be indispensable to film libraries, collectors, and scholars, and a delight for nostalgia and movie buffs – a monumental work that will never be supplanted as the essential volume on the greatest film era and its unforgettable legacy.
ROGER DOOLEY is a professor of English who has also conducted courses on films of the 1930s. The author of five novels, he has worked on From Scarface to Scarlett: American Films in the 1930s for ten years. He lives in New York City.
Hardcover, dust jacket – 648 pp., index – Dimensions 25,5 x 19 cm (10 x 7,5 inch) – Weight 1.775 g (62,6 oz) – PUBLISHER Harcourt Brace Jovanovich Publishers, New York, New York, 1979 – ISBN 0-15-133789-6
From Under My Hat: The Fun and Fury of a Stage, Screen and Column Career (Hedda Hopper)
Autographed copy To Mervin Hauser Gose, Hedda Hopper
“I’ve written and talked about everybody and everything in Hollywood. Now I’m going to give me a plug. For the last two years I’ve been stealing a day here a weekend there away from my desk to write a book. Now, by golly, From Under My Hat has actually been published. Until I saw an advance copy I didn’t believe I’d done it, but here it is in print with pictures yet. My life, like it or not, for which I can blame no one. Joe Hergesheimer once said that writing a book was like having a baby. If that be true, I’ve had two children. But it looks right purty. If this be boasting, make the most of it – ’cause I am.”
Hedda Hopper was making pictures when Fort Lee, New Jersey, was a busier production center than Hollywood and a producer named Sam Goldfish hadn’t yet changed his name to Goldwyn. And Hedda has been mixed up with the movies and their fabulous breed ever since. Few shenanigans and even fewer important scoops have escaped her, and she’s kept her eyes sharp and her pen sharper to report them all for you.
Hedda has come a long way from the days in Altoona, Pennsylvania, when, as Elda Furry, she used to hack up sides of beef in her father’s butcher shop. Marriage to the formidable De Wolf Hopper started Hedda on the way to her present position of spectacularly hatted eminence. She spent her time with the leading figures of the theatrical world and the literary circle centering around New York’s Algonquin Hotel. In a sense it was a wonderful education for her; many famous people of the day learned to depend on her wit and common sense and her bold and forthright way of making the best of any situation.
In this completely disarming book Hedda tells her stories with devastating relish. She takes you on a week-end trip to San Simeon with Marion Davies and William Randolph Hearst. She ushers you behind the cameras to watch Paulette Goddard feed juicy sandwiches to the crew during the filming of The Women. She invites you to sit with her at Vilma Banky’s eye-popping wedding ceremony – to visit the Hollywood Canteen to see Marlene Dietrich land a haymaker on a publicity-hogging movie queen – to the number-one table at Romanoff’s to witness a peace pipe being smoked by herself and Louella Parsons before a roomful of stunned celebrities – to a dinner party at Marie Dressler’s bungalow where the menu included gin and vanilla ice cream cocktails with corned beef and cabbage – to a state function at Pickfair when Joan Crawford fled in embarrassment after the butler stepped on her train and ripped it off – to a hospital room where Hedda and Florabel Muir tried to kidnap Joan Barry, the center of the Charlie Chaplin paternity trial maelstrom – to a stag party where Tallulah Bankhead turned cartwheels to earn a steamboat ticket to England and success. Hedda describes her trips abroad, her brief flyer in the beauty business with the indomitable Elizabeth Arden, her start as a newspaper columnist, and her first experiences as a radio
commentator, all with her boundless humor and candor.
HEDDA HOPPER is a potent force in America today. Her daily column, “Hedda Hopper’s Hollywood,” appears in all parts of the country, and her radio audience is nationwide as well. Recently she has embarked on yet another career, that of lecturer, so her influence has spread far beyond the boundaries of Hollywood, where she is firmly entrenched as arbiter, crusader, and confidante.
Hardcover, dust jacket – 311 pp. – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 496 g (17,5 oz) – PUBLISHER Doubleday & Company, Garden City, New York, 1952
The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (Rob King)
From its founding in 1912, the short-lived Keystone Film Company – home of the frantic, bumbling Kops and Mack Sennett’s Bathing Beauties – made an indelible mark on American popular culture with its high-energy comedy shorts. Even as Keystone brought “lowbrow” comic traditions to the screen, the studio also played a key role in reformulating those traditions for a new, cross-class audience. In The Fun Factory, Rob King explores the dimensions of that process, arguing for a new understanding of working-class sensibilities within early cinematic mass culture. Interdisciplinary in its approach, The Fun Factory offers a unique studio history that views the changing politics of early films through the sociology of laughter.
ROB KING is Assistant Professor of Cinema Studies and History at the University of Toronto.
Softcover – 355 pp., index – Dimensions 22,5 x 15 cm (8,9 x 5,9 inch) – Weight 611 g (21,6 oz) – PUBLISHER University of California Press, Los Angeles, California, 2009 – ISBN 978-0-520-25538-8
Fun in a Chinese Laundry (Josef von Sternberg; foreword by Gary Cooper)
Josef von Sternberg is best known as the director who found Marlene Dietrich for The Blue Angel, an association that led them to Hollywood and six more films. This autobiography is generally accepted as the most combative, irreverent and ruthlessly honest book ever to be written about films, the stars and the money-men.
‘Half-autobiography, half vitriol, a compendium of wicked portraits from Jannings to Laughton… a quite unforgivable book; and I couldn’t stop reading it and laughing over it.’ Dilys Powell, Sunday Times. ‘Von Sternberg has been a unique creator; only belatedly have we discovered just how individual was his gift for extracting thrilling, dense sensual qualities from the cold, two-dimensional image. However prejudiced by anger, by the amour-propre and frustrations of a too-sensitive artist fighting, on wholly unequal terms, the machine of the film industry, his opinions on the methods and aesthetics of cinema are worth hearing… His opinions on actors at large – his magnificent scorn of the race and his conviction that only vanity and severe psychological deprivation lead them into such a demeaning trade – are real anthology pieces, sovereign antidotes to the sort of softening adulation on which actors are generally fed.’ David Robinson, Financial Times. “Fascinating and educative musings on the aesthetics of the cinema.’ Gerald Kaufman, Listener.
Softcover – 384 pp., index – Dimensions 21,5 x 13,5 cm (8,5 x 5,3 inch) – Weight 443 g (15,6 oz) – PUBLISHER Columbus Books, London, 1965 (1987 reprint) – ISBN 0-86287-380-0