Gandhi: Fotobiografie (Gerald Gold; afterword by Richard Attenborough; originally titled Gandhi: A Pictorial Biography)
Deze fotobiografie bevat het materiaal dat Richard Attenborough gebruikte bij het maken van zijn film Gandhi. Een groot deel van deze foto’s is afkomstig uit Indiase archieven en het Gandhi Museum en is nooit eerder in het westen gepubliceerd.
Richard Attenborough is 20 jaar bezig geweest met de voorbereiding van zijn film, die een indrukwekkend eerbewijs is geworden aan de man, die als geen ander zijn stempel heeft gedrukt op onze eeuw.
De begeleide tekst is geschreven door New York Times redacteur GERALD GOLD en RICHARD ATTENBOROUGH schreef het nawoord, waarin hij uitlegt hoe hij gebruik maakte van het materiaal en dit illustreert door historische foto’s te vergelijken met opnames uit de film.
Softcover – 188 pp. – Dimensions 23 x 18 cm (9,1 x 7,1 inch) – Weight 419 g (14,8 oz) – PUBLISHER Suirius en Siderius, Den Haag, The Netherlands, 1983 – ISBN 90 6441 050X
Garbo and Gilbert in Love: Hollywood’s First Great Celebrity Couple (Colin Shindler)
In 1926 John Gilbert was the greatest male film star in the world. Millions of women were in love with him. But once he met his new co-star, a young Swedish actress still struggling to speak English, on the set of Flesh and the Devil, there would only ever be one true love in his life. Her name was Greta Garbo.
Many expected sparks to fly between the two contrasting characters – the icy, homesick Garbo with a need for privacy and the publicity-hungry Gilbert. Instead, there was an explosion of passion as, in front of the cast and crew, Garbo and Gilbert fell madly in love. Gilbert spent vast fortunes on making his Hollywood mansion suitable for her, building a waterfall and log cabin in his grounds to remind her of her home country. When she accepted his proposal of marriage, it was to be the biggest wedding in Tinseltown’s short story.
But Garbo left him at the altar, and when sound revolutionised the movie business, their careers began to diverge. She went on to become one of the most famous screen legends of all time, while Gilbert fell out with the vengeful head of MGM Louis B. Mayer and into the bottom of the bottle. Could their love survive?
Garbo and Gilbert in Love is one of Hollywood’s great untold love stories. Set in the era of jazz and Prohibition, this tale of a celebrity couple caught in the full glare of the media spotlight and unable to escape is as relevant today as it was then.
COLIN SHINDLER was born and raised in Manchester. After graduating from Cambridge University, he went on to complete his PhD thesis on Hollywood and the Great Depression. He wrote the screenplay for the movie Buster, and has written and produced television series such as Lovejoy, Madson and Wish Me Luck, while his production of A Little Princess won a BAFTA. He is the author of three previous books of non-fiction, including the highly acclaimed memoir, Manchester United Ruined My Life. He lectures on film history in Cambridge and lives in north London.
Hardcover, dust jacket – 296 pp. – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 612 g (21,6 oz) – PUBLISHER Orion Books, London, 2005 – ISBN 0 75287 174 9
Garbo: A Portrait (Alexander Walker)
“As in the case of many books, the desire to write this one arrived long before the opportunity. What I had in mind could not have been written without a fortuitous meeting with Frank E. Rosenfelt. In the course of half-an-hour’s drive with this shrewd, amiable man down to Pinewood Studios – where he was going to view the shooting of one of his company’s films and I to interview its director – I found the President and Chief Executive of Metro-Goldwyn-Mayer, Inc. to be an ardent movie buff as well as a corporation head. He told me how, one evening, he had taken some of the Greta Garbo files out of the studio archives, to check some point that was relevant to contemporary projects, and sat engrossed till well past his suppertime just turning back through all the contracts, letters, cables and memoranda between studio executives and craftsmen who had the custody, care and tensions of Garbo’s career as their responsibility. ‘Would you ever,’ I said, ‘let a film historian look over your shoulder … ?’
Within weeks, a letter from MGM, at Culver City on the American west coast, indicated that I would be a welcome researcher – and there was no need to go in for over-the-shoulder ‘kibbitzing.’ Every bit of Garbo material still in the studio’s possession was brought at my request, willingly and surprisingly dust-free. Before I even sought the answers to questions I had formulated, one thing impressed me: the care that a major studio like MGM has taken to preserve what could be called its corporate memory in the shape of records that went back in this case nearly sixty years. Even when I unexpectedly called for files on Mauritz Stiller or John Gilbert, they were produced without delay. I had freedom to read through them and make notes from them in the MGM law library, almost next door to the famous office where Louis B. Mayer held court and from which, periodically, Frank Rosenfelt would emerge, padding by to the conference room, but drawn in magnetically to peer over my shoulder and ask, ‘What have you found .. what have you found ?’ The idea that a studio spurns its past unless there is profit to be made from it is not one that has any place at MGM.” – From the Introduction.
Softcover – 190 pp., index – Dimensions 28 x 21,5 cm (11 x 8,5 inch) – Weight 699 g (24,7 oz) – PUBLISHER Sphere Books, Ltd., London, 1980 – ISBN 0 7221 8867 6
Garbo: Her Story (Antoni Gronowicz; afterword by Richard Schickel)
Behind that most fabulous of faces was always a mystery. In this extraordinary book the real Garbo is revealed for the first time as the very human woman she was.
Here, at last, is Antoni Gronowicz’s long-awaited, controversial, and unauthorized memoir of Garbo, based on a long and intimate friendship. Here are the haunting, candid details of her childhood; of her passionate affair with Mauritz Stiller, her discoverer, mentor, and lover, who brought her to Hollywood in 1925 – at the invitation of Louis B. Mayer – where her career took her to a stardom which has never been equaled, while his own fortunes collapsed; of her long and not always happy years as the greatest and most reluctant of movie queens.
Here are Garbo’s own memories, as reported by Gronowicz, of those fabulous years – of the films (which included Anna Christie, Grand Hotel, Camille, and Ninotchka), the friends, and the men in her life: John Gilbert, Robert Montgomery, Robert Taylor, Charles Boyer, Melvyn Douglas…
As well, here are the stories she told him of her relationships with the men who loved her and played the largest roles in her emotional life: Stiller himself, the great conductor Leopold Stokowski, millionaire George Schlee, diet guru Gayelord Hauser, and her dear friend, famed photographer Cecil Beaton.
Here, too, we hear about the often rumored fact that “women pursued [her] more often and more persistently” than did men, and about her friendships with women from Marie Dressler to Mercedes de Acosta (about whom Gronowicz recalls her saying, “Looking back, I can see that my relationship with her gave me not only new sexual experience and spiritual peace for a time, but above all the foundation on which to base my interpretation of [Queen Christina]”).
Haunting, vast, compelling, the book is written through Garbo’s eyes, as she searches for the thread of her personal life to understand her own emotional history, trying to recall the young girl for whom reality seemed a pale alter-image of her own dream life, looking back in a cold, dispassionate light over a life of fame and endless manipulation.
Garbo: Her Story is completely intimate, frankly revealing, yet never sensationalistic. Candid but never exploitative; finely and exhaustively detailed, yet tantalizing, Gronowicz’s book, like Garbo herself, is mysterious in the best sense of the word – full of extraordinary, moving, and sometimes passionate revelations. No reader can doubt that what is presented here is the truth about a complex, fascinating, and remarkable woman.
ANTONI GRONOWICZ, the late, acclaimed poet and novelist, first met Garbo in 1938. Over the course of their friendship, he came to know her well. Gronowicz wrote more than a dozen books, including works on Chopin, Tchaikovsky, Rachmaninoff, and Paderewski. Of his novel An Orange Full of Dreams, lsaac Bashevis Singer wrote, “Beautiful! This novel shows a great knowledge of women and their many sides.’
Hardcover, dust jacket – 476 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 949 g (33,5 oz) – PUBLISHER Simon & Schuster, New York, New York, 1990 – ISBN 0-671-22523-5
Garbo: Private Portraits From Her Collection (Scott Reisfeld, Robert Dance)
Famously elusive, Greta Garbo shunned publicity, guarded her privacy, and rejected the Hollywood limelight. Offscreen, she was known to her adoring public primarily through studio portraits. Though ambivalent about her fame, Garbo saved the publicity photographs presented to her by MGM – works by photographers Clarence Sinclair Bull, Ruth Harriet Louise, Edward Steichen, Nikolas Murray, and George Hurrell, among others.
Published here for the first time is a selection of prints culled from Garbo’s collection – impeccably reproduced in tritone, one more beautiful than the next. In addition, the book features family pictures, press and publicity photographs, and informal candid shots.
Scott Reisfield provides an intimate portrait of his great aunt, spanning well beyond her career in the public eye – from her early days in Sweden when she would sneak through the back door of the theater to see actors rehearse, to her later years in New York when she traveled solely through back entrances, side doors, and secret elevators.
Co-author Robert Dance’s essay traces the evolution of Garbo’s image – from the ingenue of her first publicity shots to the icon that she became – while an illustrated film production history documents her entire career focusing on the still and portrait photographers with whom she worked.
This collection of photographs, long treasured by her immediate family alone, and the essays that accompany them, are a spectacular tribute to Garbo, the woman and the myth, on the eve of her centennial.
SCOTT REISFIELD is Greta Garbo’s grand-nephew. ROBERT DANCE is a private art dealer in New York specializing in old master painting and drawing. He is the author of several essays on the history of silent film and co-author of Ruth Harriet Louise and Hollywood Glamour Photography.
Hardcover, dust jacket – 255 pp. – Dimensions 32,5 x 22 cm (12,8 x 8,7 inch) – Weight 1.785 g (63 oz) – PUBLISHER Rizzoli International Publictaions, Inc., New York, New York, 2005 – ISBN 0-8478-2724-0
The Garden of Allah (Sheilah Graham)
The Garden of Allah in Hollywood was a prison and a playground, a sanctuary and a glorified whorehouse, where the greats of Hollywood’s golden years could carry on their private lives unobserved by the public eye. In her new book, the celebrated columnist Sheilah Graham takes readers behind the walls of this fabled hideaway to bring them the inside story of the madcap existence of its inhabitants.
As the author notes, “In the thirty-two year span of its life, the Garden would witness robbery, murder, drunkenness, despair, divorce, marriage, orgies, pranks, fights, suicides, frustration, and hope. Yet intellectuals and celebrities from all over the world were to find it a convenient haven and a fascinating home.”
“I refuse to believe that such a place exists,” Thomas Wolfe wrote to F. Scott Fitzgerald, who lived there during his final assault on Hollywood. It was an oasis for the intellectuals from the East – the Algonquin Round Table of the West. The registers of its notable guests included Somerset Maugham, Ernest Hemingway, Fitzgerald, Robert Benchley, Dorothy Parker, John O’Harah, Jascha Heifetz, Mischa Elman, Rachmaninoff, Katharine Hepburn, Garbo, John Barrymore, Errol Flynn, Humphrey Bogart and Lauren Bacall.
With twenty-five bungalows, surrounding a lotus-shaped swimming pool, the Garden was a private place whose doors were open day and far into the night for anyone who belonged, but to no one else. It was a crazy, unconventional, uninhibited hotel that awakened at the cocktail hour and went to sleep at dawn.
The entertainment was provided by the inmates – Benchley imitating a Mississippi steamboat, tooting around the pool into which Barrymore fell with clocklike regularity… You could look at your bedroom window at five in the morning and catch Tallulah Bankhead whizzing by stark naked… or Garbo before she wanted to be alone… or Charles Laughton during the filming of The Hunchback of the Notre Dame, floating in the pool with a great hump on his back. There was something for everyone: Hemingway making impassioned speeches for Loyalist Spain… John Carradine being chased by his wife as he recited Shakespeare to the adjacent hills… the betting on the battles between Bogart and Meyo Methot… the noisy fights between Errol Flynn and Pat Wymore.
Miss Graham makes her readers a part of this incredible scene. You will play “The Game” with Marc Connelly, Alexander Woolcott, George S. Kaufman, and the Marx Brothers. You will be a guest at the strangest of grand hotels where the hotel was the star and the famous guest were the supporting players.
SHEILAH GRAHAM is the person most qualified to write this book. During her thirty-three years as a Hollywood columnist she knew the Garden of Allah well, especially in the Golden Years of its tempestuous existence. It was here in Robert Benchley’s apartment that she met F. Scott Fitzgerald. She lived at the Garden for a while in the villa next door to Errol Flynn. She was present at the parties, including the last party before the Garden and its ghosts were bulldozed into the earth, leaving nothing behind except the memory of what happened there. She has brought it all to life in a vivid yet sometimes poignant panorama of a world that outdid even the most glamorous and bizarre films of Hollywood’s greatest era.
Hardcover, dust jacket – 258 pp., index – Dimensions 23 x 15,5 cm (9,1 x 6,1 inch) – Weight 577 g (20,4 oz) – PUBLISHER Crown Publishers, Inc., New York, New York, 1970
Gary Cooper: An Intimate Biography (Hector Arce)
Clara Bow: “I like him very much. He always lets me take my dog in the tub when he gives me my bath in the morning.” Stuart Heisler: “Coop was probably the greatest cocksman that ever lived.” Mrs. Jack L. Warner: “Countess Dorothy di Frasso sponsored him. He went to Rome looking like a cowboy. She introduced him to European society, and he came back looking like a prince.” Lupe Velez: “I would have done anything in the world for him. His mother! I hope she never cries the tears I have cried. She said I wasn’t good enough for Gary. She told him I wasn’t faithful to him.” Gary Cooper’s mother: “Perhaps I have not entirely approved of any of the women with whom Gary has been romantically involved.”
Cecil B. DeMille – “No one is to leave the set without my permission,” he ordered on the first day of shooting. “Please, sir,” said Gary Cooper, meekly raising his hand. “May I leave the room?” Mrs. Ernest Hemingway: “Coop and Ernest were hunting friends and dining friends. But their politics were diametrically opposed. Cooper was conservative and rightish. Of course, we were leftish, so we simply never discussed politics.” King Vidor: “Cooper and Patricia Neal fell immediately in love with each other. It was a big, terrific romance.”
Roberta Hayes – “Don’t be upset if I don’t make a pass at you,” Cooper told his Return to Paradise leading lady. The medication he was taking, he explained, was making him impotent. “That was a strange remark,” Roberta Haynes said, “because I never expected him to make a pass at me. He didn’t want to run his own life, and he was happier giving over power to somebody else.”
Gary Cooper was the most paradoxical figure in Hollywood. He originated the strong silent type – and yet he ran with the giddy international set. A highly conservative member in good standings with the Beverly Hills-Holmby Hills-Bel Air power elite, he nonetheless rocked the movie colony with a series of violent love affairs. He was a symbol of courage and power, and he caved in when Senator McCarthy attacked Hollywood as Communist. He was shrewd enough to create a myth that made him rich, but he turned down the role of Rhett Butler.
Young Cooper’s tempestuous affair with the tragic Clara Bow was followed by an even wilder romance with the passionate Lupe Velez, Mexican spitfire. Then came the powerful Countess Dorothy di Frasso, a rich, older woman who helped him get his foot in the door of society. Finally, there is his Southampton socialite wife Rocky, and his ill-starred romance with the touching Patricia Neal.
All the aspects of the complicated human being who projected America’s favorite image of itself are explored in this authoritative biography. It is based on interviews with those who knew Cooper – co-stars Theresa Wright, Esther Ralston, Colleen Moore, Charles Buddy Rogers, and Roberta Haynes, and Mrs. Edie Goetz, daughter of Louis B. Mayer, Mrs. Jack L. Warner, King Vidor, and Mrs. Ernest Hemingway.
What emerges is the richest, wittiest, and most moving Hollywood portrait since Tracy and Hepburn.
HECTOR ARCE, who lives in North Hollywood, wrote the best-selling Secret Life of Tyrone Power. He is also the author of Groucho, the authorized biography of Groucho Marx, and I Remember It Well, with Vincente Minnelli. He has written for Women’s Wear Daily.
Hardcover, dust jacket – 288 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 622 g (21,9 oz) – PUBLISHER William Morrow and Company, Inc., New York, New York, 1979 – ISBN 0-688-03604-X
A Gaudy Spree: Literary Hollywood When the West Was Fun (Samuel Marx)
Hollywood in the thirties was the place to be. On New Year’s Day, 1930, Samuel Marx, a young New York magazine editor, accepted an invitation from Irving G. Thalberg to join him there. When Marx walked into the MGM offices in Culver City, Thalberg offered him, on the spot, the job of head story editor. He accepted. Thus started Samuel Marx, and all of Hollywood, on a riotous fling. The Depression raging all around them, the zany denizens of Hollywood lived it up. As Herman Mankiewicz cabled Ben Hecht back in Chicago: “Millions are to be made out here, and your only competition is idiots.”
Heeding that advice, writers flocked to the studios from all over the globe. Talents as disparate as William Faulkner and Lillian Hellman, Dorothy Parker and Clifford Odets, F. Scott Fitzgerald and William Saroyan were among those who served with honor, and sometimes without. Riding herd on them, coping with lunacy from above and below, was Samuel Marx. His job: to turn the dreams of unpredictable and powerful executives into shootable scripts from screenplays written by equally unpredictable and often irascible writers.
In A Gaudy Spree, he demonstrates again the keen eye for detail and sharp ear for dialogue that kept these movie titans happy. The tumult and joy of Hollywood in the thirties is here in living, breathing color, rendered with affection and insight: the triumphs, the pranks, the debacles, the feuds, the politics, the blockbusters, and the bombs. Flaws, like every other human attribute, are magnified in Hollywood, and Marx is unstintingly honest in chronicling the foibles of his employers and colleagues. Yet, above all else, Sam Marx pays homage to the humanity and talent of the people who made the dream factory work. Charming and lively, A Gaudy Spree gives us an endearing close-up of the stars, writers, and executives who fashioned the film classics of Hollywood’s Golden Age.
SAMUEL MARX is also the author of Mayer and Thalberg: The Make-Believe Saints, Rodgers and Hart, and The Queen of the Ritz. He lives in Los Angeles and has produced numerous film classics for MGM, as well as having been story editor for Irving G. Thalberg, Louis B. Mayer, Samuel Goldwyn, and Harry Cohn in the thirties.
Hardcover, dust jacket – 217 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 511 g (18 oz) – PUBLISHER Franklin Watts, New York, New York, 1987 – ISBN 0-531-15008-9
Gene Kelly (Clive Hirschhorn)
Gene Kelly is an indelible part of the history of the Hollywood musical. Whether tapping with his ‘alter ego’ in Cover Girl, teaching a reluctant Jerry Mouse to dance in Anchors Aweigh, coaxing a group of French kids to sing Gershwin in An American in Paris, making heavenly music out of a piece of newspaper and a squeaky floor board in Summer Stock, dancing from the Brooklyn docks to the top of the Empire State Building in On the Town, hoofing down a New York street attached to a dustbin in It’s Always Fair Weather or splashing his way through a Californian cloudburst in Singin’ in the Rain, Kelly liberated the musical and infused it with an infectious joie de vivre.
Yet Gene Kelly did not spring full blown to stardom, and Clive Hirschhorn, in his compelling biography of one of Hollywood’s few remaining living legends, traces his extraordinary career from its modest beginnings in an Irish neighbourhood in Pittsburgh to the fifth annual Kennedy Centre Honors in Washington D.C, in December 1982, when President Ronald Reagan presented him with an award for a Lifetime Achievement in the Performing Arts.
Clive Hirschhorn has spent a great deal of time with Gene Kelly in Hollywood, and has interviewed the major personalities who have played a part in his life. He writes about Kelly’s triumphs as well as his failures with insight and a complete understanding of the glamorous milieu in which the story takes place. In all, this is a moving, witty, shrewd account of the life and work of one of Hollywood’s true aristocrats.
CLIVE HIRSCHHORN was born in Johannesburg, South Africa. He obtained a B.A. degree at the University of the Witwatersrand, and after arriving in London 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 video columnist. He has written extensively for the cinema and his other books include The Warner Bros Story, The Films of James Mason, The Hollywood Musical and The Universal Story.
Hardcover, dust jacket – 296 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 699 g (24,7 oz) – PUBLISHER W.H. Allen & Co., Inc., London, 1984 – ISBN 0 491 03182 3
The Genius: A Memoir of Max Reinhardt (Gottfried Reinhardt)
His imagination, inspiration and energy transformed the stage. The most dazzling man of the theater the twentieth century has known – inspired director, producer, innovator, interpreter, impresario, passionate devotee – is brilliantly portrayed in this book by his son: a book that is both an intensely personal memoir and a glittering evocation of the theatrical world in Europe and America through half a century. Most important, it is the most intimate revelation we have of what it was, in Max Reinhardt’s life and in his work, that earned him his accolade: The Genius.
On Friday, September 24, 1943, Max Reinhardt, seventy years old, an exile in America from Hitler, on the verge of mounting what promised – after many reverses – to be a great Broadway success, suffered a paralyzing stroke. For the next five weeks, his son Gottfried, who was constant companion to the father he knew was dying, found release of his own feelings in a nightly diary, heartbreaking in its immediacy, that detailed his father’s last days, and all they revealed of him as a man. The diary he kept shapes this narrative. Between the entries, Gottfried interweaves his memories of his father’s life as he witnessed and shared it, moving backwards and forwards across time to build a biography of the man and his era.
He gives us, vividly and definitively, the phenomenon that was Max Reinhardt, from his birth near Vienna in 1873. We see the young man, stage-struck at 17, joining his first company, being “discovered” within two years and taken to Berlin, where he becomes one of the consummate character actors of his age… We see how, over the next eight years, his restless energies turn him from mastery of a part to the gradual mastery of the play as a whole, until he is running his own theater, evolving his own style as a director (working against the naturalistic grain of the time), emphasizing mood and psychology, drawing extraordinary intensity from his actors, audaciously experimenting with light and color – all the hallmarks of the Reinhardt magic. By 1903, his smash-hit production of Gorki’s The Lower Depths makes him the leading figure in the German theater. By 1905, his A Midsummer Night’s Dream is famous throughout Europe. We see him adored by the public, revered – and reviled – by the critics, a magnet drawing the leading performers, musicians, conductors, artists, and designers of the day into participating in his productions. Soon he is running ten theaters in Berlin alone, embracing every genre, from ballet, pantomime, and opera (he creates the première of Der Rosenkavalier) to the morality play. By 1911, age 38, he is the dominant force in world theater.
From then onwards, from Europe’s last heyday before World War I until the thirties, Reinhardt gives himself in an unending flow of creative innovation and delight. Vienna, Salzburg (where he founds the Festival), London, Scandinavia, Moscow, New York – all invite his companies, all are marked by his vision. A whole generation of his theatrical “children” will go on to transform Hollywood – from Ernst Lubitsch, George Cukor and Billy Wilder to a host of actors, including Marlene Dietrich and Peter Lorre. His friendships embrace everyone from Thomas Mann, Aldous Huxley and Bertolt Brecht, to Arthur Rubinstein and Arturo Toscanini, to S. N. Behrman, John Huston, Jack L. Warner, Lady Diana Cooper, Noel Coward, Eleanor Roosevelt, to European charlatans and miracle workers, aristocrats of birth, aristocrats of wit, style, elegance – in his private and public life he sweeps them all into a kind of grand and whirling waltz of surprise encounters (often deliciously comical) and impromptu partnerships.
This is the life gradually strangled by the rise of Nazism. Forced out of Germany, then Austria, to refuge in America – a new career in a strange language at too great an age – he enters the darker years. Broadway and Hollywood bring him frustrations and failures as well as the famous successes. He does not live to see the war’s end. Gottfried Reinhardt, who worked with his father in the theater, makes us understand the forces that Reinhardt was able to set free upon a stage. More, he brings back the vertiginous charm of the man, his richness of personality, and the love he generated in those whose lives he touched, a feeling summed up in a simple tribute from a longtime admirer, Albert Einstein: “A man like your father, the world will not see again so soon.”
GOTTFRIED REINHARDT, the younger son of Max Reinhardt, was born in Berlin on March 20, 1913, and educated at the French Gymnasium. While a student at the University of Berlin he began his career in theatrical production and mounted the première, in 1931, of Erich Kästner’s Pünktchen and Anton. In 1932 he left Germany for America. After working as Ernst Lubitsch’s assistant in Hollywood, he spent twenty years at Metro-Goldwyn-Mayer as script writer and then producer of, among other films, Comrade X, Rage in Heaven, Two-Faced Woman, The Red Badge of Courage, and Town Without Pity. On Broadway, he wrote the books for both Rosalinda and Helen Goes to Troy. Since the fifties, he has also directed and produced both plays and films in Europe. He divides his time between California and Salzburg, Austria.
Hardcover, dust jacket – 420 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 914 g (32,2 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1979 – ISBN 0-394-49085-1
The Genius and the Goddess (Jeffrey Meyers)
The Genius and the Goddess, based on Jeffrey Meyers’ long friendship with Arthur Miller and extensive archival research from Washington to Los Angeles, is a portrait of a marriage. The greatest American playwright of the twentieth century and the most popular American actress both complemented and wounded one another.
Marilyn Monroe was a doomed personality whose tragic end was inevitable. Miller experienced creative agony with her. Their five-year marriage, from 1956 to 1961, coincided with the creative peak of her career, yet private and public conflict caused both of them great anguish.
This book explains why they married, what sustained them for five years and what destroyed them; the effect of the anti-Communist witch-hunts on their marriage; and the impact of Marilyn on Miller’s life and art. The fascinating cast of characters includes Marilyn’s co-stars: Sir Laurence Olivier, Yves Montand and Clark Gable; her leading directors: John Huston, Billy Wilder and George Cukor; and her literary friends: Dame Edith Sitwell, Saul Bellow and Vladimir Nabokov.
Meyers offers an incisive account of the making and meaning of The Misfits, which destroyed their marriage. But Marilyn remained Miller’s tragic muse and her character, exalted and tormented, lived on, for the next forty years, in his work.
JEFFREY MEYERS is a Fellow of the Royal Society of Literature, and has recently been given an Award in Literature by the American Academy of Arts and Letters. He has written extensively on literature, film and art; his books have been published on all six continents, and twenty-five of them have been translated into twelve languages. His biography of Samuel Johnson appeared in 2008. He lives in Berkeley, California.
Hardcover, dust jacket – 345 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 652 g (23 oz) – PUBLISHER Hutchinson, London, 2009 – ISBN 9780091925449
The Genius of the System: Hollywood Film-Making in the Studio Era (Thomas Schatz; preface by Steven Bach)
“My first job in the movie business was in the studio system that is the main subject of this book. I was at MGM as the sixties turned into the seventies. Leo the Lion was wheezing his last Ars Gratia Artis grasp, but remnats of the studio’s structure and one-time glory lingered, if only in reproach. The first picture I ever worked on was photographed by William Daniels, who had been Greta Garbo’s great cinematographer and was still under studio contract in 1969; editing was overseen by the legendary and formidable Margaret Booth, who had worked for Irving G. Thalberg and edited pictures such as Camille and the originalMutiny on the Bounty. Within months, MGM’s props, sets, costumes, and much of the magic they represented (incluing Dorothy’s ruby slippers from The Wizard of Oz) were on the auction block, placed there by a newly installed chief executive from televison known as “the smiling cobra.” Later, as the seventies became the eighties, I was myself production head of a major production company, United Artists.” – From the preface of The Genius of the System: Hollywood Film-Making in the Studio Era by Steven Bach
At a time when the Hollywood studios were stronger than they have ever been during their eighty-year history, film historian Thomas Schatz provides an indispensable account of Hollywood’s traditional blend of business and art.
The book lays to rest the persistant myth that studio executives and producers stifle artistic talent, and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers and the making, and unmaking, of movies, from Frankenstein to Casablanca to Hitchcock’s Notorious – and how it all collapsed in the face of television.
The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundation of the New.
Softcover – 514 p., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 751 g (26,5 oz) – PUBLISHER Faber and Faber, London, 1988 – ISBN 0-571-19596-2
George Cukor: A Double Life (Patrick McGilligan)
One of the highest-paid studio contract directors of his time, George Cukor was nominated five times for an Academy Award as Best Director. In publicity and mystique he was dubbed the “women’s director” for guiding the most sensitive leading ladies to immortal performances, including Greta Garbo, Ingrid Bergman, Judy Garland, and – in ten films, among them The Philadelphia Story and Adam’s Rib – his lifelong friend and collaborator Katharine Hepburn. But behind the “women’s director” label lurked the open secret that set Cukor apart from a generally macho fraternity of directors: he was a homosexual, a rarity among the top echelon. Patrick McGilligan’s biography reveals how Cukor persevered within a system fraught with bigotry while becoming one of Hollywood’s consummate filmmakers.
PATRICK McGILLIGAN is the author of Clint and one of America’s pre-eminent film biographers. He has written the life stories of directors George Cukor and Fritz Lang – both New York Times “Notable Books” – and the Edgar-nominated Alfred Hitchcock: A Life in Darkness and Light. His books have been translated into ten languages. He lives in Milwaukee, Wisconsin.
Hardcover, dust jacket – 404 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 810 g (28,6 oz) – PUBLISHER Faber and Faber, London, 1991 – ISBN 0-571-16502-8
George Cukor: Interviews (edited by Robert Emmet Long)
For investing movies with an image of style and glamour George Cukor (1899-1983) is considered one of the founding fathers of the Golden Age of Hollywood. The roll call of the great films he made and the stars he directed validates his rank as one of cinema’s greatest moviemakers.
“The only really important thing I have to say about George Cukor,” Katharine Hepburn proclaimed, “is that all the other directors I have worked with starred themselves. But George ‘starred’ the actor. He didn’t want people to say, ‘this great director.’ He wanted them to say ‘this great actor.’”
Along with introducing Hepburn and Greta Garbo to American audiences, he worked with many of the most acclaimed movie actresses of his day, including Vivien Leigh, Olivia de Havilland, Jean Harlow, Elizabeth Taylor, Joan Crawford, Ingrid Bergman, Ava Gardner, Claudette Colbert, Angela Lansbury, Judy Holliday, Audrey Hepburn, and Marilyn Monroe. In his cornucopia of films are Holiday (1938), The Philadelphia Story (1940), Adam’s Rib (1949), Born Yesterday (1950), A Star Is Born (1954), Let’s Make Love (1960), and My Fair Lady (1964).
These interviews are a pleasure to read because Cukor is so immersed in his subject and so forthright in his observations. He comes to life immediately with disarming candor and infectious enthusiasm for cinema and the people who make it.
In addition to discussing his romantic comedies, Cukor talks about his famous screen adaptations of classic novels and plays, including Little Women (1933) and David Copperfield (1935). His experience of being fired by producer David O. Selznick partway through the shooting of Gone With the Wind (1939) surfaces in nearly every interview. Instead of having his career derailed by this dismissal, however, he continued his rise as one of America’s premier directors.
Cukor was a man of myriad dimensions. In his last years he opened up about his private life and his previously undisclosed homosexuality. He was ardent in his friendships and single-minded in his devotion to making quality movies for a popular audience.
ROBERT EMMET LONG, a literature and film scholar and writer living in Fulton, New York, is the author or editor of more than forty books, including John Huston: Interviews (University Press of Mississippi, 2001).
Softcover – 191 p., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 394 g (13,9 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2001 – ISBN 1-57806-387-6
George Cukor: Master of Elegance (Emanuel Levy)
Katharine Hepburn, Claudette Colbert, Audrey Hepburn, Rex Harrison, Anthony Quinn and Candice Bergen are among the many movie stars, colleagues, and friends who talk about a favorite director in George Cukor, Master of Elegance. This is the definitive biography of this man, one of Hollywood’s greatest directors, whose film work assets to its classic nature and timeless appeal. In a career spanning half a century and fifty features, George Cukor was one of Hollywood’s most accomplished and important filmmakers. He won a much deserved directorial Oscar in 1965 for My Fair Lady, which also won Best Picture. Cukor’s best films, including Little Women, David Copperfield, The Philadelphia Story, and his masterpiece, A Star Is Born, boast elegance, sophistication, intelligence, and distinctive style.
Unfairly stereotyped as a women’s director for his work with Greta Garbo, Ingrid Bergman, Judy Garland, Judy Holliday, Ava Gardner, and Marilyn Monroe, Cukor also directed Cary Grant, Jimmy Stewart, Spencer Tracy, and Rex Harrison in their most memorable roles. Still, his special rapport with actresses was a chief source of conflict with Clark Gable on the set of Gone With the Wind – Gable feared that under his direction the film would be weighted in favor of Vivien Leigh. However, Cukor was dismissed from the movie not because of Gable, but because of a major power struggle with its producer, David O. Selznick.
George Cukor, Master of Elegance describes in great detail the intriguing interplay between Cukor’s life and professional career. The book places Cukor in the Hollywood studio system and shows the costs and rewards of working in such a structure. It also explains which of Cukor’s films have withstood the test of time, the ultimate criterion of any art, and reappraises his contribution to classic American cinema.
In a rare interview, Katharine Hepburn, whose career was launched by Cukor, summed up his magical touch: “In life, you either star yourself or you star somebody else. George Cukor starred the actor.” Now, with Cukor’s personal correspondence dating from the 1930s and the shooting scripts of the films, as well as the thirty-five rare photographs and over a hundred in-depth interviews with over a hundred legendary Hollywood figures who knew him well as an artist and a person, George Cukor, Master of Elegance finally stars… George Cukor.
EMANUEL LEVY is a professor of film and sociology at Arizona State University and a member of the L.A. Film Critics Association. He has written six books on theater and film, including And the Winner Is: The History and Politics of the Oscar Award. He divides his time between Phoenix and Los Angeles.
Hardcover, dust jacket – 464 p., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 832 g (29,3 oz) – PUBLISHER William Morrow and Company, Inc., New York, New York, 1994 – ISBN 0-688-11246-3
The George Gershwin Reader (Robert Wyatt, John Andrew Johnson)
George Gershwin is one of the giants of American music, unique in that he was both a brilliant writer of popular songs (Swanee, I Got Rhythm, They Can’t Take That Away From Me) and of more serious music, including Rhapsody in Blue, An American in Paris, and Porgy and Bess. Now, in The George Gershwin Reader, music lovers are treated to a spectacular celebration of this great American composer. The Reader offers a kaleidoscopic collection of writings by and about Gershwin, including more than eighty pieces of superb variety, color, and depth. There is a who’s who of famous commentators: bandleader Paul Whiteman; critics Robert Benchley, Alexander Woollcott, and Brooks Atkinson; fellow composers Irving Berlin, Jerome Kern, Alec Wilder (who analyzes the songs That Certain Feeling and A Foggy Day), Leonard Bernstein, and the formidable modernist composer Arnold Schoenberg (who was Gershwin’s tennis partner in Hollywood). Some of the most fascinating and important writings here deal with the critical debate over Gershwin’s concert pieces, especially Rhapsody in Blue and An American in Paris, and there is a complete section devoted to the controversies over Porgy and Bess, including correspondence between Gershwin and DuBose Heyward, the opera’s librettist (a series of excerpts which illuminate the creative process), plus unique interviews with the original Porgy and Bess – Todd Duncan and Anne Brown. Sprinkled throughout the bock are excerpts from Gershwin’s own letters, which offer unique insight into this fascinating and charming man. Along with a detailed chronology of the composer’s life, the editors provide informative introductions to each entry.
Here then is a book for anyone interested in American music. Scholars, performers, and Gershwin’s legions of fans will find it an irresistible feast.
ROBERT WYATT is a concert pianist and Gershwin authority who is now Executive Director of the Cape Cod Conservatory of Music. JOHN ANDREW JOHNSON is Assistant Professor of Musicology in the Department of Fine Arts at Syracuse University.
Hardcover, dust jacket – 354 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 667 g (23,5 oz) – PUBLISHER Oxford University Press, Inc., New York, New York, 2004 – ISBN 0-19-513019-7
George Raft (Lewis Yablonsky)
“Let me confess at the outset that I am an enormous admirer of George Raft. Raft – the movie star of the thirties and forties – had an effect on my life in the same way he has had on millions of people around the world. Many of my early heroic images of manhood were shaped by the immense figure of Raft on the giant screen. To me he was ‘the man’: as a gangster (and he was a magnificent hood), a detective, a dancer, a spy, or a man trying to correct an injustice who fought against big odds; whether he won or lost, he did so with poise and style.
George Raft has always struck me as a more interesting personality than many of his contemporaries in Hollywood, because his personal life had an intrinsic and peculiar link with the consistent image he projected from the screen, no matter the part he played. An intriguing aspect of the man was his diversity. Indeed, there were and are many George Rafts: the world-famous dancer, ex-fighter, movie star, sportsman, alleged friend of the underworld, gambler, and fabulous ladies’ man.
My principal motivation in undertaking his biography was to capture the man in all his roles, to trace a life which touched so many areas of American life and encompassed several landmark decades. In addition to George’s story, the book touches other themes: the making and meaning of a ‘star’ or public personality; the studio system and behind-the-scene battles: the complex relationship between a star’s personal life and his screen image; and a portrait and assessment of the powerful impact the golden years of Hollywood have had on American society.” – From the Preface.
Hardcover – 288 pp., index – Dimensions 23,5 x 14,5 cm (9,3 x 5,7 inch) – Weight 654 g (23,1 oz) – PUBLISHER McGraw-Hill Book Company, New York, New York, 1974 – ISBN 0-07-072235-8
George Sanders: An Exhausted Life (Richard VanDerBeets)
“When a man says he has exhausted life, you may be sure that life has exhausted him.” – Oscar Wilde, The Picture of Dorian Gray
George Sanders was the screen’s greatest cad. In such classic films as The Picture of Dorian Gray, Rebecca, The Moon and Sixpence, and Forever Amber, his characters – always elegantly mannered and exquisitely dressed – dripped verbal venom and oozed malice. His portrayal of the cynical and seductive theater critic Addison DeWitt in All About Eve won him an Academy Award in 1951.
Sanders wore the same world-weary mask off screen. Born in Russia, raised and educated in England, Sanders migrated to Hollywood in 1936. He married four times. His second marriage, a tumultuous union with Zsa Zsa Gabor, was broken up by Latin playboy Porfirio Rubirosa. His third marriage was to Ronald Coleman’s widow, Benita Hurne, his fourth to Zsa Zsa’s sister, Magda Gabor. Among his many love affairs were encounters with Hedy Lamarr, Dolores Del Rio, Gene Tierney, and Lucille Ball.
George Sanders: An Exhausted Life examines the intertwining of his screen persona and his personality. We see how the mask of The Cad gradually converged with his own personality under the pressures of his career, and how the ultimate failure of the mask affected his personal life. In 1972, after several bad business ventures and a series of strokes, Sanders committed suicide. He left a note in keeping with his public persona. “I am leaving because I am bored… I am leaving you with your worries in this sweet cesspool… ” Disclosed here for the first time are the contents of a second note giving the real reasons for his suicide.
Author Richard VanDerBeets was granted access to Sanders’ private papers and interviewed friends, family, and former wives. In this sensitive yet unsparing portrait, he goes behind the public facade to reveal a gifted but troubled man: urbane and erudite, aloof, introspective, insecure.
Dr. RICHARD VANDERBEETS teaches literature and film at San Jose State University. He is the author of several books on American literature and cultural history. A native Californian, he lives in Aptos, California.
Hardcover, dust jacket – 271 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 631 g (22,3 oz) – PUBLISHER Madison Books, Lanham, Maryland, 1990 – ISBN 0-8191-7806-3
George Sidney: A Bio-Bibliography (Eric Monder)
George Sidney directed a number of popular Hollywood films, such as Anchors Aweigh, Show Boat, Kiss Me Kate, and Bye Bye Birdie. His revisions of traditional Hollywood product resulted in films that remain surprisingly modern, and his work continues to influence popular culture. But despite the popularity of his films, Sidney has been a largely unheralded figure in film history. This book is the first serious, full-length study of Sidney’s life and work.
A critical introduction to the volume explains how Sidney was given a minor place in film history, despite his many significant achievements. The book examines Sidney’s canon in relation to the work of his contemporaries and reveals how he was both a Hollywood insider and an iconoclast who created mainstream films with strikingly modern sensibility. The detailed filmography provides thorough documentation for Sidney’s many features, short subjects, screen tests, documentaries, and uncredited sequences in other directors’ films. By drawing upon interviews with former co-workers, archival material, and rare stills and photographs, Monder reassesses Sidney’s career.
Hardcover – 340 pp., index – Dimensions 24 x 15,5 cm (8,5 x 5,7 inch) – Weight 735 g (25,9 oz) – PUBLISHER Greenwood Press, Westport, Connecticut, 1994 – ISBN 0-313-28457-1
George Stevens 1904-1975 (Erik Backer, Sandra van Beek)
De Amerikaanse regisseur George Stevens, maker van films als A Place in the Sun, Shane, Giant en The Diary of Anne Frank, is minder bekend dan zijn films. In deze monografie staat de persoon van Stevens centraal. Beschreven wordt hoe hij begon als cameraman bij Laurel en Hardy, komedies maakte in Hollywoods Gouden Tijd, de bevrijding van Europa filmde en de top bereikte als meest onderscheiden regisseur in de jaren vijftig.
Aan de hand van de onderwerpen van Stevens’ films en zijn opvattingen over het vak wordt de carrière geschetst van een van de weinige regisseurs die alle facetten van het filmmaken beheerste. Deze Hollywood-gigant was op de set voor veel acteurs en actrices vanwege zijn stoïcijns gedrag een raadsel. Toch zijn er maar weinig die zulke grote acteerprestaties hebben geleverd als juist die acteurs en actrices toen zij onder Stevens werkten – Katharine Hepburn, Elizabeth Taylor. James Dean, Ginger Rogers, Fred Astaire, Cary Grant, Irene Dunne, Jean Arthur, Shelley Winters…
Softcover – 64 pp. – Dimensions 21 x 14,5 cm (8,3 x 5,7 inch) – Weight 110 g (3,9 oz) – PUBLISHER Nederlands Filmmuseum / Melkweg, Amsterdam, The Netherlands, 1986
The Gershwin Years (Edward Jablonski, Lawrence D. Stewart)
The Gershwin Years is both the definitive biography of George and Ira Gershwin and the chronicle of an era. Born of Russian immigrant parents and brought up on New York’s Lower East Side, the Gershwins reftected in their music the vitality of an exciting time and place. Their inspiration came from many sources: the bitter-sweet litany of the American negro for Porgy and Bess, the frantic sophistication of the twenties for such musical comedies as Lady, Be Good! and Funny Face, the hurly-burly of American politics for Of Thee I Sing.
This book tells the whole story – from George’s early days as a song plugger and Ira’s first attempts at lyric writing while he was a steam-bath attendant, to their subsequent conquest of Broadway and Hollywood. There are pictures and anecdotes about such associates and friends as Irving Berlin, Jerome Kern, Fred Astaire, Adele Astaire, Gertrude Lawrence and Maurice Ravel, scenes from musicals and films, snapshots from the family album, sketches and paintings by both George and Ira. A critical bibliography is also included, as well as a comprehensive listing of all the Gershwins’ compositions, complete with show sources and dates of first performances, and an ‘informal discography.’
EDWARD JABLONSKI began his friendship with a letter to Ira Gershwin while still at high school in Bay City, Michigan. He has written widely on the Gershwins, as well as on Irving Berlin, Harold Arlen, and Bartok, Vaughan Williams and Stravinsky, among others. Aviation is another interest, and he has produced several books on this subject too. He lives in New York – ‘Gershwin country’ – with his wife and three teenage children, and is currently at work on An Encyclopedia of American Music. LAWRENCE D. STEWART was born in Champaign, Illinois. He taught for a while at the University of California and, beginning in 1955, worked for fourteen years with Ira Gershwin organizing the Gershwin Archives. Recently he returned to teaching as Associate Professor of English at California State University at Northridge. He now lives in Beverly Hills, and recently completed a book on the American composer-author Paul Bowles.
Hardcover, dust jacket – 416 pp., index – Dimensions 26,5 x 18 cm (10,4 x 7,1 inch) – Weight 1.250 g (44,1 oz) – PUBLISHER Robson Books, Ltd., London, 1974 – ISBN 0 903895 19 6
Get Happy: The Life of Judy Garland (Gerald Clarke)
Judy Garland. The girl with the pigtails, the symbol of innocence in The Wizard of Oz. Judy Garland. The brightest star of the Hollywood musical and an entertainer of almost magical power. Judy Garland. The woman of a half-dozen comebacks, a hundred heartbreaks, and countless thousands of headlines. Yet much of what has previously been written about her is either inaccurate or incomplete, and the Garland the world thought it knew was merely a sketch for the astonishing woman Gerald Clarke portrays in Get Happy. Here, more than thirty years after her death, is the real Judy.
To tell her story, Clarke took ten years, travelled thousands of miles across two continents, conducted hundreds of interviews, and dug through mountains of documents, many of which were unavailable to other biographers. In a Tennessee courthouse, he came across a thick pack of papers, unopened for ninety years, that laid out the previously hidden background of Judy’s beloved father, Frank Gumm. In California, he found the unpublished memoir of Judy’s makeup woman and closest confidante, a memoir centered almost entirely on Judy herself. Get Happy is, however, more than the story of one woman, remarkable as she was. It is the saga of a time and a place that now seem as far away, and as clouded in myth and mystery, as Camelot – the golden age of Hollywood. Combining a novelist’s skill and a movie director’s eye, Clarke re-creates that era with cinematic urgency, bringing to vivid life the unforgettable characters who played leading roles in the unending drama of Judy Garland: Louis B. Mayer, the patriarch of the world’s greatest fantasy factory, Metro-Goldwyn-Mayer. Arthur Freed, the slovenly producer who revolutionized the movie musical and gave Judy her best and most enduring parts. Sexy Lana Turner, Judy’s friend and idol, who had a habit of trying to snatch away any man Judy expressed interest in.
And what men they were! Oscar Levant, the wit’s wit, whose one-liners could all but kill. Artie Shaw, whose sweet and satiny clarinet had a whole nation dancing. Handsome Tyrone Power, who caused millions of hearts to pound every time he looked out from the screen with his understanding eyes. Orson Welles, Hollywood’s boy genius and the husband of a movie goddess, Rita Hayworth. Brainy Joseph L. Mankiewicz, who knew everything there was to know about women, but who confessed that he was baffled by Judy. Vincente Minnelli, who showed what wonders Judy could perform in front of a camera and who fathered her first child, Liza – but who also, with an act of shocking betrayal, caused her first suicide attempt. Charming, brawling Sid Luft, who gave her confidence, then took it away. And the smooth and seductive David Begelman, who stole her heart so he could steal her money.
Toward the end of her life, Garland tried to tell her own story, talking into a tape recorder for hours at a time. With access to those recordings – and to her unfinished manuscript, which offers a revelation on almost every page – Clarke is able to tell Judy’s story as she herself might have told it. “It’s going to be one hell of a great, everlastingly great book, with humor, tears, fun, emotion and love,” Judy promised of the autobiography she did not live to complete. But she might just as well have been describing Get Happy. For here at last – told with humor, tears, fun, emotion and love – is the true, unforgettable story of Judy Garland.
GERALD CLARKE is the author of Capote, the much acclaimed, best-selling biography of Truman Capote. He has also written for many magazines, including Esquire, Architectural Digest, and Time, where for many years he was a senior writer. A native of Los Angeles and a graduate of Yale, he now lives in Bridgehampton, in eastern Long Island, New York.
Hardcover, dust jacket – 510 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 903 g (31,9 oz) – PUBLISHER Random House, New York, New York, 2000 – ISBN 0-375-50378-1
Giant: George Stevens, A Life on Film (Marilyn Ann Moss)
Marilyn Moss’s Giant examines the life of one of the most influential directors to work in Hollywood from the 1930s to the 1960s. George Stevens directed such popular and significant films as Giant, A Place in the Sun, and The Diary of Anne Frank. He was the first to pair Katharine Hepburn and Spencer Tracy on film in Woman of the Year. Through the study of Stevens’s life and his production history, Moss also presents a glimpse of the workings of the classic Hollywood studio system in its glory days.
Moss documents Stevens’s role as a powerful director who often had to battle the heads of major studios to get his films made his way. For four decades, from the 1930s to the 1960s, Stevens was a major Hollywood player and icon. His career is traced from his earliest days at the Hal Roach Studios – where he learned to be a cameraman, writer, and director for Laurel and Hardy features – up to his later career when his films made millions at the box-office and actors clamored to work in his movies. Over the years, Stevens’s films were graced with stars such as Elizabeth Taylor, James Dean, Alan Ladd, and Montgomery Clift.
MARILYN ANN MOSS is a film historian who also holds a doctorate in American literature. A television critic for The Hollywood Reporter, she lives in Los Angeles. She is currently working on a book on William Wyler.
Hardcover, dust jacket – 327 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 596 g (21 oz) – PUBLISHER The University of Wisconsin Press, Madison, Wisconsin, 2004 – ISBN 0-299-20430-8
Ginger, Loretta and Irene Who? (George Eells)
This is a story of the advantages and disadvantages of stardom, its triumphs and defeats, as reflected in the careers of six Hollywood actresses of the 1930s: Ginger Rogers, Miriam Hopkins, Ruth Etting, Loretta Young, Kay Francis and Irene Bentley. Tough women of diverse talents and widely different temperaments, they all possessed the driving ambition to make it to the top in Hollywood. In this truly original book, George Eells describes what happened to these six women in their pursuit of the ultimate American dream.
New Year’s Eve, 1933, is the point of departure. On that date, each actress was featured in a major motion picture playing in New York, her name emblazoned in the neon lights of Broadway. Each appeared on the verge of sudden fame, wealth, and personal happiness. What did they actually find when Hollywood catapulted them to stardom?
For Loretta Young and Ginger Rogers the years brought ongoing fame and fortune; for Kay Francis and Miriam Hopkins, wide renown followed by a painful decline; for Ruth Etting, involvement in violence and scandal, yet later, a measure of peace the others missed; and for Irene Bentley, a brief moment in the sun, then a fall into oblivion.
Through intimate portraits of these six women, George Eells reveals the interaction of studio and star, of personality and corporate power, which characterized Hollywood’s Golden Era. He demonstrates how the wastefulness inherent in the “big-studio system” produced its inevitable victims and survivors. The book includes an extensive filmography of each actress.
Ginger, Loretta and Irene Who? is six stories, and it is one story of six women who on New Year’s Eve, 1933, had every reason to be optimistic.
Hardcover, dust jacket – 393 pp., index – Dimensions 22 x 15 cm (8,7 x 5,9 inch) – Weight 678 g (23,9 oz) – PUBLISHER G. P. Putnam’s Sons, New York, New York, 1976 – SBN 399-11822-5
Ginger: My Story (Ginger Rogers)
Autographed copy To Caroline, Blessings from Ginger Rogers. 1991
Ginger Rogers is an entertainment legend. She has danced her way into the hearts of millions and has starred in both comedy and drama on both stage and screen. Now, for the first time, she tells her story.
“My mother told me I was dancing before I was born,” Ginger Rogers writes. Born in Independence, Missouri, in 1911, she debuted in vaudeville at age fourteen. In 1930 she starred on Broadway in Girl Crazy, introducing the classic Gershwin tunes “Embraceable You” and “But Not for Me.” Then she went to Hollywood, and the rest is history.
Ginger Rogers and Fred Astaire formed one of the most magical screen partnerships the world has ever seen. They made ten films together, including the classics Top Hat, Swing Time, and Shall We Dance, enrapturing the nation with their incandescent dance numbers and unique chemistry. Rogers displayed her deft comic touch in Stage Door, The Major and the Minor, and Monkey Business, and won the 1940 Oscar for Best Actress for her dramatic role in Kitty Foyle.
Ginger sparkles with Ginger Rogers’s wry, sometimes offbeat sense of humor and glows with her warmth and humanity. Once, to land a role, Rogers invented the persona of the aristocratic British actress “Lady Ainsley” – co-star Katharine Hepburn was not amused. In 1936, Ginger was invited to the White House for FDR’s birthday party, and the president asked her to do an impromptu dance number. All went well until she caught a heel on the carpet, stumbled, and the top of her dress almost came down in front of the distinguished company.
Lavishly illustrated with rare photographs from her personal collection, Ginger is full of stories that only Ginger Rogers could tell – the joys and heartbreaks of her five marriages, including one to romatic idol Lew Ayres; her romances with Cary Grant, Jimmy Stewart, Hollywood attorney Greg Bautzer, Howard Hughes, and George Gershwin; and her encounters with such figures as Lucille Ball, Harry Truman, Henry Fonda, Dwight Eisenhower, Marilyn Monroe, Juan Perón, Noël Coward, Richard Nixon, Judy Garland, Henry Kissinger, David Niven, the Shah of Iran, David O. Selznick, Irving Berlin, and Ronald Reagan. Rogers also writes of her abiding religious conviction, which has seen her through many difficult times.
For fans of stage and screen – and for lovers of the special brand of magic that is Ginger Rogers’s own – Ginger is an irresistible treat, a behind-the-scenes account of life during Hollywood’s golden age by one of its most enduring stars.
GINGER ROGERS has starred in seveny-three films. Today, she divides her time between Oregon and California. She travels widely and is a popular international performer.
Hardcover, dust jacket – 450 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 924 g (32,6 oz) – PUBLISHER HarperCollins Publishing, New York, New York, 1991 – ISBN 0-06-018308-X
Ginger: My Story (Ginger Rogers)
The long-awaited autobiography of one of the greatest stars of Hollywood’s golden age, Ginger Rogers.
Ginger Rogers is one of Hollywood’s most enduring legends. As the exquisite film partner of Fred Astaire, she danced her way into the hearts of people all over the world, starring in such classic films as Top Hat. But she was also a serious dramatic actress, winning an Oscar for her performance in Kitty Foyle in 1940. Now, for the first time, Ginger tells her story.
Beginning with the colorful vaudeville circuit of the twenties, she traces her career from the stage to the big screen. Arriving in Hollywood in 1931, she quickly became a film star for RKO, where the partnership she forged with Fred Astaire led to some of the most magical moments the screen has ever seen.
Ginger tells the true and, at times, sad story of her five marriages – the first when only seventeen to vaudevillian Jack Pepper; and of her performing partners – James Stewart, Fred Astaire, Cary Grant, Henry Fonda, Katharine Hepburn. Ginger Rogers’ heart-warming and revealing memoirs paint a vivid portrait of a much-loved actress; and of a glittering Hollywood era, now vanished.
GINGER ROGERS has starred in seveny-three films. Today, she divides her time between Oregon and California. She travels widely and is a popular international performer.
Hardcover, dust jacket – 402 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 775 g (27,3 oz) – PUBLISHER Headline Book Publishing PLC, London, 1991 – ISBN 0-7472-0429-2
A Girl Like I: An Autobiography (Anita Loos)
The name Anita Loos is legend to us all, but there are some who may wonder about the woman behind the legend. To begin with, she is the author of over two hundred screenplays – including the classic Gentlemen Prefer Blondes. In Hollywood, she wrote scenarios for D.W. Griffith, Douglas Fairbanks, and Constance Talmadge. In fact, Anita’s first attempt at screen writing, called The New York Hat, became one of Griffith’s early films and starred Lionel Barrymore, Mary Pickford, and the Gish sisters. Anita Loos practically invented the movies.
But more than that, she helped to create an era. The friend of Clark Gable and Elsa Maxwell, of Sherwood Anderson and Joe Frisco, she knew everyone there was to know. Today she can tell a new story about H. L. Mencken, or Alice B. Toklas, or Aldous Huxley, and it will be the best story you have ever heard. From New York to London, she was everywhere there was to be. Her name appeared daily in the columns. Her opinion was sought on all matters – and it was heeded, too. When she whacked off her hair, the world did the same, and thus the windblown bob was born. Anita was the original flapper. She was the social and literary handmaiden to an age. This book is her autobiography.
When she was a schoolgirl in California, Anita made a resolution never to be bored. Years later, to offset the tedium of a train trip in the company of a witless blonde, she scribbled a sketch about a gold-haired girl from Little Rock named Lorelei Lee. The sketch grew into the book Gentlemen Prefer Blondes – which became so prodigious a best-seller it was even serialized in Chinese. Lorelei Lee is the immortal mouthpiece of such wisdom as “Kissing your hand can make a girl feel very good but a diamond bracelet lasts forever.” Fate, as Lorelei said, has always kept on happening to Anita. It was inevitable that Hollywood in its infancy should grab her talent; it was equally inevitable that she would escape the place whenever possible in favor of less idiotic surroundings. In New York she enjoyed the bibulous era of Prohibition because she had no taste for liquor but a great deal for laughter. Her abhorrence for boredom and her highly individual point of view shine through this autobiography. It is a privilege to meet, at long last, the unhelpless brunette with brains who made a historic institution out of a dumb blonde.
Hardcover, dust jacket – 273 pp. – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 494 g (17,4 oz) – PUBLISHER The Viking Press, New York, New York, 1966
The Girl Next Door… And How She Grew (Jane Powell)
Jane Powell appeared in only nineteen movies, yet she is one of the best-known and most affectionately remembered actresses from the golden era of Metro-Goldwyn-Mayer musicals. The Girl Next Door… and How She Grew is a vivid and compelling account of her life. As a small child she had a startlingly beautiful voice, and began performing at the age of two. She was encouraged and supported by her hardworking parents, who made many sacrifices to provide her with dancing, singing, and acting lessons, in the hope she would become the next Shirley Temple. At fourteen, little Suzanne Burce, the Victory Bond Girl from Oregon, was spotted by a talent scout, signed to a seven-year MGM contract, and given the name Jane Powell.
Powell’s peers at MGM included such mythic figures as Elizabeth Taylor, June Allyson, Judy Garland, and Debbie Reynolds. She also acted alongside stars like Gene Nelson, Walter Pidgeon. Louis Calhern, George Brent, Ann Sothern, Jeanette MacDonald, and the incomparable Fred Astaire, with whom she made the classic Royal Wedding. All these stars come to life in the pages of this book.
The Girl Next Door… and How She Grew is also the story of a girl who never had a normal life, who, paying a price for all the glamour, never had a real friend, a true confidante, or a deeply loving relationship until she was in her middle fifties, despite four marriages and the births of three children. Beneath the dazzle and glitter and excitement of stardom lay loneliness and confusion.
Finally having reshaped her life, Powell confronted her past and became active with a number of projects: television appearances, musical tours, and her nationally acclaimed one-woman show called The Girl Next Door and How She Grew.
JANE POWELL’s films include Seven Brides for Seven Brothers and Royal Wedding. Hit the Deck, Three Sailors and a Girl, and Rich, Young and Pretty are among others still revered today. Since her movie career ended, she has appeared on Broadway in Irene, and has toured with a number of musicals, including South Pacific, Oklahoma, The Sound of Music, and My Fair Lady. She recently appeared on the daytime TV drama Loving, and has a highly successful video exercise tape for arthritis patients.
Hardcover, dust jacket – 253 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 577 g (20,4 oz) – PUBLISHER William Morrow and Company, Inc., New York, New York, 1988 – ISBN 0-688-06757-3
Girl Singer: An Autobiography (Rosemary Clooney, with Joan Barthel)
Rosemary Clooney made her first public appearance at the age of three, on the stage of the Russell Theater in her tiny hometown of Maysville, Kentucky, singing “When Your Hair Has Turned to Silver,” an odd but perhaps prophetic choice for one so young. She has been singing ever since: on local radio; with Tony Pastor’s orchestra; in big-box-office Hollywood films; at the Hollywood Bowl, the London Palladium, and Carnegie Hall; on her own television series;
and at venues large and small across the country and around the world. The list of Rosemary Clooney’s friends and intimates reads like a who’s who of show business royalty: Bing Crosby, Frank Sinatra, Marlene Dietrich, Tony Bennett, Janet Leigh, Humphrey Bogart, and Billie Holiday, to name just a few. She’s known enormous professional triumphs and deep personal tragedies.
At the age of twenty-five, Rosemary Clooney married the erudite and respected actor José Ferrer, sixteen years her senior and light-years more sophisticated. Trouble started almost immediately when, on her honeymoon, she discovered that he had already been unfaithful. Finally, after having five children while she almost single-handedly supported the entire family and endured Ferrer’s numerous, unrepentant infidelities, she filed for divorce. From there her life spiraled downward into depression, addiction to various prescription drugs, and then, in 1968, a breakdown and hospitalization.
After years spent fighting her way back to the top, Rosemary Clooney is now married to one of her first and long-lost loves – a true fairy tale with a happy ending. She’s been nominated for four Grammys in six years and has had two albums at the top of the Billboard charts. In the words of one of Stephen Sondheim’s Follies showgirls, she could well be singing, triumphantly, ‘I’m still here!”
When not performing elsewhere, ROSEMARY CLOONEY makes her home in Beverly Hills, California, and Augusta, Kentucky. JOAN BARTHEL is the author of several award-winning nonfiction books, including A Death in Canaan. She lives in St. Louis, Missouri.
Hardcover, dust jacket – 336 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 684 g (24,2 oz) – PUBLISHER Doubleday, New York, New York, 1999 – ISBN 0-385-49334-7
The Girls: Sappho Goes to Hollywood (Diana McLellan)
The Girls lifts the veil on the private lives of early Hollywood’s most powerful and unihibited goddesses…
The most unforgettable women of Hollywood’s golden era thrilled to a hidden world of exciting secrets. In The Girls, Diana McLellan reveals the complex and intimate connections that roiled behind the public personae of Great Garbo, Marlene Dietrich, Tallulah Bankhead, and the women who loved them. Private correspondence, long-secret FBI files, and a trove of unpublished documents reveal a chain of lesbian affairs that moved from the theater world of New York through the heights of chic society to embed itself in the power structure of the movie business.
Why did Garbo and Dietrich deny knowing each other to the bitter end? The Girls documents the swoon that started their ill-started amour. How did Garbo-worshipper Tallulah Bankhead save Dietrich’s career? FBI files make it clear how an intervention with J. Edgar Hoover helped. When was Marlene Dietrich first married? Not when her official biography claims she was – an early marriage to a sexy, smoky Communist was hushed up; The Girls shows how and why.
From the unhinited appeal of lover-to-the-stars Mercedes de Acosta to the role of Salka Viertel in torpedoing her lover Garbo’s career, from the Sapphic world of silent star Alla Nazimova to Rudolph Valentino’s lesbian brides, The Girls serves up a rich stew of film, politics, sexuality, psychology and stardom.
DIANA MCLELLAN is the author of Ear on Washington, a survey of gossip in our nation’s capital. Her column, “The Ear,” appeared for ten years in The Washgington Star, Post, and then Times, and was syndicated nationally. A prize-winning reporter, she is the former Washington editor of The Washingtonian and a contributing editor of Ladies’ Home Journal.
Hardcover, dust jacket – 440 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 785 g (27,7 oz) – PUBLISHER St. Martin’s Press, New York, New York, 2000 – ISBN 0-312-24647-1
Glenn Ford: A Life (Peter Ford; foreword by Patrick McGilligan)
Autographed copy To Leo, Bless you my dear friend. Without you I don’t think this book would have been possible. Please come back to the United States to visit us – Peter Ford 05/01/2011
Glenn Ford – star of such now-classic films as Gilda, Blackboard Jungle, The Big Heat, 3:10 to Yuma, and The Rounders – had rugged good looks, a long and successful career, and a glamorous Hollywood life. Yet the man who could be accessible and charming on screen retreated to a deeply private world he created behind closed doors.
Glenn Ford: A Life chronicles the volatile life, relationships, and career of the renowned actor, beginning with his first move from Canada to California and his initial discovery of the theater. It follows Ford’s career in diverse media – from film to television to radio – and shows how Ford shifted effortlessly between genres, playing major roles in dramas, noir, westerns, and romances.
This biography by Glenn Ford’s son, Peter Ford, offers an intimate view of a star’s private and public life. Included are exclusive interviews with family, friends, and professional associates, and snippets from the Ford family collection of diaries, letters, audiotapes, unpublished interviews, and rare candid photos. This biography tells a cautionary tale of Glenn Ford’s relentless infidelities and long, slow fade-out, but it als embraces his talent-driven career. The result is an authentic Hollywood story that isn’t afraid to reveal the truth.
PETER FORD appeared in eight films with his father, Glenn Ford, as well as many other movies, television shows, and stage productions. He lives in Beverly Hills, California.
Softcover – 345 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 526 g (18,6 oz) – PUBLISHER The University of Wisconsin Press, 2011 – ISBN 978-029928154-0
Gloria and Joe: The Star-Crossed Love Affair of Gloria Swanson and Joe Kennedy (Axel Madsen)
She was a genuine screen goddess – to movie audiences of the 1920s, the embodiment of beauty, wealth, and sophistication. She was also ambitious, smart, and eager to produce her own pictures. He was the prototypical Wall Street wheeler-dealer – the shrewd, upwardly mobile banker out of South Boston by way of Harvard, patriarch of what would become the preeminent American political dynasty of the twentieth century, dazzled by what he saw as the fortunes to be made in movies. Together, Gloria Swanson and Joseph P. Kennedy, Sr., were a formidable couple – and their reckless, three-year love affair at the tail end of the Roaring Twenties was the stuff of legends.
As Axel Madsen tells it in Gloria and Joe, everything was against their impossible romance. They were both married – she to her third husband, a charming but penniless French marquis; he to the formidable Rose Fitzgerald, the daughter of his political patron, the genially corrupt former mayor of Boston known to everyone as Honey Fitz. When Gloria and Joe first met, he struck her as representing everything she hated about the money men who were coming to dominate the picture business. To him, she was the most powerful woman in movies, someone who could be possessed but never owned. Public people both, in a Hollywood reeling from a series of sex scandals, they had to keep their relationship a secret. They never saw each other socially during the day; they never went anywhere but his mansion at night – until, that is, Joe decided to take both Gloria and his wife to Europe.
Gloria was Joe Kennedy’s one grand passion; Joe was the one man Gloria Swanson ever let herself trust. For three years, these two remarkable people loved, fought, and made movies together. Gloria and Joe is their larger-than-life story as it’s never been told before.
AXEL MADSEN is the author of thirteen books, including biographies of directors Billy Wilder, William Wyler, and John Huston.
Hardcover, dust jacket – 328 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 641 g (22,6 oz) – PUBLISHER Arbor House / William Morrow, New York, New York, 1988 – ISBN 0-87795-946-3
Gloria Swanson (Richard M. Hudson, Raymond Lee)
Rescued from Mack Sennett’s wild slapstickers by Cecil B. DeMille, monarch of the bathtub, boudoir, and the blasé, the doll-like Gloria Swanson was molded into a living symbol of glamour, who excited and fascinated movie fans around the world with her pioneer silents. She reigned as the screen’s most charming and alluring queen in such dramas as Why Change Your Wife, Don’t Change Your Husband, and For Better, For Worse.
Criticized as a clothes-horse (she set styles from Kansas City to Calcutta, Moscow to Paris) Gloria demanded the opportunity to prove she was an actress. Leaving DeMille’s direction with his blessing, under Paramount-Artcraft she made the best of her chance and ripped out the clothes-horse label with such dynamic performances as a Parisian Gamine-Apache in The Humming Bird, a pathetic shopworn girl in Manhandled; and in The Coast of Folly she played the difficult dual role of mother and daughter.
The inimitable star bridged the media and had a fair success on the legitimate stage and television. She also proved herself an excellent businesswoman with her successful adventures in food, clothes, and cosmetic enterprises.
Touring Russia with her health foods, she carried a print of Sunset Boulevard. Whenever it was shown she received a standing ovation, a nostalgic reminder of the Oscar she lost to Judy Holliday, with the wry comment: “My dear, couldn’t you have waited. You have so much ahead of you, so many years, and this was my only chance.” It was ironically Judy Holliday’s also, as she later lost her life to cancer. Authors Raymond Lee and Richard M. Hudson have captured in words and pictures a revealing summation of this amazing and incomparable woman. There are more than 300 remarkable photographs – stills from her films, candid shots, and portraits – which show many different facets of the star. In the accompanying text, the authors have assembled all the basic facts of Gloria’s career; the complete filmography lists each of the pictures Gloria Swanson made, and includes the year, cast, and director whenever possible.
But as the authors readily admit, no one could ever really encompass in print the body and soul of La Swanson. For example, she once remarked, “I not only believe in divorce, I sometimes think I don’t believe in marriage.” This from a woman who married five times and mothered three children.
For almost 50 years this controversial daughter of an army officer has fought bigger battles than her father ever did and won out against all odds. Time and age gave up long ago. Recently she declared, “There must be another great role in some scriptwriter’s head… for me.” Her fans of yesterday and those who will become fans perusing this striking pictorial tribute are sure to agree with her.
RICHARD M. HUDSON has been collecting motion picture material as a hobby for the past 15 years, including old movie magazines. The major part of the collection includes glossy photographs, which the author files by personality. He finds that an interesting phase of the collecting is attempting to locate at least one still from every film the various stars have appeared in. In addition he rents films and has screenings for his friends once a month. RAYMOND LEE has been one of filmland’s leading historians for the past 20 years. An ex-child star, he has acted with most of the silent screen’s greatest personalities. Retiring from movie life in 1936, he began writing plays, radio scripts, short stories, and articles. After a 2 1/2 year hitch in the Air Corps during World War II, he returned to Hollywood and became the editor of Offbeat Magazine and also wrote the “Movie Memories” column. He is the author of Fit for the Chase, a history of movie cars, and Not So Dumb, a history of movie animals. He is the co-author, with Clarence Bull, of Faces of Hollywood, and the co-author, with Manuel Weltman, of Pearl White: The Peerless, Fearless Girl.
Hardcover, dust jacket – 269 pp. – Dimensions 26 x 17 cm (10,2 x 6,7 inch) – Weight 647 g (22,8 oz) – PUBLISHER Castle Books, New York, New York, 1970
Going Within: A Guide to Inner Transformation (Shirley MacLaine)
In three international bestsellers, Out on a Limb, Dancing in the Light, and It’s All in the Playing, multitalented Shirley MacLaine described her own ongoing spiritual journey in search of inner harmony and self-transcendence. Now this celebrated actress, social activist, and outspoken thinker shares an enlightened program of spiritual techniques and mental exercises to become healthier, happier, and more attuned to the natural harmony of the world around – and within – ourselves.
In Going Within, Shirley MacLaine answers many of the most challenging and important questions she has been asked about her experiences in seminars and interviews she has conducted from coast to coast. Transformation is at the heart of her profound and inspiring message – the power to shape our lives, to find inner peace and awareness, and to reach our highest potential in relationships, at work, and at home.
Candid, often controversial, and always courageous, Shirley MacLaine opens the doors to an irresistible journey of discovery and revelation. By going within, she shows us how to reach a new level of love and harmony, reduce stress, release fear, and discover the joys of a new – and better – way of living.
Use light, sound, crystals, and visualizations to increase your personal energy; explore the power of meditation to align body, mind, and spirit; understand and communicate with your hidden self; learn the secrets of sexual fulfillment in a new age of commitment; experience the stunning mysteries of psychic surgery and much more!
Softcover – 317 pp. – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 193 g (6,8 oz) – PUBLISHER Bantam Books, New York, New York, 1989 – ISBN 0-553-28331-6
Gold Digger: The Outrageous Life and Times of Peggy Hopkins Joyce (Constance Rosenblum)
One of America’s most talked-about personalities during the Jazz Age, Peggy Hopkins Joyce was the quintessential gold digger, the real-life Lorelei Lee. Married six times, to several millionaires and even a count, Joyce had no discernible talent except self-promotion. A barber’s daughter from Norfolk, Virginia, who rose to become a Ziegfeld Girl and, briefly, a movie star, Joyce was the precursor of the modern celebrity – a person famous for being famous – and her story reveals a great deal not only about the gaudy and glittery age in which she lived but also about the workings of modern-day fame and the media’s role in creating it.
The new breed of tabloid journalists adored the classy blonde draped in pearls who never failed to provide sensational copy, and audiences hungered for the lavish comforts and infinite possibilities her life seemed to promise. Peggy’s fame grew as the papers continued to chronicle her scandalous exploits – from spending a million dollars in a week to conducting torrid love affairs with the likes of Charlie Chaplin and Walter Chrysler. Her responses were priceless and provided even more grist. When a reporter shot at her, “I hear you got a bundle out of that last divorce,” Peggy gamely replied, “I have earned that money, you know. I may be expensive but I do deliver the goods.”
The perfect emblem of the age of speculation, Joyce was as adept as any stockbroker at turning nothing into something. Her march across Broadway, Hollywood, and the nation’s front pages was slowed only by the true nemesis of the glamour girl: old age. She died in 1957, alone and forgotten – until now. In prose as vibrant as its subject, Gold Digger brings to life the woman who singularly epitomized this confident and hedonistic era.
CONSTANCE ROSENBLUM is the editor of the City section at The New York Times. For many years she ran the paper’s Arts and Leisure section. She also teaches at the Columbia University Graduate School of Journalism. Rosenblum lives in Brooklyn with her husband and their daughter.
Hardcover, dust jacket – 293 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 594 g (21 oz) – PUBLISHER Metropolitan Books / Henry Holt and Co., New York, New York, 2000 – ISBN 0-8050-5089-2
The Golden West: Hollywood Stories (Daniel Fuchs)
In the spring of 1937, Brooklyn’s Daniel Fuchs, twenty-seven years old and already the author of three remarkable novels of Brooklyn tenement life, came to Hollywood to bang out a treatment of one of his short stories. His thirteen-week contract turned into a permanent residence – and a lifelong love affair. “Working for the movies was fine,” he would later recall, “the freedom and the fun, the hard work,” but even finer were the movies themselves – team built, mass-market miracles, “brisk and full of urgent meaning.” Finest of all were the people – hustling producers, inscrutable directors, cracker-jack screenwriters, and charismatic stars – their virtues and flaws and egos and disappointments all visible in high relief “because the sunlight over everything was so clear and brilliant.”
Fuchs worked with the best: Warners and Metro and RKO, Wilder and Huston and Joe Pasternak, William Faulkner and Irwin Shaw, Raft and Cagney and Doris Day. He spent his days crafting screenplays, but off the lot he continued to write prose, mainly stories for The New Yorker and Collier’s and “Letters from Hollywood” for Commentary. The Golden West collects, for the first time, the best of Fuch’s writings about studio life, from a novice screenwriter’s anxious first impressions (1937-39) to a fifty-year veteran’s mellow memoirs (1989). The centerpiece of the book is “West of the Rockies,” a haunting short novel, set in the late 1950s, about a half-mad woman, immature and incapable, who is, almost despite herself, a star, “a quantity indefinable, ephemeral, everlastingly elusive – Hollywood’s chief stock in trade.” It is also a bitter portrait of the star’s agent, a grifter who is tempted to use her and her weaknesses to his own ends.
Fuchs loved Hollywood, but his affection didn’t blind him to the town’s Babylon aspect: he never blinked when depicting the conniving and the treachery, the dysfunction and the waste. He saw life as it is, gold and tinsel both, and described it without falling into easy sentiment or condescending laughter. He is the Bellow of the Brown Derby, the Chekhov of the back lot.
DANIEL FUCHS was born in New York City in 1909. He published four novels and dozens of short stories, essays and articles. He also wrote screenplays, and in 1955 received an Academy Award for his work on Love Me or Leave Me. He died in Los Angeles in 1993.
Hardcover, dust jacket – 258 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 567 g (20 oz) – PUBLISHER Black Sparrow Books, Jaffrey, New Hampshire, 2005 – ISBN 1-57423-205-3
Goldie: A Lotus Grows in the Mud (Goldie Hawn, with Wendy Holden)
In this candid and unconventional memoir, Goldie Hawn invites us to join her in a look back at the remarkable people and events that have touched her. It is a joyous – and sometimes surprising – spiritual journey of the heart in search of enlightenment.
With the effervescent humor and generosity that are familiar to everyone, Goldie talks about the lessons she’s learned, and the wisdom she feels she’s been given, in the hope of giving something back. Not a Hollywood tell-all, A Lotus Grows in the Mud is rather a very personal look at moments both private and powerful and the ways these moments have helped carry her through life: the delight in her father’s spirited spontaneity; the confidence instilled by her mother’s courage; the unexpected gifts of comfort from strangers miles from home; and the joy of being a daughter, a sister, a parent and a lover.
Goldie describes her growing up in suburbia with dreams of becoming a ballerina, her go-go dancing years in 1960s New York, her success on TV’s Rowan & Martin’s Laugh-In, and Hollywood stardom in such films as the Oscar-winning Cactus Flower, and Swing Shift and Private Benjamin. She writes intimately about the challenges of love, anger and fear, and the vital importance of compassion and integrity; about her partner, Kurt Russell; her children, Kate Hudson, Oliver Hudson, Wyatt Russell and Boston Russell; about her growing faith, her curiosity about what she doesn’t know and her unquenchable thirst for knowledge and understanding.
Most of all, A Lotus Grows in the Mud is an unforgettable trip through a life well lived by a woman well loved.
WENDY HOLDEN has been a journalist with the London Daily Telegraph, and is a co-author of several autobiographies and the author of the forthcoming novel The Scent of Paper. She lives in England.
Hardcover, dust jacket – 446 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 815 g (28,7 oz) – PUBLISHER G.P. Putman’s Sons, New York, New York, 2005 – ISBN 0-399-15285-7
Goldwyn (A. Scott Berg)
The legendary Samuel Goldwyn – Hollywood pioneer and independent film producer – is the subject of this compelling life story, a fabulous tale about creativity, ambition, money and drive.
A. Scott Berg – winner of the American Book Award for his first book, Max Perkins: Editor of Genius – was invited by the Goldwyn family to write this powerful saga of “the American dream”. He devoted eight years to the project. With unrestricted access to the movie mogul’s private papers – and after conducting 250 interviews – he has produced the ultimate Hollywood biography.
This is the story of a poor boy from Warsaw who found fame and fortune in the motion picture industry.
At the age of 16 Schmuel Gelbfisz left his native town and made his way to New York. Here, as Samuel Goldfish, he worked as a gloves salesman until a Bronco Billy western inspired him to enter the film business. In 1916 he formed the Goldwyn Picture Corporation and changed his name again to Samuel Goldwyn.
He built – and was expelled – from companies that later became Paramount and MGM. He hired the most accomplished writers of his time and made such films as Wuthering Heights, The Little Foxes, and The Best Years of Our Lives. He battled with the great directors of the day (John Ford, King Vidor, William Wyler) and discovered and developed such actors as Ronald Colman, Cary Cooper, David Niven and Merle Oberon.
We also learn the story of the private man, the lonely tyrant whom the most talented people in Hollywood wanted – and hated – to work for, his marriage to the beautiful and ambitious Frances Howard and his complex relationship with his children. Goldwyn is a brilliant portrait of the central figure of the golden era of Hollywood and the world in which he lived.
A. SCOTT BERG was born in Connecticut and graduated from Princeton University in 1971. He now lives in Los Angeles.
Hardcover, dust jacket – 579 p., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.160 g (40,9 oz) – PUBLISHER Hamish Hamilton, London, 1989 – ISBN 0-241-12832-3
Goldwyn: A Biography of the Man Behind the Myth (Arthur Marx)
The story of Samuel Goldwyn is as much the history of Hollywood and the motion picture business as it is the story of one man. For not only was Goldwyn responsable for forming two studios that evolved into Paramount and MGM, but with his first partners, Jesse L. Lasky and Cecil B. DeMille, he produced one of the first feature films, The Squaw Man, to be made in the United States.
Yet to many, the man who went on to make such award-winning films as Arrowsmith, Wuthering Heights, The Little Foxes, and The Best Years Of Our Lives was simply a buffoon, better qualified for coining malapropisms than for being a producer.
As Arthur Marx writes, Goldwyn was a highly complex and puzzling individual whose character was one huge mass of contradictions. He had no formal education, but was smart enough to have climbed from penniless immigrant to multimillionaire by the time he died in 1974 at the age of ninety-one. What he knew about art, music and literature could fill a thimble, but most of his pictures were made with artistry and good taste, which critics lauded as having The Goldwyn Touch. His pictures were extremely moralistic, but he was known to cheat his friends at cards and croquet, and beautiful actresses claimed it wasn’t safe to be alone with him in his office when he was interviewing them for a part. And, finally, he loved personal publicity, but he’d rather lie than reveal any facts about his personal life.
Author Marx has supplied in abundance the famous Goldwynisms – and a good many stories never before printed. The book is rich in anecdotal detail about Goldwyn’s personal life and about his business life, which was filled with one spectacular battle after another with every big name in the industry, from Mabel Normand (whom he secretly loved) to Bette Davis, from Adolph Zukor to Louis B. Mayer, whose funeral he attended “just to make certain he is really dead.”
Ironically, Sam fought most bitterly with the creative people who were responsable for his greatest successes – William Wyler, Lillian Hellman, George Kaufman, Ben Hecht and Charles MacArthur. But as Sam himself once said, “Just because I disagree with you doesn’t mean I’m disagreeable.”
Goldwyn was a perfectionist. Everything centered around his current production, and he expected everyone else to be just as interested. But if he was a hard and frequently unreasonable taskmaster, that’s how he attained perfection. That he attained it more often than he failed can be attested by his long string of successful films, which won a total of fifteen Oscars. Goldwyn himself won the two highest awards the movie industry can bestow on a producer – the Irving Thalberg Award, for quality achievement over the years, and the Jean Hersholt Humanitarian Award.
Hardcover, dust jacket – 376 p., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 766 g (27 oz) – PUBLISHER W. W. Norton & Company, New York, New York, 1976 – ISBN 0-393-07497-8
The Goldwyn Touch: A Biography of Sam Goldwyn (Michael Freedland)
Sam Goldwyn, the former gloves salesman who discovered that he could make films in style few others possessed and who ran an independent company in the days of the big studios, symbolized the American dream come true.
Sam Goldwyn discovered Gary Cooper and Danny Kaye; brought tears with The Best Years of Our Lives; personally financed Frank Sinatra in Guys and Dolls and Sidney Poitier and Sammy Davis Junior in Porgy and Bess. He was almost more famous as a ‘word mangler’ than a film producer and, in his fractured English, came out with such classics as, ‘a verbal contract isn’t worthy the paper it’s written on.’
Based on interviews with actors, directors, agents, producers, and musicians who worked for him, Michael Freedland has written an absorbing biography which tells of the demands Goldwyn made on his family, the rows with writers and the theories of the so-called ‘casting couch’.
MICHAEL FREEDLAND is regarded as an authority on the history of films and the film industry. This is his nineteenth book , all of which have been about star personalities in the history of entertainment, including Al Jolson, Irving Berlin, Errol Flynn, Peter O’Toole, Katharine Hepburn, Danny Kaye and Shirley MacLaine. His previous book for Harrap was The Warner Brothers. He writes regularly for newspapers and magazines on both sides of the Atlantic and has made his own BBC weekly radio programme. Michael Freedland is married with three children and lives in Elstree, Hertfordshire, and Bournemouth.
Hardcover, dust jacket – 264 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 543 g (19,2 oz) – PUBLISHER Harrap, Ltd., London, 1986 – ISBN 0 245-54262-0
Gone Hollywood: The Movie Colony in the Golden Age (Christopher Finch, Linda Rosenkrantz)
From the days when Hollywood Boulevard was a dirt road, and one studio provided a stagecoach to take its employees to work, through the heyday of the studio system, Christopher Finch and Linda Rosenkrantz conduct the reader on a tour of the glamorous movie colony. This book is a reconstruction of Hollywood’s Golden Age, as it was experienced by those who lived and worked and played there. Tuesday nights at the Cocoanut Grove and Sunday nights at the Trocadero; Hedda Hopper and Louella Parsons on the warpath; the hoodlums who loved the stars and held the studios for ransom; romance on the set and drama in the divorce courts; the real-life good guys and bad guys of Hollywood. A lost world of glamorous parties, gambling ships, family dynasties, showmanship, and hokum. With more than 100 rare photographs.
Here is a different kind of Hollywood book. Christopher Finch and Linda Rosenkrantz look behind the legends to discover what it was really like to live and work in the movie colony during the Golden Age of the studio system. Gone Hollywood is a book about moguls and mobsters, about parties and politics, barroom brawls and boardroom bargains. Never before has a book dealt so comprehensively with both the surface glitter and the often startling world that lay beneath it, a world that stretched from the stars dancing at the Mocambo to desperate extras living in shanties between jobs.
Gone Hollywood looks at the way glamour was created and disseminated, how much the stars earned and how they spent it. lts almanac format encompasses informative essays on such subjects as agents, crime, fan magazines and gossip columnists, mothers, love, marriage and divorce, politics and publicity, as well as lively entries on extravagance, fights, nicknames, pets, phobias, pranks, and spy systems.
Covering the movie capital from its beginnings to the decline of glamour at the outbreak of World War II, Gone Hollywood is full of information that will be of immeasurable value to students of the American film. At the same time, it is packed with anecdotes guaranteed to delight anyone who loves movies.
[Includes stories on John Barrymore, Lionel Barrymore, Constance Bennett, Joan Bennett, Humphrey Bogart, James Cagney, Charlie Chaplin, Harry Cohn, Claudette Colbert, Gary Cooper, Joan Crawford, Bing Crosby, Marion Davies, Bette Davis, Cecil B. DeMille, Marlene Dietrich, Irene Dunne, Douglas Fairbanks, Errol Flynn, Clark Gable, Greta Garbo, Judy Garland, John Gilbert, Samuel Goldwyn, Gone With the Wind, Cary Grant, Jean Harlow, Howard Hawks, William Randolph Hearst, Katharine Hepburn, Miriam Hopkins, Hedda Hooper, Howard Hughes, Buster Keaton, Hedy Lamarr, Harold Lloyd, Carole Lombard, Myrna Loy, Jeanette MacDonald, Louis B. Mayer, Louella Parsons, Mary Pickford, William Powell, George Raft, Edward G. Robinson, David O. Selznick, Norma Shearer, Gloria Swanson, Elizabeth Taylor, Lana Turner, Rudolph Valentino, Lupe Velez, Jack L. Warner, Loretta Young, Darryl F. Zanuck]
CHRISTOPHER FINCH and LINDA ROSENKRANTZ are married and live, with their daughter, in New York City. Christopher Finch is the author of two highly successful books about the movies: The Art of Walt Disney and Rainbow, a biography of Judy Garland. Linda Rosenkrantz is a novelist and former editor of Auction magazine.
Hardcover, dust jacket – 396 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 669 g (23,6 oz) – PUBLISHER Doubleday & Company, Inc., Garden City, New York, 1979
The Good, the Bad, and Me: In My Anecdotage (Eli Wallach)
The sparkling memoir of a movie icon’s life in the footlights and on camera, The Good, the Bad, and Me tells the extraordinary story of Eli Wallach’s many years dedicated to his craft. Beginning with his early days in Brooklyn and his college years in Texas, where he dreamed of becoming an actor, this book follows his career as one of the earliest members of the famed Actors Studio and as a Tony Award winner for his work on Broadway. Wallach has worked with such stars as Marlon Brando, Paul Newman, Marilyn Monroe, Gregory Peck, and Henry Fonda, and his many movies include The Magnificent Seven, How the West Was Won, the iconic The Good, the Bad and the Ugly, and, most recently, Mystic River. For more than fifty years, Eli Wallach has held a special place in film and theater, and in a tale rich with anecdotes, wit, and remarkable insight, he recounts his magical life in a world unlike any other.
ELI WALLACH was born in Brooklyn, and he and his wife of fifty-seven years, Anna Jackson, were recently named King and Queen of Brooklyn. Eli Wallach remains active in film and theater and lives in New York City.
Hardcover, dust jacket – 312 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 583 g (20,6 oz) – PUBLISHER Harcourt, Inc., New York, New York, 2005 – ISBN 978-01050489-6
The Good, the Bad, and the Dolce Vita: The Adventures of an Actor in Hollywood, Paris, and Rome (Mickey Knox; preface by Norman Mailer)
Who is Mickey Knox? To a small group of aficionados, he is the genius behind the unforgettable English dialogue in Sergio Leone’s cult classic The Good, the Bad, and the Ugly. But for many years, living in semi-exile in Italy, this hardboiled actor was known as the unofficial “Mayor of Rome” – a friend and confidant to Norman Mailer, Anna Magnani, Anthony Quinn, Burt Lancaster, Sergio Leone and many others.
Now Mickey Knox has put his own remarkable life story to paper and The Good, The Bad, and the Dolce Vita is the sparkling result. Born and raised in Coney Island, Brooklyn with a street fighter’s instinct and sharp Jewish wit, Knox’s passion for acting was inspired by John Garfield and James Cagney. Having served three years in World War II – where London was his stage and Paris was his mistress – Knox moves to Hollywood to work for Hal Wallis, the legendary producer of Casablanca. At first he seems set for stardom, appearing on screen with Mickey Rooney, Burt Lancaster, Clark Gable, and Kirk Douglas, but the rise of McCarthyism puts an abrupt end to his career. Knox debarks to France and Italy to work in European cinema. It turns out to be the best move in his life.
With a wry smile and an eye for the incidental detail, Knox details the fables and foibles of the stars, directors, writers, and producers with whom he works over the next four decades. From arguments over politics with John Wayne and Clark Gable, trying to teach Luciano Pavarotti to articulate English, driving cross-country with Norman Mailer, and getting lost in Spain with a very hungry Orson Welles. The Good, the Bad, and the Dolce Vita is an intimate and compelling portrait of one’s man extraordinary life.
MICKEY KNOX has appeared in numerous films including The City Across the River, White Heat, I Walk Alone, Killer McCoy, Any Number Can Play, Knock on Any Door, The Tenth Victim, and G.I. Blues. Knox also worked as a screenwriter, most famously writing the English adaptation of Sergio Leone’s Once Upon a Time in the West.
Softcover – 359 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 516 g (18,2 oz) – PUBLISHER Nation Books, New York, New York, 2004 – ISBN 1-56025-575-7
The Good, the Bad & the Very Ugly: A Hollywood Journey (Sondra Locke)
Autographed copy To Tonia. Thanks, Sondra Locke
Sondra Locke’s fairy-tale story took her from a small town in Tennessee to the impossible height of Hollywood. And as in a fairy tale, she found herself on the arms of Prince Charming – Clint Eastwood, one of the film world’s biggest stars. But this story turned dark when their high-profile breakup became ugly. Now, for the first time, she writes openly and emotionally about their relationship and how it ended; about how she came to Hollywood; her years there as an actress and director, and what these experiences have taught her.
Sondra Locke’s Southern childhood of books and dreams of becoming an actress seemed to come true overnight when she won a nationwide talent search to play the coveted role of “Mick Kelly” in the screen adaptation of Carson McCullers’s The Heart Is a Lonely Hunter. In an amazing and often hilarious journey through many auditions orchestrated by her high school sweetheart and soon-to-become-husband, Gordon, Locke was “discovered” and catapulted into another world. The result was an acclaimed performance that was so luminous it immediately made her the talk of the industry, and led to an Academy Award nomination for her first film.
Her early days in Hollywood were filled with other starring roles opposite such stars as Robert Shaw, Sally Kellerman, Ernest Borgnine, Elsa Lanchester, and Bruce Davison, opposite whom she played in the cult-classic rat movie Willard. But it was on the set of the Western Outlaw Josey Wales that she met and fell in love with Clint Eastwood, beginning a relationship that would last thirteen years. Together, Locke and Eastwood went on to make numerous films, including The Gauntlet, Every Which Way But Loose, Bronco Billy, Any Which Way You Can, and Sudden Impact. Eventually Locke launched her own directing career with such enthusiastically received films as Ratboy and Impulse.
lt was Locke’s personal relationship with Eastwood, however, that made headlines in 1989 when he suddenly changed the lock on their home and began pretending that their relationship had never even existed. As part of their first settlement, the powerful Eastwood agreed to set up a directing deal for her at Warner Bros. – a deal that turned out to he phony. In an incredible show of courage, Locke took her case to court and triumphed. She won an even greater triumph against the breast cancer that was discovered shortly after her breakup with Eastwood. And woven throughout is a fascinating look at Locke’s encounter with the spiritual through her unique, lifelong relationship with Gordon. In this wise and engrossing book, she takes us through it all.
SONDRA LOCKE is a natural storyteller, and he has a great story to tell. She lives in Los Angeles.
Hardcover, dust jacket – 371 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 746 g (26,3 oz) – PUBLISHER William Morrow and Company, Inc., New York, New York, 1997 – ISBN 0-688-15462-X
The Gordon File: A Screenwriter Recalls Twenty Years of FBI Surveillance (Bernard Gordon)
For twenty-six years, the FBI devoted countless hours of staff time and thousands of U.S. taxpayer dollars to the surveillance of an American citizen named Bernard Gordon. Given the lavish use of resources, one might assume this man was a threat to national security or perhaps a kingpin of organized crime – not a Hollywood screenwriter whose most subversive act was joining the Communist Party during the 1940s when we were allied with the USSR in a war against Germany. For this honest act of political dissent, Gordon came to be investigated by the House Committee on Un-American Activities in 1952, blacklisted by the Hollywood film industry, and tailed by the FBI for over two decades.
In The Gordon File, Bernard Gordon tells the compelling, cautionary story of his life under Bureau surveillance. Drawing on his FBI file of over 300 pages, which he obtained under the Freedom of Information Act, he traces how the Bureau followed him from Hollywood to Mexico, Paris, London, Rome, and even aboard a Dutch freighter as he created an unusually successful, albeit uncredited, career as a screenwriter and producer during the blacklist years. Comparing his actual activities during that time to records in the file, he pointedly and often humorously underscores how often the FBI got it wrong, from the smallest details of his life to the main fact of his not being a threat to national security.
Most important, Gordon links his personal experience to the headlines of today, when the FBI is again assuming broad powers to monitor political dissidents it deems a threat to the nation. “Is it possible,” he asks, “that books like this will help to move our investigative agencies from the job of blackmailing those who are critical of our imperfect democracy to arresting those who are truly out to destroy us?”
BERNARD GORDON wrote or produced more than twenty motion pictures, including The Battle of the Bulge, 55 Days at Peking, The Thin Red Line, Krakatoa East of Java, Day of the Triffids, Earth vs. the Flying Saucers, and Horror Express. Still active in struggles for democratic values, he helped lead the fight against the Academy of Motion Picture Arts and Sciences Life Achievement Award to Elia Kazan, who co-operated with the House Committee on Un-American Activities during the blacklist era. Bernard Gordon lives in Los Angeles.
Hardcover, dust jacket – 344 pp. – Dimensions 23 x 16 cm (9,1 x 6,3 inch) – Weight 717 g (25,3 oz) – PUBLISHER University of Texas Press, Austin, Texas, 2004 – ISBN 0-292-72843-3
Gotta Sing, Gotta Dance: A Pictorial History of Film Musicals (John Kobal)
Movies learned to sing and dance even before they learned to talk. For years before the arrival of sound, Joan Crawford and other flappers had been dancing the Charleston on the silent screen. Then musical soundtracks were adopted, providing the first ‘sounds’ of sound films. Later still, and some say by accident, came the talkies. It is said that Al Jolson, while doing the song recording for The Jazz Singer, cried out in a burst of enthusiasm ‘You ain’t heard nothing yet, folks! Listen to this!’ And talking pictures were born.
Purists will limit the film musical genre to the half dozen or so that finally fulfilled the highest criteria of cinematic art. But John Kobal is no purist. He is interested in all the torch songs by femmes fatales, the high kicks and shuffles of the chorus cuties. the extravagant set-pieces which relied more on spectacle than on musical talent. He is also more interested than anyone in the great personalities of the musical, such as Fred Astaire, Judy Garland, Gene Kelly, Jeanette MacDonald, Busby Berkeley.
But his most valuable contributions to cinema lore are the special interviews with, among others, Rene Clair, Vincente Minnelli, Rouben Mamoulian, Charles Walters, Kathryn Grayson, Bebe Daniels, Bessie Love, Joan BlondelI, Mae West and Jessie Matthews.
This unique and highly entertaining book is illustrated with over 670 photographs from the author’s collection. Most of these will be new to the reader and many are rare and unknown even to the most knowledgeable students of the genre. The photographs speak – even dance – for themselves. If there is a book anywhere that can do justice to the exhilarating spirit of the musical, then this is it.
JOHN KOBAL is the author of a biographical study of Marlene Dietrich and co-author of another on Greta Garbo. He has been a regular contributor on cinema to BBC radio. He edited and revised the 1969 edition of A Pictorial History of the Talkies, which also appears under the Hamlyn imprint.
Hardcover, dust jacket – 320 pp., index – Dimensions 28 x 21,5 cm (11 x 8,5 inch) – Weight 1.385 g (48,9 oz) – PUBLISHER The Hamlyn Publishing Group, Ltd., London, 1971 – ISBN 0 600 03126 8
Grace (Robert Lacey)
Long before she became a princess, Grace Kelly was a legend, a fabled movie star whose aloof and aristocratic bearing belied a deep sensuality within. Grace the icon and Grace the woman were two very different creatures, and now celebrated biographer Robert Lacey has managed to unearth the secrets beneath her serene surface. In Grace, he presents the first balanced portrait of a complex, deeply conflicted actress, wife, and mother who dared to make her dreams come true.
Lacey, who has written definitive books on Queen Elizabeth II, the Kingdom of Saudi Arabia, and the Ford family, gained unprecedented access to Grace’s friends and colleagues. He weaves an extraordinary story that begins in Philadelphia, where Grace’s father, an Olympic athlete and local hero, often shunned his shy and sickly daughter. Grace was determined to win the attention of her father and the world. While carefully cultivating the image of the white-gloved young lady, she became a surprisingly brazen, even reckless, young woman. She fell into bed with her best friend’s husband, her drama teacher, and some of the most glamorous film stars of her era, including Clark Gable and William Holden.
By the time Grace met her prince, she had flirted repeatedly with the altar, only to have her parents veto her choices. Rainier, however, won over Grace and her family in a whirlwind courtship, cemented by a secret correspondence. Lacey writes of Grace’s joy at her wedding and her gradual disenchantment with her cloistered palace life. He reveals that after ten years of marriage to Rainier, Grace was deeply wounded by his arrogance, petulance, and autocratic treatment of her. As she approached middle age, the princess found herself living a separate life from Rainier in Paris, battling with her headstrong and willful daughters, and seeking the affection she craved from a succession of handsome young men.
To her public, however, Grace always maintained the image of Her Serene Highness, the adored princess who had achieved perfect happiness. She worked hard at her official and charitable duties and was devoted to her people. Grace was deeply mourned when her car careened off a narrow road in September 1982. Lacey provides revealing new details about the accident and the circumstances surrounding Grace’s medical care and death. Grace is a haunting tale of a beloved tragic heroine.
ROBERT LACEY is the best-selling author of twelve books, including Majesty, The Kingdom, Princess, and Ford: The Men and the Machine. He lives in Florida with his wife, Sandi, and their younger son, Bruno.
Hardcover, dust jacket – 463 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 947 g (33,4 oz) – PUBLISHER G. P. Putnam’s Sons, New York, New York, 1994 – ISBN 0-399-13872-2
Grace Kelly: The Secret Lives of a Princess (James Spada; introduction by Mary Kenny)
The public image of Grace Kelly – first as a movie star, then as a Princess – was a triumph of myth over reality. She was presented to us as the product of a loving, supporting family, a chaste young actress often referred to as the “Ice Queen.” Her 1956 marriage to Prince Rainier of Monaco – “the wedding of the century” – was perceived as a whirlwind love story that resulted, as all good fairy tales should, in happiness ever after.
The “truth,” as an acting teacher who became one of Grace’s lovers says, “is far more interesting.” While researching this book, James Spada discovered that many of Grace’s intimates were now willing, years after her death, to speak with stunning frankness about her. It soon became clear that Grace Kelly’s life was far more removed from a fairy tale.
Based on dozens of exclusive interviews – with members of Grace’s family, her lovers and friends, and colleagues such as Cary Grant, James Stewart, and Gore Vidal – and unprecedented access to personal correspondence and other source material, this book is the first to reveal the real Grace Kelly: the woman behind the myth.
This is a Grace Kelly we have never seen before. It paints a compassionate portrait of a creative, talented, intelligent woman whose entire life was devoted to living up to the expectations of others, and whose repeated attempts to find a lasting love left her more and more disillusioned.
This special edition of James Spada’s revealing book includes a new introduction by Mary Kenny, who remembers Princess Grace’s time in Ireland and the iconic figure she was for Irish women at the time when glamour was in short supply here.
JAMES SPADA is the author of eleven books, including the best-sellers Streisand: The Woman and the Legend and Monroe: Her Life in Pictures. He lives in Los Angeles.
Hardcover, dust jacket – 319 pp. – Dimensions 21 x 12,5 cm (8,3 x 4,9 inch) – Weight 426 g (15 oz) – PUBLISHER Sidgwick & Jackson Ltd., London, 1987 – ISBN 1751-0945
Grace van Monaco (Martine Bartolomei; originally titled Grace de Monaco)
Van Philadelphia naar Hollywood, van de filmstudio’s naar de hofbals, Grace Kelly gaf aanleiding tot vele dromen. De vrouw achter het masker van onverstoorbare kalmte, dat ze droeg als actrice en daarna als prinses, bleef een ondoorgrondelijk mysterie. Alfred Hitchcock had oog voor de dualistische persoonlijkheid van de ster – het vuur onder het ijs – en buitte deze uit. De pers was geboeid door de prinses, die verscheurd werd door haar hang naar de filmwereld en haar verplichtingen als prinses.
Martine Bartolomei presenteert hier een geheel nieuwe invalshoek, een andere gespletenheid: de kloof tussen een levensideaal waarin het streven naar perfectie centraal staat en de beperkingen van een tijd die ongetwijfeld te triviaal was naar de smaak van het Ierse meisje van de Oostkust. Het is misschien wel deze spanning tussen verbeelding en werkelijkheid die het einde betekende van een ogenschijnlijk zo rooskleurig bestaan.
MARTINE BARTOLOMEI is schrijfster en journaliste. Voor deze serie schreef ze ook de biografie van Romy Schneider. Verder heeft ze bijdragen geleverd aan verschillende tijdschriften, zoals Elle, Madame Figaro, en Figaro Magazine.
Hardcover, dust jacket – 175 pp. – Dimensions 31 x 26,5 cm (12,2 x 10,4 inch) – Weight 1.280 g (45,2 oz) – PUBLISHER Rebo Productions, Lisse, The Netherlands, 1993 – ISBN 90-366-1002-8
The Graham Greene Film Reader: Reviews, Essays, Interviews & Film Stories (edited by David Parkinson)
“Many still consider his [Graham Greene’s] most significant contributions to film culture to have been the scripts of such British classics as Brighton Rock, The Fallen Idol and The Third Man. Yet he had been one of the finest film critics of the 1930s – indeed, simply one of the finest film critics – and, on a number of occasions, he had even tried his hand at producing.” – From the Introduction.
Essays and articles include ‘The average film’; ‘The province of the film with past mistakes and future hopes’; ‘A film technique with rhythms of space and time’; ‘A film principle with sound and silence’; ‘Film aesthetic, its distinction for drama and the province of the screen’; ‘The Middlebrow film’; ‘The genius of Peter Lorre’; ‘Is this criticism?’; ‘Subjects and stories’; ‘Film lunch’; ‘Ideas in the cinema’; ‘Movie parade 1937’; ‘Preface to The Third Man‘; ‘Preface to The Fallen Idol‘; ‘Charlie Chaplin: an open letter’; ‘London diary’; ‘A tribute to Alexander Korda’; ‘Ballade for the wedding’; ‘The novelist and the cinema, a personal experience’; ‘Memories of a film critic’; ‘Preface to Three Plays‘; ‘Film fragments’; ‘My worst film’; ‘Screen dreams.’
Other chapters include film reviews, book reviews, interviews and lectures, letters, film stories and treatments.
Softcover – 738 pp., index – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 1.125 g (39,7) – PUBLISHER Applause Books, New York, New York, 1993 – ISBN 1-55783-249-8
A Great Lady: Sonya Levien, A Life of the Screenwriter (Larry Ceplair)
Sonya Levien left behind a glittering record of credits and awards that will never be equaled. She possessed a remarkable ability to adapt stories, plays and novels into entertaining, filmable movie scripts, as well as a willingness to make all scripts changes that her supervisors directed. These qualities contributed to her rise from an immigrant factory girl on the Lower East Side of New York to one of Hollywood’s highest-paid and most respected writers.
Her success came at a price. As her career grew, Levien was forced to jettison the political radicalism of her youth and measure the effect that each step on the professional ladder had on her family. She was forced to maintain a very political posture in Hollywood, and she carefully refrained from infiltrating politically radical characters into her scripts. She also abandoned her desire for a large nuclear family, although she compensated somewhat by nurturing a loyal group of friends and extended family. In this way, A Great Lady offers readers not only a glimpse into the world of a screenwriter, but a rare look at the experience of being a woman behind the scenes in Hollywood’s early days.
Sonya Levien was among the most successful and respected Hollywood screenwriters. Her career spanned four decades, from 1919 to 1960. During that time, Levien worked on well over 100 screen stories and scripts for comedies, melodramas, epics, and musicals including Guns Along the Mohawk, Oklahoma! and Ziegfeld Girl. A Great Lady details the course of her exceptional career at Fox and M-G-M. It also examines her relation to the important political and labor movements that affected the motion picture industry. Wile recounting Levien’s illustrious career, Larry Ceplair explores the compromises and choices she and other female screenwriters had to make to succeed in an industry that offered little room for radical political gender consciousness.
LARRY CEPLAIR received his bachelor’s degree from the University of California, Los Angeles, and his master’s and doctorate from the University of Wisconsin. He currently teaches history at Santa Monica College. He is the co-author of The Inquisition of Hollywood (Anchor Doubleday, 1980), author of The Public Years of Sarah and Angelina Grimké (Columbia University Press, 1989), and editor of Charlotte Perkins Gilman: A Nonfiction Reader (Columbia University Press, 1991).
Hardcover, dust jacket – 160 pp., index – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 366 g (12,9 oz) – PUBLISHER The Scarecrow Press, Inc., Lanham, Maryland, 1996 – ISBN 0-8093-2387-7
Great Lovers of the Movies (Jane Mercer)
Gary Cooper alone on a street at High Noon. Clark Gable wise-cracking with a good-time girl on the China Seas, and Steve McQueen, gliding, taking off from The Thomas Crown Affair. Humphrey Bogart remembering lost love in a smoky nightclub in Casablanca. And Paul Newman and those blue, blue eyes. Images that live on in the mind – food for fantasy.
This is a book crammed full of the moments that made Hollywood’s heart-throbs. Swashbuckler, Latin lover, rugged hero, loner – styles change, but always the screen needs men we can build our dreams upon. And here, in text, pictures and filmography, the story of some of the greatest is told.
[Portraits of Douglas Fairbanks, Rudolph Valentino, Ramon Navarro, John Barrymore, John Gilbert, Ronald Colman, Leslie Howard, Gary Cooper, Clark Gable, Cary Grant, Charles Boyer, Errol Flynn, Humphrey Bogart, Robert Taylor, Alan Ladd, Tyrone Power, Robert Mitchum, Rock Hudson, Marlon Brando, Paul Newman, Steve McQueen, Robert Redford, Clint Eastwood]
JANE MERCER was born in Pretoria, South Africa, in 1942. In 1970 she joined the British Film Institute as its press officer and her work includes looking after press, public relations and advertising not only for the Institute as a whole, but also for its various departments (notably the National Film Theatre) and for the London Film Festival which is held annually at the NFT. Before that she worked in television (as a secretary), in publishing (as a dogsbody), at the Central Office of Information (as a reference writer) and for the Reader’s Digest (as a researcher). She writes occasional reviews and articles for Film and is the resident critic for Sounds New, London Broadcasting’s arts review programme. She is married (to another press officer) and she and her husband live in West London.
Hardcover, dust jacket – 176 pp. – Dimensions 30,5 x 22,5 cm (12 x 8,9 inch) – Weight 1.055 g (37,2 oz) – PUBLISHER The Hamlyn Publishing Group, Ltd., London, 1975 – ISBN 0 600 34454 1
The Great Movie Comedians: From Charlie Chaplin to Woody Allen (Leonard Maltin)
Since the birth of motion pictures, audiences around the world have looked to the great movie comedians for the welcome laughter and the comic view of life their films provide. Today a new generation is discovering the same films that made people laugh forty, fifty, even sixty years ago, learning that great comedy is timeless. Now film historian Leonard Maltin, whose earlier subjects have ranged from Walt Disney to Our Gang, provides fascinating new insights to the great movie comedians – what made each unique, how their careers developed, which films stand out among their work and why. His cogent essays are spiced with memorable incidents from the films and fresh anecdotes and observations on their creation. Each critique is accompanied by an exhaustive filmography and a gallery of rare photographs, many of which have never appeared in print before.
The book examines not only the classic clowns – Charlie Chaplin, Buster Keaton, Harold Lloyd, Harry Langdon, Laurel & Hardy – but also some of the neglected figures of film history: Mabel Normand, the screen’s first great comedienne; Charley Chase, comedy’s unsung hero; Raymond Griffith, the comedian’s comedian; the scandal-plagued Roscoe “Fatty” Arbuckle; and Will Rogers, whose reputation as a homespun philosopher has tended to obscure his long and interesting film career.
From the sound era Maltin takes a look at such luminaries as W.C. Fields, Mae West, the Marx Brothers, Joe E. Brown, Danny Kaye, the new “talking” comics such as Bob Hope and Red Skelton, as well as the combined slapstick and verbal mayhem of comedy teams like The Three Stooges and Abbott and Costello. Here too are the great movie comedians of our own time: Jerry Lewis, who almost single-handedly carried the banner of film comedy through the 1960s, when television drained the screen of comic talent; and Woody Allen, the movies’ latest comedy superstar who, in the tradition of the earlier comedians, writes and directs as well as stars in his own films.
Perhaps more than anything else, The Great Movie Comedians points up the continuity in screen comedy, the progression that has nurtured new ideas and welcomed individual talents while building upon the foundations of the past. This fresh, thoughtful, and appreciative look at the great funny men of the last half century will be of immense interest to all film buffs.
LEONARD MALTIN prepared this book while serving as guest director of the Museum of Modern Art’s Bicentennial Salute to American Film Comedy in 1976. The task of selecting, scheduling, and notating some 450 films provided him with the opportunity to observe and study the work of the great movie comedians. He also served as curator of the American Academy of Humor in 1975 and 1976. His books include Movie Comedy Teams, Behind the Camera, The Great Movie Shorts, The Disney Films, Carole Lombard, Our Gang: The Life and Times of the Little Rascals (with Richard Bann), and TV Movies, the paperback reference guide to 10,000 films on television. His articles have appeared in many leading publications including The New York Times, Esquire, TV Guide, Saturday Review, American Film, and Film Comment. He is a member of the faculty of the New School for Social Research, and he lectures on film at colleges around the country. He lives in New York City with his wife, Alice, and their two very funny dogs.
Hardcover, dust jacket – 238 pp., index – Dimensions 26 x 18,5 cm (10,2 x 7,3 inch) – Weight 782 g (27,6 oz) – PUBLISHER Crown Publishers, Inc., New York, New York, 1978 – ISBN 0-517-53241-7
The Great Movie Quiz (Gene Malis)
To those who remember the great Hollywood movies and stars and the millions who are becoming acquainted with them on the television screen, The Great Movie Quiz offers hours of entertainment and challenge. For each motion picture category – comedies, Westerns, romances, musicals, suspense-thrillers, and so on – a number of memory-teasing questions are posed. You can score yourself from ‘Great’ to ‘Better pay more attention to the Late, Late Show.’
Do you remember… Who played the lead in Annie Get Your Gun? The famous dancer who starred with Gene Kelly in An American in Paris? Who created the role of detective Nick Carter? Who was The Invisible Man? The name of the movie about a chemist who invented a fabric that never wore out? Is it true that no war picture won an Academy Award for Best Picture? And so on through hundreds of magical movies and performers. Here is an enjoyable party game, an ideal travel companion, and a treasure house of pleasurable nostalgia.
Softcover – 254 pp. – Dimensions 20,5 x 13 cm (8,1 x 5,1 inch) – Weight 268 g (9,5 oz) – PUBLISHER Harper & Row, Publishers, New York, New York, 1980 – ISBN 0-06-463518-X
Greed (Erich von Stroheim)
“This volume contains Erich von Stroheim’s original ten hour shooting script for the film Greed. This film has only been seen by the public in a severely mutilated version, and it is hoped that this publication will allow the reader to visualise the film as it was originally intended by Stroheim. The history of the film and Stroheim’s problems with his producers and distributors are well known, and are fully discussed in the introductory articles.
The original script was first published by the Belgian Cinémathèque in 1958 in conjunction with their presentation of Greed as one of the Twelve Best Films of All Time. The text was that of Erich von Stroheim’s personal copy, preserved after his death by Mme. Denise Vernac. For the present publication, the original script was carefully checked against the release version of the film by Joel W. Finler and any additional material incorporated into the text. (…) Stroheim’s text is reproduced as closely as possible; however much of his technical description was in semi-note form, and this has been expanded and clarified wherever possible without impairing the flavour of his highly individual and idiosyncratic style. It might be noted in this context that the use of American slang terms and pseudo-German phraseology in describing the Sieppe family was in fact derived from Frank Norris’s novel” – From ‘A note on the script of Greed.‘
Softcover – 352 pp. – Dimensions 21,5 x 13 cm (8,5 x 5,1 inch) – Weight 429 g (15,1 oz) – PUBLISHER Faber and Faber, London, 1989 – ISBN 0-571-12581-6
Greta & Cecil (Diana Souhami)
“She is at once simple, subtle, and the acme of sophistication… no one can find out the truth about her.” – from Cecil Beaton’s diary
This dual biography reveals, as never before, the secret life and the extraordinary relationship of Hollywood’s legendary pair: Greta Garbo and Cecil Beaton, the celebrated Hollywood photographer who immortalized her image. With provocative details about their personal lives and a subtle focus on their work, Diana Souhami divulges the secrets of Greta and Cecil’s unconventional loves and obsessions. It is a compelling tale of a strange romance where boundaries merge between image and reality, fact and fantasy, male and female, and art and life.
Greta Garbo’s notorious desire for privacy piqued the curiosity of her admirers and acquaintances. Few knew the truth about her androgynous nature and her relationship with Mercedes de Acosta – the well-know lesbian socialite. Yet Garbo’s distinctive passion and mystery were brilliantly conveyed in her silent films. For the quality of this wordless power she became known as “The Divine.”
Entranced by her, Cecil Beaton longed to be Garbo’s intimate. He was “the darling photographer of the glittering class,” well known in Hollywood for his homosexual liaisons, his artful fashion photography, and his eye for quintessential feminine beauty. The women he photographed, included film stars, tycoons’ wives, viscountesses, and royalty – but in Garbo he saw incomparable beauty. Pining after her for years and frustrated by her refusal to be photographed or even glimpsed by him, he finally met her in 1932 at the home of Edmund Goulding, who had just directed Garbo in Grand Hotel. This encounter initiated a relationship that was to last more than a decade and evolved from admiration to friendship to impassioned love, and finally estrangement and betrayal.
Their ardent affair, Garbo’s discreet liaison with the women she loved, and Beaton’s charismatic yet emotionally distraught personality are brought to life in Diana Souhami’s hallmark style. Photographs, letters, and a wealth of new research reveal the obsessions, true desires, and secrets of Hollywood behind closed doors.
DIANA SOUHAMI is the author of the widely celebrated Gertrude and Alice; Gluck: Her Biography; and A Woman’s Place: The Changing Picture of Women in Britain. Her plays have been produced on television, on radio, and in the theater. She lives in London.
Hardcover, dust jacket – 271 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 632 g (22,3 oz) – PUBLISHER HarperCollins Publishers, New York, New York, 1994 – ISBN 0-06-250829-6
Greta Garbo: A Cinematic Legacy (Mark A. Vieira)
With her breathtaking beauty and enigmatic persona, Greta Garbo is the ultimate Hollywood icon. Though many books have tried to unlock the mystique of the “Swedish Sphinx” by focusing primarily on her personal life, Greta Garbo: A Cinematic Legacy is the first book to pay serious attention to what made her an icon – her twenty-four Hollywood films, among them classics such as Flesh and the Devil, Love, Mata Hari, Grand Hotel, Queen Christina, Camille, and Ninotchka.
As MGM’s highest-paid star, Garbo had approval of story, co-star, director, and cinematographer, wielding power that few others could match – yet she was often at odds with the system that made her such a phenomenon. Mark Vieira’s well-researched, lively, anecdotal text chronicles Garbo’s stellar, yet turbulent, career from her American debut in 1926 to her self-imposed retirement in 1941 at the height of her popularity. He draws extensively on letters, interviews, newly accessible studio production files, and publicity clippings to trace each film from story conference to premiere, providing new insights into Garbo’s surprising career moves, unconventional working methods, and notoriously stormy personal and professional relationships with Louis B. Mayer, John Gilbert, Mercedes de Acosta, Salka Viertel, Marlene Dietrich, and others.
Lavishly illustrated with luminous film stills, portraits, and behind-the-scenes photographs – many previously unpublished – the book shows how the leading Hollywood directors, cinematographers, and portrait photographers of the era captured Garbo’s unsurpassed beauty and glamour on film. Vieira also advances new theories – for example, that Garbo’s prolonged 1926 strike covered up a potential scandal – and uses production documents and photographs to reveal significant details about the making of her films, such as the existence of two different beginnings for her first talkie, Anna Christie, and the never-before-published original ending of Queen Christina. One hundred years after her birth, Garbo’s captivating legend endures.
MARK A. VIEIRA is a photographer, a film historian, and the author of Abrams’ acclaimed Hurrell’s Hollywood Portraits, Sin in Soft Focus: Pre-Code Hollywood, and Hollywood Horror: From Gothic to Cosmic. He lives in Los Angeles.
Hardcover, dust jacket – 288 pp., index – Dimensions 31 x 23 cm (12,2 x 9,1 inch) – Weight 1.665 g (58,7 oz) – PUBLISHER Harry N. Abrams, Inc., Publishers, New York, New York, 2005 – ISBN 0-8109-5897-X
Greta Garbo: A Life Apart (Karen Swenson)
A charismatic, frightened young woman haunted by her Viking homeland. A breathtakingly beautiful, supremely talented actress under the spell of a jealous and possessive director. A movie goddess who left Hollywood at the height of her fame, drifting in self-created exile she often bitterly – though privately – regretted. A twentieth-century sphinx whose complex personality has never been revealed – until now. In Greta Garbo: A Life Apart author Karen Swenson finally unmasks the woman behind the myths and presents us with the definitive biography of this century’s most enigmatic star.
A Life Apart is the first comprehensive biography to fully capture Greta Garbo’s hidden personal life as well as her role as a film icon from a female perspective. Brimming with rare photos and startling new information – based on unpublished personal letters and conversations with Garbo’s closest friends, and lifelong associates – A Life Apart dramatically deconstructs the myriad misconceptions surrounding her life. Intimate, compelling, and often harrowing, this is the true story of an extraordinary woman who lived two lives: one for the camera, the other intensely private and perpetually apart.
Here for the first time one discovers the unvarnished truth about Garbo’s childhood, plus surprising new information regarding her apprenticiseship at Sweden’s Royal Theatre Academy, and her Svengali-like relationship with her director/mentor Maurtiz Stiller, her dramatic Hollywood debut and subsequent metamorphosis into the screen’s most alluring, and arguably most powerful, star. Here too are behind-the-scenes accounts of her films, from Lufffar-Petter to Flesh and the Devil, Queen Christina and Ninotchka. With exquisite detail, Swenson presents a fascinating account of the star’s passionate, often tumultuous relationships with lovers and friends, including Mimi Pollack, John Gilbert, Hörke Wachtmeister, Salka Viertel, Mercedes de Acosta, Leopold Stokowski, Gayelord Hauser, Gilbert Roland, Erich Maria Remarque, Cecil Beaton, Aristotle Onassis, George Schlee, and Cécile de Rothschild.
Meticulously researched, A Life Apart also contains new insights into Garbo’s life after Hollywood – from her often rumorted efforts to aid the Allies during World War II to the failure of her comeback attempt and the birth of her alter ego, “Harriet Brown.” Here at last we meet Greta Garbo, the woman and the star: willful, naïve, brilliant, trusting, paranoid, sympathetic, cruel, sophisticated, plain, yet ultimately immoral. A Life Apart is as dazzling as its reclusive star and the first biography worthy of this quintessential movie legend.
KAREN SWENSON was the project coordinator on Barbra Streisand’s 1991 audio collection, Just for the Record. She lives and works in Los Angeles, where she is currently writing a biography of Joan Crawford.
Hardcover, dust jacket – 639 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.020 g (36,0 oz) – PUBLISHER Scribner, New York, New York, 1997 – ISBN 0-684-80725-4
Griffith and the Rise of Hollywood (Paul O’Dell)
“David Wark Griffith has tended to become, in recent years, a figure in cinema history attributed with innovation in film technique; the close-up, the flashback, cross-cutting have all appeared in connection with his name. And so it is that he is now in danger of achieving a widespread reputation of merely a technician: an inventor of cinematography. This does justice to neither Griffith himself nor to his work. It may very well be that he did ‘invent’ all these ideas of pictorial presentation – but there is much evidence to suggest that he did not – and if he did not, then he certainly developed their use to startling effect. But these ideas, these techniques were for him only a means towards an end; never the ultimate distinguishing factor of his pictures. Nor was he dependent on these techniques in order to produce a film which stood above all contemporary works. Many of his early pictures contain no close-ups, no flashbacks, no camera movement, no complicated editing techniques, and no innovations. But nevertheless they are indisputably films of high artistic quality. Many post-Intolerance films also contain few, if any, of the ‘innovations’ attributed to Griffith, and yet they are outstanding works nonetheless.” – From the Introduction.
Softcover – 163 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 181 g (6,4 oz) – PUBLISHER A. S. Barnes & Co., New York, New York, 1970 – SBN 498-07718-7
Growing Up in Hollywood (Robert Parrish)
Robert Parrish directed his first film, Cry Danger, in 1950. His credits include The Purple Plain, Fire Down Below, The Wonderful Country and Casino Royale. Earlier, as a film editor, he worked with such directors as John Ford, Max Ophuls, George Cukor, Lewis Milestone and Robert Rossen. In 1947 he was awarded an Oscar as Best Film Editor for his work on Body and Soul.
Growing Up in Hollywood is a gorgeously lighthearted reminiscence of those wonderful and now oh-so-distant years when the cinema was growing up, those golden years that stretched from the silent films to the advent of cinemascope. Robert Parrish grew up in Hollywood, and like a kid in any factory town, he went to work in the local industry: movies. Perhaps you saw him in Our Gang comedies. Or puffing his peashooter at Charlie Chaplin in City Lights. His credit in such early John Ford films as Mother Machree, The Whole Town’s Talking and The Informer was simply: Robert Parrish: child.
Here is a glimpse of Charlie Chaplin (a kind of dervish, playing all the parts); of the time Parrish and a pal were bodyguards to Mae West; of his debut as an ice skater with Sonja Henie. Parrish even recalls the James Cagney Special on the Commissary menu: ‘Shrimp Cocktail, Large Bowl of Chili and Beans with Onions, Pistachio Ice Cream, Coffee, Tea or Milk – 45 cents.’ Above all else, here is a unique and loving portrait of the great John Ford with, whom Parrish first worked as a child actor, then as sound editor, later as film editor, and who acted as an irascible mentor, even at Parrish’s own wedding.
A superb raconteur in the tradition of Will Rogers, it is his gentle homespun humor shining through the memoirs of an extraordinary era of American life that makes this the most endearing and nostalgic of Hollywood memoirs.
ROBERT PARRISH was born in Georgia and raised in California where he led the movie life described in this book. Parrish studied cinematography at the University of Southern California, then worked as film editor and director. Robert Parrish is married and now lives in London.
Hardcover, dust jacket – 229 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 544 g (19,2 oz) – PUBLISHER Harcourt Brace Janovich, New York, New York, 1976 – ISBN 0-15-137473-2
The Guinness Book of Movie Facts & Feats (Patrick Robertson)
“Most books on films are concerned about quality – the cinema as art. This book is unashamedly about quantity – together with ‘firsts’, records, oddities, remarkable achievements, historic landmarks and the wilder extravaganzas of the motion picture business during the 100 years of its colorful history. It is not the place to seek potted biographies of favorite stars or great directors, but it does offer a gamut of film facts, ranging from the significant to the adsurd, many of which have never appeared in any film book before. For the historically minded there are old orthodoxies explored and often rejected – Who really ‘invented’ the close-up? What was the first Western? Where did full-length features begin?…” – From the introduction.
Fully updated and revised, The Guinness Book of Movie Facts & Feats is packed with background stories, statistics, photos, survey results, winners and losers. Whatever you need to know about the biggest, smallest, best, worst, most and greatest of the silver screen, the answer will be found within these pages.
Softcover – 263 pp., index – Dimensions 26 x 19 cm (10,2 x 7,5 inch) – Weight 765 g (27,0 oz) – PUBLISHER Guinness Publishing, Ltd., London, 1988 – ISBN 0-85112-908-0
GWTW: The Making of Gone With the Wind (Gavin Lambert)
How the “Moviest of All Movies” was made. Thoroughly informed, stylishly written, laced with nostalgia, and richly illustrated, GWTW is the first full, detailed story of the making of the movie Gone With the Wind and the writing of the novel, what preceded them both in the lives of their creators, and what happened afterwards.
Gavin Lambert is an accomplished writer of fiction, screenplays, film history, and criticism, and he draws upon all his skills to sort out fact from gossip as he tells his fascinating story. We learn, for example, why David O. Selznick shot the burning of Atlanta before he cast the part of Scarlett O’Hara; why Joan Crawford, Bette Davis, Katharine Hepburn, Lana Turner and Paulette Goddard didn’t get that most sought-after of all movie roles; why Clark Gable was reluctant to play Rhett Butler; and what happened as the flames consumed Atlanta (formerly the sets of King Kong) and Selznick’s brother turned up with an unknown English actress named Vivien Leigh. Why did the movie cost so much to make? Who directed it? (In fact, despite the single credit to Victor Fleming, we learn that three directors had a hand in it, and which of them was responsible for what.) How much did Gone With the Wind earn for its makers? How did its legend begin and how has it perpetuated? The answers are all here.
Lambert goes behind the legend to the reality, which turns out in his telling to be almost as glamorous as the legend itself. At the center of the tale is David O. Selznick, who dominates the succession of directors, cameramen, technicians, and writers he hired and fired in fulfillment of his vision of what the movie was to be, and who brings the project to its triumphant conclusion. Around him are ranged figures from the Hollywood Pantheon, Vivien Leigh, Clark Gable, Leslie Howard, Olivia de Havilland, playing not only Scarlett, Rhett, Ashley and Melanie, but also themselves – and some of Lambert’s most effective pages are those that show them in private. Along with them are portrayed a host of others involved in the project, from George Cukor to F. Scott Fitzgerald; and at home in Atlanta, living her secluded life, determined to have no part in the excitement Selznick was generating daily, is Margaret Mitchell, who responded to her novel’s huge success by never publishing another word.
Gavin Lambert concludes appropriately with a tour through the movie itself, taking the reader from one memorable scene to the next – a tour that, like this book as a whole – is a superb feat of nostalgic evocation.
GAVIN LAMBERT was born in Sussex, England, and was educated at Cheltenham College and Magdalen College, Oxford. He first became well known as a movie critic and editor of Sight and Sound magazine. He has written several novels, including Inside Daisy Clover, The Slide Area, and Norman’s Letter, which received the Thomas R. Coward Memorial Award. He has also written many screenplays and a study of director George Cukor entitled On Cukor.
Hardcover, dust jacket – 238 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 459 g (16,2 oz) – PUBLISHER Atlantic / Little, Brown & Company, 1973 – ISBN 0-316-51284-2