Halle Berry: A Stormy Life – The Unauthorised Biography (Frank Sanello)
Actress Halle Berry is one of the most beautiful women in the world, but her incredible talent of ‘becoming’ the character she portrays led to her being the first African-American in the history of the Academy Awards to win the Best Actress Oscar (for Monster’s Ball) in 2002.
Born to a mixed-race couple and named after her mother’s favorite department store, Halle Berry’s upbringing was marred by her father’s abuse of her mother and sister (though never Berry herself). This, added to the racist taunts she endured at school, only made her even more determined to ‘fit in’ and strive to achieve all her ambitions. By the time she was in her teens, she was prom queen, editor of the school newspaper and top of her class.
Professionally Berry got her big break in the 1991 hit Jungle Fever alongside the formidable Samuel L. Jackson, and in 2000 won a Golden Globe for her depiction of the 50s black actress Dorothy Dandridge, with whom she so closely identifies. She went on to star in films as diverse as The Last Boy Scout, Boomerang, The Flintstones, Bulworth, X-Men, Swordfish, Die Another Day, the latest in the fantastic James Bond series, and reprise her role as Storm in X-Men 2.
Berry’s personal life has often been rocky. Her first marriage to baseball star David Justice ended when he cheated on her. Then, after a series of disastrous (and some abusive) relationships, Halle married the singer Eric Benét, whose daughter India she later adopted. In 2000 she was also involved in a hit and run accident for which she was fined and placed on three years’ probation.
Frank Sanello delves into the life of Halle Berry to uncover the truth about the abuse, the racism and the screen nudity, while also showing how one of the most beautiful and talented women in the world still finds it difficult to get the parts she wants.
FRANK SANELLO is the author of numerous biographies, including those on Tom Cruise, Eddie Murphy, Mark Wahlberg, Julia Roberts, Sharon Stone, James Stewart, Steven Spielberg and Sylvester Stallone. A former film critic for the Los Angeles Daily News, he has been a journalist for, among others, the Washington Post, Chicago Tribune, New York Times Syndicate, People, Cosmopolitan, Penthouse and the Boston Globe.
Hardcover, dust jacket – 262 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 615 g (21,7 oz) – PUBLISHER Virgin Books, Ltd., London, 2003 – ISBN 1-85227-092-6
Halliwell’s Film Guide (edited by John Walker)
“In the fourteen years since Halliwell’s Film Guide first appeared, its size has more than doubled and its scope continues to grow. At the beginning it included essential information on 8,000 English-language talking films. The total is now more than 17,000, with some 1,000 new entries added to this edition. These days, it not only encompasses English-language films but silent classics and foreign films as well” – From The Introduction.
After a life time’s work in the film industry, Leslie Halliwell died in 1989. But his work lives on. After a long search John Walker was chosen to edit this eighth and future editions. More than 150 new entries, amendments and corrections have been added to the ‘King Kong of movie reference works’ (Mail on Sunday). John Walker has also widened the scope of the Guide by including many more foreign-language films that have become classics in other countries and are now readily available with subtitles. Films up to spring 1992 have been entered, making this the most complete guide in the world.
Softcover – 1.264 pp. – Dimensions 21,5 x 16 cm (8,5 x 6,3 inch) – Weight 1.265 g (44,6 oz) – PUBLISHER HarperCollins Publishers, Inc., London, 1992 – ISBN 0-586-09173-4
Halliwell’s Movie Quiz (Leslie Halliwell)
How much do you really know about the movies?
Who played Citizen Kane as a child? What Hitchcock film included a sequence in Radio City Music Hall?
Who wrote Chinatown and co-wrote Shampoo? In which film did Humphrey Bogart play a vampire?
Name the lovers in Love Story, Love Letters, The Love Parade, and Love Under Fire. Most movie quizzes are too easy. Here’s one that isn’t.
Leslie Halliwell challenges you with more than 3,500 questions – plus picture problems, film-poster tests, Laddergram puzzles, and much, much more.
It’s the biggest, toughest, most entertaining film quiz ever!
Softcover – 288 pp. – Dimensions 18 x 11 cm (7,1 x 4,3 inch) – Weight 211 g (7,4 oz) – PUBLISHER Penguin Books, New York, New York, 1977 – ISBN 0 14 00.4937 1
The Hamlyn History of the Movies (compiled by Mary Davies, Janice Anderson, Peter Arnold)
Super-colossal productions… fabulous salaries to stars… scandals… casts of thousands… the film industry has always sought to be bigger and better than life itself. And, in truth, it has affected all our lives. Where is the man who never heard of Bing Crosby, and how long must Greta Garbo be alone before we forget her? Fifty years after his death, Rudolph Valentino still has his fan club.
This book looks at the eighty years of the industry, and pinpoints the landmarks in the history of the film. The great films and stars are here in words and pictures: Kelly singing in the rain, King Kong plucking aircraft from the sky, Buster Keaton defying gravity, John Wayne slaughtering Indians, Clark Gable and Vivien Leigh in Gone With the Wind, Humphrey Bogart, Edward G. Robinson and James Cagney dodging the limousines and the bullets, Errol Flynn winning the war in the Pacific. But Hollywood is not the whole of the story. Sweden, Italy, France, India, Japan, Russia, Great Britain and other countries have had flourishing industries, and earn their place in the book. Directors are as important as stars, and the characteristics of their work are considered. Documentaries, animation, the underground, the avant-garde and censorship are other topics discussed.
The Hamlyn History of the Movies recreates all the excitement and glamor that has been the hallmark of films since they first captured the imagination of the world. A second color throughout the text, together with the 90 color and 200 black and white pictures, makes the book a worthy complement to the industry it celebrates.
MARY DAVIES, JANICE ANDERSON and PETER ARNOLD are editors in a large British publishing house, and have had considerable experience in planning film books and editing the work of other film writers. This is the first time they have ventured into print on the subject themselves, though Janice Anderson and Peter Arnold are authors on other subjects. Enthusiastic picturegoers since childhood, they have long since converted early crushes on film stars into a wide-ranging knowledge and love of the film.
Hardcover, dust jacket – 223 pp. – Dimensions 30,5 x 22,5 cm (12 x 8,9 inch) – Weight 1.210 g (42,7 oz) – PUBLISHER Hamlyn Publishing Group, Ltd., London, 1975 – ISBN 0 600 34482 7
The Hand Behind the Mouse: An Intimate Biography of Ub Iwerks, The Man Walt Disney Called “The Greatest Animator in the World” (Leslie Iwerks, John Kenworthy)
The Hand Behind the Mouse is the story of the artist and inventor whose technical and artistic creations have been seen throughout the world, but whose name has remained virtually unknown. While Walt Disney originated Mickey Mouse’s voice and personality, it was Ub Iwerks who designed his form and movement and brought him to life. Ub spent ten years with Walt Disney, left to start his own studio, and later returned to Disney, where he invented the multiplane camera. While head of the special-effects lab at the Disney Studios, he invented many other revolutionary technologies, including the optical printer, traveling matte system, and the 360-degree motion-picture camera and screen. His breakthroughs garnered him two Academy Awards for technical achievement. Ub Iwerks was a self-taught director, photographer, engineer, and artist; he logged more than two hundred film credits, and he was mentor to some of the industry’s most revered animators, including Friz Freleng and Chuck Jones. The Man Behind the Mouse brings to the fore a man who lived his life behind the scenes. Meet Ub Iwerks, a man we’ve known all our lives.
LESLIE IWERKS is an independent film writer, producer, director, and artist. The Hand Behind the Mouse was written in conjunction with the award-winning feature documentary she produced for Walt Disney Pictures in 1999. Narrated by Kelsey Grammer and featuring Roy Disney, Chuck Jones, Tippi Hedren, Leonard Maltin, John Lassiter, and others, it brings to life for the first time the story of the creation of Mickey Mouse and her grandfather’s lifelong contributions to animation. A graduate of the University of Southern California School of Cinema-Television, Leslie has worked on films for Disney, Universal Pictures, and HBO. Her short film Such a Night has won three top film festival awards. She is currently producing other film and television projects through her company, including an animated feature film and a documentary television series. She resides in Santa Monica, California. JOHN KENWORTHY first fell in love with Ub Iwerks cartoons when he was a fourteen-year-old projectionist at the Capitol Theatre in Newton, lowa. Several decades, more than two hundred interviews, and the co-authoring of The Hand Behind the Mouse later, Kenworthy still loves Ub Iwerks cartoons with the same unabashed zeal he had as a youth. He lives in Kewaskum, Wisconsin, with his wife and three sons. Kenworthy writes both fiction and nonfiction for several publications.
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 – ISBN 078685320-4
A Hand to Guide Me: Inspiring Personal Stories (Denzel Washington, with Daniel Paisner)
Everyone needs a hand from time to time, a gentle nudge to get on track. And you never know when the help you provide will lift someone toward a life of greatness. A Hand to Guide Me showcases how the kindness of mentors has shaped the lives of people you know and respect. In their own words, legendary personalities tell how people stepped up to guide them. From Hank Aaron and Muhammad Ali to Bob Woodward and James Worthy, the voices in this book may be household names now, but they credit their sources to the guidance of others long ago. Seventy-four stories in all, each one is a revelation about how important any one of us can be to the youth around us.
DENZEL WASHINGTON started out far from the film world where he has become an American legend. He learned industriousness by running errands and brushing off clothes for patrons at neighborhood barbershops. Today he is not only an Academy Award-winning actor, he is the national spokesman for the Boys & Girls of America, to which he pledges his proceeds from this book. In his dedication to his youth, he has brought together six dozen people with treasured stories to share about the importance of guiding hands and role models when they were growing up. Working with Denzel Washington and his notable collaborators, best-selling writer DANIEL PAISNER has helped them tell their powerful stories while staying true to their individual voices. Now these voices join in the moving chorus of A Hand to Guide Me, a book that pays tribute to the love and generosity of people taking time to help one another, lifting one life at a time.
Hardcover, dust jacket – 272 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 535 g (18,9 oz) – PUBLISHER Meredith Books, Des Moines, Iowa, 2006 – ISBN 978-0-696-23049-3
Harlow in Hollywood: The Blonde Bombshell in the Glamour Capital, 1928-1937 (Darrell Rooney, Mark A. Vieira)
Scene 1 Harlean Carpenter comes to Hollywood. Scene 2 Hollywood creates Jean Harlow. Scene 3 Her legend lives forever.
At last, the story of how Hollywood shaped a myth and determined a young woman’s reality. A town, a remarkable town, became the backdrop for one of Hollywood’s most incredible stories, a life rife with glamor, pleasure, power, and – in the end – utter sorrow. Her story lives in the pages and breathtaking pictures of Harlow in Hollywood.
When Jean Harlow became the Blonde Bombshell, it was all Hollywood’s doing. She was the first big-screen sex symbol, the Platinum Blonde, the mold for every famous fair-haired superstar who would emulate her. Yes, even Marilyn Monroe followed Harlow’s lead. In her short decade in Hollywood, Harlow created a new genre of movie star – her fans idolized her for her peerless image, her beautiful body, and her gorgeous façade. Harlow in Hollywood is the story of how a town and an industry created her, a story that’s never been told before.
In these pages, renowned Harlow expert Darrell Rooney and Hollywood historian Mark Vieira team to present the most beautiful – and accurate – book on Harlow ever produced. With more than 280 rare images, the authors not only make case for Harlow as an Art Deco artifact, they showcase the fabulous places where she lived, worked, and played – from her white-on-white Beverly Glen mansion to the Art Deco sets of Dinner at Eight to the foyer of the Café Trocadero. Harlow in Hollywood is a must for every buff, Harlow collector, and book lover. Like Harlow herself, Harlow in Hollywood is irresistible.
MARK A. VIEIRA is a filmmaker, photographer, and writer specializing in Hollywood history. His previous books include Hurrell’s Hollywood Portraits, Irving Thalberg: Boy Wonder to Producer Prince, and, with Tony Curtis, The Making of Some Like It Hot. He maintains a portrait studio in the historic Granada Buildings in Los Angeles. DARRELL ROONEY has one of the world’s most significant collections of Jean Harlow photographs and memorabilia. A Hollywood insider, Rooney is an animator and director best known for his Annie Award-winning direction of The Lion King 2: Simba’s Pride. Harlow in Hollywood is his first book. He lives in Los Angeles.
Hardcover, dust jacket – 240 pp., index – Dimensions 31,5 x 23,5 cm (12,4 x 9,3 inch) – Weight 1.700 g (60 oz) – PUBLISHER Angel Press City, Santa Monica, California, 2011 – ISBN 978-1-883318-96-3
Harold Lloyd: Master Comedian (Jeffrey Vance, Suzanne Lloyd; introduction by Kevin Brownlow)
The image of a bespectacled young man dangling from the hand of a clock on the side of a skyscraper high above a city street is one of the most famous and iconic images of American cinema. However, few know the name of the young man, or know that the image is from one of the classics of silent screen comedy, Safety Last! (1923). That young man, Harold Lloyd (1893-1971), was one of the geniuses of early cinema, and created an impressive body of films that are as fresh today as the day they were filmed.
Now, the extraordinary story of this comic master is brought to life in Harold Lloyd: Master Comedian, a unique illustrated survey of Lloyd’s life and career, recalled by his granddaughter Suzanne Lloyd, who was raised by him, and film historian Jeffrey Vance.
Harold Lloyd’s screen character of the young man with horn-rimmed glasses and toothy smile, an irrepressible go-getter who approached everything with determination and optimism, was the perfect embodiment of youth in the Jazz Age. Lloyd’s so-called Glass Character was a just an ordinary man put in extraordinary circumstances.
But Harold Lloyd was more than just a comedian. He was a master filmmaker who took no credit for his contributions beyond that of an actor and producer, yet controlled every aspect of his productions. Lloyd was an innovative and inventive craftsman, a true perfectionist in his art. This resulted in a body of artistically and financially successful silent feature-length comedies during the 1920s, including Grandma’s Boy (1922), Safety Last! (1923), Girl Shy (1924), The Freshman (1925), The Kid Brother (1927) and Speedy (1928).
Lloyd’s real life paralleled the success-oriented plots of his films: a stage-struck youth in Nebraska and Colorado, he journeyed to Los Angeles to start in films, married his leading lady, Mildred Davis, built Greenacres, one of the most spectacular homes in Beverly Hills, retained his wealth throughout his life, attained the highest office in the Shrine, and pursued varied and fascinating hobbies.
This is the first book to have complete and unfettered access to Lloyd’s archives of personal and professional papers, produced and unproduced scripts, studio records, and scrapbooks. It provides a vivid, behind-the-scenes account of Lloyd’s moviemaking – where he found his ideas, how he developed his elaborate and thrilling comic sequences, and the innovative techniques he and his crew employed. Lively commentaries on each of his features as well as a survey of his early work, accompanied by classic stills and never-before published photographs from the vast archives of The Harold Lloyd Trust, portray the truly extraordinary life and career of one of the most important comedians in film history.
JEFFREY VANCE is a film historian and an authority on silent film comedy. He collaborated on two books on Chaplin: Wife of the Life of the Party with Lita Grey Chaplin, and Making Music With Charlie Chaplin with Eric James, as well as Abrams’s Buster Keaton Remembered with Eleanor Keaton. Vance has been involved in the presentation and the restoration of many silent films, including the Harold Lloyd films on behalf of The Harold Lloyd Trust. He earned an M.A. degree in English literature from Boston University and lives in Los Angeles. SUZANNE LLOYD is the granddaughter of Harold Lloyd and the sole trustee of The Harold Lloyd Trust. She was executive producer of the documentary Harold Lloyd: The Third Genius, and author of 3-D Hollywood, a collection of her grandfather’s stereo photography. She lives in Westwood, California, with her two children.
Hardcover, dust jacket – 239 pp., index – Dimensions 30 x 23 cm (11,8 x 9,1 inch) – Weight 1.630 g (57,5 oz) – PUBLISHER Harry N. Abrams, Inc., New York, New York, 2002 – ISBN 0-8109-1674-6
Harold Lloyd’s World of Comedy (William Cahn)
Harold Lloyd is unique and so is this book about him. A comedic immortal who has returned to the limelight recently with two enormously successful reissues of his own film classics, he has talked at length to William Cahn about the “golden age of comedy” he knows so well. Mack Sennett, Charlie Chaplin, Buster Keaton, Mabel Normand, W.C. Fields, Laurel and Hardy, the Marx Brothers – all come to life in personal reminiscences and in more than two hundred photographs in this handsome volume.
Mr. Lloyd’s anecdotes on the comedy of yesterday are supplemented by penetrating comment on today’s admired comics – Lucille Ball, Red Skelton, Jack Lemmon, Dick Van Dyke, and others, from those carrying on the great traditions of slapstick to the recent “sick” phenomenon.
Mr. Cahn, author of many successful books, makes a specialty of working with words and illustrations to portray an era or an individual, thus achieving a new dimension. In Harold Lloyd he has found ideal material.
WILLIAM CAHN is the author of Good Night, Mrs. Calabash: The Secret of Jimmy Durante; The Laugh Makers: A Pictorial History of American Comedians; Einstein: A Pictorial Biography; Van Clilburn; The Story of Pitney-Bowes; and The Story of Writing (co-authored with his wife). When not writing books, he is a public relations and advertising consultant with special interest in commications techniques. A graduate of Dartmouth College, where he was an editor of the daily newspaper, Mr. Cahn has been writing ever since. He is married, has three children, and lives in New Haven, Connecticut.
Hardcover, dust jacket – 208 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 556 g (19,6 oz) – PUBLISHER Duell, Sloan and Pearce, New York, New York, 1964
Harold Lloyd: The Shape of Laughter (Richard Schickel)
“The best of the straight comedians,” Stan Laurel said of Lloyd. Perhaps the funniest. No one knew better than he how to shape a gag, how to top it with one even funnier, how to mix laughter and thrills in a way that is as excruciating as it is hilarious.
Yet this is the first substantial book on Harold Lloyd. His life was – apparantly – too placid to beguile the gossips, his art – apparently – too unshadowed to intrigue the intellectuals. Author Richard Schickel re-examines both, finding the sources of Lloyd’s immortal screen persona, the shy young man in lenseless glasses, in Lloyd’s own experience. Like one of his impersonations of the glasses character, Harold Lloyd came out of Burchard, Nebraska, to realize a familiar version of the American dream, finding fame, the girl, and unimaginable wealth through pluck and hard work. From the extra days (“he seemed to specialize in slippery characters”), through the collaboration with Hal Roach, to the development of independent productions, his career seemed an easy progression. The one serious setback remained carefully hidden – a stupid accident left Lloyd maimed, and made his astonishing athletic feats still more astonishing.
Author Schickel examines the early work and each of the films, following Lloyd’s growth as a shaper of comedy – and making the reader impatient for a chance to see the insouciant idler of Why Worry?, the touching, vulnerable Freshman, the dreamy taxi driver of Speedy. The text and film section is documented with photographs from the rich archives at Lloyd’s estate, many of them previously unpublished, and with frames from the films. A new and complete Lloyd filmography by Eileen Bowser of the Museum of Modern Art Film Library, itself an important contribution to film history, is also included.
The boy dinging precariously to the hands of a clock twelve stories in the air is legendary. Here in this perceptive and amusing book are other images, funny and scary, to set beside him, and a chance to reassess the art of one of the great figures of silent screen comedy.
RICHARD SCHICKEL, film critic for Life from 1965 to 1972, is a reviewer for Time. A graduate of the University of Wisconsin and winner of a Guggenheim Fellowship, he has been active as producer / director / writer of television documentaries, notably the distinguished The Men Who Made the Movies (1973), and is the author of a number of books on film, including The Disney Version; The Stars; Second Sight, and His Picture in the Papers. He lives in New York City with his wife, writer Julia Whedon, and their two children.
Hardcover, dust jacket – 218 pp. – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.115 g (39,3 oz) – PUBLISHER New York Graphic Society, Boston, Massachusetts, 1974 – ISBN 0-8212-0595-1
Harvey Keitel: Movie Top Ten (edited by Jack Hunter)
Harvey Keitel, one of the most versatile and acclaimed actors of recent years, is always willing to take on new, challenging roles ranging from the dissolute cop in Abel Ferrara’s Bas Lieutenant and trigger-happy robber in Tarantino’s Reservoir Dogs, to the tacitrum settler in Jane Campion’s The Piano.
Jack Hunter (author of film studies Inside Teradome and Eros in Hell) has selected his own chronological Top Ten of Harvey Keitel’s movies, which are analyzed in illustrated, in-depth essays by some of the best cutting-edge film critics of today. The result is both an incisive overview of Harvey Keitel as an actor, and an anthology of films by some of the leading cult directors of recent years, including Quentin Tarantino, Martin Scorsese, Nicolas Roeg, Abel Ferrara, Spike Lee, James Toback, and Jane Campion.
Featured films are Reservoir Dogs, Mean Streets, Cop Killer, Bad Timing, Dangerous Game, Fingers, Bad Lieutenant, The Piano, From Dusk Till Dawn, and Clockers.
Softcover – 152 pp., index – Dimensions 24,5 x 17 cm (9,7 x 6,7 inch) – Weight 408 g (14,4 oz) – PUBLISHER Creation Books, 1999 – ISBN 1-871592-87-9
Hattie McDaniel: Black Ambition, White Hollywood (Jill Watts)
Hattie McDaniel is perhaps best known for her performance as Mammy, the sassy foil to Scarlett O’Hara in Gone With the Wind, one of Hollywood’s most revered – and controversial – films. McDaniel’s Oscar win raised hopes that the entertainment industry was finally ready to create more respectful, multidimensional roles for blacks. But under the aegis of studio heads eager to please Southerners, screenwriters kept churning out roles that denigrated the African-American experience.
Where McDaniel’s stature and popularity should have increased after Selznick’s masterpiece came out, as was the case for her white counterparts, hers declined, as an increasingly politicized black audience turned against her. “I’d rather play a maid than be a maid,” is how McDaniel answered her critics. Yet her flippant response belied a woman whose hardscrabble background rendered her emotionally conflicted about the roles she accepted. Here, at last, in a finely tuned biography by Jill Watts, is her story.
Watts, a highly praised researcher and writer, shares little-known aspects of McDaniel’s life, from her dealings with Hollywood’s power brokers and black political organizations to her successful civil rights battle to integrate a Los Angeles neighborhood, revealing a woman hailed by Ebony as an achiever of “more firsts in Hollywood” than any other black entertainer of her time.
A professor of history at California State University and the coordinator of the film studies program at California State University, San Marcos, JILL WATTS has written two previous books, God, Harlem U.S.A.: The Father Divine Story and Mae West: An Icon in Black and White. She lives in San Marcos, California.
Hardcover, dust jacket – 352 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 662 g (23,4 oz) – PUBLISHER HarperCollins Publishers, New York, New York, 2005 – ISBN 978-0-06-051490-7
Haywire (Brooke Hayward)
She was born into the most enviable of circumstances – one of the three beautiful children of charming, successful, beloved parents living at the very center of the most glittering life America had to offer. Who could have imagined that this magical life would shatter, so conclusively, so destructively?
In Haywire, the daughter of Leland Hayward and Margaret Sullavan tells the story of her extraordinary family: the aura of glamor and extreme privilege that surrounded her growing up – beauty, talent, money, grace, joy, all in seemingly infinite supply – and the carelessness and emotional extravagance that were all the while invisibly at work. Until, inevitably, there were destroyed marriages, mental breakdown, tragic death; parents and children alike crippled in crucial, sometimes fatal ways.
About Leland Hayward: he was the most colorful and dynamic of theatrical agents, “the Toscanini of the telephone,” making deals day and night for his clients: Greta Garbo, Ernest Hemingway, Judy Garland, Billy Wilder, Gregory Peck, Boris Karloff, Lillian Hellman, Dashiell Hammett, Fred Astaire… He was elegant, flamboyant, magnetic – with a warm, uncomplicated zest for a life charged with success and style.
About Margaret Sullavan: she was a true star of both Hollywood and Broadway; a superb actress; a spell-casting charmer, beautiful and spirited. “If ever I’ve known someone who was unique, it was Maggie,” said Henry Fonda (they married as kids, got unmarried, almost remarried, raised their families as best friends). She loathed Hollywood and hungered for simplicity. Most of all, she was determined to bring up her children properly, privately; she knew what was right – for them, for Leland, for anyone who came under her spell.
And the children: attractive, intelligent, adored; themselves in thrall to the romance of their parents’ – and their own – lives. Brooke on the cover of Life at 15; Bill into – and out of – the best schools in America; exquisite Bridget plunging into the theater, into a happy love affair.
Suddenly, Bridget’s death at 21 – suicide? Epilepsy? Bill, in and out of Menninger’s, Maggie and Leland divorced, miserable apart and impossible together; Maggie rejected by two of her children, hating her work, dying suddenly in a New Haven hotel during pre-Broadway tryouts…
What went wrong? What was wrong? With amazing courage and control, Brooke Hayward recreates her past, and her family’s. While, in counterpoint to her narrative, the witnesses – others who knew and loved the Haywards – give us their own memories: the Fondas, James Stewart, the Mankiewiczes, Truman Capote, Diana Vreeland…
Haywire takes us into fascinating lives, little by little revealing the disparity between their outer and inner circumstances, Brooke Hayward’s story moves and galvanizes the reader – as a sharing of her own impassioned search for understanding, and as an incomparable portrayal of Hollywood and Broadway in their halcyon days.
Hardcover, dust jacket – 325 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 699 g (24,7 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1977 – ISBN 0-394-49325-7
Hearst Over Hollywood: Power, Passion, and Propaganda in the Movies (Louis Pizzitola)
Hollywood – crossroads of filmmaking, mythmaking, and politics – was dominated by one man more than any other for most of its history. It was William Randolph Hearst who understood how to use cinema to exploit the public’s desire for entertainment and to create film propaganda to further his own desire for power. From the start, Hearst saw his future and the future of Hollywood as one and the same. He pioneered and capitalized on the synergistic relationship between yellow journalism and advertising and motion pictures. He sent movie cameramen to the inauguration of William McKinley and the front lines of the Spanish-American War. He played a prominent role in organizing film propaganda for both sides fighting World War I. By the 1910s, Hearst was producing his own pictures – he ran one of the first animation studios and made many popular and controversial movie serials, including The Perils of Pauline (creating both the scenario and the catchphrase title) and Patria. As a feature film producer, Hearst was responsible for some of the most talked-about movies of the 1920s and 1930s. Behind the scenes in Hollywood, Hearst had few equals – he was a much-feared power broker from the Silent Era to the Blacklisting Era.
Hearst Over Hollywood draws on hundreds of previously unpublished letters and memos, FBI Freedom of Information files, and personal interviews to document the scope of Hearst’s power in Hollywood. Louis Pizzitola tells the hidden story of Hearst’s shaping influence on both film publicity and film censorship – getting the word out and keeping it in check – as well as the growth of the “talkies,” and the studio system. He details Hearst’s anti-Semitism and anti-Communism, used to retaliate for Citizen Kane and to maintain dominance in the film industry, and exposes his secret film deal with Germany on the eve of World War II.
The author also presents new insights into Hearst’s relationships with Marion Davies, Will Hays, Louis B. Mayer, Franklin D. Roosevelt, Benito Mussolini, Adolf Hitler, and the Kennedys. Hearst Over Hollywood is a tour de force of biography, cultural study, and film history that reveals as never before the brilliance and darkness of Hearst’s prophetic connection with Hollywood.
LOUIS PIZZITOLA is a visual artist and an amateur filmmaker.
Hardcover, dust jacket – 525 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 923 g (32,6 oz) – PUBLISHER Columbia University Press, New York, New York, 2002 – ISBN 0-231-11646-2
Heartbreaker: A Memoir of Judy Garland (John Meyer)
“Will you marry me? I never asked anyone before… but will you marry me?” The voice belonged to songwriter John Meyer. “Why, yes… if you want me.” The woman was the fabled Judy Garland. They met in October 1968. He entertained in a piano bar on Manhattan’s Upper East Side. She was a tarnished icon whose personal and professional troubles were as notorious as her prodigious talent. Now John Meyer shares intimate memoirs of how he unexpectedly fell in love with a star whose light had dimmed, how he found the courage to go back to bat for her and even try to put her “back up there” against all odds.
Heartbreaker is the true story of one man’s obsessive involvement with a celebrity who was penniless, self-destructive… and beloved. To many she was the wistful girl dancing down the yellow brick road, the wondrous young woman singing on the St. Louis trolley or, smeared in tears, on the apron of a darkened stage. Meyer tells how he and Garland fell for each other, how he valiantly tried to save her from pills, alcohol, and her own erratic behavior. And how he grappled with something he was totally unprepared for: romance with his idol – a near mythic, tragic figure who had become flesh and blood.
Here are choice tidbits about Garland’s marriage to MGM director Vincente Minnelli and her relationship with her children. Here are vivid snapshots of manipulative agent David Begelman, bumptious co-star Mickey Rooney, and sympathetic composer Harold Arlen (“Over the Rainbow”), each surfacing in Garland’s life, whirled about in her own downward spiral. Here, finally, is the devotion and support given by a man who stumbled upon her at a time when the wide-eyed girl from The Wizard of Oz had lost her faith in the rainbow’s glow. A must-have for fans, Heartbreaker features rarely seen Garland photos of the era and a CD of never-released rehearsal recordings of Garland singing – and joking – with Meyer at the piano.
JOHN MEYER is a songwriter / novelist who plays the piano in cafes and cabarets. His song “I’d Like to Hate Myself in the Morning” was introduced by Judy Garland and made famous by Shirley Bassey. “After the Holidays,” introduced by Judy, has been recorded by Margaret Whiting and Paula West. “Hate Myself,” introduced by Judy, has just been recorded by Linda Eder.
Hardcover, dust jacket – 322 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 662 g (23,4 oz) – PUBLISHER Citadel Press Books, New York, New York, 1983 – ISBN 0-8065-2745-4
The Heart of Hollywood: A 50-Year Pictorial History of the Film Capital and the Famed Motion Picture and Television Relief Fund (Bob Thomas; foreword by Gregory Peck)
This lively pictorial history covers the 50 fabulous years between the founding of the film industry’s favorite charity, The Motion Picture Relief Fund, in 1921 (later, The Motion Picture and Television Relief Fund), and the present. It celebrates – in pictures – the colorful history of the Hollywood community and – in words – the remarkable achievement of the Fund, which is unique to the film community.
Virtually all the famous movie people figures, from Mary Pickford to Ann-Margret, William S. Hart to Clint Eastwood, are pictured as they lived and played away from the cameras, in the 1920s, 30s, 40s, 50s, 60s, and 70s. The photographs comprise a rare collection. Most have never appeared in book form and many have never been published anywhere. They took over a year to collect and came from dozens of sources, including the private collections of Mary Pickford, Samuel Goldwyn, Bob Hope, Ken Murray and Jack L. Warner.
The Heart of Hollywood also tells the story of the film industry’s own charity, The Motion Picture and Television Relief Fund, a unique organization to which so many of Hollywood’s leading citizens have contributed their time and talents. “We take care of our own,” is the motto of the Fund. It has never been more appropriate than today, as The Motion Picture and Television Relief Fund celebrates its golden anniversary.
BOB THOMAS has been Associated Press Hollywood correspondent for more than 25 years and has written 15 books on the movie industry, including biographies of Walt Disney, Harry Cohn, Irving G. Thalberg and David O. Selznick.
Hardcover, dust jacket – 110 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 581 g (20,5 oz) – PUBLISHER Price / Stern / Sloan Publishers, Inc., Los Angeles, California, 1971
Heart to Heart With Robert Wagner (Diana Maychick, L. Avon Borgo)
Robert Wagner’s name instantly conjures up images of sophistication, elegance, and charm. Says his good friend, Gerald Browne, best-selling novelist, “In real life he’s more like Cary Grant than Cary Grant himself.” Star of TV’s It Takes a Thief, Switch, and Hart to Hart, R.J. Wagner has achieved a reputation as an instant money-maker. With the remarkable ability to be both polished and mischievous, urbane and boyish, he reigns unchallenged as television’s Prince Charming.
But who is the man beneath the charm? And how did he win his enormous success? Diana Maychick and L. Avon Borgo answer these questions as they reveal the private life of this much-loved actor.
Heart to Heart with Robert Wagner offers its readers a rare glimpse into the stormy life of a Hollywood legend. It contains an in-depth account of Robert’s early years as a struggling novice, from the days when he coaxed his way onto the back lots of major studios to the more difficult periods, when he learned how to charm the delicate egos of major reviewers and movie stars. Maychick and Borgo also unveil his personal life, which has been filled with even more conflict and complexity. Heart to Heart details Robert’s passionate romance with Natalie Wood, their stormy first marriage and subsequent remarriage, and his painful, poignant recovery after her tragic death. Here is a fascinating, candid look into Robert Wagner’s private domain.
DIANA MAYCHICK, author of Meryl Streep: The Reluctant Superstar (SMP, 1984), lives in New York City with her co-author husband, L. AVON BORGO. She is a columnist for the New York Post, and he attends Columbia University’s Business School.
Hardcover, dust jacket – 173 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 353 g (12,5 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1986 – ISBN 0-312-36413-X
Hellman in Hollywood (Bernard F. Dick)
Lillian Hellman is best known for her work in the theater – as the author of such plays as The Children’s Hour, The Little Foxes, and Watch on the Rhine – and for her memoirs – An Unfinished Woman, Pentimento, and Scoundrel Time. Much of Hellman’s work has also been adapted for the movies, however, and for many years Hellman herself was deeply involved in writing film scripts and adapting the work of others for the screen. It is this less widely acknowledged aspect of Hellman’s career – i.e., her contributions to the American film as a playwright, screenwriter, and adapter – that Bernard F. Dick explores in Hellman in Hollywood.
The book is arranged chronologically. It begins with Hellman’s arrival in Hollywood as a reader at MGM in 1930 and continues with an account of her years as a screenwriter for such producers as Samuel Goldwyn, Hal B. Wallis, and Sam Spiegel. The author examines the controversy that surrounded her only original screenplay, The North Star (1943), her blacklisting during the McCarthy era, and her return to the public eye in the early sixties with the film versions of The Children’s Hour, and Toys in the Attic.
Through a critical analysis of each play and its corresponding film script, the author attempts to resolve the perennial question about adapting literary works for the movies: did the adaptation achieve as a film what the original had achieved as literature? Through a careful examination of the merit of the original written work, and the contributions made to the final movie product by the screenwriter, director, producer, and cast, the author is able to provide a conclusive answer to the question of film adaptation by bringing to light the accuracies and inaccuracies, the merits and defects, of the film that resulted in each particular case.
Finally, the author examines the most controversial film ever made from any Hellman work, Julia. This film, based on a sketch, in Hellman’s second memoir, Pentimento, tells the story of a childhood friend who later became involved in the underground resistance and was killed by the Nazis in 1938. Certain critics have challenged some of Hellman’s recollections and have remained skeptical that “Julia” is a true portrait of a real woman. Hellman in Hollywood concludes with an attempt to show how the woman called Julia, whoever she was, is a recurring figure in Hellman’s plays, even in The North Star. Whatever one may think of Hellman’s memoirs or her memory, the movie version of Julia is one of the few American films to portray a mature friendship between two intelligent women, as a comparison with other films about women, particularly those of the 1930s and 1940s, makes clear.
This book is illustrated with stills from each of the films discussed. The author has included an extensive Lillian Hellman filmography and a bibliography of Hellman’s works.
BERNARD F. DICK was born in Scranton, Pennsylvania. He received his B.A. in classics and literature from the University of Scranton in 1957 and his Ph.D. in classics from Fordham University in 1962. He taught classics at Iona College from 1961 to 1970, serving as department chairman from 1967 to 1970. Since 1970, he has been a member of the Department of English and Comparative Literature at Fairleigh Dickinson University (Teaneck-Hackensack Campus), where he served as department chairman from 1973 to 1979. Currently a professor of English and Comparative literature, he also regularly teaches courses in film criticism and history. The author of six books and numerous articles, he is also a member of the editorial board of the Quarterly Review of Film Studies. His articles have appeared in such journals as Georgia Review, Sewanee Review, Southern Quarterly, Literature and Film Quarterly, Comparative Literature, and College English. His book reviews have appeared in Contemporary Literature, Quarterly Review of Film Studies, World Literature Today, and Saturday Review. He is married to Katherine Restaino, Dean of Saint Peter’s College at Englewood Cliffs (New Jersey).
Hardcover, dust jacket – 183 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 321 g (11,3 oz) – PUBLISHER Fairleigh Dickinson Press, Rutherford, 1982 – ISBN 0-8386-2140-1
A Hell of a Life: An Autobiography (Maureen Stapleton, with Jane Scovell)
In this candid, often hilarious, always engaging memoir, one of America’s most beloved actresses looks at a lifetime filled with tremendous struggle, major triumphs, and many, many friends.
She has won all the awards – the Oscar, the Tony, the Emmy – yet Maureen Stapleton has never really been a “celebrity,” at least not in the way that American celebrity watchers define the term. This is due in part to the kinds of roles she has played over her long career, most of them variations on the classic “everywoman” – down-to-earth, “real” characters in whom other women could see reflections of themselves. The greatest factor, however, has been her own natural modesty and an unwillingness to “go Hollywood” (or even go to Hollywood, for that matter, since she is unapologetic about her fear of flying).
Celebrity or not, Maureen Stapleton is a true “actor’s actor,” beloved and revered by her fellow performers. Among these colleagues, however, her persona is as celebrated as her talent. In a business full of characters, she is known for her brilliant acting, great heart, undying loyalty, quick wit, excessive drinking, impetuous ill-fated love affairs, and gift for profanity. She is a classic, one of the finest actresses America has ever produced. She created the starring roles in such Tennessee Williams plays as The Rose Tattoo and Orpheus Descending, and has appeared in the works of just about every other outstanding American playwright of recent memory, including Neil Simon, William Inge, Arthur Miller, and Lillian Hellman. She has appeared in many films, including the screen adaptation of Neil Simon’s Plaza Suite and Warren Beatty’s production of Reds, for which she won the Academy Award.
Alas, triumphs on stage and screen have not always been matched on the personal front, a reality about which she is startlingly forthcoming. She is particularly blunt when it comes to her tumultuous love life. lndeed, Neil Simon is alleged to have taken chunks of Maureen’s own experience and fashioned it into The Gingerbread Lady, a play about an alcoholic entertainer, trying to deal with recovery, a younger lover, and a teenage daughter. What lifts the play well above soap opera is the incredible humor, and it is that same humor that pervades Maureen Stapleton’s life. She is one funny lady.
She has also been blessed with some of the most interesting – and loyal – friends anyone could hope to read about. Her autobiography is filled with stories about such legends as Elizabeth Taylor, Marlon Brando, Montgomery Clift, Marilyn Monroe, Lillian Hellman, and Sir Laurence Olivier, to name a few. But at the heart of it, of course, is Maureen Stapleton, the little girl from a broken yet devoutly Catholic home in Troy, New York, who loved the movies and loved the stage, who came to New York City to pursue her dream of someday meeting Joel McCrea.
It isn’t giving away too much of the story to reveal that she did finally realize her dream – and along the way evolved into a wonderful actress who became a great star herself. Maureen Stapleton is definitely one of a kind, and this is her story, as only she could tell it.
MAUREEN STAPLETON lives in Lenox, Massachusetts. JANE SCOVELL has co-authored a number of books by celebrated people, including Elizabeth Taylor, Marilyn Horne, and Kitty Dukakis. She is currently at work on a biography of Oona O’Neill Chaplin. She lives in New York City.
Hardcover, dust jacket – 285 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 603 g (21,3 oz) – PUBLISHER Simon & Schuster, New York, New York, 1995 – ISBN 0-684-81092-1
A Hell of a War (Douglas Fairbanks, Jr.)
In 1941, six weeks before Pearl Harbor, the star of Gunga Din and The Prisoner of Zenda, now a newly commissioned lieutenant, began his naval service, leaving behind his wife and baby daughter, as well as a flourishing film career. But, unlike so many Hollywood heroes who never heard a shot fired, Fairbanks spent most of his time in harm’s way – including gruelling experiences aboard a destroyer in the North Atlantic, followed by combat in various parts of the Europe.
In this vivid and often highly amusing autobiography, Douglas Fairbanks, Jr., recalls his war years and the towering figures – including Franklin D. Roosevelt, General Patton, King George VI, Marshal Tito, the Mountbattens – who play significant roles in this fast-paced, enthralling story.
With his candid and intimate style, he also recounts the many lighter moments, most notably in wartime London where the falling bombs took second place to frolics with old friends such as Laurence Olivier, Vivien Leigh, Noël Coward, and David Niven. His insightful and detailed recollections of these action-packed war years are both powerful and poignant, and are bound to delight his countless fans around the world.
DOUGLAS FAIRBANKS, Jr., is one of Hollywood’s most beloved actors. He lives in New York City.
Hardcover, dust jacket – 278 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 673 g (23,7 oz) – PUBLISHER Robson Books, London, 1993 – ISBN 0-86051-964-3
Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed (Robert Sellers)
Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed: on screen they were stars. Off screen they were legends! Hellraisers is the story of drunken binges of near biblical proportions, parties and orgies, broken marriages, riots, and wanton sexual conquests. lndeed, acts so outrageous that if you or I had perpetrated them we could have ended up in jail. Their mercurial acting talent and love from the press and the public allowed them to get away with the kind of behavior that today’s film stars could scarcely dream of. They were truly the last of a breed, the last of the movie hellraisers.
This book traces the intertwining lives and careers of Burton, Harris, O’Toole, and Reed, plus an assortment of other movie boozers who crossed their path. It’s a celebratory catalogue of their miscreant deeds, a greatest-hits package, as it were, of their most breathtakingly outrageous behavior, told with humor and affection, lashings of political incorrectness, and not an ounce of moralizing. You can’t help but enjoy it – after all, they bloody well did.
ROBERT SELLERS is the author of eight books. He contributes regularly to Empire, Total Film, Cinema Retro, and The Independent. A former stand-up comedian, Robert lives in the United Kingdom with his wife and daughter.
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 – ISBN 978-0-312-55399-9
Henry Fonda: A Bio-Bibliography (Kevin Sweeney)
The life and career of Henry Fonda, one of Hollywood’s greatest stars, are detailed in this bio-bibliography that places equal emphasis on the actor’s professional and private lives.
The reference provides a complete and detailed guide to Fonda’s films, television, theater, radio, recordings, awards, video releases, and a comprehensive bibliography.
A detailed index makes it easy to look up every significant actor and filmmaker with whom Fonda worked. Also included are filmographies of Jane and Peter Fonda.
Researcher KEVIN SWEENEY has compiled a self-contained reference work to Henry Fonda’s career and life.
Hardcover – 278 pp., index – Dimensions 24 x 15,5 cm (8,5 x 5,7 inch) – Weight 656 g (23,1 oz) – PUBLISHER Greenwood Press, Westport, Connecticut, 1992 – ISBN 0-313-26571-2
He Ran All the Way: The Life of John Garfield (Robert Nott; foreword by Julie Garfield)
“In the fall of 1989, I got a call from a young man who wanted to write a play about my father. He’d gotten my number from a mutual friend. I agreed to meet with him, even though I secretly hated him for bringing the most painful part of my past back to me… So here was this young guy (or should I say young fool?) who thought he was actually going to get my father’s real story out there for the first time… [He] walks into my little apartment on West 44th Street and he’s all open, all heart. There’s something about [him]… maybe it’s the way his clothing hangs on him that kind of brings back the forties. It was as if he’d returned from that time my father had lived in. It even occurred to me that it could be my father coming back, to tell the true story for all the world to know…
Robert Nott was consumed with John Garfield’s life and career. He was determined and unflappable in his search for the truth, and best of all, he was full of soul, full of sensitivity and awareness of the kinds of questions he needed to ask, and the pain they might cause. I knew from the moment I met him that he deserved to succeed in this effort of his, because it was coming out of something so pure, so sincere and so full of love, it was as if he were on a mission to enlighten and to set the record straight about John Garfield…
Nott never did write a play; he wrote this biography instead. He talked to loads of people I knew, many of them dead now. I’d occasionally get a call from one of them: ‘Some guy who’s writing a book wants to talk to me about your father. Is he OK?’ ‘Yeah, he’s OK. He’s a great guy,’ I’d answer. ‘Tell him everything you know. He’s going to write something very good, I just feel it.’ And he did.” – From The Foreword by Julie Garfield
George Hurrell, the great Hollywood portrait photographer, in recalling shooting sessions with John Garfield, said, “He was a strange, fascinating guy. He couldn’t sit still. There was a frantic air about him… He never thought he was good looking. ‘I’m a mug,’ he would laugh, ‘just a mug’… But occasionally… he’d look at the proofs and say, ‘Ain’t too bad for a kid from the Bronx, eh?’ and he’d roar with laughter.”
Here that thumbnail sketch has been vastly enlarged and deeply enriched with detail, but never airbrushed, and has become He Ran All the Way. In a sense, Garfield never left the Bronx. He began his acting career not far away, on Broadway as a member of the Group Theater in the mid-thirties. But soon, seduced by the myth of Hollywood and the reality of Warner Brothers, he made his movie debut, in 1938, in Four Daughters, and immediately established himself as an earthy, rebellious and electrifying presence on the screen – in retrospect the James Dean of the Depression era. Frequently cast as a law-breaker, in such films as They Made Me a Criminal, Dust Be My Destiny, Castle on the Hudson and, late in his career, the cult favorite Force of Evil, Garfield went on to give memorable performances in The Postman Always Rings Twice (with Lana Turner), Body and Soul and Gentleman’s Agreement.
Married to a teenage sweetheart, from whom he was never divorced, Garfield soon earned the reputation of a womanizer. And, reflecting the values of his upbringing and the political climate at the time, he staunchly supported leftist causes. Called to testify before HUAC, he refused to name names, and as a result, by the early 1950s his screen career was cut cruelly short by the Hollywood blacklist. He returned to acting on Broadway, and at the age of 39 he died in New York, in the Gramercy Park apartment of a woman who was not his wife.
This biography, superbly researched over a period of more than 10 years and compellingly written, is as exciting as the best of Garfield’s films.
New York-born ROBERT NOTT is an arts and entertainment reporter for The Santa Fe New Mexican and writes primarily about theater and film. He is a graduate of New York City’s American Academy of Dramatic Arts and has worked as an actor, playwright and director. In his pre-artistic days he was an intelligence analyst for the United States Air Force. He lives with his wife, cats and dog in Santa Fe, New Mexico. Mr. Nott’s earlier book was The Last of the Cowboy Heroes (2000).
Hardcover, dust jacket – 354 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 822 g (29 oz) – PUBLISHER Limelight Editions, New York, New York, 2003 – ISBN 0-87910-985-8
Heyday: An Autobiography (Dore Schary)
“The years in Hollywood had, in Samuel Johnson’s words, been a ‘heyday’: an expression of frolick and exultation, and sometimes of wonder.”
In Heyday, Dore Schary recalls twenty-seven tempestuous, fruitful, kaleidoscopic years in Hollywood and his meteoric rise through the ranks from aspiring screenwriter to virtuoso producer, executive, and ultimately head of the biggest and most powerful Hollywood motion picture studio of the era, Metro-Goldwyn-Mayer.
This fascinating account of Hollywood’s golden age, and Schary’s intimate association with it, traces his struggle upward from his first amateur theatrical attempts – as social direct or at Jewish boys’ camps and on the Borscht Circuit – to his first professional appearances in the theater, as an actor alongside Paul Muni and Spencer Tracy, and to the early shoestring years in Hollywood amassing script credits. Then ensued years of power, prestige, and accomplishment as studio chief for RKO and MGM, and a triumphant return to New York and the theater in 1958, with his distinguished play Sunrise at Campobello.
In this candid and intimate memoir, Schary creates an incomparable picture of Hollywood as he knew it: from the palmy thirties when Broadway playwrights and screenwriters lounged in the “writers’ building,” waiting for script assignments, to the “Hollywood political warfare” of the fifties, when Senator Joseph McCarthy’s Red Hunt followed the House Un-American Activities Committee investigation of the entire motion-picture industry. One of Hollywood’s most renowned liberals – active in the Jewish Anti-Defamation League, a potent force in Democratic politics, and an ally of Adlai Stevenson, Harry Truman, and John F. Kennedy – Schary refused to knuckle under when most of his fellow moguls blacklisted their suspect studio employees.
Here are close-ups of the men who molded the motion picture industry: legendary magnate Louis B. Mayer, who ruled his vast domain at MGM arrogantly, possessively and, when necessary, ruthlessly; the talented and memo-mad David O. Selznick; the taciturn, mysterious Howard Hughes. In stories by turns funny and sad, Schary remembers the glittering stars he has worked with – Spencer Tracy, Cary Grant, Myrna Loy, Clark Gable, Loretta Young, Robert Walker, Judy Garland, Gene Kelly and Marlon Brando – and provides inimitable observations about the production of such memorable hits as Boys Town, The Farmer’s Daughter, Battleground and Bad Day at Black Rock.
Until now, no one who has enjoyed the pinnacles of power in Hollywood has ever given as clear, as frank, and as thoughtful a portrait of the movie industry. Neither the series of familiar anecdotes that pass for much Hollywood reportage, nor the teasing confessions of a once-bright star, Heyday is an Oscar-winning writer’s revelation of the power game as it is played in the entertainment capital of the world. He takes the reader behind the scenes and throws the spotlight on the awesome struggles between Louis B. Mayer and Nicholas Schenck to control giant MGM. When, in 1957, Dore Schary was eventually ousted from the studio by the forces that he had long managed so well, he astonished his Hollywood detractors by writing a smash hit for Broadway – Sunrise at Campobello. His close association with Eleanor Roosevelt and her family in the enterprise and its triumph marks a warm and exuberant conclusion to a fascinating, greatly entertaining story.
Hardcover, dust jacket – 389 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 858 g (30,3 oz) – PUBLISHER Little, Brown and Company, Boston, Massachusetts, 1979 – ISBN 0-316-77270-4
Heyday: An Autobiography (Dore Schary)
“On the nineteenth of November, 1956, the Monday before Thanksgiving, I was in New York on my way to Joe Vogel’s office at MGM. He had recently been elevated to the position of president of Loew’s, Inc., which was the parent company of MGM films. There had been seismic rumblings in the trade press and some of the weekly journals indicating that my job as head of the studio and vice-president in charge of production was in jeopardy. Stories about executives, who are about to be jettisoned are seldom totally fictitious. Most often they are planted from ‘a reliable source.’
Therefore, on the previous Tuesday I had called Vogel to ask if he intended to issue a statement denying the recurring rumors of my soon-to-be departure. His answer told me all I wanted to know: ‘I’m not going to make any statements, and I don’t want you to make any, and I want you to be in New York by next Monday morning.’ Joe had been president for only three weeks and his telephone voice had abruptly switched from ‘Hi, Dore’ to ‘This is your leader!’
My wife, Miriam, and I arrived in New York Sunday morning. When I called Vogel to ask if we could meet that day rather than Monday morning, he said no. He would have his secretary call me and tell me when to come to his office – very likely it would be around eleven o’clock.
I told Miriam to enjoy the day and prophesied it would be her last day as the wife of the head of MGM. ‘By tomorrow you’ll be the wife of an unemployed former writer.’ So that Monday morning I was walking from the Sherry-Netherland Hotel west on Central Park South to Seventh Avenue and was strolling toward the Loew building between West 46th and West 45th streets. Since I had started early, I was walking slowly, feeling a bit as if I were in a tumbrel, knowing that I was headed for the guillotine but not knowing why.
In times of distress I had always suggested to my kids to tote up lists of good things and bad things – the pluses and minuses – the affirmatives and the negatives. That’s what I was doing. Affirmative, plus, good: I was fifty-one, in good health, and was quite strong. Miriam, whom I adore, and I had been married for over twenty-four years; we had three children, Jill, twenty, Joy, eighteen, Jeb, sixteen. We owned a home free and clear in Brentwood, California, and had between us and the kids six cars, scads of clothing, jewelry, no debts, and about eighty thousand in cash and bonds. We also had a host of good friends and many interests besides film in political, community, and Jewish affairs. Finally, I had a library of about three thousand books that had given me a liberal education.
Negative, minus, bad: my rueful reckoning reminded me that I had made millions in California but had watched them hustle through my fingers for taxes, charities, the care of a number of people, extravagances, and a lack of interest in future security. Also, I knew that in a few days when public announcements were made, I would be identified as the ‘former head of MGM.’ Having seen the fate of former studio heads, including the most famous, I knew that in California you could, with such a forlorn identity, disappear without a trace, much as a stone can be slipped into water without leaving a ripple. There was no bitterness in that observation. I simply knew it was true in Hollywood as it was in politics. It is a tribal rite. The chief is dead – long live the chief. Since it had been so for L.B. Mayer, it certainly was going to be so for me. (It occurred to me that the staff always called the new man ‘Chief,’ perhaps to avoid forgetting whom they were addressing – it wouldn’t have done to call me ‘L.B.’) Also on my minus list was the manner in which I suspected Vogel (this new president of MGM) was going to dump the manure on my head.
Finally, I was in front of the Loew building, and a minute later I was in Vogel’s office.” – From chapter 1.
Softcover – 404 pp., index – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 237 g (8,3 oz) – PUBLISHER Berkley Books, New York, New York, 1981 – ISBN 0-425-04805-5
Hidden Star: Oona O’Neill Chaplin, A Memoir (Patrice Chaplin)
“She gave Charlie her support, humor, wit, love, ideas and it gave him the energy to continue. At a family lunch in the Savoy, Charlie said: ‘It took me 54 years to find happiness. It was worth waiting for.’ And he held Oona’s hand and looked into her eyes. After thirty years of marriage, they were still lovers. She was the perfect wife, then. Being the widow was another matter. She couldn’t find herself in the role. She tried for a while to have a different sort of life. Sociability, a Manhattan apartment, possibly another marriage. But she said nothing was ever as bright or happy now. Charlie had gone. She remembered the lovely years with him and mourned them… Rather than the new American life, she returned to the home she’d shared with Charlie in Switzerland. The memories pulled her back. She gave an impression of shyness and modesty but the dark eyes were disconcerting in their appraisal. She was in fact down to earth, utterly discerning, had a marvellous wit and sharp intelligence… She was not at all the shy, fluttery person. That was just for people she didn’t know. She was a wonderful raconteur and many thought it a shame she didn’t put her talent with words into an account of her highly visible yet mysterious life.” – From Patrice Chaplin’s appreciation of Oona O’Neill Chaplin (1925-1991) in the Guardian, October 2, 1991
Daughter of the celebrated American playwright Eugene O’Neill, Oona was only seventeen when she went to Hollywood, where she was put under contract by Charles Chaplin. Chaplin soon fell in love with the girl he described as a “luminous beauty.” Although he was three times her age, in 1943 she married him, and so began one of the century’s most famous marriages. Abandoning the film career she had planned, Oona bore Chaplin eight children, and brought him tremendous happiness and support until his death in 1977. She also incurred her father’s everlasting fury.
Few people really knew the woman whose own star was obscured when she sacrificed her ambitions to give Chaplin all the limelight. From the first moment of meeting Oona – after a much sensationalized marriage to the Chaplins’ eldest son Michael – Patrice Chaplin was captivated by her mother-in-law’s beauty and charismatic charm. Over the years, she discovered a multi-faceted personality who left an indelible impression on those who knew her: despite her domestic role, she was still able to take centre stage and dazzle her audience.
Drawing on her personal recollections, and writing with both wit and warmth, Patrice Chaplin reveals the true identity behind the public image of the devoted wife. Hidden Star takes us through splendid hotel suites and apartments in London and New York, and inside the Chaplins’ elegant home in Switzerland, where Oona built a secret glittering world as a widow, until the tragic darkness of her O’Neill inheritance finally destroyed her.
PATRICE CHAPLIN is the author of ten works of fiction; a biography of Jeanne Hébuterne, Modigliani’s mistress, which is currently being staged for the theater; and various radio plays, journalism and short stories.
Hardcover, dust jacket – 204 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 520 g (18,3 oz) – PUBLISHER Richard Cohen Books, London, 1995 – ISBN 1986066-002-9
Hide In Plain Sight: The Hollywood Blacklistees in Film and Television, 1950-2002 (Paul Buhle, Dave Wagner)
Hide in Plain Sight is Paul Buhle and Dave Wagner’s last book in a trilogy that explores the era of the Hollywood blacklist and its aftermath. Here, Buhle and Wagner take up the question of where the blacklistees went after they were driven out of Hollywood. Intriguingly, a good number left Hollywood for careers in television, with many of them working in children’s and family programming such as The Bullwinkle Show, Daktari, Lassie and Flipper. Many wrote adult sitcoms such as Hogan’s Heroes, The Donna Reed Show, The Dick Van Dyke Show, M*A*S*H, Maude and All in the Family, while others worked on dramatic series with socially progressive themes such as Justice, Naked City, The Defenders and East Side / West Side.
Ultimately, many returned to Hollywood in the sixties and seventies to work creatively on films that contained a dose of radical politics and influenced the development of film in those decades. The list of impressive films from the survivors of HUAC includes Rififi, The Go-Between, Norma Rae, The Front, Bridge on the River Kwai, Lawrence of Arabia, Planet of the Apes, Midnight Cowboy and Coming Home. Though they were banished from Hollywood, these men and women clearly never stopped writing and directing. Hide in Plain Sight is a thoughtful look at the aftermath of the horror that was the McCarthy era from two expert historians of the blacklist period.
PAUL BUHLE teaches History and American Civilization at Brown University. He lives in Rhode Island. DAVE WAGNER has co-authored a number of books with Paul Buhle, including the recent Radical Hollywood. He lives in Tempe, Arizona.
Hardcover, dust jacket – 328 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 657 g (23,2 oz) – PUBLISHER Palgrave Macmillan, New York, New York, 2003 – ISBN 1-4039-6144-1
High on Arrival: A Memoir (Mackenzie Phillips)
Autographed copy Mackenzie Phillips
Not long before her fiftieth birthday, Mackenzie Phillips walked into Los Angeles International Airport. She was on her way to a reunion for One Day at a Time, the hugely popular 70s sitcom on which she once starred as the lovable rebel Julie Cooper. Within minutes of entering the security checkpoint, Mackenzie was in handcuffs, arrested for possession of cocaine and heroin.
Born into rock and roll royalty, flying in Learjets to the Virgin Islands at five, making pot brownies with her father’s friends at eleven, Mackenzie grew up in an all-access kingdom of hippie freedom and heroin cool. It was a kingdom over which her father, the legendary John Phillips of The Mamas & the Papas, presided, often in absentia, as a spellbinding, visionary phantom.
When Mackenzie was a teenager, Hollywood and the world took notice of the charming, talented, precocious child actor after her star-making turn in American Graffiti. As a young woman she joined the nonstop party in the hedonistic pleasure dome her father created for himself and his fellow revelers, and a rapt TV audience watched as Julie Cooper wasted away before their eyes. By the time Mackenzie discovered how deep and dark her father’s trip was going, it was too late. And as an adult, she has paid dearly for a lifetime of excess, working tirelessly to reconcile a wonderful, terrible past in which she succumbed to the power of addiction and the pull of her magnetic father.
As her astounding, outrageous, and often tender life story unfolds, the actor-musician-mother shares her lifelong battle with personal demons and near-fatal addictions. She overcomes seemingly impossible obstacles again and again and journeys toward redemption and peace. By exposing the shadows and secrets of the past to the light of day, the star who turned up High on Arrival has finally come back down to earth – to stay.
MACKENZIE PHILLIPS, born Laura Mackenzie Phillips in 1959, is the daughter of the late John Phillips, lead singer of The Mamas & the Papas, and Susan Adams, a descendant of the president John Adams. Cast at age twelve in the Academy Award-nominated film American Graffiti, she went on to star with Valerie Bertinelli in TV’s One Day at a Time. In the 1980s, she toured with The New Mamas & the Papas. She most recently starred in the Disney Channel series So Weird and has made appearances on shows including Cold Case, ER, and Without a Trace. She has a grown son, Shane, and she lives in Los Angeles.
Hardcover, dust jacket – 292 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 421 g (14,9 oz) – PUBLISHER Simon Spotlight Entertainment, New York, New York, 2009 – ISBN 978-4391-5385-7
High Sierra (edited and with an introduction by Douglas Gomery)
High Sierra (1941) is a highly successful Warner Brothers gangster film of special interest to film scholars, students, and aficionados. It represented a turning point in the nature of the gangster film of the 1930s. It was the film that launched Humphrey Bogart to stardom. And it is representative of the concerted efforts of the very best of Warners’ talent of the era. In a period of serious reassessment of the American film, this revised shooting script, never before published, provides valuable primary data for that reassessment.
In his introduction, Douglas Gomery describes and analyzes the production of the film, notes the major differences among the novel, the screenplay, and the film, and finally surveys the reasons that critics have found this film to have particular significance. The film High Sierra is based on the successful 1940 novel of the same name by W.R. Burnett, who wrote the novel Little Caesar (1929), which also was turned into a Warner Brothers classic, and, more recently, The Asphalt Jungle. Raoul Walsh directed the film, John Huston and Burnett wrote the screenplay, and Humphrey Bogart, Ida Lupino, Arthur Kennedy, and Joan Leslie starred. The well-conceived role of the gangster character Roy Earle, before being offered to Bogart, was turned down by George Raft, Paul Muni, James Cagney, and Edward G. Robinson. Bogart, the fifth choice of Warners, received second billing next to Ida Lupino.
High Sierra met with good, but not overwhelming, success both among reviewers and at the box-office. It has, further, withstood the test of time, having earned two Warners remakes: Colorado Territory (1949) and I Died a Thousand Times (1955). It is still a popular film on college campuses and at film revival theaters.
The novel, the revised shooting script, and the film differ substantially, especially during the openings and closings. The novel is the story of the psychological adjustments of the gangster Earle. The film script, however, reformulates Earle’s adventures into a traditional gangster narrative, relinquishing most psychological considerations. Warners fashioned a tale of the fall of an older gangster caught up in the confusing environment of the post-Depression period.
Critics praise High Sierra not for its classic Hollywood style but because of its influence on later artists, the way in which it reflected changes in the American society of 1941, and its important place in the history of the gangster film. In High Sierra, says Gomery, the gangster ceases to be the main object of moral judgment; instead, it is the society that is corrupt. There is much work to be done with this film, Gomery reminds us. This revised shooting script, along with Gomery’s insightful introduction, will provide scholars and film fans alike with an essential document with which to begin such work.
DOUGLAS GOMERY is Assistant Professor of Mass Communication at the University of Wisconsin, Milwaukee. He has written articles for the Quarterly Review of Film Studies and Screen, and contributed a chapter to The American Film Industry (Wisconsin, 1976). He has edited special editions of both the Cinema Journal and Milwaukee History.
Hardcover, dust jacket – 190 pp. – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 363 g (12,8 oz) – PUBLISHER University of Wisconsin Press, Madison, Wisconsin, 1979 – ISBN 0-299-07930-9
History of the American Cinema 1: The Emergence of Cinema, The American Screen to 1907 (Charles Musser; edited by Charles Harpole)
From the beginnings of cinema through the first boom in the specialized moving-picture theaters known as nickelodeons, The Emergence of Cinema looks at the initial twelve years of projected motion pictures and their aural accompaniment – from 1895 to the fall of 1907. Early American cinema is examined as an industry and as an influential cultural practice in the context of a centuries-long history of projected images. Thomas Edison’s contributions to the invention of modern motion pictures are situated in a chain of innovative communication technologies including the telegraph, telephone, and phonograph.
Charles Musser demonstrates that turn-of-the-century American cinema was much more sophisticated than previous accounts have suggested and that pre-1908 film practice was a dynamic, rapidly changing phenomenon of surprising diversity. He compares commercial activities at the Edison Manufacturing Company with those of its principal competitor, the American Mutoscope and Biograph Company. The neglected achievements of such rivals as Sigmund Lubin, William Selig, and American Vitagraph are also traced. Although Edison’s The Great Train Robbery (1903) may be the earliest movie widely known today, readers will discover that it was preceded by thousands of motion pictures, many of which enjoyed broad popularity. Even in the 1890s, selections of these pictures formed the basis for evening-length programs featuring heavyweight prizefights, passion plays, and the Spanish-American War.
Musser’s original research on the stereopticon, the kinetoscope, the vitascope, the motion-picture patents of Edison and his competitors, and the numerous legal cases that helped shape the industry serves to place technological invention and innovation in true historical context. Early equipment and techniques are illustrated by over 225 rare photographs and diagrams.
CHARLES MUSSER teaches film studies at Columbia University and New York University. A historian affiliated with the Thomas A. Edison Papers at Rutgers University, he served as catalog editor for Motion Picture Catalogs by American Producers and Distributors, 1894-1908: A Microfilm Edition. His book Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company is the companion to his documentary film Before the Nickelodeon: The Early Days of Edwin S. Porter. Musser co-curated (with Jay Leyda) Before Hollywood: Turn-of-the-Century American Film, the six-part touring show with catalog, for the American Federation of the Arts.
This is the first of three volumes covering the silent era; they initiate the definitive survey of the origins and development of cinema in the United States. Beginning with the earliest technological antecedents in a chain stretching back to the seventeenth century, these volumes trace the technological, industrial, and artistic growth of the twentieth century’s distinctive art form through the high classic era of the silent film, the movie palace, and the studio system. CHARLES HARPOLE, general editor of the series, is head of the new Film Division at the University of Central Florida, Orlando, and past chairman of cinema studies at Ohio State University. The author of Gradients of Depth in the Cinema Image and other writings on film and mass media, he has also produced and written an animated segment for Sesame Street and a short film on open-heart surgery. His organizational efforts on behalf of the Cinema History Project include the administration of three grants from the National Endowment for the Humanities and the assembly of a team of scholars from around the world to serve as authors, advisers, and reviewers, thereby lending their authority and expertise to a projected ten volumes that will define the achievement of the American cinema in its first century.
Hardcover, dust jacket – 613 pp., index – Dimensions 28 x 18 cm (11 x 7,1 inch) – Weight 1.950 g (68,8 oz) – PUBLISHER Charles Scribner’s Sons, New York, New York, 1990 – ISBN 0-684-18413-3
History of the American Cinema 2: The Transformation of Cinema 1907-1915 (Eileen Bowser; edited by Charles Harpole)
The Transformation of Cinema chronicles the history of the American film business from the days of the little store-show nickelodeon to the premiere of D.W. Griffith’s The Birth of a Nation, complete with full symphony orchestra. Eileen Bowser, however, here redresses the imbalance of the “Griffith did it all” cliché by discussing the efforts of countless lesser-known figures who also helped to create Hollywood and shape the growing American film industry.
The effect of the surroundings – the size of the hall; whether the film was shown alone or along with vaudeville entertainment; and the size, quality, and relevance of the musical background – are all examined for their impact on the filmgoing experience.
Bowser describes the extraordinary transformation in the way films were made and viewed and attributes the shift to the rapid growth and regulation of the industry after 1907, the popularity and demands of the story film, the needs of the immigrant and working-class audiences, the moral-uplift movement, censorship, and other potent forces that shaped the movies. Changes in editing techniques, acting styles, camera positioning, lighting, and special effects are discussed, with many specific examples. Other chapters cover the development of motion-picture company trademarks and on-screen titles, the steps leading to the arrival of the feature film, and the period’s most popular genres. Bowser examines the emergence of the star system, which set the stage for the classic silent-film era and all its notable figures. By 1915 the silent film is seen as a full-fledged art form with its own style and place in the world of business.
EILEEN BOWSER is Curator in the Department of Film at the Museum of Modern Art, responsible for the growth and care of the film collection and its long-term preservation. In her more than thirty-five years at the Museum she has organized film programs and exhibitions on various aspects of film history, including two major retrospectives on D.W. Griffith, in addition to touring shows that travel the world. She has lectured in many countries, including China, France, Britain, Bulgaria, and the USSR. In 1989 she was awarded the first Prix Jean Mitry by the Giornate del Cinema Muto of Pordenone, Italy. Her publications include The Movies (with Richard Griffith and Arthur Mayer), D.W. Griffith (with Iris Barry), Film Notes, Carl Dreyer, The Slapstick Symposium, A Handbook for Film Archives, and numerous articles on aspects of film history, research, and archival work.
This is the second of three volumes covering the silent era; they initiate the definitive survey of the origins and development of cinema in the United States. Beginning with the earliest technological antecedents in a chain stretching back to the seventeenth century, these volumes trace the technological, industrial, and artistic growth of the twentieth century’s distinctive art form through the high classic era of the silent film, the movie palace, and the studio system. CHARLES HARPOLE, general editor of the series, is head of the new Film Division at the University of Central Florida, Orlando, and past chairman of cinema studies at Ohio State University. The author of Gradients of Depth in the Cinema Image and other writings on film and mass media, he has also produced and written an animated segment for Sesame Street and a short film on open-heart surgery. His organizational efforts on behalf of the Cinema History Project include the administration of three grants from the National Endowment for the Humanities and the assembly of a team of scholars from around the world to serve as authors, advisers, and reviewers, thereby lending their authority and expertise to a projected ten volumes that will define the achievement of the American cinema in its first century.
Hardcover, dust jacket – 337 pp., index – Dimensions 28 x 18 cm (11 x 7,1 inch) – Weight 1.165 g (41,1 oz) – PUBLISHER Charles Scribner’s Sons, New York, New York, 1990 – ISBN 0-648-18414-1
History of the American Cinema 3: An Evenings Entertainment, The Age of the Silent Feature Picture 1915-1928 (Richard Koszarski; edited by Charles Harpole)
The silent cinema was America’s first modern entertainment industry, a complex social, cultural, and technological phenomenon that swept the early years of the twentieth century with unprecedented force. Audiences in the lavish new movie palaces were thrilled by such landmark films as The Birth of a Nation, The Gold Rush, and Nanook of the North, and soon they were eagerly following the on- and off-screen activities of a host of glamorous media celebrities.
But there is more to this story than glamor and glitz. In An Evening’s Entertainment, The Age of the Silent Feature Picture 1915-1928, Richard Koszarski examines the underlying structures that made the silent-movie era work. From the operations of eastern bankers to the problems of neighborhood theater musicians, he offers a new perspective on the development of a major industry and art form, and provides a revealing new context for the creative contributions of such screen icons as D.W. Griffith, Cecil B. DeMille, Erich von Stroheim, Gloria Swanson, Rudolph Valentino, and Mary Pickford.
RICHARD KOSZARSKI is Senior Curator of Film at the American Museum of the Moving Image in Astoria, New York, and the editor of Film History: An International Journal. He received his Ph.D. in Cinema Studies from New York University and has taught film history and research at Columbia University and the School of Visual Arts. His most recent book, The Man You Loved To Hate, received the National Film Book Award in 1984. He lives in New Jersey with his wife, Diane, and daughter, Eva.
This is the third of three volumes covering the silent era; they initiate the definitive survey of the origins and development of cinema in the United States. Beginning with the earliest technological antecedents in a chain stretching back to the seventeenth century, these volumes trace the technological, industrial, and artistic growth of the twentieth century’s distinctive art form through the high classic era of the silent film, the movie palace, and the studio system. CHARLES HARPOLE, general editor of the series, is head of the new Film Division at the University of Central Florida, Orlando, and past chairman of cinema studies at Ohio State University. The author of Gradients of Depth in the Cinema Image and other writings on film and mass media, he has also produced and written an animated segment for Sesame Street and a short film on open-heart surgery. His organizational efforts on behalf of the Cinema History Project include the administration of three grants from the National Endowment for the Humanities and the assembly of a team of scholars from around the world to serve as authors, advisers, and reviewers, thereby lending their authority and expertise to a projected ten volumes that will define the achievement of the American cinema in its first century.
Hardcover, dust jacket – 395 pp., index – Dimensions 28 x 18 cm (11 x 7,1 inch) – Weight 1.315 g (46,4 oz) – PUBLISHER Charles Scribner’s Sons, New York, New York, 1990 – ISBN 0-684-18415-X
A History of the Hal Roach Studios (Richard Lewis Ward)
Once labeled the “lot that laughter built,” the Hal Roach Studios launched the comedic careers of such screen icons as Harold Lloyd, Our Gang, and Laurel and Hardy. With this stable of stars, the Roach enterprise operated for forty-six years on the fringes of the Hollywood studio system during a golden age of cinema and gained notoriety as a producer of short comedies, independent features, and weekly television series. Many of its productions are better remembered today than those by its larger contemporaries. In A History of the Hal Roach Studios, Richard Lewis Ward meticulously follows the timeline of the company’s existence from its humble inception in 1914 to its close in 1960 and, through both its obscure and famous productions, traces its resilience to larger trends in the entertainment business.
In the first few decades of the twentieth century, the motion picture industry was controlled by an elite handful of powerful firms that allowed very little room for new competition outside of their established cartel. The few independents that garnered some measure of success despite their outsider status usually did so by specializing in underserved or ignored niche markets. Here, Ward chronicles how the Roach Studios, at the mercy of exclusive distribution practices, managed to repeatedly redefine itself in order to survive for nearly a half-century in a cutthroat environment.
Hal Roach’s tactic was to nurture talent rather than exhaust it, and his star players spent the prime of their careers shooting productions on his lot. Even during periods of decline or misdirection, the Roach Studios turned out genuinely original material, such as the screwball classic Topper (1937), the brutally frank Of Mice and Men (1940), and the silent experiment One Million B.C. (1940). Ward’s exploration yields insight into the production and marketing strategies of an organization on the periphery of the theatrical film industry and calls attention to the interconnected nature of the studio system during the classic era. The volume also looks to the early days of television when the prolific Roach Studios embraced the new medium to become, for a time, the premier telefilm producer.
Aided by a comprehensive filmography and twenty-seven illustrations, A History of the Hal Roach Studios recounts an overlooked chapter in American cinema, not only detailing the business operations of Roach’s productions but also exposing the intricate workings of Hollywood’s rivalrous moviemaking establishment.
RICHARD LEWIS WARD is an associate professor at the University of South Alabama where he teaches courses in film and television. His essays on Hollywood’s studio era and the golden age of television have been published in Media History, Studies in Popular Culture, and Feedback.
Hardcover, dust jacket – 246 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 543 g (19,2 oz) – PUBLISHER Southern Illinois University Press, Carbondale, Illinois, 2005 – ISBN 0-8093-2637-X
Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood (Leonard J. Leff)
This is the story of one of the oddest partnerships in Hollywood history between a reticent, overweight Englishman with a flair for striking detail and a penchant for the perverse, and a dynamic movie mogul with a keen eye for successful entertainment on the grand scale. It began when producer David O. Selznick lured director Alfred Hitchcock from England, where he was already gaining widespread acclaim for his “little thrillers,” and resulted in the making of such masterpieces as Rebecca, Spellbound, and Notorious.
Drawing on unpublished documents, early drafts of script treatments, and humorous anecdotes – and including a wealth of previously unseen photographs – Hitchcock and Selznick is a fascinating behind-the-scenes portrait not only of two great filmmakers, but of Hollywood itself: the endless negotiations, wheeling and dealing, frustrations and compromises that characterize the movie business. Here, too, are tales of the many stars who worked with ‘Hitch’: the discovery of Joan Fontaine and how she was coaxed – and on one occasion physically beaten – to draw out her role in Rebecca; how Hitchcock turned Laurence Olivier’s cool parody of English gentry into a brooding, tortured portrayal; Ingrid Bergman’s legendary set-tos with Hitchcock; the young Gregory Peck’s insecurities in the face of this producer’s high expectations and his director’s indifference. Finally, Hitchcock and Selznick demonstrates, in engaging and lucid detail, the importance of both producer (as overseer) and director (as ‘personality’) in the filmmaking process, and affords remarkable insights into how these two talented, idiosyncratic figures created their perennial classics.
A book for specialist and layman alike, Hitchcock and Selznick contains all the excitement of a Hitchcock thriller and all the dazzle of a Selznick extravaganza.
LEONARD J. LEFF teaches screenwriting and film history in the English Department at Oklahoma State University. The author of Film Plots, he has published essays on motion pictures in The Georgia Review, Film Quarterly and Cinema Journal.
Hardcover, dust jacket – 383 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 733 g (25,9 oz) – PUBLISHER Weidenfeld & Nicolson, London, 1987 – ISBN 0 297 79372 1
Hitchcock – Truffaut: The Definitive Study of Alfred Hitchcock by François Truffaut (François Truffaut, with Helen G. Scott)
Since its publication in 1967, Hitchcock has been widely recognized as the classic of its genre. Here is the definitive study of one of the most famous and admired of filmmakers, the director of such classics as Psycho, Rear Window, North by Northwest, and The Man Who Knew Too Much, written by François Truffaut, himself one of the most celebrated film directors of our time.
Hitchcock is an extraordinary book. This unique document of the cinema consists of a series of dialogues between Truffaut and Hitchcock that move chronologically from movie to movie to trace the outline of the director’s outstanding career. At the same time, the book examines in depth the intentions and achievements of Hitchcock’s masterpieces, from Dial M for Murder to To Catch a Thief to The Birds. Hitchcock discusses the stars he directed (James Stewart, Cary Grant, Ingrid Bergman, Grace Kelly), the techniques he used, the effects he achieved. Never before has a filmmaker of this stature revealed with such lucidity and directness the nature of his style and craft.
Hitchcock not only catches the essence of its subject: it influenced profoundly the way he was perceived. Before the publication of the book, Hitchcock was admired for his suspense movies and thrillers but little appreciated for his emotional depth or psychological insight. It was the appearance of Hitchcock that stunningly revealed to moviegoers the depth of Hitchcock’s perception and the mastery of his cinematic technique. He is now universally recognized as one of the greatest directors of all time.
Even if you are already familiar with the earlier book, no one interested in Hitchcock or the movies will want to miss this definitive version of Truffaut’s famous study. For this revised edition, Truffaut has added a new preface, has revised throughout the pictures and layout, and has supplied a final chapter taking the story down to Hitchcock’s death. The chapter includes a discussion of Topaz, Frenzy, Family Plot, and The Short Night, the last four film projects of Hitchcock’s long career. The filmography and index have also been revised. Now more than ever, Hitchcock is the major work of its kind, perhaps the most insightful study on cinema ever written – a master filmmaker’s classic about the master filmmaker.
FRANÇOIS TRUFFAUT was born in Paris in 1932. He directed his first movie in 1955. Since then he has made such classic films as Jules and Jim, Shoot the Piano Player, The Story of Adele H., and Day for Night.
Hardcover, dust jacket – 367 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.305 g (46 oz) – PUBLISHER Simon and Schuster, New York, New York, 1984 – ISBN 0-671-52601-4
Hollywood Album 2: Lives and Deaths of Hollywood Stars from the Pages of The New York Times (edited by Arleen Keylin)
Take Two! The same “company” that brought you the popular Hollywood Album now presents Hollywood Album 2 – with an entirely new cast and a spectacular new array of photographs. After all, haven’t sequels often been Hollywood’s “thank you” to an appreciative audience?
The personal lives and careers of more than 150 Hollywood stars are included in Hollywood Album 2. And each story is presented to the reader just as it originally appeared on the pages of The New York Times.
And what could be more natural? The fabulous personalities of the silver screen continue to enter our homes and our lives. On the screen they are bigger than reality and the magnified images they project are well-known to us. So it is that the loves, the triumphs and the tragedies of these internationally known figures are zealously followed by millions of fans from Bangor to Bombay.
What a wide spectrum of entertainment pleasure is reflected in the entries! There are the actors and actresses who excite our amorous fancies: Charles Boyer, Carole Landis, Anita Louise, Marilyn Maxwell, Mae Murray, and that silent film vamp, Nita Naldi; the all-time great stars: Mary Pickford and John Wayne; the memorable character actors: George Bancroft, Edna Best, Sidney Blackmer, Nigel Bruce, Louis Calhern, Leo Carillo, Leo G. Carroll, Ruth Chatterton, Gladys Cooper, John Hodiak, Donaid Crisp, Jane DarweIl, Betty Field, Leo Genn, Charlotte Greenwood, Oscar Homolka, Walter Huston, and Edna May Oliver; the men and women who made us laugh even at our darkest moments: Gracie Allen, Ed Wynn, Joe E. Brown, Spring Byington, Charlie Chaplin, Arthur Treacher, Margaret Dumont, Fernandel, Groucho Marx, Zero Mostel, Jack Oakie; the singers, the music makers and the dancers: Elvis Presley, Bing Crosby, Dan Dailey, Ethel Waters and Kay Kendall; and those who worked behind the scenes: Billy Bitzer, James Wong Howe, Jean Renoir, Adolph Zuckor, Ernst Lubitsch, George Marshall and Gordon Parks, Jr.
The fascinating accounts of the lives of these stellar film personalities are augmented by more than 200 wonderful and nostalgic photographs and a filmography. Hollywood Album 2 with its thorough New York Times coverage and evaluation of each star’s life and professional achievements will prove as irresistible as its predecessor.
Hardcover, dust jacket – 216 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 958 g (33,8 oz) – PUBLISHER Arno Press, New York, New York, 1979 – ISBN 0-405-10311-5
Hollywood and After: The Changing Face of Movies in America (Jerzy Toeplitz)
Until now, little has been written about the inner workings of an industry, the movie business, that has for so long held the imagination and fancy of the American public. Hollywood and After presents an unconventional overview of the American motion picture industry in all its complexity – including its financing, its directors, and producers, how it has changed and how it remains the same.
The once-independent big studios are now all neatly tucked into the large corporate structure of American business. Gone are the tyrannical rulers – Harry Cohn, Louis B. Mayer, Adolph Zukor – who could cancel a production with a wave of the hand. Forever gone is the antagonism between the television and movie industries – replaced by interdependent and ever more complex ties of technical cooperation.
The turmoil of the past decade, the upheaval in universities and among the young, the racial struggle, the frantic pace of politics in the sixties, have all changed the cinema forever. The underground has emerged into profit and acceptance; “family entertainment” seems to have slipped away.
The major part of this book is dedicated to artistic and creative questions. A new generation of filmmakers is making films for a new generation of filmgoers who are looking for fresh values on the screen. More and more, the cinema mirrors the reality of life: complicated, uneasy, shaken by violent outbursts, charged with a multitude of controversies and conflicts. The rose-tinted American Dream, which Hollywood peddled, is a thing of the past. Today the movies offer a variety of artistic, political, and social approaches and a wide range of highly individual styles never before encountered. Toeplitz discusses these developments at length, especially dealing with the new trends that have revitalized and revolutionized the fare in America’s theaters. He also discusses the major new screenwriters and directors involved: Haskell Wexler, Francis Ford Coppola, George Lucas, Mike Nichols, and others.
Hollywood and After is the thorough and complete story of all the forces that have redefined the “Dream Factory” from top to bottom. JERZY TOEPLITZ is at present Director of the Australian Film and TV School. Among his books are the five-volume History of Cinema Art and Film and TV in the U.S.A.
Hardcover, dust jacket – 288 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 574 g (20,2 oz) – PUBLISHER Henry Regnery Company, Chicago, Illinois, 1974 – ISBN 0-8092-8299-2
Hollywood and the Great Fan Magazines (edited by Martin Levin)
A nostalgic look at Hollywood in the magical 1930s, when Tinseltown was America’s dreamland. From the original editions of Photoplay, Motion Picture, Modern Screen, Silver Screen, Screenland, and Screen Book, the who, what, where, when, and why – and with whom – is revealed in illustrated excerpts from the heyday 1930s. Read up on Greta Garbo’s secret childhood, why Clark Gable stays married, Shirley Temple’s letter to Santa Claus, the star’s salaries, and much more. Included are 77 complete stories, plus crossword puzzles, an illustrated article on the basic steps of ‘La Conga,’ even a contest to win a personal check from Joan Crawford (sorry – offer expired).
Here is a sampler: Who’s Whose in Hollywood? Can Hollywood Hold Errol Flynn? The Star Who is More Glamorous Than Greta Garbo. What About Clark Gable Now? Studio Sweethearts. Jean Harlow – From Extra to Star. The Inside Story of Joan Crawford’s Divorce. Motherhood – What It Means to Helen Twelvetrees! “I’m No Gigolo!” Says George Raft. Marlene Dietrich Answers Her Critics. Bogie: What’s Wrong With Hollywood Love? What’s the Matter with Lombard? Charlie Chaplin’s Kids. The Most Revealing Interview Janet Gaynor Ever Gave. Why Greta Garbo Has Never Married. Norma Shearer Takes A Dare. The Truth About William Powell. Tarzan Seeks A Divorce. Fay Wray’s Design For Marriage. The Barbara Stanwyck Court Case. Watch Your Step, Ann Dvorak! An Open Letter From Norma Shearer.
For fans of all ages, here are the fan magazines that tell it all. Hollywood and the Great Fan Magazines is a nostalgic step back in time, to the people and the inside stories that made Hollywood famous.
MARTIN LEVIN, the curator of these memorabilia, lived as a boy in Santa Monica, California, at a time when “hardly anyone’s father had a job, and down on the Pacific Palisades, Marion Davies had a white and green mansion with gold faucets. Gold faucets!” His comments on books and home video are now syndicated weekly by AP Newsfeatures and heard daily over the AP Radio Network.
Hardcover, dust jacket – 224 pp. – Dimensions 28,5 x 21,5 cm (11 x 8,5 inch) – Weight 860 g (30,3 oz) – PUBLISHER Harrison House, New York, New York, 1991 – ISBN 0-517-05785-9
Hollywood Archive: The Hidden Story of Hollywood in the Golden Age (Paddy Calistro, Fred E. Basten)
From the premier Hollywood archivist, Angel City Press, comes The Hollywood Archive – a compelling compilation of nostalgic photographs and essays that chronicle the making of the Hollywood Dream Machine – a visual tour of the culture of old Hollywood in its Golden Age, from its inception with silent film to the late 1960s when studios shaped what we saw and how we saw it. The Hollywood Archive is about how the Hollywood dream makers worked, how they played, how their industry influenced the world, and how Hollywood created itself.
This is the definitive book on the history of Hollywood culture and leisure, from the creation of the first studio to the demise of the renowned powerful studio system, featuring the stars who made Hollywood an international phenomenon – in glorious rare photographs that capture them on-screen and off-screen, at work, and at play.
This comprehensive volume covers everything you ever wanted to know about Hollywood – and more: spectacular archival material features never- before-seen imaginary – from personal and family photography collections, one-of-a-kind snapshots, to negatives that have been hidden away for years – from such outstanding archives as The Motion Picture and Television Archive, Bison Archives, Academy of Motion Picture Arts and Sciences, The Disney Archives.
Original writings by such Hollywood insiders as Richard DeMille, son of famed director Cecil B. DeMille; Betty Lasky, daughter of Jesse L. Lasky, the first Hollywood film studio mogul; Robert Osborne, host of the Turner Movie Classics television show, and the celebrated film critic, on his personal list of favorites and his critical choices; well-known Hollywood historian Marc Wanamaker, often seen on E! (Entertainment television), on ‘The First Talkies’; long-time producer-director Roger Corman, “master of the macabre,” on ‘Horror Films’; Clayton Moore, who starred as the Lone Ranger in ‘Westerns’; Jon Provost, star of Lassie, on ‘Furry Friends to the Rescue’; Tom Kelley, the photographer whose notorious nudes of Marilyn Monroe jumpstarted his career; Robert Harris and James C. Katz on ‘Film Preservation’; Fay Wray on why she loved King Kong; Jim Heimann, author of Where the Stars Came Out to Play, on hangouts of the legendary stars.
PADDY CALISTRO is the publisher of Angel City Press, which specializes in books about Hollywood and the nostalgia that surrounds it. She is also the author of several books about Hollywood. FRED E. BASTEN is the author of numerous books about Hollywood and the entertainment industry, including Fabulous Las Vegas in the Fifties and Max Factor’s Hollywood.
Hardcover, dust jacket – 351 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.950 g (68,8 oz) – PUBLISHER Universe Publishing, New York, New York, 2000 – ISBN 0-7893-0499-6
Hollywood Art: Art Direction in the Days of the Great Studios (Beverly Heisner)
“The important subject of art direction has usually been touched on only briefly and peripherally in books on film. This volume has been written to focus on the history of art direction in American films, concentrating on the heyday of the great Hollywood studios and the classical American film, chronologically the period from the mid-twenties through the fifties. After this time, the old form of monolithic motion picture factory, one that housed all of the technological and artistic functions of the film under one roof, began to disappear, and the art director’s conditions of work (although not the work itself) changed radically; this later period differs sufficiently from the first fifty years of film design to warrant a separate study.
The goals of this work and its organization have been geared to exploring several issues in the period of the classical American film, among them: what was the role of an art director on a film? Why have art directors been essential to films from their very beginnings? How did the art director do his work as the studio system developed and flourished? What was the nature and organization of the big studio art departments? What were the differences, along these lines, from studio to studio? Who were the personalities involved in art direction? How were they trained?
To these ends, this book deals with both individuals and with the system itself. It explores the workings of just one of the several major technical departments that were the backbone of the studio system, examining the enormous power the art departments had in determining the visual appearance of motion pictures.” – From The Preface.
The heyday of Hollywood studio art departments was in the 1930s and 40s when strong art directors like Cedric Gibbons and Hans Dreier brought together more artists and artisans under one roof working on the same projects than any other enterprise in the history of modern American art. This is the first book to trace the history of studio art direction; the powerful visual presence of films like Rebecca and Gone With the Wind are put into context. The origins of art direction in the early motion pictures, the organization of art departments, and the nature of art direction from the 1920s to the 1950s are covered in early chapters. Then each studio is discussed individually with an examination of its art department and a survey of its output through the fifties. Comprehensive filmographies provide films and release dates for 226 art directors.
Hardcover – 400 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 708 g (25 oz) – PUBLISHER St. James Press, London, 1990 – ISBN 1-55862-167-9
Hollywood Beauty: Linda Darnell and the American Dream (Ronald L. Davis)
At fifteen, Linda Darnell left her Texas home and normal adolescence to live the Hollywood dream promoted by fan magazines and studio publicity offices. She appeared in dozens of films and won international acclaim for Blood and Sand (playing opposite Tyrone Power), Forever Amber, A Letter to Three Wives, and the original version of Unfaithfully Yours.
Driven by a stage mother to become rich and famous, but unable to cope with the career she had longed for as a child, Darnell soon was caught in a downward spiral of drinking, failed marriages, and exploitive relationships. By her early twenties she was an alcoholic, hardened by a life in which beautiful women were chattel, and by the time of her death at age forty-one, she was struggling for recognition in the industry that once had called her its “glory girl.”
Hollywood Beauty begins in the Southwest during the Depression, when Pearl Darnell became obsessed by the glitter of the movie world that would dominate her children’s lives. We follow Linda’s path from her Texas childhood and first public success – during the state centennial, in 1936 – through her contract work with Twentieth Century-Fox in the heyday of the big-studio system. Film historian Ronald L. Davis documents Darnell’s discovery and marriages, the adoption of her daughter, the making of many well-known films, and her emotional difficulties, leading up to her tragic death by fire.
This is the story of a naive teenager from a dysfunctional middle-class family thrust into the golden age of Hollywood. Hollywood Beauty examines America’s public worship of movie stars and superficial success – its motives and consequences – and the addiction to escapism that this worship represents.
RONALD L. DAVIS is Professor of History at Southern Methodist University, where he is Director of both the Oral History Program on the Performing Arts and the De Golyer Institute for American Studies. He has written many books on the performing arts in America, including the best-seller Hollywood Anecdotes.
Hardcover, dust jacket – 216 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 547 g (19,3 oz) – PUBLISHER University of Oklahoma, Norman, Oklahoma, 1991 – ISBN 0-8061-2327-3
Hollywood Be Thy Name: The Warner Brothers Story (Cass Warner Sperling, Cork Millner, with Jack Warner, Jr.)
The real story of the Warner Brothers has all the drama of a big screen production – a rags-to-riches immigrant tale of tension and strife between four brothers, love and marriage, death and divorce, plotting and betrayal.
Harry, Sam, Albert and Jack. Their father Ben insisted that by sticking together they could succeed and prosper. And stick together they did, until they were separated over the years by the death of one brother, and, ultimately, by a shocking betrayal.
Using family letters, interviews, and personal recollections, Cass Warner Spelling, granddaughter of Harry Warner, and co-author Cork Millner, along with Jack Warner, Jr., have shaped a moving biography of this legendary Hollywood family. Written in a cinematic style and weaving in present-tense voices of still-living family members and former Warner Brothers’ associates, Hollywood Be Thy Name transports readers back to the beginnings of the movie era and into the lives of Hollywood’s most enduring legends.
CASS WARNER SPERLING is the granddaughter of Harry Warner. CORK MILLNER is the author of Write From the Start (Simon & Schuster) and other books. JACK WARNER, JR., is the author of Bijou Dream (Crown).
Hardcover, dust jacket – 365 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 699 g (24,7 oz) – PUBLISHER Prima Publishing, Rocklin, California, 1994 – ISBN 1-55985-343-6
Hollywood Censored: Morality Codes, Catholics and the Movies (Gregory D. Black)
Hollywood Censored examines how hundreds of films – Mae West comedies, serious dramas, and films with a social message – were censored and often edited to promote a conservative political agenda during the golden era of studio production in the 1930s. After a series of sex scandals rocked the movie industry in 1922, the Hollywood moguls hired Will Hays to clean the image of movies. As movie “czar,” Hays tried a variety of ways to regulate films before adopting a formal code. Written in 1930 by a St. Louis priest and a Catholic layman, the Production Code stipulated that movies stress proper behavior, respect for government, and “Christian values” – thereby challenging the moguls’ staunch belief that movies entertain, not preach morality.
The Catholic Church further reinforced these efforts by launching its Legion of Decency in 1934. Intended to force Hays and Hollywood to censor movies more rigorously, the Legion engineered the appointment of Joseph I. Breen as head of the Production Code Administration. For the next three decades, Breen, Hays, and the Catholic Legion of Decency virtually controlled the content of all Hollywood films.
Recounting one of the most fascinating eras of Hollywood, Hollywood Censored is based on an extensive survey of original studio records, censorship files, and Legion archives.
GREGORY D. BLACK is a professor of communications history at the University of Missouri – Kansas City. He has published numerous articles on aspects of film history in The Journal of American History, Film History, and The Journal of Policy History, among other publications, and is the co-author of Hollywood Goes to War; How Politics, Profits and Propaganda Shaped World War II Movies.
Hardcover, dust jacket – 336 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 646 g (22,8 oz) – PUBLISHER Cambridge University Press, Cambridge, 1994 – ISBN 0-521-45299-6
Hollywood: De Jaren 30 (Jack Lodge)
“Hollywoodfilms uit de jaren dertig waren er in iedere stijl en speelduur, maar de beste daarvan – en sommige van de slechtste – hebben iets gemeen. Zij zijn vol vertrouwen, een vertrouwen dat zo nu en dan aan onbeschaamdheid grenst. Er zijn twee heel verschillende redenen voor deze schijnbare tegenstrijdigheid. De wereld waarin en waarvoor deze films gemaakt werden, was een wereld waarin die zich aan het begin van de periode langzaam van de Depressie herstelde en tegen het einde met de dreiging van de oorlog werd geconfronteerd en, alhoewel nog niet in Amerika, met de oorlog zelf. De tweede reden ligt in de aard van het medium. De geluidsfilm bestond in 1930 pas drie jaar, en het was niet louter een stomme film met gesproken tekst die de ondertitels verving; het was een wezenlijk andere kunstvorm.” – Introduction in chapter 1, ‘De studio’s van Hollywood.’
Hardcover – 120 pp. – Dimensions 29,5 x 23 cm (11,6 x 9,1 inch) – Weight 788 g (27,8 oz) – PUBLISHER M & P, Weert, The Netherlands, 1986 – ISBN 90 6590 113 2
Hollywood: De Jaren 40 (John Russell Taylor)
“De traditie, stromingen en bewegingen in de perioden van tien jaar in te delen gebeurt in wezen gemakshalve. In de veertiger jaren werd het leven eerder bepaald door de belangrijke politieke gebeurtenissen dan doordat het zich afspeelde binnen een willekeurig vastgesteld tijdsbestek, tussen 1940 en 1950 – en de film vormde hierop geen uitzondering.
Wat Hollywood betreft, begint de periode die we als de dertiger jaren beschouwen in feite in 1927 met de komst van het geluid, omvat hij de langste tijd van het studiosyteem, en eindigt hij in december 1941 toen Amerika bij de Tweede Wereldoorlog betrokken raakte. De veertiger jaren beginnen in alle opzichten dan – en de filmtradities die tijdens en na het conflict ontstonden, zouden tot aan het begin van de vijftiger jaren domineren, toen de heksenjacht van McCarthy en de opkomst van televisie de vorm en de waardering voor de Amerikaanse film veranderde.” – Introduction in chapter 1, ‘Films tijdens de oorlog 1940-1941.’
Hardcover – 120 pp. – Dimensions 29,5 x 23 cm (11,6 x 9,1 inch) – Weight 802 g (28,3 oz) – PUBLISHER M & P, Weert, The Netherlands, 1986 – ISBN 90 6590 114 0
Hollywood: De Jaren 50 (Adrian Turner)
Hoewel het gemakkelijk is om tijdsvakken uit de geschiedenis in perioden van tien jaar te vedelen, kan de sfeer van een periode pas na een paar jaar duidelijk worden, en het is heel goed mogelijk dat de voor die periode typische sfeer ook nog voortduurt in een volgend decennium. Dit geldt zeker voor de Hollywoodfilm en, voor zover dit de vijftiger jaren betreft, is het mogelijk om de jaartallen 1947 en 1963 als begin- respectievelijk eindpunt te nemen om het typische klimaat van de jaren vijftig beter te situeren.
Het meest winstgevende jaar in de geschiedenis van Hollywood was 1946. De oorlog was beëindigd en de gezinnen waren herenigd, maar er was over algemeen weinig geld; de film bood een goedkope vorm van vermaak en een effectieve manier om een normaal levenspatroon te hervatten.” – Introduction in chapter 1, ‘Filmbiografieën.’
Hardcover – 120 pp. – Dimensions 29,5 x 23 cm (11,6 x 9,1 inch) – Weight 763 g (26,9 oz) – PUBLISHER M & P, Weert, The Netherlands, 1986 – ISBN 90 6590 115 9
Hollywood: De Jaren 60 (Douglas Jarvis)
In de jaren zestig veranderde er van alles voor Hollywood, maar Hollywood kon dat niet waarderen. In de vijftig jaar van zijn bestaan had de Amerikaanse filmindustrie twee belangrijke omwentelingen overleefd. De eerste was in 1927 de komst van de geluidsfilm, een vernieuwing die grote weerstanden opriep in een niet om zijn vooruitstrevende houding bekend staande gemeenschap. Toch besliste het publiek al snel dat de stomme film had afgedaan en uiteindelijk bleek de sprekende film een krachtige steun voor de filmhoofdstad van de wereld.
Een tweede crisis was de ontkoppeling van vertonen enerzijds en productie en distributie anderzijds. De machthebbers in Hollywood beschouwden het als hun onvervreembaar recht niet alleen de in hun studio’s gemaakte films te mogen verspreiden, maar deze ook in hun eigen theaters te mogen vertonen. De Amerikaanse regering hield echter voet bij stuk in zijn poging het monopolie van de industrie te doorbreken. De strijd, die door de oorlog werd onderbroken, duurde 20 jaar.” – Introduction in chapter 1, ‘Blockbusters.’
Hardcover – 120 pp. – Dimensions 29,5 x 23 cm (11,6 x 9,1 inch) – Weight 763 g (26,9 oz) – PUBLISHER M & P, Weert, The Netherlands, 1986 – ISBN 90 6590 116 7
Hollywood: De Jaren 70 (David Castell)
“Eind 50’er jaren voorzagen vooruitziende geesten van de filmindustrie dat Hollywood, als geestelijk centrum van de film zowel als geografisch middelpunt van de industrie, zijn nadagen naderde.
De voorspelling van Ben Hecht uit 1957 dat Hollywood voor het einde van de eeuw ‘gewoon een toeristenoord als Tombstone in Arizona’ zou zijn, is hard op weg bewaardheid te worden. Ik legde er mijn eerste en enige bezoek af in 1985, toen van de zestien besproken interviews er slechts één plaatsvond in een in bedrijf zijnde studio (en dat met een acteur-producent die een project voorbereidde dat nog steeds verwezenlijkt moet worden). Verder werkte iedereen thuis, op onafhankelijke productiekantoren of op locatie.” Introduction in chapter 1, ‘Tombstone, Californië.’
Hardcover – 120 pp. – Dimensions 29,5 x 23 cm (11,6 x 9,1 inch) – Weight 769 g (27,1 oz) – PUBLISHER M & P, Weert, The Netherlands, 1986 – ISBN 90 6590 147 7
Hollywood Destinies: European Directors in America, 1922-1931 (Graham Petrie)
The 1920s saw a major influx of European directors, cameramen, scriptwriters, actors and actresses into the United States. Many of them made a vast and valuable contribution to the American cinema during this decade. In Hollywood Destinies, Graham Petrie presents the first overall study of the impact on the American film scene of the European invasion, and closely considers the exact contribution of particular outstanding directors in this period: the Swedes Victor Sjöström and Mauritz Stiller; the Dane Benjamin Christensen; the Hungarian Paul Fejos; the Germans Ernst Lubitsch, F.W. Murnau and Paul Leni.
Graham Petrie investigates why, despite the high quality of much of their American work, most of the directors themselves, and many contemporary and later critics, felt that they had somehow ‘failed’ to establish themselves in Hollywood. He analyses contemporary critical jugdments and assumptions, as reflected in the major film periodicals and trade magazines of the period. In their comments on the differences between ‘European’ and ‘American’ styles of film-making, these magazines expressed views about the essential nature and purpose of the cinema in general, and American film in particular, that have survived virtually unchanged in the popular conciousness to the present day. The book thus contributes to a fuller understanding of the way in which the Hollywood monolith evolved in the next few decades, and of the problems faced by directors who attempted to move beyond a rigid and narrow formulation of what Hollywood films could, and should, achieve.
Well-researched, meticulously written, admirably detailed yet eminently readable and extensively illustrated by atmospheric stills, Hollywood Destinies is a major contribution to film history and film scholarship.
GRAHAM PETRIE is Professor at McMaster University, Hamilton, Ontario, where he teaches English and film. Born in Penang, Malaysia, he was educated there and in Scotland, and has lived in Canada since 1964. He is a contributor to Film Quarterly, Sight and Sound, Film Comment, Yale Review, etc., and is the author of The Cinema of François Truffaut (1970), History Must Answer to Man: The Contemporary Hungarian Cinema (1979), and a novel, Seahorse (1980).
Hardcover, dust jacket – 257 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 674 g (23,8 oz) – PUBLISHER Routledge & Kegan Paul, London, 1985 – ISBN 0-7102-0161-3
Hollywood Diva: A Biography of Jeanette MacDonald (Edward Baron Turk)
Jeanette MacDonald, the movie musical’s first superstar, was an American original whose on-screen radiance mirrored a beguiling real-life personality. Based in large part on the author’s exclusive access to MacDonald’s private papers, including her unpublished memoir, this vivid, often touching biography transports us to a time when lavish musical films were major cultural events and a worldwide public eagerly awaited each new chance to fall under the singer’s spell. Edward Baron Turk shows how MacDonald brilliantly earned her Hollywood nickname of “Iron Butterfly,” and why she deserves a privileged position in the history of music and motion pictures.
What made MacDonald a woman for our times, readers will discover, was her uncommon courage: on-screen, the actress portrayed strong characters in pursuit of deep emotional fulfilment, often in defiance of social orthodoxy, while off-screen she personified energy, discipline, and practical intellect. Drawing on interviews with individuals who knew her and on MacDonald’s own words, Turk brings to life the intricate relations between the star and her legendary co-stars Maurice Chevalier, Clark Gable, and, above all, baritone Nelson Eddy. He reveals the deep crushes she inspired in movie giants Ernst Lubitsch and Louis B. Mayer and the extraordinary love story she shared with her husband of twenty-seven years, actor Gene Raymond.
More than simply another star biography, however, this is a chronicle of American music from 1920s Broadway to 1960s television, in which Turk details MacDonald’s fearless efforts to break down distinctions between High Art and mass-consumed entertainment. Hollywood Diva will attract fans of opera and concert music as much as enthusiasts of the great Hollywood musicals. It is first-rate cultural and film history.
EDWARD BARON TURK is Professor of French and Film Studies at the Massachusetts Institute of Technology and author of the prize-winning Child of Paradise: Marcel Carné and the Golden Age of French Cinema (1989).
Softcover – 467 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 883 g (31,1 oz) – PUBLISHER University of California Press, Ltd., Los Angeles, California, 1998 – ISBN 0-520-22253-9
Hollywood Doesn’t Live Here Anymore (Robert Parrish)
Autographed copy To Jean Firstenberg, Best Wishes. Robert Parrish. 1988
Robert Parrish’s first book. Growing Up in Hollywood, was described by Robert Kirsch of the Los Angeles Times as “the best memoir I have read of hometown Hollywood and of working Hollywood.” It told of Parrish’s childhood career in the movies; Hollywood Doesn’t Live Here Anymore is the adult sequel. When World War II erupted, Parrish went to work for the OSS (Office of Strategic Services), making films under the command of the legendary director John Ford, who taught him not only how to make movies, but also how to confuse and defeat bureaucrats, generals, and producers. After the war, he became an Oscar-winning film editor and then the successful director of such films as The Wonderful Country, Fire Down Below, In the French Style. and Casino Royale. This is the story of Parrish’s adventures, on the set and off, during those years.
Knowing them as colleagues, friends, and occasionally enemies, Parrish provides intimate glimpses of movieland’s major stars and moguls: Sam Spiegel, Jack Lemmon, Rita Hayworth, Robert Mitchum, Irving “Swifty” Lazar, and Irwin Shaw, among others. The stories he tells – of saving Gregory Peck from venomous snakes on location in Ceylon; of joining Ernest Hemingway at the bullfights in Spain; of sharing the spotlight with John Wayne on a talk show – are enlivened by his sense of humor and deftness with an anecdote. Parrish is not only a film industry insider; he is a wonderful chronicler and writer.
Meeting a lovely and lonely British lady during the war; convincing a Russian officer to give up valuable film footage of the reprisals following the 1944 attempt on Hitler’s life; trying to make a movie when the stars were not on speaking terms; trying to make a movie when his boss could not keep his mind off a potential toilet-paper shortage; trying to take a washing machine from Klosters, Switzerland, to London in the back of a station wagon are all part of this rollicking memoir. Parrish’s elegant wit runs throughout and makes Hollywood Doesn’t Live Here Anymore a uniquely charming and entertaining look at Hollywood’s recent and not-so-recent past.
ROBERT PARRISH has at various times been an actor, film editor, director, and writer. Irwin Shaw called his previous book, Growing Up in Hollywood, “delightful and illuminating.” He won an Oscar as Best Film Editor for his work on Body and Soul and directed such films as The Purple Plain, Fire Down Below, and Casino Royale. He now lives on Long Island.
Hardcover, dust jacket – 220 pp., index – Dimensions 21 x 14 cm (8,3 x 5,5 inch) – Weight 461 g (16,3 oz) – PUBLISHER Little, Brown and Company, Boston, Massachusetts, 1988 – ISBN 0-316-69255-7
Hollywood Dynasties (Stephen Farber, Marc Green)
When MGM chief Louis B. Mayer gave a lucrative production deal to his daughter Irene’s new husband David O. Selznick, a Hollywood wit quipped, “The son-in-law also rises!” A practice that began with the first fuzzy flickers, nepotism has always been central to the inner workings of the dream factory. It is impossible to understand the motion picture industry without unraveling the skein of family ties upon which it rests.
First came the Selznicks, Zanucks, Mayers, Warners, and Cohns – the pioneering families, famous and infamous, who formed the miniature fiefdoms of influence and power that shaped the golden age of Hollywood. Now there are the Coppolas, Ladds, Fondas, Douglases and other clans who carry on the dynastic tradition and offer proof that the movie business remains something of a family enterprise, even in the age of conglomerate takeovers.
Hollywood Dynasties is an evocative chronicle of tragedy and disillusionment racing step for step with success and glory. As well-known writers Stephen Farber and Marc Green make clear, for every celluloid tribute to family unity – MGM’s Meet Me In St. Louis, for example – there is a real-life family torn apart by the pressures of life in Hollywood’s fast track. Indeed, the passions that drive, inspire and plague the moviemaking monarchies give the business its most absorbing, and touching, backstage drama.
Hollywood Dynasties – a fascinating look at the private lives of America’s most glamorous elite.
Neither STEPHEN FARBER nor MARC GREEN has any relatives in Hollywood. They were born in Cleveland, Ohio and were classmates at Amherst College. After graduating from Amherst, they both received Woodrow Wilson Fellowships to do postgraduate work in English, Farber at U.C. Berkeley and Green at Harvard. Stephen Farber has published articles on film in The New York Times, The Los Angeles Times, Saturday Review, Film Quarterly, The Hudson Review, Partisan Review, American Film, and many other publications. He is the author of The Movie Rating Game and was film critic for New West magazine from 1976 to 1980. Marc Green has taught at Harvard and George Washington University. He was the film reviewer for Books & Arts, and he has written for New West, Performance, Washingtonian, The Chronicle of Higher Education, and other periodicals. Farber and Green have also collaborated on articles, screenplays, and a play which will be presented in Los Angeles this year.
Hardcover, dust jacket – 365 pp. – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 767 g (27,1 oz) – PUBLISHER Putnam Publishing Group, New York, New York, 1984 – ISBN 0-88715-000-4
Hollywood East: Louis B. Mayer and the Origins of the Studio System (Diana Altman)
Before there was a Hollywood: Metro was a struggling film distribution company; Goldwyn was a glove salesman named Sam Goldfish; Mayer was a guy named Louis, who owned two small-town movie theaters, one known as the Garlic Box and one (a little nicer) with a big oil painting of a lion in the lobby; and none of them were anywhere near California.
Hollywood East tells the story of how the movies evolved as a business – a business controlled from the Eastern seaboard. As Diana Altman notes, “Hollywood was a pretty face but New York was the heart and lungs.”
How did the business of movies grow? Who were the people who made it grow? Where did all the innovations – technical and business – come from? What innovative twists did mobsters Al Capone and Willie Bioff add?
Most film historians concentrate on the Hollywood studios and treat the New York side as an unimportant annoyance to the creative geniuses of Hollywood. In fact, New York ran the whole show, and the geniuses were merely employees as far as New York was concerned. And artistic innovations weren’t limited to the West Coast either. Many of the elements of film art and technology were developed in the East. The star system itself was an eastern innovation. James Stewart, Joan Crawford, Ava Gardner, and many other unknown actors who became stars got their start in the Fifty-Fourth Street Manhattan studio where the screen test was invented.
Hollywood East is the story of Louis B. Mayer from his days as a film exhibitor through his stewardship as studio head at Metro-Goldwyn-Mayer, through his bitter battles with Nicholas Schenck and Dore Schary, his dismissal from the company bearing his name, and the proxy fight to regain control.
It is the story of the individual men who created what was referred to in the forties as “the nation’s fifth largest industry.” It is the story of William Fox, who at one time had ambitions of controlling the entire film production industry and had a net worth of $ 100 million before the stock market crashed and he was sent to prison for bribing a judge in his bankruptcy proceedings. Fox died almost penniless. It is the story of Marcus Loew, the benevolent ruler of the country’s largest theater chain as well as the Metro-Goldwyn-Mayer studios. It is the story of Adolph Zukor, Jesse L. Lasky, Samuel Goldwyn, Cecil B. DeMille, and other giants of the twenties.
When movies first took hold of the public imagination, the filmmakers believed that the storylines and the skill with which they were told were of paramount importance. But they soon discovered that star personalities were the attraction that enticed customers. Mary Pickford was the first major star, but others were quickly developed: Theda Bara, the vamp; Clara Kimball Young, the woman of the world; and Anita Stewart, the girl next door. Zukor attempted to finesse them all by making a feature with Sarah Bernhardt, the queen of stage drama.
It’s all here: how the stars emerged, how the public relations mills did their jobs. And the book explains how the moguls put aside their rivalries when they were threatened by adverse publicity. Many of the photographs in the book are from the one-of-a-kind collection of the author’s father.
DIANA ALTMAN, a film historian, has degrees from Connecticut College and Harvard University. Her work has appeared in the New York Times, Boston Herald, Phoenix, Signature, Ms., Story Quarterly, and many others. She is the daughter of the late Alt Altman, Metro-Goldwyn-Mayer’s New York talent scout. In the studio on Tenth Avenue and Fifty-Fourth Street he directed the screen tests of James Stewart, Ava Gardner, Joan Crawford, John Forsythe, Celeste Holm, Henry Fonda, Paul Mazursky, Dean Stockwell and hundreds of other unknown actors who eventually became stars. The author grew up in New York but now lives with her husband and two daughters in Newton, Massachusetts.
Hardcover, dust jacket – 302 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 671 g (23,7 oz) – PUBLISHER Birch Lane Press/Carol Publishing Group, New York, New York, 1992 – ISBN 1-55792-140-5
Hollywood Exile: or How I Learned to Love the Blacklist (Bernard Gordon)
Autographed copy Bernard Gordon
“When, backed by the Cold War, the government atombombed the writers and others in the film industry with the blacklist, survivors took refuge in small islands of protest and work at home or abroad. One was in Spain, and there Bernard Gordon continued his screenwriting career while maintaining the integrity of his morality and politics. This book is a funny, fascinating, and vivid account of that adventure. Read it and ENJOY. Read it and remember.” – Abraham Polonsky, blacklisted screenwriter and director. Winner of a 1998 Career Achievement Award from the Los Angeles Film Critics Association.
The Hollywood blacklist, which began in the late 1940s and ran well into the 1960s, ended or curtailed the careers of hundreds of people accused of having ties to the Communist Party. Bernard Gordon was one of them. In this highly readable memoir, he tells a engrossing insider’s story of what it was like to be blacklisted and how he and others continued to work uncredited behind the scenes, often in Europe, writing and producing many box-office hits of the era.
Gordon movingly describes how the blacklist cut short his screenwriting career in Hollywood and forced him to work in France and Spain. Ironically, though, his is a success story that includes the films El Cid, 55 Days at Peking, The Thin Red Line, Krakatoa East of Java, Day of the Triffids, Earth vs. the Flying Saucers, Horror Express, and many others. He recounts the making of these and other movies for which he was the writer and / or producer, with wonderful anecdotes about stars such as Charlton Heston, David Niven, Sophia Loren, Ava Gardner, and James Mason; directors Nicholas Ray, Frank Capra, and Anthony Mann; and the producer-studio head team of Philip Yordan and Samuel Bronston, with whom Gordon worked extensively.
In 1997, the Writers Guild of America began publicly re-crediting screenplays to the authors who wrote them during the blacklist era. Bernard Gordon’s name has so far appeared more often than any other. From this unique vantage point, he offers a clear-eyed perspective on the intended and unexpected consequences of the Hollywood blacklist that he successfully, if anonymously, defeated. It’s a story as entertaining as his movies.
During a thirty-year career, Bernard Gordon was the writer or producer of more than twenty motion pictures. An active trade unionist in Hollywood during the 1940s, he was named as a Communist during the infamous House Un-American Activities Committee hearings in Wahington in 1947. Now retired from active work in films, but still writing, he lives in Los Angeles.
Hardcover, dust jacket – 303 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 697 g (24,6 oz) – PUBLISHER University of Texas Press, Austin, Texas, 1999 – ISBN 0-292-72827-1
The Hollywood Exiles (John Baxter)
Hollywood was, in the beginning, the dream city of European exiles – working-class immigrants who became movie moguls. It was they who, in the 1920s and 1930s, went on hectic head-hunting raids in Europe and lured vast numbers of directors, writers, actors, technicians, before – as often as not – dumping them in superfluous and unproductive jobs. John Baxter’s witty, well-informed account describes the studios’ extravagant recruiting methods and the subsequent formation of exiled communities in Hollywood.
The émigrés who were wooed by Hollywood in the 1920s and early 1930s were an extraordinary mixture. Pride of place must go to the Germans – the director Ernst Lubitsch, son of a Berlin tailor; Emil Jannings, of legendary physical appetite; F.W. Murnau, the ex-art historian; Conrad Veidt and Marlene Dietrich. Then there were the British – music-hall performers at first, like Chaplin and Stan Laurel; followed by the ‘spurious sons of empire’ – Ronald Colman, Leslie Howard, Clive Brook, who helped form the Hollywood Cricket Club under the aegis of the classic state Englishman Sir Charles Aubrey-Smith. There were colonies of French, Hungarians, Scandinavians, and Russians too – the latter composed of mostly ex-Army men called upon to play themselves in films about pre-revolutionary Russia.
In the later 1930s and 1940s there was a different kind of influx. Refugees from Nazi-occupied Europe turned Hollywood briefly into a kind of California Athens – Renoir, René Clair from France, Max Reinhardt and Bertold Brecht from Germany. Musicians (composers and singers) came too – Stravinsky and Schoenberg both found Hollywood congenial. Among writers Hugh Walpole luxuriated.
Of those who came to Hollywood many left – but none without first recording an impression. John Baxter’s book offers a goldmine of stories about the exiles – from the earliest days when a handful of working-class immigrants from middle Europe created the film industry to glamorize their dream of Europe, to the post-World War Two days when ‘unAmerican’ became a term of abuse.
Since leaving Australia in 1969, where he was for a time Publicity Director of the Australian Commonwealth Film Unit, JOHN BAXTER has written, lectured and broadcast extensively about the cinema. His publications include Hollywood in the Thirties, The Cinema of Josef von Sternberg, The Gangster Film, Science Fiction in the Cinema, Sixty Years of Hollywood, Stunt: The Story of the Great Movie Stuntmen, and Ken Russell: An Appalling Talent. He has arranged a number of seasons at London’s National Film Theatre, has acted as a juror or delegate at most of the European film festivals, and is a frequent contributor to Sight and Sound and other film journals.
Hardcover, dust jacket – 242 pp., index – Dimensions 24,5 x 18 cm (9,6 x 7,1 inch) – Weight 796 g (20,1 oz) – PUBLISHER Macdonald and Jane’s, London, 1976 – ISBN 0 356 08197 4
Hollywood Giganten: Joodse Immigranten en de Amerikaanse Film (Adrian Stahlecker)
In 1881 werd er een aanslag gepleegd op de Russische tsaar Alexander II waarbij deze om het leven kwam. Omdat een van de plegers jood was, leidde dit tot represailles onder de joodse bevolking. Kozakken trokken te paard door de joodse dorpen, hakten in op de bewoners en lieten de huizen in vlammen opgaan.
Hierdoor kwam de joodse emigratie in een stroomversnelling. Jonge joden werden daarbij vooral aangetrokken door het dynamische Amerika. Hoewel ze er meestal op een ‘schoen en een slof’ aankwamen, wisten ze er door keihard werken een mooie toekomst op te bouwen. De meeste immigranten die uit Oost-Europa kwamen, spraken Jiddisch. In de grote Amerikaanse steden ontstonden daardoor al gauw tal van Jiddische theaters. Bij de komst van de film waren het de joodse immigranten, die als eerste de mogelijkheden van het nieuwe medium inzagen. In leegstaande pakhuizen en verlopen theaters werden de eerste bioscopen geopend en de joodse eigenaars hiervan werden multimiljonair. Voor hen werd de American Dream werkelijkheid. De invloed van joodse immigranten en hun nazaten op de Amerikaanse cultuur was en is nog steeds bijzonder groot.
Van ADRIAN STAHLECKER verscheen eerder bij Aspekt: Goebbels’ droomfabrieken; De Muze Ine Veen; Romy Schneider; Nederlandse acteurs in de Weimarrepubliek en Nazi-Duitsland; Schilderswijk en Society; Een liefde tussen oorlog en vrede: de stormachtige relatie tussen Marlene Dietrich en Jean Gabin; Hildegard Knef, een ster en een tijdperk en Stijliconen en idolen.
Softcover – 366 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 645 g (22,8 oz) – PUBLISHER Uitgeverij Aspekt, Soesterberg, The Netherlands, 2008 – ISBN 9059117492
Hollywood Goes to War: How Politics, Profits & Propaganda Shaped World War II Movies (Clayton R. Koppes, Gregory D. Black)
Hollywood Goes to War is the engrossing, never-before-told story of how politics, propaganda, and profits sparked the drama, imagery, and fantasy of 1940s film – and marched America off to fight the Second World War. Clayton R. Koppes and Gregory D. Black examine how one of America’s largest and most lucrative industries was enlisted as an enthusiastic recruiter for Uncle Sam to create scores of “entertainment” pictures, such as So Proudly We Hail starring Claudette Colbert, in which blatant morale-building propaganda messages received top billing.
Revealed is the incredibly powerful role of President Franklin Delano Roosevelt’s Office of War Information, staffed by some of America’s most famous intellectuals including Elmer Davis, Robert Sherwood, and Archibald MacLeish. Intent on portraying the government’s interpretation of a world at war, OWI officials participated in pre-production conferences; reviewed prospective films for their “war content”; pressured movie makers to change scripts and even drop movies they deemed objectionable; and helped write screenplays. Constantly updated, an OWI manual distributed to nearly every studio encouraged executives to consider seven pertinent questions before approving a film’s production, including “Will this picture help win the war?”
Ironically, it was the film industry’s own self-censorship system, the Hays Office and the Production Code Administration, which paved the way for government censors to snip and shape movies to portray an idealized image of a harmonious American society united in the fight against a common enemy.
The relationship between Washington and Hollywood, however, was not an easy one; Koppes and Black reconstruct the power struggles between legendary moguls, writers, directors, stars and politicians all seeking to project their own visions on the silver screen and thus affect public perceptions and opinion. OWI pledged “to tell the truth” and pressed Hollywood to accurately portray both our enemies and allies in films, as in differentiating between good Germans and evil Nazis in pictures like The Moon Is Down. Yet the “truth” OWI encouraged was often far different from reality: a classless England in Mrs. Miniver; a noble Russia ruled by a benign Stalin in Mission to Moscow; a prosperous modern China in Dragon Seed; and uniformly treacherous “Japs” like those in Darryl F. Zanuck’s The Purple Heart.
Hollywood Goes to War offers a penetrating analysis of how seemingly contradictory entertainment and propaganda in a time of global crisis effectively merged to fill America with national pride, advance her war effort, and make millions at the box-office – while simultaneously creating a legacy of unrealistic hope for a united and democratic post-war world.
CLAYTON R. KOPPES is Houck Professor of Humanities and Chairman of the History Department at Oberlin College in Ohio. His book JPL and the American Space Program was awarded the Dexter Prize from the Society for the History of Technology. GREGORY D. BLACK is Chairman of the Communications Studies Department at the University of Missouri, Kansas City, and Director of the American Culture Program there.
Hardcover, dust jacket – 374 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 801 g (28,3 oz) – PUBLISHER The Free Press, New York, New York, 1987 – ISBN 0-02-903550-3
The Hollywood Greats (Barry Norman)
Clark Gable, Errol Flynn, Spencer Tracy, Gary Cooper, Humphrey Bogart, Joan Crawford, Ronald Colman, Jean Harlow, Judy Garland, Charles Laughton… in the 1930s and 1940s, Hollywood’s heyday, these were the brightest stars in the glittering celluloid galaxy. Often trapped in the image of their own legend, adored, imitated, and sometimes the reverse, they saw the least detail of their lives become public property.
In his probing appraisal, The Hollywood Greats, based on the highly successful BBC TV series of the same name, Barry Norman portrays the lives and personalities of these ten stars. His interviews with their friends, lovers, wives, husbands and children, and also with these who made and directed their films, reveal some fascinating and surprising facts, from the mystery that still surrounds Jean Harlow’s death and the disturbing contrast between Joan Crawford’s relations with her fans and her family, to Humphrey Bogart’s temporary baldness and Errol Flynn’s bizarre way of expressing affection for Olivia de Havilland. This absorbing examination of a whole way of life will not only delight followers of the original television series, and seasoned filmgoers, but will captivate an audience who are only now seeing the films that were the making of “The Hollywood Greats.”
BARRY NORMAN is a regular broadcaster on television and radio, and is a frequent contributor to newspapers and magazines. He is also a versatile author and among his most recent books are A Series of Defeats and To Nick a Good Body. He is married to writer Diana Norman and they live with their two daughters in Hertfordshire.
[Portraits of Clark Gable, Errol Flynn, Spencer Tracy, Gary Cooper, Humphrey Bogart, Joan Crawford, Ronald Colman, Jean Harlow, Judy Garland, Charles Laughton]
Hardcover, dust jacket – 272 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 718 g (25,3 oz) – PUBLISHER Franklin Watts, New York, New York, 1980 – ISBN 0-531-09917-2
The Hollywood Hall of Shame: The Most Expensive Flops in Movie History (Harry Medved, Michael Medved)
Lavishly illustrated in glorious black and white, The Hollywood Hall of Shame celebrates motion pictures that have failed on so grand a scale that they have earned their own sort of immortality. In addition to such flops as Cleopatra, Darling Lili, and Heaven’s Gate, visitors to the Hollywood Hall of Shame will discover bizarre losers like Hello Everybody, a lavish musical featuring the romantic exploits of the singing, dancing, 212-pound Kate Smith; Kolberg, a 1944 Nazi extravaganza about the Napoleonic Wars starring 187,000 Wehrmacht soldiers as battlefield extras, and personally supervised by Dr. Joseph Goebbels; Doctor Dolittle, the dilemma-ridden Rex Harrison disaster in which even a duck drowned; Underwater!, a Howard Hughes-Jane Russell seagoing stinker that premiered at the bottom of a swimming pool to a group of skeptical critics wearing diving equipment.
These and other “overstuffed” turkeys are displayed in exhibition areas, which include fascinating information on how the films are made, the inside story of what went wrong during production, and explanations of why they failed at the box-office. In the colorful corridors of this museum you will meet such dreamers and schemers as William Randolph Hearst, Marlene Dietrich, D.W. Griffith, Liberace, Elizabeth Taylor, Benito Mussolini, Julie Andrews, Warren Beatty, the Reverend Sun Myung Moon, John Wayne, Marlon Brando, and many, many others. There is also a basement collection describing over two hundred bona-fide bomberinos for the confirmed connoisseur of cinemediocrity. So come find your way through Harry and Michael Medved’s hilarious Hall of Shame, and fondly remember those grand, doomed gestures Hollywood would prefer to forget.
Softcover – 235 pp. – Dimensions 27,5 x 20,5 cm (10,8 x 8,1 inch) – Weight 696 g (24,6 oz) – PUBLISHER Angus & Robertson Publishers, London, 1984 – ISBN 0-207-14929-1
Hollywood: Het Machtige Web (Otto Friedrich; originally titled City of Nets: A Portrait of Hollywood in the 1940s)
Deze verbijsterende kroniek van Hollywood in de jaren veertig is een sociale en culturele geschiedenis van het mekka van de film in zijn glorietijd. De fascinerende rolverdeling bestaat uit acteurs en actrices, schrijvers en musici, producenten en regisseurs, afpersers en vakbondsleiders, journalisten en politici tijdens de roerige jaren die lopen van het begin van de Tweede Wereldoorlog tot de oorlog in Korea.
Humphrey Bogart, Rita Hayworth, Thomas Mann, Howard Hughes, Arnold Schönberg, David O. Selznick, Bugsy Siegel, Bertolt Brecht, Ingrid Bergman, Nathanael West, Charlie Chaplin, Igor Stravinsky, Raymond Chandler, Ronald Reagan en nog vele andere personages illustreren de belangrijke thema’s van Hollywood: Het Machtige Web. De macht van Hollywood als schepper van beelden die de hele wereld lieten dromen; de conflicten tussen verschillende klassen en generaties; de botsingen tussen radicalen, reactionairen en gangsters; de verstrengeling van glamour, rijkdom, hypocrisie en misdaad. In dit briljante portret van een unieke wereld in een unieke tijd behandelt Otto Friedrich een grote diversiteit aan onderwerpen, variërend van het ontstaan van de grote films en de strijd van de filmmakers met de producenten, tot de watervoorziening van Los Angeles en de heksenjacht op communisten. Met een vlijmscherpe pen en met veel oog voor menselijke zwakheden schildert Friedrich in Hollywood: Het Machtige Web een schitterend panorama van Hollywood, van Gone With the Wind tot Sunset Boulevard.
OTTO FRIEDRICH studeerde geschiedenis in Harvard en sloot zijn studie cum laude af. Hij vertrok naar Europa om te bouwen aan een internationale journalistieke carrière. Hij werkte onder meer hij The United Press in Parijs en Londen. Na zijn terugkeer naar de Verenigde Staten werkte hij als redacteur en verkreeg hij in 1970 grote bekendheid met zijn boek Decline and Fall, een verslag van de ondergang van The Evening Post. Het boek, dat algemeen werd beschouwd als een klassieker, won de George Polk Award voor het beste journalistieke werk van het jaar. Friedrich publiceerde verder onder meer Before the Deluge: A Portrait of Berlin in the 1920s (1972); Going Crazy (1976) en Clover, a biography of Mrs. Henry Adams (1979).
Hardcover, dust jacket – 510 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 863 g (30,4 oz) – PUBLISHER Rostrum BV, Haarlem, The Netherlands, 1986 – ISBN 90 328 0621 1
Hollywood Homes: Postcard Views of Early Stars’ Estates (Tina Skinner, Tammy Ward)
This wonderful book takes you on an architectural tour into the lives of over 100 early semi-Gods of the Silver Screen. Preserved on postcards, these images are as collectible today as they were when first bought by tourists who flocked to the burgeoning film capital of Hollywood. Then, as now, visitors paid to ride past these homes, hoping above all else to glimpse one of the giants of the screen so that a little bit of star dust might rub off on them.
Many of the stars are actually pictured on the original postcard of the homes, and others are shown with their portrait postcards from the era. Short biographies of the celebrities illuminate this golden era of entertainment. These highly collectible images, produced between 1905 and the early 1970s, have been organized alphabetically, from Bud Abbott to Jane Withers, to help fans find their favorite celebrities. A current value guide will help collectors compile their own treasuries of these precious Hollywood souvenirs.
Softcover – 160 pp. – Dimensions 22,5 x 15 cm (8,9 x 5,9 inch) – Weight 452 g (15,9 oz) – PUBLISHER Schiffer Publishing, Ltd., Atglen, Pennsylvania, 2005 – ISBN 0-7643-2202-8
Hollywood Hoopla: Creating Stars and Selling Movies in the Golden Age of Hollywood (Robert S. Sennett)
It’s 1939, you’re standing on the main street of Dodge City, Kansas, watching forty marching bands, hundreds of horses, masked gunmen shooting blanks, and specially decorated planes carrying the Hollywood stars – all courtesy of Warner Bros., which assembled an entire parade for the opening of the film Dodge City. Hollywood Hoopla is a fascinating chronicle of the golden age of Hollywood publicity. The flowering of Hollywood’s publicity and promotion in the 1930s and 1940s represents an inspiring story of self-promotion, when the movie studios claimed to have more stars than there are in heaven, and star portraits and movie posters were plastered everywhere to promote the relatively new medium of film. By the late 1930s, over 16,000 theaters were getting into the hoopla – holding treasure hunts and giving out party favors from diner plates to automobiles.
Robert S. Sennett examines the incredible Hollywood promotional machine from all angles – from the studio publicity departments that groomed their ingénues like Lana Turner, Rita Hayworth, and Shirley Temple to be exactly who the public wanted, to the gossip columnists like Hedda Hopper and Louella Parsons, who competed with each other for scoops on Tinseltown’s juiciest scandals. Sennett takes you to the famous haunts of Hollywood night life, where lots of “spontaneous” publicity took place and the road shows and the personal appearances which were the rigueur for the stars. You’ll also go behind the scenes, to learn how powerful agents such as William Morris and Myron Selznick got their ten percent stake in the action, and how the great portrait photographers such as Clarence Sinclair Bull and George Hurrell helped to create a unique brand of Hollywood glamor. Also covered are the grand old movie palaces and the promotional gimmicks they used to get people in the doors. All of those elements contributed to the meteoric rise of the fledgling movie industry.
Packed with entertaining anecdotal material, and illustrated by over seventy vintage photographs of never-before-seen press books and of stars such as Elizabeth Taylor, Marilyn Monroe, Loretta Young, Judy Garland, and Mickey Rooney selling their wares, Hollywood Hoopla provides not only a rich, entertaining history of the silver screen but also of the development of popular taste in twentieth-century America.
ROBERT S. SENNETT is the author of several books on the history of photography and Hollywood, including Setting the Scene: The Great Hollywood Art Directors. He is currently working on a book about Man of La Mancha. Mr. Sennett is the lyricist and co-author of the books for two musical plays, Aurora and Second Chances. He lives in Arlington, Massachusetts.
Softcover – 191 pp., index – Dimensions 23 x 17,5 cm (9,1 x 6,9 inch) – Weight 442 g (15,6 oz) – PUBLISHER Billboard Books, New York, New York, 1998 – ISBN 0-8230-8331-4
Hollywood Hussar: The Life and Times of John Loder (John Loder)
Born John Lowe, son of a General in the British Army, John Loder went from Eton to Sandhurst in the opening months of the First World War. Commissioned into the Hussars, he saw service at Gallipoli and in Egypt before being appointed A.D.C. to his father, by this time Commander of All British Forces in Ireland.
In Dublin, Loder was involved in the suppression of the Easter Rising in 1916 and took the surrender of the Irish leader, Padraig Pearse, whom he then personally escorted to gaol. From Ireland he was posted to France in time to participate in the Battle of the Somme, and involvement in other actions followed – ending with his being taken prisoner by the Germans in March 1918. In P.O.W. Camp in Germany he learned German, which subsequently stood him in very good stead, and after the Armistice in 1918 was appointed A.D.C. to General Malcolm, Chief of the British Military Mission in Berlin.
Work with the Interallied Control Commission followed, with adventures in Poland and, finally, demobilisation, after which Loder set himself up in, of all things, a pickles business in Germany with a German partner. But the Mark collapsed and the business failed. A friend suggested that, since he was tall and good-looking, he should try to break into pictures. He did so – in Germany – then got offers of film parts in England (at which point he changed his name) and subsequently was invited to Hollywood.
He arrived in Hollywood before the coming of sound and survived all the tremendous changes that the ‘talkies’ brought in their wake. He knew all the ‘greats’ in the golden era of Hollywood and, when the glitter of that golden era began to fade in the late forties and early fifties with the arrival of television, he successfully devoted more and more of his time to stage, radio and TV. And so, John Loder’s name went up in lights on Broadway. In 1958, he decided to put show business behind him and make yet another career for himself – this time as a rancher in South America.
But it is to his show business career that most of this fascinating autobiography is devoted: his films, his Hollywood escapades, his stormy marriages, including that to the actress known as ‘The World’s Most Beautiful Woman,’ Hedy Lamarr, whose nude bathing scene set the film world by its ears in the permissive thirties.
Truly, a man in his time plays many parts, and John Loder played them all, up to the hilt.
Hardcover, dust jacket – 178 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 484 g (17,1 oz) – PUBLISHER Howard Baker, London, 1977
The Hollywood I Knew: A Memoir 1916-1988 (Herbert Coleman)
No one knows Hollywood better than the men and women behind the scenes, the directors and producers who turn ordinary people into heroes of the big screen by the lights, camera, and action of it all. Who better to tell a part of Hollywood’s enduring tale than Herbert Coleman, a script supervisor, second unit director, director, and producer, who was active in Hollywood from 1926 through 1988. His memoir, beginning in the year 1916, provides vivid portraits of the many celebrated movie notables that he worked with such as Gary Cooper, Bing Crosby, Cecil B. DeMille, Alan Ladd, Steve McQueen, Erich von Stroheim, and Billy Wilder. He recounts the making of well-known productions like Carrie, Five Graves to Cairo, For Whom the Bell Tolls, and Roman Holiday. Above all, he discusses for the first time his long working relationship with Alfred Hitchcock, providing fresh insights into the making of Rear Window, The Trouble with Harry, Vertigo, North By Northwest and others. He also recounts many stories about Hollywood – stories that would have been lost were it not for this book
Not only a historical record of several important and dynamic periods in Hollywood, Herbert Coleman’s autobiography reveals new information about Hitchcock and other legendary movie notables including Gary Cooper, Bing Crosby, Steve McQueen, Billy Wilder, and Alan Ladd. This is a great resource for film students, film buffs, people interested in Hollywood, and Hitchcock fans.
The late HERBERT COLEMAN worked in Hollywood and the film industry for more than sixty years as a script supervisor, second unit director, director, and producer.
Hardcover, dust jacket – 383 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 681 g (24 oz) – PUBLISHER The Scarecrow Press, Inc., Lanham, Maryland, 2003 – ISBN 0-8108-4120-7
Hollywood In a Suitcase (Sammy Davis, Jr.)
“I dedicate this book to every person who has ever sat at a Saturday matinee and cheered the hero and hissed the villain. It is also dedicated to the multitude of those of you who, like myself, have become film critics and ‘movie buffs’ and, last but not least, to the devoted artists in front of and behind the camera (actors, producers, directors, writers, technicians, etc.) and the man, without whose ominous voice no film would ever he made save for the words he utters: ‘OK! Roll ’em!’” – Sammy Davis, Jr.
“This book has been a lot of fun for me to write because movies are my passion. It may be over-indulgence on my part, but I felt the need to share some of this deep feeling with other people. I have been an entertainer for fifty years and hope I’ve given a little bit of pleasure to people. But others in show business have given me immense pleasure as well, and I thought it was time to pay them a personal tribute.
I did not set out to write another Yes I Can – my earlier autobiography – simply because I’ve still got a lot of living to do before writing the final chapters of my life. This is an interlude piece, a pleasurable book to write and, I hope, to read. It is a book, like a certain song, I felt I had to do. And I must pay an immense tribute to Simon Regan, without whose help the book would never have been written.” – The Preface.
Softcover – 255 pp. – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 153 g (5,4 oz) – PUBLISHER W.H. Allen & Co., Ltd., London, 1980 – ISBN 0 352 30965 2
Hollywood in the Twenties (David Robinson)
“It is a dangerous – and perhaps ultimately doomed – undertaking to compress into a book of this length the story of a cinema as prolific and rich as Hollywood in the decade or so between the end of World War I and the general introduction of talking pictures. All that is really possible is a bird’s eye of view of things; and my concern has been to show the films and filmmakers of this period both in their relationship to the industry and to the general background of American life and culture in the extraordinary epoch which separated the Armistice from the Wall Street crash. The sixty or seventy filmmakers whose careers are treated in greater or less detail are those whom I feel are most significant or at least most representative in their period. Inevitably other judgements will see partialities and omissions in my selection.
The difficulty in dealing with a period as remote as this now is, is that such a small proportion of the toal output has survived for critical appraisal.” – From The Introduction.
Softcover – 176 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 196 g (6,9 oz) – PUBLISHER A.S. Barnes & Co., New York, New York, 1968 – ISBN 0-498-06926-5
Hollywood in the Thirties (John Baxter)
“On New Year’s Eve of 1929, it was raining in New York, but the streets were still full. The theaters were packed as if there had never been a Depression; the memories of 1929 and of the big slump were fading. People who had once preferred to stay home, were coming out, filling the hotels and smart restaurants.
On Broadway, one could see Alfred Lunt and Lynn Fontanne in their newest comedy, or Bitter Sweet, a play by the latest rage, Noël Coward. For those not able to afford the price of a theater seat, there were movies, including Helen Morgan in Applause. With sound a commonplace now, and color, the simple two-color Technicolor that enlived sequences of many musicals, widely used, the movies were better than ever.
Two thousand miles away, in Los Angeles, they thought that too. As the filmmakers of Hollywood gathered to celebrate the new year, the producers, directors and stars in one group, the technicians and lesser actors in another, one felt a sense of relief in the gaiety. It had been tough for a while. The crash had hit a lot of people in the West as well. Sound had brought problems, and ruined many. Some familiar faces were gone, back to Europe perhaps where their voices were not the bar to employment that short-sighted producers had made them in America…” – From chapter 1, ‘The Fabulous Legend.’
Softcover – 160 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 180 g (6,3 oz) – PUBLISHER A.S. Barnes & Co., New York, New York, 1968
Hollywood in the Forties (Charles Higham, Joel Greenberg)
“1940 looked like an auspicious year for Hollywood. After the gigantic bonanza of the thirties, ending with the supreme box-office triumph of Gone With the Wind, clouds began to darken the air. The outbreak of war in Europe caused the closure of the rich continental market. Currency restrictions meant a drastic reduction of potential in the Commonwealth and the United Kingdom. The Far Eastern markets shrivelled as well. Almost overnight, the reckless extravagance of the previous decade stopped dead. Hollywood pulled its purse-strings tight, studio staffs were laid off, and all but the biggest stars had to take heavy cuts in salary.
By the end of the year, losses were as much as one-third on the figures of 1939. To make matters worse, the old system whereby theaters were compelled to book ‘blind’ a studio’s entire annual product was broken by government action. From now on, pictures were to be sold in blocks of five, and exhibitors had to see them first. And from the Attorney’s General Department came a threat that had begun to gather force as early as 1937: that the theater chains might be detached from the studios that owned them, that the old, powerful monopolies would be broken down.” – From The Introduction.
Softcover – 192 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 209 g (7,4 oz) – PUBLISHER A. S. Barnes & Co., New York, New York, 1968
Hollywood in Transition (Richard Dyer MacCann)
Today the motion picture business is in a precarious period of adjustment. Television films are keeping many actors and technicians busy, but Hollywood is making fewer theatrical films than ever before – some of which are so costly their failure could bankrupt an entire studio. But there are hopeful prospects as well. In this brilliant book, Richard Dyer MacCann examines all the faces of an industry which is confusing, popular, depressing, exciting, logical and fantastic.
Since the advent of transcontinental television in 1951, the domestic movie audience has been cut in half, and the world market has become a dominant factor in filmmaking. At the same time, in order to compete with foreign films at home, there has been a move toward so-called “adult” pictures, many of them made by “independent” producers. Fewer and bigger productions are the rule, and profound changes have occurred in the organization of the complex old-time studios which used to guide young stars in the development of their careers. In contemporary Hollywood, life is often suspended between the end of one production and the beginning of the next.
Mr. MacCann examines the causes and effects of these transformations. “The four changes that have come in the wake of the television revolution,” he says, “are actually four expanded freedoms – freedom from censorship, freedom from centralized studio production, freedom from domination by the domestic box-office, and freedom from the tyranny of the assembly line. Yet none of these freedoms, except possibly the last one, is a clear-cut advantage either for Hollywood or for society. Each new freedom carries with it new labords and new dangers, calling for courage, understanding, and a sense of obligation. If thoughtful people – in Hollywood and outside – can take a long, hard look at what has really happened, this alone will be a big step toward a better relationship between Hollywood and its new, wider world.”
The more personal aspects of life and work in Hollywood are illustrated by Mr. MacCann through interviews with producers, directors, writers, and such stars as Janet Leigh, Marlon Brando, Joanne Woodward, James Dean, and Alec Guinness. His fresh analysis casts new and sometimes surprising light on the cinema – an industry on which thousands of people depend for their living, a medium of communication to which millions look for entertainment. It is a cinema which Mr. MacCann understands as business and respects as art.
RICHARD DYER MacCANN is probably the only man with a Ph.D. ever hired by a major newspaper to be a Hollywood correspondent. He studied political science at Kansas University and at Stanford, and wrote his doctoral dissertation at Harvard on the history of motion picture production by the U.S. Government. For nine years he wrote about films and their film makers for The Christian Science Monitor, and from 1957 to 1962 he taught filmwriting and documentary film at the University of Southern California.
Hardcover, dust jacket – 208 pp. – Dimensions 21 x 14 cm (8,3 x 5,5 inch) – Weight 427 g (15,1 oz) – PUBLISHER Houghton Mifflin Company, Boston, Massachusetts, 1962
Hollywood in Vintage Postcards (Rod Kennedy, Jr.; text by Elizabeth Ellis)
In 1913, Jesse L. Lasky and Cecil B. DeMille rented Jacob Stern’s yellow barn at the corner of Selma Avenue and Vine Street in Hollywood, California, to make a movie called The Squaw Man. The success of this first full-length film shot entirely in Hollywood transformed this quiet Christian-temperance community into the moviemaking and entertainment capital of the world – a place synonymous with glamor and gossip, sophistication and scandal – a celluloid dream factory that producers and projects visions of romance, horror, comedy, and tragedy into the psyche of America and the world.
Hollywood in Vintage Postcards documents the transformation of “Hollywood the Place” into “Hollywood the Illusion.” It is the celebration of the culture, history, and architecture of Hollywood from the turn of the twentieth century to the early 1950s, illustrated with vintage postcards, which famed photographer Walker Evans once described as “the truest visual record ever made of any place.”
ROD KENNEDY, Jr.’s books include Lost New York in Old Postcards, The Brooklyn Cookbook and The County Fair Cookbook with Lyn Stallworth; Atlantic City, 125 Years of Ocean Madness with Lee Eisenberg and Vicki Levi; and A Treasure of British Country Homes Address Book in conjunction with the National Gallery’s exhibition “The Treasure Houses of Britain.” He is the founder and the president of Stadia Tins, Ltd., which produces decorative tins that are replicas of major football league stadiums. He also produced the “Star Spangled Banner” poster for the Smithsonian Institution. He lives in Manhattan. ELIZABETH ELLIS is an archivist with an MLS from the University of North Carolina at Chapel Hill. Her writing credits include Lost New York in Old Postcards with Rod Kennedy, Jr., and numerous upscale menu and single-food features for Patuxent Publishing. She is currently at work on a collection of short stories.
Hollywood Heritage, Inc., is a nonprofit organization dedicated to the preservation and restoration of Hollywood. It has spearheaded the effort to turn Hollywood Boulevard into a National Historic District and also helped convince developers and owners to save and / or restore such Hollywood landmarks as the Cinema Dome, Grauman’s Chinese Theatre, the historic façade of the ABC studio building, and the original home of the Screen Cartoonist Guild. For information about membership in Hollywood Heritage, Inc., and about its ongoing programs, please visit them at www.hollywoodheritage.org
Softcover – 96 pp., index – Dimensions 19 x 21,5 cm (7,5 x 8,5 inch) – Weight 334 g (11,8 oz) – PUBLISHER Gibbs Smith, Salt Lake City, Utah, 2003 – ISBN 1-58685-145-4
Hollywood Is a Four-Letter Town: The Scandalous, Often Touching Truth About the Wild and Wacky Capital of Entertainment (James Bacon)
The funny men. Legends. Blossoming superstars. King-and-queen romances. All the great drinkers and big spenders and insatiable lovers. Here they are in rollicking and sometimes poignant tales that have never before been told. Out of his twenty-eight years as a syndicated Hollywood columnist, James Bacon has woven a spellbinder of a book; with a single exception – W.C. Fields – he has known everyone in it. The big ones have never disappointed him, but they have left him gasping for breath – or for a hangover cure.
Big Duke John Wayne and Lana Turner and Judy Garland and Bing Crosby. Paul Newman and Robert Redford, Warren Beatty and Jack Nicholson. Barbra Streisnad and Cher. The ups and downs of covering Richard Burton and Elizabeth Taylor. Elvis Presley and Sophia Loren, Burt Lancaster and Steve McQueen. The Legend herself, very much in the flesh, as the author recounts their three-month fling in a chapter entitled “The Night I Made Love to Marilyn Monroe and Joe Schenck Didn’t.” Marlon Brando’s perverse sense of humor. John F. Kennedy and his Beverly Hills hideaway. Howard Hughes, sitting in the rain, talking about his passion for privacy, beautiful women, and power. James Caan and Clint Eastwood, Dustin Hoffman and Al Pacino. Humphrey Bogart without tears. Sammy Davis, Jr., Kim Novak, and the Mob.
Here are the comedians, from Charlie Chaplin to Winters. Jackie Gleason flying cross-country-by rail. Henny one-lining America to death. Marty Allen at Naked City. Red Skelton, Bob Hope, the Marx Brothers, Jack Benny and George Burns. And here are Clark Gable, Cary Grant, David Niven, Gary Cooper, Katharine Hepburn and Spencer Tracy, and the Queen of Sex, at 83: Mae West.
Which stars rank with Errol Flynn in Bacon’s guzzler’s guide? (Many – but here’s a clue: Frank Sinatra spills more than Dean Martin drinks.) Who’s the most virile male in town? (It’s a tie, and you’ll never guess.) Who will they write about in 1999? (Bacon picks eleven current box-office biggies to be living legends by then – if they stop shutting themselves away from the public.)
Hollywood Is a Four-Letter Town is a big, bright book crammed with laugh lines and mind-blowers. It moves to the beat of James Bacon’s heart, for these are his kind of people – happy or haunted or just stunningly human.
JAMES BACON, for 18 years the Associated Press Hollywood correspondent, now writes a Hollywood column for the Los Angeles Herald-Examiner that is syndicated worldwide in more than 480 papers.
Hardcover, dust jacket – 324 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 697 g (24,6 oz) – PUBLISHER Henry Regnery Co., Chicago, Illinois, 1976 – ISBN 0-8092-8124-4
Hollywoodland (David Wallace)
Hollywood lifestyles of today have nothing on those of the first half of the last century for opulence and glamour. David Wallace, author if Lost Hollywood, has unearthed new stories and fresh details about some of era’s biggest names and how they lived, worked, and played. The stars’ real lives at the dawn of the studio era were infinitely more interesting than anything committed to celluloid, and they’re all here. Hollywoodland explores, among others topics: high society, “twilight” guys and gals, getting high, dream houses, great movie music and where it came from, star retreats and playgrounds, the mob and movie business, celebrated on-screen and off-screen fashions.
Hollywoodland is rich and lively history about Hollywood’s grandest era, and necessary reading for any fan of the movies and their earliest stars.
DAVID WALLACE is a journalist who has covered celebrities and the movie industry for more than twenty years. He lives in Los Angeles.
Hardcover, dust jacket – 238 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 429 g (15,1 oz) – PUBLISHER St. Martin’s Press, New York, New York, 2002 – ISBN 0-312-29125-6
Hollywood: Land and Legend (Zelda Cini, Bob Crane, with Peter H. Brown)
Never before has so small a place had such a phenomenal influence on so many. For decades, Hollywood has guided our manners, morals, dress and even our economic well-being.
Hollywood, USA, is home to movers and shakers – the industrious, the independent, the outrageous and the ambitious – and its influence reaches beyond national boundaries. This is the story of the place and its people, not only the movie colony, but all who helped make Hollywood the eccentric and special place it has always been.
From 1886, when the land belonged to Harvey and Daeida Wilcox, to its subdivision, its first hotel, post office, and movie studio, to its emergence as “The Entertainment Capital of the World,” we glimpse almost an entire century of Hollywood in this exciting close-up view. We see Lloyd Wright design the Hollywood Bowl while his famous father designs architectural masterpieces in the Hollywood Hills; the “star system” become a household word; the “talkies” spell Academy Awards; the Roaring Twenties give way to the glitter of Sunset Strip; World War II bring out the best in America; and so much more. And it all started with the 120-acre plot of flatland that Daeida bought for $ 300 which was transformed from a big farm into a land of fantasy and glamor.
Packed with anecdotes and vivid details, Hollywood: Land & Legend gives us an intriguing history of one of the world’s most famous places. It tells us how Hollywood, from its first bandit, Tiburcio Vasquez, to the story of its most visible landmark, the Hollywood sign, came to be and how the story will continue in future years.
Over two hundred and seventy-five exquisite photos, many never before published, enhance the colorful text. Everyone who has ever lived there or dreamed of being there will delight in this portrayal of Hollywood – a land and a legend.
ZELDA CINI, who grew up in Hollywood, was a staffer for the original Hollywood bureau of Life magazine. She was also the founder of Nides & Cini, an agency specializing in advertising public relations. More recently, she was editor and feature writer for Hollywood (Studio) magazine, a motion picture nostalgia monthly. A graduate of UCLA, Ms. Cini resides in Hollywood. BOB CRANE was born in Carmel, New York, and graduated from Amherst College and the University of Zürich. He was a Deputy Director of Radio Free Europe and an account executive for McCann-Erickson. In the mid-sixties, his life-long interest in architectural design led him to found his own real estate firm, Bob Crane & Associates, now the most prominent agency in the Hollywood Hills. PETER H. BROWN, an award-winning journalist, has written about Hollywood for many newspapers and magazines, including TV Guide and Panorama. Mr. Brown, who includes among his honors the Heywood Broun Award, is a regular contributor on Hollywood-related subjects to the Washington Post and Los Angeles Times. A resident of Hollywood, he graduated from the University of Arizona.
Hardcover, dust jacket – 191 pp., index – Dimensions 26 x 26 cm (10,2 x 10,2 inch) – Weight 1.085 g (38,3 oz) – PUBLISHER Arlington House, Westport, Connecticut, 1980 – ISBN 0-87000-486-7
Hollywood Lesbians (Boze Hadleigh)
There have been countless books on Hollywood. There have been books on lesbians – various kinds, from lesbian nuns to famous lesbians. But there has never been a book on Hollywood lesbians. Until now.
Hollywood Lesbians compromises ten interviews with sapphic women of Hollywood film, who discuss everything from men, careers, each other and other Hollywood lesbians and bisexuals, from Greta Garbo and Marlene Dietrich, to Tallulah Bankhead and Joan Crawford.
Three beloved comediennes: Marjorie Main, a.k.a. Ma Kettle of Ma and Pa Kettle fame and from dozens of classic movies; Patsy Kelly, who often portrayed a loud-mouth Irish maid and was one of Tallulah’s lovers; and Nancy Kulp, best known as Miss Jane on The Beverly Hillbillies, one of television’s three most widely syndicated series.
Two nonthespians: eight-time Oscar winner Edith Head, the designing woman who lived up to the legend that “Edith Head gives good costume”; and Dorothy Arzner, the legendary film director who made stars of Katharine Hepburn, Rosalind Russell and Clara Bow.
Finally, five mostly dramatic actresses: superstar Barbara Stanwyck, the first star to play a lesbian on the silver screen (long before gay or homosexual actors dared take on such roles); Agnes Moorehead, arguably the top character actress of Hollywood’s golden age (but best known as Samantha’s mother Endora on TV’s Bewitched); idiosyncratic Tony- and Oscar-winner Sandy Dennis; glacial French beauty Capucine (What’s New Pussycat?, Peter Sellers’ wife in The Pink Panther), who committed suicide in her 50s; and the regal Dame Judith Anderson, who gave memorable performances on stage and film such as Mrs. Danvers in Rebecca, Medea and Lady Macbeth.
Except for the reclusive Arzner, an exile in the desert, each woman spoke in person with the author to create this fascinating and intimate look into a previously secret lifestyle.
BOZE HADLEIGH is the author of The Lavender Screen (1993) and the recent Hollywood, Babble On. Hadleigh’s interview collection, Conversations With My Elders (1987, St. Martin’s Press), featured six gay men of cinema – a designer, two actors, three directors – among them Rock Hudson and George Cukor. Conversations, which had five foreign editions, is now considered a “cult” book.
[Interviews with Marjorie Main, Patsy Kelly, Nancy Kulp, Dorothy Arzner, Edith Head, Judith Anderson, Agnes Moorehead, Barbara Stanwyck, Capucine, Sandy Dennis]
Hardcover, dust jacket – 272 pp. – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 573 g (20,2 oz) – PUBLISHER Barricade Books, New York, New York, 1994 – ISBN 1-56980-014-6
Hollywood Lolitas: The Nymphet Syndrome in the Movies (Marianne Sinclair)
From the moment the first one-reeler flickered uncertainly across the movie screen, Hollywood has recognized and exploited a sexual taboo that has always existed – the erotic attraction felt by older men for very young girls. As a result, the movie industry has coaxed, bullied, and groomed a host of enticingly precocious starlets into existence. Beginning with such virginal flowers of the silent screen as Mary Pickford and the Gish sisters, forever in peril of a fate worse than death, Hollywood later developed the sentimental singing and
dancing child-stars of the thirties and forties, such as Shirley Temple and Judy Garland. As times and tastes changed, the prototype for the modern starlet became the coyly challenging nymphet, embodied on the screen by Caroll Baker and Sue Lyon. Most recently the trend has been toward the blatant exploitation of the premature sexuality of such starlets as Nastassia Kinski and Brooke Shields.
MARIANNE SINCLAIR chronicles the scandals that have rocked Hollywood throughout its history and tracks the careers of the unscrupulous movie moguls who originated and perpetuated the Hollywood Lolita genre on the screen. Sinclair explores the crucial part played by the starlets’ eager mothers and Hollywood’s own Humberts – men such as Errol Flynn and Charlie Chaplin – whose amorous encounters reflected the frustrated fantasies of decades of moviegoers. In Hollywood Lolitas, Sinclair has created a startling analysis of sexual exploitation in the name of entertainment.
Softcover – 160 pp. – Dimensions 26 x 17,5 cm (10,2 x 6,9 inch) – Weight 361 g (12,7 oz) – PUBLISHER Henry Holt and Company, New York, New York, 1988 – ISBN 0-8050-0931-0
Hollywood Moments (text and photographs by Murray Garrett; foreword by Debbie Reynolds)
“Photojournalists, rarely, if ever, find themselves in front of a camera. We live behind the camera. Like most other journalists, I was thrilled to get a byline or photo credit when I first started out. However, as time passed, I married and started raising a family, and reality set in. You simply can’t take a byline or a photo credit to the grocery. But here I am, almost sixty years from the beginning of my career, the author of a book that has been reviewed favorably and featured in a number of national publications, including American Heritage Magazine (with a six-page layout). People, Entertainment Weekly, Esquire, Photographic, and Playboy.
The thought that I would ever find myself writing the introduction to a second book never entered my mind when I first set out to publish my photographs. But my first book, HoIlywood Candid: A Photographer Remembers, was a bigger success than I had ever expected. The first printing was sold out ten weeks after its release; the second printing was more than twenty percent sold prior to its arrival from the printer. This was the best holiday gift I ever received.
Looking back, the year since the publication of Hollywood Candid has been an exciting, heaven-sent dream. As I approached my seventy-fifth birthday, I was in excellent health and feeling like the proverbial kid in the candy store – with a free pass! The experience of becoming a successful author; of being interviewed by journalists from newspapers, magazines, and on radio and television; of being booked for speaking engagements and book signings; of signing autographs for fans, is simply impossible to describe.
As a native of Brooklyn, New York, I was thrilled and humbled when my hometown newspapers reviewed the book. The New York Daily News did a two-page centerfold feature on it; and the New York Times gave it a favorable review in their Sunday section. As a rule, art and photography books, let alone books by virtually unknown authors, are not reviewed at all. Discussing the success of Hollywood Candid, my dear friend, the Hollywood producer and writer Leonard Kaufman, said it all: ‘Murray, I wouldn’t have dared write this script, not because you don’t deserve everything good that has happened to you, but simply because Cinderella stories just don’t sell anymore. Who would believe it?’
Now, as I embark on a new book, Hollywood Moments, I have a good feeling about publishing more photographs of the very special people with whom I was fortunate enough to spend much of my working life. Recently recovered negatives of such “old friends” as Barbara Stanwyck, Clark Gable, Peter Sellers, Ethel Merman, Shirley Temple, Judy Garland, and many others are in this book. But beyond the photographs, I learned something important from friends, interviewers, and people that I met at the book signings for Hollywood Candid. What nearly everyone told me was that what had made that book different from so many other splendid books of Hollywood photographs were the stories – my personal, anecdotal experiences with the larger-than-life characters who had made Hollywood great. These gave the reader a fresh, firsthand look at some of their favorite Hollywood stars from the Golden Era. I hope that you will enjoy these special Hollywood Moments as much as I have enjoyed reliving them for you through this book.” – From The Introduction.
Hardcover – 176 pp. – Dimensions 30 x 23,5 cm (11,8 x 9,3 inch) – Weight 1.400 g (49,4 oz) – PUBLISHER Harry N. Abrams, Inc., Publishers, New York, New York, 2002 – ISBN 0-8109-3242-3
Hollywood Mother of the Year: Sheila MacRae’s Own Story (Sheila MacRae, with H. Paul Jeffers)
He was the handsome, velvet-voiced heartthrob of Oklahoma!, Carousel, and a dozen other Hollywood musicals. She was his loving wife and stage partner, and theirs was a storybook romance. They had four children, success in show business, money, and fabulous friends – Frank Sinatra, Lucille Ball and Desi Arnaz, movie moguls, top stars, royalty, and some of the biggest names in politics. Yet, behind the glitz and the glamor lurked tragedy. And in Hollywood Mother of the Year, Sheila MacRae reveals how her ideal marriage fell apart… and how she put her life back together.
Gordon MacRae was a reckless alcoholic and compulsive gambler whose film career was on the skids. Sheila faced the private heartbreak of Gordon’s binges and sudden disappearances, his gambling debts and the hounding of the IRS as it sought to recover unpaid taxes. And when, at last, the marriage reluctantly ended in divorce, a woman who had always been “Mrs. Gordon MacRae” suddenly had to begin a life on her own and search for her own identity.
In this candid and memorable autobiography, Sheila reveals how she picked up the pieces. For a time she starred as Alice Kramden on The Honeymooners with Jackie Gleason, and eventually launched The Sheila MacRae Show, a syndicated TV talk show. Hollywood Mother of the Year is peppered throughout with Sheila’s compelling remembrances involving the stars of Hollywood – from Shirley Jones to Frank Sinatra (who became Sheila’s lover) – and an unforgettable scene in which President Lyndon Johnson tried to bed her in the White House.
And throughout this remarkable story of a woman striving to find herself, there is always Gordon MacRae – her first, true love – and the touching, moving end of his life.
SHEILA MacRAE has had a long and celebrated show business career. She lives in Manhattan. Co-author H. PAUL JEFFRIES is the author of twenty-five books of fiction and nonfiction. Before writing full-time, he was a radio and TV newsman for more than thirty years and is the only person to have been news director of both New York City all-news radio stations. He lives in Manhattan.
Hardcover, dust jacket – 271 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 660 g (23,3 oz) – PUBLISHER Carol Publishing Group, New York, New York, 1992 – ISBN 1-55972-112-X
Hollywood 1900-1950 in Vintage Postcards (Tommy Dangcil)
With the advent of new, inexpensive photographic technology emerging in the United States during the mid-19th century, communication by postcard became a very popular way to exchange travel stories, news, and gossip over the decades. Drawing on a private collection of vintage postcards, this new book features a history of Hollywood, spanning half a century. Exploring Hollywood before and after it became the entertainment capital of the world, these images offer readers a glimpse of some of the city’s most interesting places during its Golden Years. Long before motion pictures arrived, when the area was a residential neighborhood of beautiful homes and lemon groves, Hollywood was just another suburb of Los Angeles striving to become a community. From the familiar sights of Metro-Goldwyn-Mayer Studios and the Chinese Theater, to the horse-and-buggy driven dirt roads and pineapple fields at the turn of the century, Hollywood in Vintage Postcards will guide the curious through the city’s progress in the first half of the 20th century.
TOMMY DANGCIL, born and raised in Hollywood, has a Bachelor of Arts in Radio / Television / and Film from California State University-Los Angeles, and is currently a Hollywood Local 728 Studio Electrical Lighting Technician.
Softcover – 128 pp. – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 321 g (11,3 oz) – PUBLISHER Arcadia Publishing, San Francisco, California, 2002 – ISBN 978-0-7385-2073-5
Hollywood Now & Then (photographs by George Ross Jezek; captions by Mark Wanamaker; introduction by Johnny Grant)
Hollywood, one of America’s most famous cities began as open fields with a handful of farmers at the turn of the century. In only twenty years this small village became world famous as the motion picture capital of the world. Using historic photographs showing how the area of Hollywood looked in the late 19th century, early 20th century and today, Hollywood Now & Then is a study in comparison, of ‘old’ Hollywood landmarks being restored and re-used by a new generation of business and artistic people helping make Hollywood a vital place to visit again after many years of neglect.
Hollywood Now & Then compares the vast changes in Hollywood, visually, with pairs of photographs – historic and contemporary. From Hollywood Boulevard to the Hollywood Hills, one can see clearly the growth of a community in only one-hundred years. With new development in Hollywood many of the great landmarks such as the Grauman’s Chinese Theater were rejuvenated along with other landmarks to insure a future for Hollywood’s survival as one of the most famous places in the world.
Professional photographer, author, publisher George Ross Jezek and Los Angeles historian Marc Wanamaker have created a view of Hollywood that is a fascinating study for those interested in the Hollywood of the past and the future.
GEORGE ROSS JEZEK was born in San Diego, California. He graduated from Grossmont College, a local community college, and then moved to Santa Barbara to attend Brooks Institute of Photography. He graduated with a bachelor of Arts degree from Brooks in 1989. After completing his studies he moved to Los Angeles, where he worked in commercial photography for a number of years. Jezek moved back to his native San Diego in 1994, where he began working on his first Now & Then book, which he completed in 2000. While working in Los Angeles and living in Los Feliz (East Hollywood) he became familiar with Hollywood and its exciting and compelling past. Jezek enjoyed Hollywood when he lived at the east end of Franklin Avenue. The fascinating history of the Hollywood area and its colorful people motivated Jezek to publish this remarkable book about Hollywood. Jezek plans to develop more Now and Then books in the future and hopes you enjoy Hollywood Now & Then as much as he enjoyed photographing the magnificent city and creating this book. MARC WANAMAKER has been working in many aspects of film production, exhibition and research as well as being an internationally respected expert and consultant in the field of film history. A graduate in theater arts and music from the California State University at Northridge, Los Angeles City College and graduate studies at the University of California at Los Angeles, he is a published film historian, lecturer and teacher, having taught film history at UCLA extension. He created Bison Archives in 1971 as an informational and photographic collection on the history of the motion picture industry as well as the history of southern California and Los Angeles. With Hollywood as his specialty, Wanamaker has become a leading Hollywood historian working on many projects bringing the history of the area to light.
Hardcover, dust jacket – 128 pp. – Dimensions 23,5 x 31 cm (9,3 x 12,2 inch) – Weight 943 g (33,3 oz) – PUBLISHER George Ross Jerek Photography and Publishing, San Diego, California, 2002 – ISBN 0-9701036-1-1
Hollywood on the Riviera: The Inside Story of the Cannes Film Festival (Cari Beauchamp, Henri Béhar)
Jack Nicholson, Sophia Loren, Vincent Canby, Roman Polanski, Alan Parker, Meryl Streep, Clint Eastwood, Robert Altman, Steven Spielberg, and Robert Mitchum are among the more than one hundred Cannes alumni to reveal their experiences at the Cannes Film Festival in Hollywood on the Riviera. This first-ever comprehensive volume chronicles the history, films and gossip that have made a small resort town on the Riviera the financial, political, social, and sexual center of the international film industry for two weeks every May.
Beginning with the first festival in 1939, cut short by Hitler’s invasion of Poland, Hollywood on the Riviera traces the evolution of Cannes to its current position of pre-eminence. Behind the glamorous image of the festival are millions of dollars in business and marketing decisions that affect what is shown in theaters in America – and the world – for the year to come. This highly anecdotal guide includes the inside stories of Grace Kelly meeting Prince Rainier, Rita Hayworth’s marriage to Aly Khan, the legendary parties for the films Never on Sunday and Around the World in Eighty Days, and how 1991 became the year of Madonna.
Cannes veterans and authorities Cari Beauchamp and Henri Béhar combine up-to-date information on the repercussions of the awards, the battles behind the prize-giving, and the months of planning that go into a single photograph. They tell tales of careers that have both been made and sidetracked at Cannes in the not-so-subtle world of film, finance, topless beaches, and Hollywood glitz. Hollywood on the Riviera gives everyone a front-row seat to the hottest ticket of any year.
CARI BEAUCHAMP has been a reporter, an investigator, a columnist, press secretary to the governor of California, and head of a Washington, D.C., public relations firm. She lived in Cannes for over a year and has returned for the film festival every year since 1978. She lives in Westport, Connecticut, with her husband, Tom Flynn, and their sons, Teo and Jake. HENRI BÉHAR has covered American entertainment for the French newspaper Le Monde since 1985 and has served for over a decade as moderator at the festival press conferences for the major films in competition at Cannes. He divides his time between New York City and Paris.
Hardcover, dust jacket – 491 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 845 g (29,8 oz) – PUBLISHER William Morrow & Inc., New York, New York, 1992 – ISBN 0-688-110077-X
Hollywood on Trial: McCarthyism’s War Against the Movies (Michael Freedland, Barbra Paskin)
On a crisp Monday morning in March 1951, Larry Parks kissed Betty Garrett goodbye, and caught a flight from Los Angeles to Washington. They were one of Hollywood’s golden couples – Parks the hero of The Al Jolson Story, Garrett the co-star of Frank Sinatra and Gene Kelly in On the Town – but their iconic status was to be shortlived. For Larry Parks’ visit was to appear before the notorious HUAC – the House Un-American Activities Committee – and his tearful testimony was to signal the end of their careers.
Hollywood on Trial tells the story of how the politicians took Tinseltown to task in the late 1940s and 1950s. As the Cold War with the Soviet Union began in earnest, so the Second World War alliance with Stalin gave way to paranoia about the spread of communism – and a desire to root out the potential enemy from within. The search for ‘Reds under the bed,’ later led by Senator Joseph McCarthy, was felt most keenly in Hollywood, where the investigations were carried out under the full grace of the flashlights.
This fascinating book reveals the true story behind one of cinema’s darkest episodes: how actors, directors and moguls were subpoenaed to name names and answer the ‘$ 64,000 question’: “Are you or have you ever been a member of the Communist party?” The book charts the generation of actors who found their livelihood ruined by being ‘blacklisted’ and the writers forced to hire ‘fronts’ to continue to work; how Arthur Miller was offered the chance to have his hearing dropped in return for a photo-opportunity with Marilyn Monroe; and how Kirk Douglas‘s naming of Dalton Trumbo as the writer of Spartacus signalled the end of this extraordinary era.
Painstakingly researched and drawing on numerous new interviews, Hollywood on Trial is the definitive account of how political paranoia shaped cinema for a decade.
MICHAEL FREEDLAND is an author, journalist and broadcaster. He has written 36 books, many of them telling the stories of the Hollywood greats – from Frank Sinatra, Sean Connery and Dean Martin to Danny Kaye and Al Jolson (which became the long-running West End show, Jolson) – as well as studies of Michael Caine, Leonard Bernstein, Danny Kaye and Jack Lemmon. He broadcasts regularly on BBC Radio Two – the genesis of this book was his series on Hollywood on Trial – and for 23 years had his own twice-weekly BBC radio series. He writes regularly for national newspapers on both sides of the Atlantic. His is married with three grown-up children and six grandchildren and lives in Elstree and Bournemouth.
Hardcover, dust jacket – 278 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 577 g (20,4 oz) – PUBLISHER Robson Books, London, 2007 – ISBN 1 86105 947 7
Hollywood on Trial: The Story of the Ten Who Were Indicted (Gordon Kahn; foreword by Thomas Mann)
On that day some of Hollywood’s most distinguished authors, stars, directors and producers were commanded to appear before the House un-American Committee in Washington where they and the pictures they produced were charged with being “subversive.” One month later, planes arriving in Washington were crowded with newspapermen, radio commentators, movie stars, producers and directors. For weeks thereafter the front pages of the newspapers were tense with reports of the clashes between the accusers and the accused.
Here, for the first time, is the full story of what happened in the committee room. This book seats the reader well up front in the Congressional arena where he can clearly observe the colorful personalities in the midst of one of the most important events in our time. This event was called by Pulitzer Prize winner Thomas L. Stokes an “inquisition.” “The inquisition,” he added, “becomes the concern of everybody who believes in freedom of expression in writing and the arts.” Glen Taylor said: “Americans have always been able to speak out free and easy… whether it’s on celluloid or on your own front porch. As a United States Senator, I want to see that it stays that way!” Fredric March emphasized: “This reaches into every American city and town.” The most American of all American rights are: the right of any man to think as he pleases, to say what he thinks, to worship without interference and to keep his political convictions as secret as the ballot box. Hollywood on Trial is the dramatic story of how these American rights were challenged by the Committee on Un-American Activities when it summoned outstanding Hollywood writers, directors and producers and indicted ten of them who refused to abandon the rights guaranteed them by the American Constitution. B. White pointed out in the New Yorker: “Ten men have been convicted, not of wrong-doing but of wrong-thinking; that is news in this country, and if I have not misread my history, it is bad news.” Hollywood on Trial cuts to the heart of the whole question of freedom of expression in America.
Hardcover, dust jacket – 229 pp. – Dimensions 21 x 14 cm (8,3 x 5,5 inch) – Weight 440 g (15,5 oz) – PUBLISHER Boni and Gaer, New York, New York, 1948
Hollywood Party: How Communism Seduced the American Film Industry in the 1930s and 1940s (Kenneth Lloyd Billingsley)
In the fall of 1997 some of the biggest names in show business filled the Motion Picture Academy theater in Beverly Hills for Hollywood Remembers the Blacklist, a lavish production worthy of an Oscar telecast. In song, film, and live performances by stars such as Billy Crystal, Kevin Spacey, and John Lithgow, the audience relived a time some fifty years before, when, as the story has always been told, courageous writers and actors stood firm against a witch-hunt and blacklist that wrecked lives and destroyed careers. Left untold that night, and ignored in books and films for more than half a century, was a story not so politically correct but vastly more complex and dramatic.
In Hollywood Party the complete story finally emerges, backdropped by the great upheavals of our time and with all the elements of a thriller – wrenching plot twists, intrigue, betrayal, violence, corruption, misguided passion, and lost idealism. Using long neglected information from public records, the personal files of key players, and recent revelations from Soviet archives, Kenneth Lloyd Billingsley uncovers the Communist Party’s strategic plan for taking control of the movie industry during its golden age, a plan that came perilously close to success. He shows how the Party dominated the politics of the movie industry during the 1930s and 1940s, raising vast sums of money from unwitting liberals and conscripting industry luminaries into supporting Stalinist causes.
In riveting detail, the shameful truth unfolds: Communist writers, actors, and directors, wealthy beyond the dreams of most Americans, posture as proletarian wage slaves as they try to influence the content of movies. From the days of the Popular Front through the Nazi-Soviet Pact and beyond World War II, they remain faithful to a regime whose brutality rivaled that of Hitler’s Nazis.
Their plans for control of the industry a shambles by the mid-1950s, the Party nonetheless succeeded in shaping the popular memory of those days. By chronicling what has been left on the cutting-room floor, from “back story” to aftermath, Hollywood Party changes those perceptions forever.
KENNETH LLOYD BILLINGSLEY is the editorial director of the Pacific Research Institute in San Francisco. He has served as California correspondent for the Spectator (London) and written for the Washington Post, Wall Street Journal, Los Angeles Daily News, San Francisco Chronicle, and many other publications. He currently divides his time between Sacramento, the Bay Area, and Southern California.
Hardcover, dust jacket – 365 pp., index – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 639 g (22,5 oz) – PUBLISHER Prima Publishing, Rocklin, California, 1998 – ISBN 0-7615-1376-0
The Hollywood Posse: The Story of the Gallant Band of Horsemen Who Made Movie History (Diana Serra Cary)
In 1912, when the great cattle empires began to crumble, hundreds of seasoned American cowboys found themselves jobless, their riding skills apparently worthless. Then, in one of history’s unpredictable surprises, a handful of discarded horsemen stumbled onto an entirely new frontier, in – of all places – Hollywood.
Here is the warm and previously unwritten story of how these authentic cowboys survived for another fifty years as riders, stuntmen and doubles for the stars in a long series of Westerns and cast-of-thousands spectaculars. A tightly knit band, totally alien to the film capital’s notorious worship of money and fame, they repeated both on and off the screen those same heroic feats of horsemanship that had once been their daily routine on the open range. Fiercely independent, steadfast in their conviction that honor and courage cannot be bought, they had a very special grit and grace.
More than a film buff’s delight, The Hollywood Posse is a mine of fresh Americana, providing uncommon insights into a group of men hitherto only dimly known to film historians. Filled with humor and drama, its pages tell for the first time the full story of the cowboys’ long and bitter feud with autocratic director Cecil B. DeMille; of their relationships with the great Western stars – from the flamboyant Tom Mix to the durable John Wayne; and above all, about their touching loyalty and devotion to each other.
From their first chance encounter with moviemaking in Northern California to their dogged last stand at Disneyland, this is the cowboys’ own remarkable story. The author, who grew up under their tutelage, gives a rare insider’s view of their now-vanished world. The result is a fascinating portrait of a gallant band and a primary source book for all devotees of film history and cowboy lore.
DIANA SERRA CARY dates her knowledge of Hollywood back to the two-reeler days when she was the famed child-star “Baby Peggy.” Much of her youth was spent working and riding with the cowboys about whom she writes. Later, she turned to historical research and became a successful free-lance magazine writer, specializing in Mexican and Western American history. She now lives in Encinitas, a small beach town near San Diego, with her husband, Robert Cary, and their son, Mark. In addition to writing, she is the trade book buyer for the University of California’s San Diego campus bookstore. Currently, she is working on a second book dealing with another little-known Hollywood group.
Hardcover, dust jacket – 268 pp. – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 728 g (25,7 oz) – PUBLISHER Houghton Mifflin Company, Boston, 1975 – ISBN 0-395-20437-2
The Hollywood Professionals, Volume 2: Henry King, Lewis Milestone, Sam Wood (Clive Denton, Kingsley Canham, Tony Thomas)
The three directors in this volume are Henry King (1886-1982), written by Clive Denton; Lewis Milestone (1895-1980) by Kingsley Canham, and Sam Wood (1883-1949) by Tony Thomas.
“Making motion pictures is my hobby and it is a very nice thing that I get paid for my hobby. There is a certain challenge in every motion picture project and since my business is story telling, I attempt to tell the story in my own way. Sometimes good, sometimes not so good. I like people, I like working with people,” Henry King wrote in a 1963 letter to author Clive Denton.
Kingsley Canham, author of the Lewis Milestone chapter, writes about Mr. Milestone: “The superlative craftmanship of his films has earned him a place in film history; it was quite a feat on his part to remain working at all since he had broken the rules of the game in the earliest days of his career. He revolted against Warner Brothers studio control during the making of the Marie Prevost pictures, and broke his contract. They took him to court and he was made to go through bankruptcy proceedings to satisfy the judgement against him. He was also blacklisted with the studios and so it was sheer luck on his part that Howard Hughes took a chance on hiring him. It could well be that his long periods of inactivity in the thirties were as a direct or indirect result of this studio disfavor, but that we shall never know.”
Tony Thomas, describing Sam Wood, says in the introduction: “There was no identifiable personal style to mark Sam Wood’s thirty years in Hollywood. What can be said about Wood, might also be said about a number of other highly competent directors in the heyday of the major studios: they thoroughly understood the business of making filmed entertainment. In the case of Sam Wood his track record was almost without blemish; he was dedicated to his life as a filmmaker and he never lost his fascination for his work. His twenty years as a director under contract at Paramount and MGM built him the most solid of reputations, and he was able to enjoy the last ten years of his life as a free-lancer.”
This new series of The Hollywood Professionals spotlights the work of many professional directors at work in Hollywood during its heyday – talents who might otherwise be ignored by film students and historians. This volume contains monographs on, and very detailed filmographies on Henry King, Lewis Milestone, and Sam Wood, who between them made scores of familiar movies and a gloss now rarely seen in the cinema.
Softcover – 192 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 196 g (6,9 oz) – PUBLISHER A. S. Barnes & Co, New York, New York, 1974 – ISBN 0-498-01394-4
The Hollywood Professionals, Volume 3: Howard Hawks, Frank Borzage, Edgar G. Ulmer (John Belton)
“‘The task I’m trying to achieve, is above all to make you see.’ [D.W. Griffith]. The films of Howard Hawks (1896-1977), Frank Borzage (1894-1962) and Edgar G. Ulmer (1904-1972) have little in common. Each director concerns himself with dramatically different levels of experience. In fact, each director’s work stands at a different point in a tremendously broad spectrum of theme and style. In a way, their dissimilarities make each filmmaker, in the context of this book, a foil for the other, a means of isolating and focusing on the uniqueness of each.
The three essays that follow will attempt not so much to compare these three artists as to understand how each sees the world through an examination of the form and content of his vision. More than anything else, this book is about visual style. All three directors are storytellers and, like all good storytellers, their tales are inseparable from their telling of them. By looking closely at the way in which each director constructs his films, composes, edits and selects his images, it is possible to see the world as the director himself views it, to understand it through his eyes. This book’s goal, like Griffith’s, is to make you see.” – The Preface.
This series of The Hollywood Professionals spotlights the work of many professional directors at work in Hollywood during its heyday – talents who might otherwise be ignored by film students and historians. John Belton has contributed monographs and very detailed filmographies of Howard Hawks, Frank Borzage, and Edgar G. Ulmer who between them made scores of familiar movies and a gloss now rarely seen in the cinema.
Softcover – 182 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 186 g (6,6 oz) – PUBLISHER A. S. Barnes & Co, New York, New York, 1974 – ISBN 0-498-01448–7
The Hollywood Professionals, Volume 4: Tod Browning, Don Siegel (Stuart Rosenthal, Judith M. Kass)
The two directors in this volume are Tod Browning (1880-1962) by Stuart Rosenthal, and Don Siegel (1912-1991), written by Judith M. Krass.
“Andrew Sarris classifies Tod Browning as ‘a subject for further research,’ while a 16mm film catalogue calls him ‘an unknown director.’ Although the director’s influence has been somewhat peripheral to the mainstream development of the American cinema, it is surprising that he has not drawn more attention than he has, especially from the auteur critics. He is certainly one of the most consistent filmmakers ever to work in Hollywood,” writes Stuart Rosenthal in his first paragraph when introducing Tod Browning.
Judith M. Krass, author of the Don Siegel chapter, says: “Director Don Siegel and his films are important subjects for research and study because his continuing exploration of certain themes within his work, allied with his concern for his craft, gave his career a historical uniqueness in terms of the Hollywood studio film.”
This series of The Hollywood Professionals spotlights the work of many professional directors at work in Hollywood during its heyday – talents who might otherwise be ignored by film students and historians. Here Stuart Rosenthal has contributed a monograph on Tod Browning and Judith M. Kass a study of Don Siegel – a director whose own dark vision of things often recalls Browning’s. They are two of the American cinema’s most original and arresting figures.
Softcover – 207 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 194 g (6,8 oz) – PUBLISHER A. S. Barnes & Co, New York, New York, 1975 – ISBN 0-498-01665-X
The Hollywood Professionals, Volume 5: King Vidor, John Cromwell, Mervyn LeRoy (Clive Denton, Kingsley Canham)
The three directors in this volume are King Vidor (1894-1982), written by Clive Denton; John Cromwell (1886-1979) and Mervyn LeRoy (1900-1987), both written by Kingsley Canham.
“King Vidor is a poet, of man and nature, (..) He is a rarity,” says Clive Denton. “Handling women was governed mostly by the nature of the parts. I never made any point, as George Cukor has at times, of developing their feminine aspects; I was always guided by the nature of the part so I was never conscious of developing skills or handling personalities,” John Cromwell said in a 1974 interview. Mervyn LeRoy told a reporter in 1970: “I believe in good scripts – I never start until I have the first and last page. And I always tried to help young players – Clark Gable would have been in Little Caesar, but the front office thought his ears were too big.”
This series of The Hollywood Professionals spotlights the work of many professional directors at work in Hollywood during its heyday – talents who might otherwise be ignored by film students and historians. This monograph contains volumes on, and very detailed filmographies of King Vidor, John Cromwell, and Mervyn LeRoy, who between them made scores of familiar movies with a competence and a gloss now rarely seen in the cinema.
Softcover – 192 pp., index – Dimensions 16 x 13,5 cm (6,3 x 5,3 inch) – Weight 182 g (6,4 oz) – PUBLISHER A. S. Barnes & Co, New York, New York, 1976 – ISBN 0-498-01689-7
Hollywood Rajah: The Life and Times of Louis B. Mayer (Bosley Crowther)
This is the story of the most powerful of Hollywood’s famed tycoons – the stalwart, rambunctious, dynamic Louis B. Mayer who became the highest-salaried man in the United States only to see his self-made monument tumbled and crumbled to dust around his feet. It is a glamorous story studded with big names from the Golden Age of motion pictures: Irving G. Thalberg and Joseph M. Schenck, David O. Selznick and Samuel Goldwyn, and the great films from Ben-Hur and The Big Parade to The Good Earth and Battleground.
It is also the revealing story of an immensely complex personality – the emotional upheavals, incessant feuds, and tapeworm ego that had to be fed by driving activity, ruthless use of power, and adventures with beautiful women.
Starting out as a nickelodeon operator in Haverhill, Massachusetts, Louis B. Mayer rose to become the lordly head of the biggest, most glittering film factory of them all – Metro-Goldwyn-Mayer. At the peak of his power he commanded armies of producers, directors, and stars – many of the screen’s most famous and idolized personalities.
He was a shrewd perpetrator of a fabulous star system, molding and manipulating the careers of such people as Greta Garbo, Clarke Gable, Greer Garson and Judy Garland – making each of their films an event and each of their names a household name. His intertest and influences extended beyong the real of the cinema into the world of politicians, horse breeders, bankers, and newspaper magnates such as William Randolph Hearst.
The last chapters of this fantastic success story tell of Mayer’s ultimate fall from power as head of the studio and his final battle to seize control of Loew’s, Inc., through a corporate finagle that “just missed.” Two months after his coup failed, Mayer died.
Laced with colossal ironies, carrying its driving hero to a tragic end, this is the first objective full-scale biography of a Hollywood producer. Appropriately, it is the biography of the most significant and commanding of them all; it is the first candid illumination of this American phenomenon.
Hardcover, dust jacket – 339 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 559 g (19,7 oz) – PUBLISHER Holt, Rinehart and Winston, New York, New York, 1960
Hollywood Red: The Autobiography of Lester Cole (Lester Cole)
Autographed copy To: Bell, The root from which many blossoms stem. Lester Cole 1/26/88
Lester Cole takes us behind the glitter to show us the other side of Hollywood in its tumultuous heyday. With humor and a clear eye he shows us the deals and deceptions made by egos run wild, side by side with the talented craftsmen and women with integrity that made the industry more than just a circus.
His story has a special meaning for all of us who oppose the sacrifices now demanded of most of us to feed the escalating arms race and vast military buildup around the world. He shows how the cultural life of the nation can be stifled by ultra-right Congressional witch-hunt committees and an FBI and CIA freed of legal restraints to harass citizens’ opposition, now proposed by Reagan.
Convinced as a youth of the need for a socialist life for all, Cole was drawn to the theater. As a screenwriter in Hollywood there was little he could do for that cause, but he could become active in the wider arena. He was one of the founders of the Screenwriters’ Guild, joined groups supporting Republican Spain, numerous other progressive and anti-Fascist causes and the Communist Party. World War II brought opportunities to write screenplays with social themes as he advanced toward the top of his profession.
Then came the Cold War, the government drive to crush the left. As a very active and articulate “premature anti-fascist,” Cole became a special target for the crackdown – one of the “Hollywood Ten.” A year in prison, humiliation and treachery, blacklisting that lasts to this day – and also generosity, compassion and support from the most unexpected sources are part of his story. In a time of our nation that has produced few heroes, this is the life of a man whose steadfast fight for humanitarian principles must be respected and admired.
Born in New York in 1904, LESTER COLE was the first child of Fanny and Henry Cohn, both of whom had immigrated as children from Poland. He left school at age sixteen to make a life in the theater as a stage director and later playwright. Lured to Hollywood during the Depression, he became a screenwriter. One of the founders of the Screenwriters’ Guild, Cole was also active in numerous progressive and anti-Fascist groups, joining the Communist Party in 1934. Before he was blacklisted by the industry during the McCarthy era, he had thirty-five films to his credit. Since then he has written six more screenplays (including Born Free) under pseudonyms as well as several plays produced both in the U.S. and abroad. He now lives in San Francisco where he writes film criticism and teaches screenwriting at the University of California at Berkeley.
Hardcover, dust jacket – 448 pp., index – Dimensions 21 x 14,5 cm (8,3 x 5,7 inch) – Weight 643 g (22,7 oz) – PUBLISHER Rampart Press, Palo Alto, California, 1981 – ISBN 0-87867-085-8
Hollywood Red: The Autobiography of Lester Cole (Lester Cole)
Lester Cole takes us behind the glitter to show us the other side of Hollywood in its tumultuous heyday. With humor and a clear eye he shows us the deals and deceptions made by egos run wild, side by side with the talented craftsmen and women with integrity that made the industry more than just a circus.
His story has a special meaning for all of us who oppose the sacrifices now demanded of most of us to feed the escalating arms race and vast military buildup around the world. He shows how the cultural life of the nation can be stifled by ultra-right Congressional witch-hunt committees and an FBI and CIA freed of legal restraints to harass citizens’ opposition, now proposed by Reagan.
Convinced as a youth of the need for a socialist life for all, Cole was drawn to the theater. As a screenwriter in Hollywood there was little he could do for that cause, but he could become active in the wider arena. He was one of the founders of the Screenwriters’ Guild, joined groups supporting Republican Spain, numerous other progressive and anti-Fascist causes and the Communist Party. World War II brought opportunities to write screenplays with social themes as he advanced toward the top of his profession.
Then came the Cold War, the government drive to crush the left. As a very active and articulate “premature anti-fascist,” Cole became a special target for the crackdown – one of the “Hollywood Ten.” A year in prison, humiliation and treachery, blacklisting that lasts to this day – and also generosity, compassion and support from the most unexpected sources are part of his story. In a time of our nation that has produced few heroes, this is the life of a man whose steadfast fight for humanitarian principles must be respected and admired.
Born in New York in 1904, LESTER COLE was the first child of Fanny and Henry Cohn, both of whom had immigrated as children from Poland. He left school at age sixteen to make a life in the theater as a stage director and later playwright. Lured to Hollywood during the Depression, he became a screenwriter. One of the founders of the Screenwriters’ Guild, Cole was also active in numerous progressive and anti-Fascist groups, joining the Communist Party in 1934. Before he was blacklisted by the industry during the McCarthy era, he had thirty-five films to his credit. Since then he has written six more screenplays (including Born Free) under pseudonyms as well as several plays produced both in the U.S. and abroad. He now lives in San Francisco where he writes film criticism and teaches screenwriting at the University of California at Berkeley.
Hardcover, dust jacket – 448 pp., index – Dimensions 21 x 14,5 cm (8,3 x 5,7 inch) – Weight 643 g (22,7 oz) – PUBLISHER Rampart Press, Palo Alto, California, 1981 – ISBN 0-87867-085-8
The Hollywood Reporter Movieland Guide (Doug Warren)
The Hollywood Reporter Movieland Guide is indispensable to anyone who wants to see the stars in action, or to savor Hollywood’s past. See where the stars work, live and play, and learn how to get there by foot, car or bus. The Guide lists the “in” restaurants and inexpensive places frequented by stars. It points out hundreds of landmarks significant to movie history. And that’s not all.
Want to hire a baby-sitter? Need emergency dental work? How about renting a car, a bicycle or rollerskates? Want to jog with celebrities, or go to ballroom or disco dancing? The Guide will direct you to public tennis courts and golf courses, or show you where celebrities go for hot fudge sundaes. You can travel by city bus to the yacht harbour of the stars and have brunch with the famous at Malibu. Want to buy a photograph of your favourite star – or a hard-to-find movie poster?
Everything you’ve dreamed of – and places far from the tourist path – is listed here, with maps and easy-to-follow directions. It’s all right here for you to discover in The Hollywood Reporter Movieland Guide.
Softcover – 256 pp., index – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 232 g (8,2 oz) – PUBLISHER The Hollywood Reporter, Inc., Hollywood, California, 1979
Hollywood Revisited; A Fiftieth Anniversary Celebration (Sheilah Graham)
In 26 mini-chapters, Graham’s memories and opinions of just about every Hollywood name she ever met or wrote about – padded out with over-familiar anecdotes and snippets of standard Hollywood-history. After a brief memoir of coming to 1935 Hollywood and beginning her gossip column, Graham gets right to the Tinseltown laundry list. “Star Chasing” features Katharine Hepburn and Bette Davis (her “problem has been her irritability”), Shirley Temple and Claire Trevor (“one of the few people I really liked among the acting community”), Humphrey Bogart and Gary Cooper and Errol Flynn and John Wayne. (“Can you imagine John Wayne almost weeping on my shoulder . . .?” Why? Because he hated co-starring with Vera Hruba Ralston.) Old flames are breezily recalled: King Vidor, Jock Whitney. Old rivals too: Hedda Hopper was worse than Louella Parsons because she “tried to ruin people. . . if their politics or religion were different from hers.” There are glimpses of writers (drunk John O’Hara) and tycoons (creepy Howard Hughes again). “Misfits” include Marilyn Monroe and Judy Garland, of course – but also James Mason and Ingrid Bergman. (Graham doubts that Bergman and Roberto Rossellini were ever in love.) The HUAC gets four pages; TV, the other 1950s “Monster,” gets twelve. And later chapters barely touch down on Ross Hunter, Ronald Reagan (“he uses a strong rinse”), “Children of Hollywood,” drugs, parties, and “The Movies, Then and Now.”
Hardcover, dust jacket – 290 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 513 g (18,1 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1984 – ISBN 0-312-38844-6
Hollywood Rogues: The Off-Screen Antics of Tinseltown’s Hellraisers (Michael Munn)
From its very beginnings the movie business has attracted characters with a penchant for creating havoc. Hollywood rogues with preferences for pleasures in the extreme or fiery temperaments have always made bigger headlines for their real life activities than for their professional accomplishments. In this new rogues gallery of Hollywood, Michael Munn takes the lid off Tinseltown and recounts shocking tales of mayhem and debauchery from names you might expect and those that might surprise you.
Munn’s cast list naturally includes Errol Flynn, perhaps the greatest rogue of all, who believed in trying every kind of pleasure in life – and made most of them life-long hobbies. There are also tales from John Huston, himself a legendary hell-raiser, about his explosive run-ins with John Wayne and Montgomery Clift. Then there are Charlie Chaplin’s amorous exploits; Peter Finch’s battle with the bottle; Robert Mitchum’s drugs bust and imprisonment; the non-conformity of Hollywood rebels Marlon Brando and James Dean; the devilish deeds of hard-drinking stars like William Holden, Richard Harris, W.C. Fields and Bruce Willis, and tales of many others.
From Errol Flynn to Sean Penn, from the Rat Pack to the Brat Pack, rogues have painted Hollywood red with their incredible shenanigans – and their stories make compulsive reading.
MICHAEL MUNN is a leading show business journalist who contributes to numerous publications. Born and brought up in London, Michael entered the film industry at the age of sixteen; he worked first as a messenger boy at Cinerama and then graduated to publicity and promotions in other major film companies, including Warner Bros. and Columbia. Since the mid-1970s he has worked as a journalist specializing in movies. His books include Kirk Douglas, Charlton Heston, The Hollywood Murder Casebook, All Our Loving (with Carolyn Lee Mitchell) and Trevor Howard, all published by Robson Books.
Hardcover, dust jacket – 189 pp. – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 438 g (15,5 oz) – PUBLISHER Robson Books, Ltd., London, 1991 – ISBN 0-86051-638-5
Hollywood Royalty: Hepburn, Davis, Stewart and Friends at the Dinner Party of the Century (Gregory Speek)
In Hollywood Royalty Gregory Speek presents the ultimate celebrity soirée, giving a fascinating look into the world of movie stardom through the words of same of the world’s most famous screen idols. The scene is San Simeon, the mountain-top Xanadu created by William Randolph Hearst, and the occasion an imaginary dinner party to which he has invited major stars of the film world. At the head of the table sits James Stewart in his tuxedo, flanked on his right by Katharine Hepburn in a lovely gown and on his left by a bejewelled Bette Davis. Facing him across the crystal – and silver – laden table is Gregory Peck, holding court between Ava Gardner and Audrey Hepburn. Arrayed along the sides are eighteen more Hollywood legends, all of them looking as they did in their prime.
The scene may have been invented, but not a word has been fabricated. Journalist Gregory Speck has inventively woven his own interviews with these stars into one extended, spellbinding conversation. Everyone from Lillian Gish, Helen Hayes and James Cagney to Joan Fontaine and Olivia de Havilland confides memories of their peers, like Greta Garbo, Clark Gable, Marlene Dietrich, Cary Grant, Grace Kelly, Gary Cooper, Vivien Leigh, Henry Fonda, Ingrid Bergman, Spencer Tracy and Jean Harlow. The book also includes vivid character portraits of the great directors, such as Alfred Hitchcock, William Wyler and John Huston, and hilarious anecdotes about the making of cinematic masterpieces such as Gone With the Wind, Casablanca and Moby Dick.
The actual words of the stars in this pantheon are taken from transcripts of the author’s interviews with these luminaries. Collectively, they offer an unprecedented perspective on the truth behind the images of these larger-than-life personalities. Illustrated with stunning photographic portraits, many never before published, Hollywood Royalty may be the most unusual book ever written on the world of film.
GREGORY SPEECK is one of America’s most respected and widely published film writers and many of his articles and interviews have been syndicated throughout the world by the New York Times. A poet, painter, classical musician and photographer, he is a graduate of the Sorbonne and New York University. He lives in New York City and Virginia.
Hardcover, dust jacket – 270 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 563 g (19,9 oz) – PUBLISHER Robson Books, Ltd., London, 1992 – ISBN 0-86051-860-4
Hollywood’s Children: An Inside Account of the Child Star Era (Diana Serra Cary)
For more than a century the child star cult kept alive the consoling myth of childhood innocence in an increasingly complex and cynical world. In the Golden Age of Hollywood no stars were more universally adored – or more cruelly exploited – than the child stars. But behind the sugary, idealized screen image, what was it like to actually be a child star, to become a self-made millionaire and the family breadwinner before reaching kindergarten age?
Hollywood’s Children tells, for the first time, the full story of the phenomenal child star era, its spectacular rise and fall. What happens to families when parents heed Hollywood’s siren call and force a child up the terrifying heights to fame and fortune? What becomes of the once-beloved favorite when parental and public rejection turn adolescence into a nightmare of failure and oblivion? The author has not only researched but lived her subject, for as “Baby Peggy,” one of the youngest child stars in Hollywood history, she experienced and survived just such a shattering, upside-down childhood. She also grew up knowing or working with many of the famous movie children – Jackie Coogan, Shirley Temple, Mickey Rooney, Judy Garland, Deanna Durbin, among others – whose childhood careers she describes with rare insight and empathy.
In this unique account, movie buffs and students of both film and social history will find a rich lode of fresh information. And for all readers, it presents a gallery of unforgettable portraits – frightened but courageous children, merchants who buy and sell childhood as a lucrative commodity, and ruthless stage mothers (and fathers) whose often desperate ambitions made them willing to sacrifice everything, even their own children.
DIANA SERRA CARY’s first twenty years were spent working in films and in vaudeville with the children and movie mothers about whom she writes. Later, she became a free-lance writer, specializing in Mexican and Western American history. Her first book, The Hollywood Posse, told the little-known story of the displaced cowboys who became Hollywood’s earliest riders, stuntmen and doubles. She now lives in Encinitas, California, with her artist husband, Robert Cary, and their son, Mark. In addition to writing, she is the trade book buyer for the University of California’s San Diego campus bookstore.
Hardcover, dust jacket – 290 pp., index – Dimensions 23,5 x 15,5 cm (9,3 x 6,1 inch) – Weight 672 g (23,7 oz) – PUBLISHER Houghton Mifflin Company, Boston, Massachusetts, 1979 – ISBN 0-395-27095-2
Hollywood’s Golden Age, As Told By One Who Lived It All (Edward Dmytryk)
From the director of The Caine Mutiny, Murder My Sweet, Raintree County, Hitler’s Children, Crossfire comes a powerful memoir of his early days in Hollywood. From peeking in at the special effects for The Ten Commandments, the original silent film, to his first job as an editor, slowly, patiently splicing film… Dmytryk’s brilliantly written and until now unpublished look back on old Hollywood is a joy you won’t be able to put down.
“Between 1915 and 1928 most young people got their first taste of classical music while watching silent movies. Almost every film had a chase, clamorously sustained by the Overture from William Tell. “The March of the Toreadors” was reserved for martial themes, while less highbrow tunes served the sentimental sequences; “Hearts and Flowers” brought out the handkerchiefs, while “The Dream” evoked romance. In the larger theaters scores were played on the Wurlitzers, but even the scruffiest movie house in the smallest town found the local church pianist moonlighting for pin money and giving rein to her musical frustrations while banging away on an indifferently tuned upright.” – Edward Dmytryk, Hollywood’s Golden Age
Softcover – 198 pp., index – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 287 g (10,1 oz) – PUBLISHER BearManor Media, Boalsburg, Pennsylvania, 2003 (by Jean Porter Dmytryk) – ISBN 0-9714570-4-2
Hollywood’s Golden Year, 1939: A Fiftieth Anniversary Celebration (Ted Sennett)
The year 1939 represents Hollywood’s golden era at its peak, for no other year produced so many great films in one short period. As war clouds gathered over Europe, Hollywood released an extraordinarily diverse number of memorable works, from high comedy to Western drama to tragic romance. Among them were Gone With the Wind and The Wizard of Oz, two movies named among the ten most popular of all time by the American Film Institute.
Ted Sennett offers a fresh evaluation of each of the seventeen major films, and presents new insights into how these favorites were conceived, cast, produced, directed, and received by critics and the film-hungry public. Sennett describes behind-the-scenes secrets, squabbles between directors and casts, and the way in which each movie made it to the silver screen.
Each chapter includes evocative photos, many of them rarely seen. Close-ups of the renowned stars of yesterday, stills from Hollywood’s most memorable scenes, panoramic photos of sweeping action, and intimate portraits of directors on the set make up this unforgettable portfolio. Eight pages of lavish color showcase the marvelous movie posters of the era, as well as the Technicolor glory of Gone With the Wind and The Wizard of Oz.
The book includes thirty-two other worthy if less renowned movies from the golden year, an introduction that ties this nostalgic tour to the times, a bibliography, index, and recap of the film awards of 1939. For film buffs, Hollywood‘s Golden Year, 1939 is the essential guide to films that are now widely available on videocassette and seen frequently on the new cable channels specializing in classic films.
The seventeen principal movies: cockney soldier Cary Grant in Gunga Din; John Wayne, gunslinger, in Stagecoach: unforgettable shipboard romance in Love Affair; Claudette Colbert and Don Ameche running hilariously amok in Midnight; tender passion on the bleak moors of Wuthering Heights; Bette Davis as the tragic heiress who finds love in Dark Victory; Only Angels Have Wings, with Cary Grant as a rakish pilot; a beloved teacher’s life in Goodbye, Mr. Chips, with Robert Donat and Greer Garson; Henry Fonda in stovepipe hat as Young Mr. Lincoln; Bette Davis in The Old Maid; Judy Garland in the perennial classic The Wizard of Oz; an entirely female cast in The Women; the Mickey Rooney and Judy Garland musical Babes in Arms; James Stewart as a lamb among wolves in Mr. Smith Goes to Washington; Greta Garbo’s first screen comedy Ninotchka; Destry Rides Again, with Marlene Dietrich and James Stewart; and the immortal sweeping saga of the South, Gone With the Wind.
TED SENNETT is a leading writer of books on film and the performing arts, including The Art of Hanna-Barbera, Great Movie Directors, Great Hollywood Movies, and Hollywood Musicals. He lives in Closter, New Jersey.
Hardcover, dust jacket – 270 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 1.355 g (47,8 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1989 – ISBN 0-312-03361-3
Hollywood’s Hollywood: The Movies About the Movies (Rudy Behlmer, Tony Thomas)
“When you mention fictional feature films that deal with Hollywood and the movies, most people immediately think of Sunset Boulevard or Singin’ in the Rain, A Star Is Born; perhaps The Bad and the Beautiful. Senior citizens might vaguely recall Merton of the Movies, Show People or Kaufman and Hart’s Once in a Lifetime. The contemporary moviegoer may talk about the recent Day of the Locust and one or two others. Then comes silence. Some people, if they give it any thought at all, will assume there may have been about twenty or thirty feature films produced on the general subject of filmmaking over the years. They hardly expect to hear that there have been more than two hundred feature movies about the movies – and that entries on the list go all the way back to a little Vitagraph item of 1908. Many of those films were polished “A” productions: Doubling for Romeo with Will Rogers in 1921; Harold Lloyd’s Movie Crazy in 1932; What Price Hollywood?, the 1932 forerunner of David O. Selznick’s 1937 A Star Is Born; Marion Davis and Bing Crosby in Going Hollywood; Humphrey Bogart as a producer in Stand-In, a screenwriter in In a Lonely Place and a director in The Barefoot Contessa; James Cagney as a gangster-movie star in Lady Killer, a wild scenarist in Boy Meets Girl and as Lon Chaney in Man of a Thousand Faces; Jean Harlow doing a composite take-off on Clara Bow, Gloria Swanson, Constance Bennett and herself in Bombshell; Bette Davis as a has-been in The Star and What Ever happened to Baby Jane?; W.C. Fields trying to sell a script in Never Give a Sucker an Even Break; Erich von Stroheim playing a nightmare caricature of himself as the murderous director in The Lost Squadron; and on and on.
This book is a panorama of the many films which have dealt with the motion picture colony, its inhabitants, myths, scandals, burlesques, powerplays, morality plays, mysteries, melodramas, musicals, romances – even the Westerns about the making of Westerns.
Here are the less than accurate (to say the least) movie star biographies covered in a chapter, which we think has appropriately been titled ‘Any Similarity to Actual Persons, Living or Dead, Is Purely Coincidental.’ Even their own mothers would be hardpressed to recognize Pearl White in The Perils of Pauline, Buster Keaton in The Buster Keaton Story, the screen versions of Harlow, Valentino, F. Scott Fitzgerald and Sheliah Graham in Beloved Infidel and so on.” – From The Introduction.
Softcover – 345 pp., index – Dimensions 28 x 21 cm (11 x 8,3 inch) – Weight 991 g (35,0 oz) – PUBLISHER The Citadel Press, Secaucus, New Jersey, 1979 – ISBN 0-8065-0680-6
Hollywood’s Other Men (Alex Barris)
No Hollywood movie, in the so-called Golden Era or since, could be complete without a triangle of some sort. This is especially true of the musicals and light romantic comedies that began in the mid-thirties and, in some form or other, are still made today.
Before Claudette Colbert got to the final clinch with Fred MacMurray there had to be the ‘other man’ to be considered, dangled, and finally rejected in favor of Fred. Nor could Tyrone Power win Loretta Young without first disposing of Don Ameche. The names have changed (from Claudette to Debbie to Doris to Ali) but the tradition remains.
It takes a special breed of actor to be a successful loser. He must have charm, but not quite so much charm as the hero. He must imply a viable alternative to the heroine, even though deep down any movie fan worth his popcorn knew that Irene Dunne would never choose Ralph Bellamy over Cary Grant. He must be flexible: if the hero was a happy-go-lucky spendthrift, the ‘other man’ had to reflect the sober, reliable qualities that made him appear eminently preferable to all save the heroine.
These were “Hollywood’s Other Men.” Some spent their careers in that category, others moved up to stardom, still others were leading men first, then slipped to Other Manhood. From Ralph Bellamy, who almost invented the breed, and Patric Knowles to Gig Young and Tony Randall, they’re all here, in a variety of guises but still true to the basic formula.
They include the ‘funny friend’ like Jack Oakie or Jack Carson; the ‘nice friend’ like Don Ameche or Ian Hunter; the ‘rival’ like Franchot Tone or David Niven; even the ‘lucky friend,’ who did nothing but hang around in the background until the male star was either killed or led off to prison, whereupon the ‘lucky friend’ supplied a handy shoulder for the grief-stricken heroine. And as a bonus, there’s a survey of the friends, foes, and sidekicks who played second fiddle to Bing Crosby. With some 300 illustrations and coverage of many more hundreds of movies, Hollywood’s Other Men is a must for the bookshelf of any self-respecting film buff or student.
A native of New York, ALEX BARRIS spent more time at the neighborhood movie house than most kids devote to baseball. He began a long newspaper career in Toronto, Canada, became a columnist and critic for the Globe and Mail and then the Telegram. He branched out into television writing and performing. Besides hosting his own show, he wrote for many television variety shows in Canada and also reviewed films for the Canadian Broadcasting Corporation. Barris and his wife now live in Los Angeles, where he writes (and sometimes produces) television variety and comedy shows. He has written for Barbara McNair, Doris Day, Marlo Thomas, Bobby Darin, and Kenny Rogers and the First Edition. He is already at work on a fellow-up book to this one: Hollywood‘s Other Women.
Hardcover, dust jacket – 223 pp., index – Dimensions 28,5 x 22 cm (11,2 x 8,7 inch) – Weight 803 g (28,3 oz) – PUBLISHER A. S. Barnes and Company, New York, New York, 1975 – ISBN 0-498-01428-2
Hollywood Stars (Jean Mulatier)
Caricature. Disfigured surgery involving the making of incisions with a sword disguised as a scalpel; every effort must be made to avoid departing too far from the original, as this could contribute to a deterioration in the likeness – and interest.
In each of the caricatures contained in this book, I have tried to capture the best possible likeness of the person in question by exaggerating certain important physical characteristics. I have not set out to make these individuals unappealing in any way by emphasising only their so-called ‘faults.’ Nobody is that imperfect! The caricature is the opposite of a distorting mirror in that it has to start from the basis of what the model is truly like. That is the key to a good likeness. It is rather an enlarging mirror which simply highlights certain aspects of the person’s face. It does this by altering the proportions of the various parts of the face according to how important they are in providing a decent likeness.
It is the art of blowing up and reducing at the same time – blowing up what seems to be fundamental and reducing what seems to be less so. Just imagine having to put together the pieces of a jigsaw puzzle, some of whose pieces have been enlarged and others made smaller! That might give you an idea of the sort of headache it is! The funny thing is that, in many cases, a caricature can easily pass for a straight portrait; it is also one of those times when the imitation can actually be more convincing than the original. Another way of looking at caricatures is as forgeries which simultaneously pastiche the original model – it is certainly the only kind of forgery that deliberately brings differences into relief. The caricature is an unusual art form and never fails to raise a smile.
It is preferable not to exaggerate the exaggeration too much; otherwise, there is a danger of descending into cruelty and, in so doing, failing to capture the likeness. The real problem is knowing the extent to which it is possible to go too far. The slightest deviation of the pen can nudge the drawing towards a particular shade of expression, or even towards non-likeness. This is caricaturing at its most tentative, and is based on the one golden rule that applies to drawing and everything else: the most important thing is to work out what is most important – and to give it pride of place. The two or three things you first notice about someone are bound to be the first few things you see in the finished caricature. The caricature will also be stuffed with imperfections in spite of all the perfectionism – perhaps because of it, who knows?
These days, the word ‘caricaturing’ has come to mean ‘at odds with the truth.’ What that comes down to is a caricaturish view of caricatures, and that in turn can end up being more like the truth, even though it has been achieved through exaggeration.” – From The Introduction [‘The Stars in Close Up’].
Softcover – 53 pp. – Dimensions 29,5 x 21,5 cm (11,6 x 8,5 inch) – Weight 273 g (9,6 oz) – PUBLISHER Ravette Books, London, 1993 – ISBN 1-85304-363-X
Hollywood: Stars and Starlets, Tycoons and Flesh-Peddlers, Moviemakers and Moneymakers, Frauds and Geniuses, Hopefuls and Has-Beens, Great Lovers and Sex Symbols (Garson Kanin)
Hilarious, audacious, poignant, scandalous, breathtaking, Hollywood is everything – and more than that – its name implies. From his own adventures there Garson Kanin has drawn the material for a witty, wise, and dazzling panorama of this magical place.
Kanin arrived in Hollywood at the age of twenty-four, brought from New York at the bidding of the great motion picture producer Samuel Goldwyn “to learn the business.” As the man who would become one of our most celebrated director-writers now describes it, “I checked into the Goldwyn Studios on Monday morning and Alice in Wonderland was a piker.”
It was 1937, one of Hollywood’s golden years, when it seemed that just about anything could happen. Looking back now over a career as full of drama, excitement, and glamour as any fabled movie extravaganza, Mr. Kanin tells us what exactly did take place.
With him we explore the inside workings of the industry – the tempestuous and often comical story conferences, the contract negotiations, the front-office conflicts. But artistry is not forgotten, as revealed by tantalizing glimpses of such stars as Carole Lombard, John Barrymore, Greta Garbo, and Marilyn Monroe. There are off-screen appearances by Charlie Chaplin and Groucho Marx; back-lot tales of success and failure for Charles Laughton, Ingrid Bergman, Judy Holiday, and Ginger Rogers; fond remembrances of movie pioneer Carl Laemmle; thoughtful appreciations of fellow-filmmakers Billy Wilder and René Clair; surprise introductions to Hollywood’s secret people, especially the enticing Mae and her Pleasure Palace; and fascinating, seldom-captured views of powerful men who shaped the industry – Harry Cohn, Darryl F. Zanuck, and the extraordinary Samuel Goldwyn, whose career compassed the full span of American film-making from its virtual beginnings to the present day.
It is an incomparable display of talent, ambition, and skill, sketched for us in all its absorbing detail with Garson Kanin’s inimitable style and charm.
GARSON KANIN, playwright and director, creator of the world-famous comedy Born Yesterday, is an equally successful author. His most recent best-sellers include A Thousand Summers and Tracy and Hepburn.
Hardcover, dust jacket – 342 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 482 g (17 oz) – PUBLISHER The Viking Press, New York, New York, 1974
The Hollywood Story: Everything You Always Wanted to Know About the American Movie Business But Didn’t Know Where to Look (Joel W. Finler)
From whichever angle you choose to loot at it, the history of the Hollywood movie industry is a rich mix of fabulous success and titanic failure, of glittering stars and behind-the-scenes technicians. For the first time ever this book presents all the facts and figures needed to tell the complete story in all its absorbing detail.
Why has the average cost of movie-making risen from $ 20,000 in 1914 to $ 12 million today? What happed to produce such a bountiful crop of talented directors in the 1940s? Which studio has gained the most Oscars and how do they break down between the stars and other creative personnel? The answers to these and many other fascinating questions about the industry can be found in this comprehensive, yet accessible book.
Part 1 of The Hollywood Story explores the American movie industry as a whole, from the silent era to the 1980s. Tracing the development of Hollywood as the center of movie-making and the progress of movie theaters from nickelodeons to drive-ins and multiplexes, chapters cover every aspect of the industry’s growth, including the finances; the transition from silents to sound and the development of color; experiments with wide-screen processes; the producers, directors and stars; and the many other craftsmen and technicians behind all the major hits – and the most expensive flops – to come out of the sound era.
Part 2 continues with in-depth portraits of each of the eight leading studios. Much of the information has never been published in collated form before and here it is used to tell the story of Hollywood through detailed and attractive charts exploring every aspect of the relationship between finance and creativity that forms the basis of the industry’s output. Part 3 contains more detailed statistics in simple, tabular form and together with a comprehensive index, this makes the book unequalled as a work of reference.
Packed with facts and figures and illustrated with colorful charts and diagrams, and hundreds of stills and production shots (many in color), The Hollywood Story is a unique record of the movie industry’s greatest achievements. Never before has so much information been made so accessible to movie buffs everywhere – this one, comprehensive volume is sure to become a major milestone in movie publishing.
JOEL W. FINLER is an American, and was educated at Oberlin College, Ohio, and the Film Department of the Slade School of Fine Art, London. He lectures on the cinema and has contributed to many books, including Anatony of the Movies, The Movie and The Movie Mastermind. He is the author of All Time Movie Favorites, The Movie Directors Story and a book on actor-director Erich von Stroheim. In addition to his literary accomplishments he is also a considerable picture archivist.
Hardcover, dust jacket – 304 pp., index – Dimensions 32,5 x 23,5 cm (12,8 x 9,3 inch) – Weight 1.835 g (64,7 oz) – PUBLISHER Crown Publishers, Inc., New York, New York, 1988 – ISBN 0-517-56576-5
The Hollywood Studios (Roy Pickard)
Here, for the first time in one volume, is a history of the great American studios; the glamorous combines which made the name of Hollywood famous throughout the world.
The book, which is simply presented, devotes a section to each of the studios in the order of their formation. Universal came first, formed in 1912; then Paramount, United Artists, Warner Bros., Disney, Columbia, Metro-Goldwyn-Mayer, RKO and Twentieth Century Fox. Each section dealing with one of these studios is divided into two parts. The first concentrates on presenting an overall view of the individual studio; its styles and atmosphere, a portrait of the mogul at its helm and a view of the stars and films which made it famous. The second and much larger part presents a full, year-by-year chronology of the studio from its beginnings to the present day. There are also illustrations to complement each studio.
The book therefore fulfills two functions; not only is it a useful work in its own right, but at the same time it also captures the ‘feel’ of the great days of Hollywood. It is a combination of facts and information, trivia and glamour, fine movies and scandal. It is, finally, a permanent record of Hollywood as it was and as it is today.
ROY PICKARD worked in magazine and book publishing for nearly fifteen years. He contributes regularly to the American Films in Review, has written for Films and Filming, for the British Photoplay Film Monthly, and is also a broadcaster for the BBC. He is the author of four books on the cinema: A Companion to the Movies, A Dictionary of 1000 Best Films, The Oscar Movies (all published in the US and Great Britain) and Science Fiction in Films. He lives in Reigate, Surrey, and is married, with one young daughter.
Hardcover, dust jacket – 530 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.380 g (48,7 oz) – PUBLISHER Frederick Mueller, Limited, London, 1978 – ISBN 0 584 10445 6
Hollywood Studios (Tommy Dangcil)
Just after the turn of the 20th century, the motion picture industry moved to the West Coast, and the largest land of make-believe was created in Hollywood, California. From the silent-era beginnings of primitive, open-air stages to the fabled back lots of the studios’ heyday, Hollywood Studios presents a bygone era of magical moviemaking in rare postcards. Assembled from the author’s private collection, these images from the Chaplin Studios to Metro-Goldwyn Mayer depict an insider’s look back at the dream factories known as the Hollywood studios.
TOMMY DANGCIL, born and raised in Hollywood, has a bachelor of arts degree in radio/television/film from California State University, Los Angeles. Currently a Hollywood Local 728 studio electrical lighting technician, his feature film credits include Munich, Good Night and Good Luck, Syriana, Hidalgo, and Training Day. This is his second book in Arcadia Publishing’s Postcard History Series, following Hollywood: 1900–1950 in Vintage Postcards.
Softcover – 127 pp. – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 325 g (11,5 oz) – PUBLISHER Arcadia Publishing, San Francisco, California, 2007 – ISBN 978-0-7385-4708-4
The Hollywood Studios: House Style in the Golden Age of the Movies (Ethan Mordden)
Hollywood in the years between 1929 and 1948 was a town of moviemaking empires. The great studios were estates of talent – sprawling, dense, diverse. It was the Golden Age of the Movies, and each studio made its distinctive contribution: Paramount’s output bore the stamp of sly sensuality, RKO’s that of wit and sophistication, Warners’ the “crabby hustle” of real life. In the movies of MGM, glamorous star power was at work; in Fox’s, it was a “jes’ folks” atmosphere; and in Universal’s, an insistent conservatism. But how did the studios, ”growing up” in the same time and place, develop so differently? What combinations of talents and temperaments gave them their signature styles? These are the questions Ethan Mordden answers – with breezy erudition and irrepressible enthusiasm – in this fascinating and wonderfully readable book.
Mordden illuminates how the style of each studio was primarily dictated by the personality, philosophy, and attitudes of its presiding mogul – and how all these factors affected the work and careers of individual actors, directors, writers, and technicians, and the success of the studio in general. He takes us behind the scenes at:
Paramount: where “maximum mogul” Adolph Zukor gave his roster of extraordinary talented directors (Ernst Lubitsch, Cecil B. DeMille, Preston Sturges, Billy Wilder, Josef von Sternberg, Mitchell Leisen, to name only a few) the freedom to use their own initiative. Zukor’s bold idea allowed for the creation of films of uncommon elegance, imagination, wit, and vitality, and made of the directors “leaders of unique cinema.”
MGM: the studio where the producer was king, the big budget an art form, and the actor a consummate star. This was “Glamour City,” whose inhabitants included Jean Harlow, the Barrymores, Greta Garbo, Joan Crawford, Bette Grable, Judy Garland, William Powell, and Myrna Loy; and whose prestige – against which all the other studios measured themselves – was preserved in the consistent production of the Biggest Picture featuring the Biggest Stars.
Warner Brothers: “I don’t want it good, I want it Tuesday,” was Jack L. Warner’s ruling edict, but he still managed to turn out the greatest crime films of the time with the greatest “hoods” – Edward G. Robinson and James Cagney – and later to make Humphrey Bogart the quintessential “Dangerous Man.” Warners’ movies had the close, plain, flat look and the furious pace of reality informed by “the cynicism of the sociopolitically disinherited.”
Twentieth Century Fox: where a conservative aesthetic was now and then transcended by defiant social critique (The Ox-Bow Incident), but the reigning ideals were epitomized in John Ford’s “compassionate cinema” – The Grapes of Wrath, Young Mr. Lincoln, Tobacco Road, How Green Was My Valley – and in “Folk Heroes” like Will Rogers and Henry Fonda.
RKO: formed specifically to make talkies, it was a studio without preconceived notions, and its distinction was its originality – sophisticated, sharp, wise films (Stage Door, Bringing Up Baby, Citizen Kane, and the Astaire-Rogers musicals), films that were often too daring for even their targeted “up-town” audience.
Universal: Hollywood’s biggest production center; an old mixture of the old-fashioned, the imitative, and, occasionally, the unique – most graphically expressed in the horror genre that it made its own with such classics-to-be as Dracula, Frankenstein and The Invisisble Man. Although it had the “least ambitious aesthetic of all the major studios,” it has hung on for seventy-five years, longer than any other.
Ethan Mordden has revealed to us not only the studios, but a whole time and place. Full of anecdote and incident, The Hollywood Studios is both an authorative exploration and a great celebration of Hollywood during its matchless Golden Age.
ETHAN MORDDEN was born in Heavensville, Pennsylvania, and educated at the University of Pennsylvania. He is the author of eighteen much-praised books, among them works on film, opera, and theater, including The Hollywood Musical, A Guide to Opera Recordings, Broadway Babies, and the novel One Last Waltz. He lives in New York City.
Hardcover, dust jacket – 387 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 871 g (30,7 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1988 – ISBN 0-394-55404-3
Hollywood: The First 100 Years (Bruce Torrence)
Hollywood’s few residents were going about their business at the turn of the century on pepper-tree-shaded dirt streets. bordered by dirt sidewalks and curbs of rocks from the fields under cultivation. Few of the citizens paid attention to the story that some fellow was making one of those new moving pictures in Los Angeles and on the beach at Santa Monica. None of the farmers, developers. and entrepreneurs who were busy expanding their little suburb could imagine that. owing to the moving pictures, their community was destined to become one of the most famous place-names in history.
Thus, author Bruce Torrence doses his preface and opens wide avenues for the vicarious exploration of the land that the Indians called Cahuengna, meaning “Little Hills,” and that was later named after a summer home in Chicago: Hollywood.
In this definitive history containing more than 300 annotated photographs, the author tells of the Indians, Spanish, and Americans who settled the land; of Kit Carson passing through Hollywood and the Cahuenga Pass to deliver the overland mail from the United States to Monterey; of the camels that once roamed free on Hollywood’s flatlands; of the desperadoes who terrorized the settlers; of oil and land grabs, and of the city’s master builders.
Hollywood was a tourist town more than a decade before the first motion picture company settled in, but it was the motion picture industry that made it famous and to which its economy and well-being were inexorably tied, from the glamorous twenties and thirties, to the withering post-war fifties and sixties, when the city hit the skids on a seemingly irreversible decline-until its citizens rallied to restore it.
Such a well-documented and candid history of any city would be fascinating; the fact that the author’s home town is Hollywood makes it doubly so.
BRUCE TORRENCE was born in Los Angeles, and attended Black-Foxe Military Institute and USC. A graduate of the Graduate School of Savings and Loan at the University of lndiana, Mr. Torrence is Senior Vice President of Pacific Federal Savings in Hollywood and makes his home in Hollywood with his wife, Jeanine, and three children, Scott, Stefanie, and Sean. Most of the photos in this book are from the Bruce Torrence Historical Collection, which the author began in 1969 with thirty photographs and which today numbers more than 10,000. Mr. Torrence lectures on historic Hollywood, and is the author of numerous papers and articles on the history of the city.
Hardcover, dust jacket – 288 pp., index – Dimensions 31 x 23,5 cm (12,2 x 9,3 inch) – Weight 1.005 g (35,5 oz) – PUBLISHER The Hollywood Chamber of Commerce, Hollywood, California / Fiske Enterprises, Hollywood, California, 1979 – ISBN 0-9603594-0-0
Hollywood: The Golden Era (Jack Spears)
In a series of colorful excursions into the golden era of Hollywood, Jack Spears nostalgically recaptures the romance of motion pictures to Cinerama. Hollywood: The Golden Era is a collection of sprightly, intelligent, and entertaining essays on motion picture history and film personalities that will delight every fan.
The articles in this volume were originally published by the author in Films in Review (1955-1968), the distinguished magazine of motion picture history, and they have been completely revised, expanded, and updated with much new material. They cover a broad spectrum of memorable history – from the role of the movies in propagandizing World War I to vivid, behind-the-camera glimpses of Mary Pickford and Charlie Chaplin.
Hollywood: The Golden Era pays great attention to detail, which adds to the authenticity of the book. Based on personal interviews, letters, and original research, it combines a penetrating analysis of the social influences of film with intimate personality sketches of hundreds of captivating stars, producers, and directors who have kept the world spellbound for 70 years.
The freshness and originality of this book are demonstrated by its fascinating contents. “The Movies of World War I” traces the film from isolationism and preparedness to the great war of 1914-18 and back again to pacificism; “The Indians on the Screen” documents Hollywood’s injustices to the American red man; “The Doctor on the Screen” points up the failure of the motion picture to realistically catch the drama of the medical profession; “Mary Pickford’s Directors” tells the experience of America’s Sweetheart with the great directors of her time – D.W. Griffith, Thomas H. Ince, Cecil B. DeMille, Ernst Lubitsch, and others.
On the lighter side, there are detailed discussions of movies about baseball, and the transfer of newspaper comic-strip heroes and heroines to the screen.
Author Jack Spears probes the art of Charlie Chaplin, and reviews the colorful careers of Colleen Moore, the flapper queen of the ’20s; Norma Talmadge, whose sobs and smiles earned her a multi-million-dollar fortune as a silent picture star; director Marshall Neilan, whose arrogance with studio moguls cost him a brilliant career; the tragic Max Linder, who first brought style to comedy; and Robert Florey, the inventive avant-garde director, friend and confidante of Rudolph Valentino, Mary Pickford, Douglas Fairbanks, Charlie Chaplin, and dozens of Hollywood greats.
The stills (over 200 of them) of these personalities and their movies are the final touches that make Hollywood: The Golden Era one of the most expansive, authoritative, and enjoyable volumes of film history ever published.
JACK SPEARS successfully combines two fascinating but totally disparate interests – medicine and motion pictures. Professionally, this tall (6’2″) redhead has a record of 28 years as a knowledgeable medical society executive. Since 1942 he has guided the 470-member Tulsa County Medical Society, administering a comprehensive program that has ranged from immunizing an entire community for poliomyelitis to promoting a new medical school. Along the way he has earned an enviable reputation in national medical circles, picked up a top award for medical public relations, and serves as trustee of the American Association of Medical Society Executives. The other side of the Spears coin is a lifelong interest in motion pictures that has, in recent years, brought him a growing reputation as a responsible film historian. Since 1955 he has published numerous articles in Films in Review. He is a collector of old silent films – his special field of interest – and movie memorabilia of all types. His library has over a thousand books on motion pictures, bound files of film magazines dating back more than 50 years, and hundreds of stills, posters and photographs. Mr. Spears was born on December 23, 1919, at Fort Smith, Arkansas. He graduated with honors from the University of Arkansas, majoring in both journalism and business administration. He was editor of the college commerce magazine, managing editor of the Arkansas Traveler newspaper, and associate editor of the Arkansas Razorback yearbook. Since 1942 he has been married to Helen Jackson. They have two sons, Jack, Jr. (24), a Vietnam veteran who is completing his education at the University of Arkansas; and Richard Thomas (21), now serving with the United States Army. Spears’s interests include music, mountaineering (the armchair way), and travel.
Hardcover, dust jacket – 440 pp., index – Dimensions 24 x 15,5 cm (8,5 x 5,7 inch) – Weight 782 g (27,6 oz) – PUBLISHER Castle Books, New York, New York, 1971
Hollywood: The Movie Colony, The Movie Stars (Leo C. Rosten)
This study of Hollywood, the first ever undertaken, began as the Motion Picture Research Project, and was made possible by grants from the Carnegie and Rockefeller Foundations. He was assisted by a trained staff of eleven people, who collected and analyzed a vast amount of facts and figures, interviewed people in every nook of Hollywood. The advisory board of the project consisted of Robert S. Lynd, Columbia; Louis Wirth and Herbert Blumer, Chicago; and Harold D. Lasswell, Washington School of Psychiatry.
At last Hollywood is studied, not gossiped about. Here, for the first time, in Leo Rosten’s long-awaited book, is the real Hollywood, “neither a catalogue of horrors nor a bucket of whitewash,” but the facts – everything that everyone has really wanted to know about the movies.
Rosten X-rays Hollywood as a social entity and dissects these components of the movie colony:
The Movie Elite – the top 250 actors, producers, directors, and writers, their backgrounds, their feuds. The Big Money – how many people earn how much and what they do with it, sixteen detailed case studies, analyses of income taxes, how to live on $225,000 a year. Eros in Hollywood – romance, marriages, divorces, Hollywood’s past and reputation in comparison to facts. The Fight for Prestige – who rates and why; Hollywood on the trail of social recognition; the studios most admired by the colony. Night Life – Hollywood parties, social circles. Of Marble Halls – Hollywood homes, the trend from magnificence toward comfort and graciousness. Horses – Hollywood’s enormous stake in racing. Politics – “Politically, Hollywood has put on long pants.”
Rosten goes on to the movie makers themselves – producers, actors, directors, writers. He presents the background, experience, education, salaries, opinions, attitudes, and problems of these four central and strategic groups. He describes what they do, how they work, who they are, where they came from, how they got into films, how much they get, what they read, what they think of movies. A final chapter, The Long Arm of Hollywood, describes the extraordinary influence of the movie people, and the movies which they make, on our marmers, mores, styles, and ideals.
LEO C. ROSTEN combines the talents and training of an expert social scientist, a professional screen writer, and an author of fiction, humor, and satire. He is the author of The Washington Correspondents, consultant to the American Film Center, and special consultant to the Division of Information of the Office for Emergency Management and the National Defense Advisory Commission. As Leonard Q. Ross, he wrote the now-classic The Education of H*Y*M*A*N K*A*P*L*A*N and The Strangest Places. Dr. Rosten has lived and worked in Hollywood for over four years. He was trained at the University of Chicago and the London School of Economics.
Hardcover, dust jacket – 436 pp, index. – Dimensions 23,5 x 16 cm (9,3 x 6,3 inch) – Weight 881 g (31,1 oz) – PUBLISHER Harcourt, Brace and Company, Inc., New York, New York, 1941
Hollywood: The Movie Lover’s Guide (Richard Alleman)
The classic guide to who-did-what-where in Los Angeles, on- and off-screen, including:
Film & TV locations: the Hollywood Hills house where Barbara Stanwyck seduced Fred MacMurray in Double Indemnity; the funky apartment building where William Holden lived in Sunset Boulevard; the exotic Frank Lloyd Wright mansion that’s housed everyone from Harrison Ford in Blade Runner to David Boreanaz on TV’s Buffy the Vampire Slayer; the landmark Art Deco former department store that has doubled for a glamorous hotel in Topper (1936) and an elegant nightclub in The Aviator (2004); the Halloween and Nightmare on Elm Street houses; the Seinfeld and Alias apartment buildings; the Six Feet Under funeral home; The Brady Bunch and Happy Days houses; the Charlie’s Angels office; the real Melrose Place; and many more
VIP tours: from legendary studios like Warner Bros., MGM (now Sony Pictures), and Universal to movie-star homes like Barbra Streisand’s former Malibu compound…
Crime scenes and scandal spots: the driveway where Sal Mineo was murdered, the Nicole Brown Simpson condo, the Sharon Tate estate, Marilyn Monroe’s last address, the Beverly Hills Mansion where Bugsy Siegel was rubbed out…the Hollywood hotel where Janice Joplin O.D.’d…
Plus: remarkable new museums; superstar cemeteries; historic hotels; hip clubs and restaurants; fabulous restored movie palaces; spectacular movie star mansions and château apartments…
Taking movie lovers behind the gates of the exclusive, often hidden world of Tinsel Town, Hollywood: The Movie Lover’s Guide is the ultimate insider’s guide to L.A.’s reel attractions.
Softcover – 495 pp., index – Dimensions 20 x 12,5 cm (7,9 x 4,9 inch) – Weight 614 g (21,7 oz) – PUBLISHER Broadway Books, New York, New York, 2005 – ISBN 0 356 08197 4
Hollywood: Then and Now (Rosemary Lord)
Hollywood is the promised land, where ostensibly anything can be achieved and nothing is out of reach. Hollywood was created in 1887 – long before the film industry was around – when a Kansas real estate tycoon, Harvey Wilcox, began mapping out a town for Midwesterners who were sick of the cold weather. He wanted to call it Figwood but his wife persuaded him to call it Hollywood. Originally home in the late 1800s to Gabrielino Indians, farmers, ranchers, and prospectors, Hollywood was seen as a haven against lawlessness, a refuge for the sober. Alcohol was banned, as were speeding bicycles and fast horses.
The film industry came to Hollywood in the early 1900s, and in its Golden Age of the 1920s and 1930s, Hollywood became a glamour factory, a city of fantasy. Film studios lined the streets and restaurants and nightclubs filled its busy thoroughfares. It was the home of the stars, and the famous Hollywood sign beckoned through the smog, drawing in hopeful wannabes. Throughout two world wars, the Depression, and modern catastrophes and triumphs, the world has turned to Hollywood for entertainment and escape.
Hollywood Then and Now is a fascinating comparison of the orange groves and bean fields of yesterday with the cosmopolitan mecca that is Hollywood today. Moorish and Spanish architecture and Frank Lloyd Wright homes still stand alongside modern structures. This book features early photographs matched with specially commissioned contemporary images of the same sites, including Graumann’s Chinese Theatre, Fox Studios, the Pig’n Whistle café, and the Cocoanut Grove nightclub, to show the development of this extraordinary town.
ROSEMARY LORD was born in Somerset and educated in Surrey, England. She worked as an actress and magazine writer in London before heading for the bright lights of HoIlywood. Lord has now spent nearly twenty years living and working in Los Angeles, acting in theater, films, and television, as well as working as a senior publicist for Columbia Pictures. She has written for many prestigious magazines in the U.S. and Europe, fitting in the odd film and television script, as well as a travel book and two novels. She is the author of Los Angeles Then and Now.
Hardcover, dust jacket – 160 pp., index – Dimensions 25 x 28 cm (9,8 x 11 inch) – Weight 1.030 g (36,3 oz) – PUBLISHER Thunder Bay Press, San Diego, California, 2003 – ISBN 1-59223-104-7
Hollywood: The Pioneers (Kevin Brownlow)
Silent films are sometimes dismissed as quaint or out of date because of their jerky, scratchy quality; this book, and the Thames Television series with which it is associated, set out to show that they were, in fact, beautiful as well as vastly entertaining works of art. Kevin Brownlow, with the help of John Kobal and his unique collection of early stills, recaptures the legendary days of early film-makers like Cecil B. DeMille, King Vidor, Erich von Stroheim and D.W. Griffith, of stars like Garbo, the Barrymores, Gloria Swanson, Keaton, Chaplin and Valentino. The early days of Hollywood must be among the most adventurous, extravagant and triumphant that the world of entertainment has ever known. From the first tentative essays of a few bold innovators, Hollywood blossomed almost overnight into a major industry, breeding millionaires and bankrupts, making outrageous demands on those who served it, producing in those early days some of the supreme triumphs of the movie-maker’s art. Hollywood: The Pioneers tells the story as never before. Kevin Brownlow, who with David Gill, directed the Thames Television series, marshalls his great knowledge of the subject with lucidity and wit; the photographs – almost all taken from originals and many never seen before, are dramatically beautiful. This is a book which anybody interested in the cinema or who has seen the television series on which it is based will wish to acquire and cherish.
KEVIN BROWNLOW’s interest in silent films dates back to the age of ten, when he began seeing them at school. He set out to be a film-maker at the age of fourteen, but his first love has always been film history. He has written The Parade’s Gone By… (a series of interviews with the people who created the industry) and The War, The West and the Wilderness, a study of historical evidence surviving in early films. Apart from a number of short documentaries, he has written, directed and produced two features in collaboration with Andrew Mollo; It Happened Here (1964) and Winstanley (1975). He worked on the Thames Television series in collaboration with David Gill.
JOHN KOBAL’s interest in films also dates back to his childhood. He started collecting film material in 1964, and writing about films in 1966. He has written thirteen books on the subject including Gotta Sing, Gotta Dance; Romance at the Movies; 50 Years of Film Posters; and Rita Hayworth: The Time, The Place and The Woman. He recently completed a book on the art of Hollywood portrait photographers, about whom he has organised several international exhibitions.
Hardcover, dust jacket – 272 pp., index – Dimensions 26 x 22,5 cm (10,2 x 8,9 inch) – Weight 1.145 g (40,4 oz) – PUBLISHER Collins, London, 1979 – ISBN 0 00 216047 1
Hollywood Trail Boss: Behind the Scenes of the Wild, Wild Western (Burt Kennedy; foreword by Jack Elam)
From The Rounders to Support Your Local Sheriff to White Hunter, Black Heart, Burt Kennedy’s films and screenplays symbolize a two-fisted Hollywood in its prime. He rode with ’em all: Clint, the Duke, the King, the Chairman, and dozens of other living and lost legends. Hollywood Trail Boss is a tribute to a half-century of hard-hitting, comic-action filmmaking the likes of which we haven’t seen since. Hear the story from the man himself-and find out who the real legend is.
“Burt Kennedy has given us Western films combining action with a keen sense of humor, starting with the great Randolph Scott-Budd Boetticher collaborations and continuing with such top names as John Wayne and Robert Mitchum. His hilarious version of Max Evans’s The Rounders, starring Henry Fonda and Glenn Ford, is a Western classic.” – Elmer Kelton
Softcover – 177 pp. – Dimensions 23 x 15 cm (9,1 x 5,9 inch) – Weight 244 g (8,6 oz) – PUBLISHER Boulevard Books, New York, New York, 1997 – ISBN 1-57297-295-5
Hollywood Trivia (David L. Strauss, Fred L. Worth)
“The subtitle of this book could have been ‘How To Develop an Inferiority Complex.’ But seriously, this book is about real people, not just reel people. If you are surprised by the accomplishments just remember that it takes a special person to make a success of a show business career. Likewise, there are some negative items included. Success is difficult to measure and even more difficult to predict. Who could have guessed in 1939 that Mickey Gubitosi [Robert Blake], just another face in Our Gang shorts, would some day be making in excess of $ 1 million a year?
Would anyone have thought in 1953 that a struggling actor named Charles Buchinsky [Charles Bronson], playing Igor in House of Wax, would one day become the highest paid actor in the world? How could one predict in 1955 that Mary Moore [Mary Tyler Moore], then doing commercials as ‘Happy Hotpoint’ on television’s Ozzie and Harriet, would today have her own production company?
Of course for every story like those above there are literally hundreds of failures. A brief look at some of the items contained in this book will provoke many readers to wonder how anyone could possibly keep trying for stardom after years of toughing it out. Read on and discover something about your favorite star.” – The Introduction.
Softcover – 384 pp. – Dimensions 17,5 x 10,5 cm (6,9 x 4,1 inch) – Weight 209 g (7,4 oz) – PUBLISHER Warner Books, New York, New York, 1981 – ISBN 0-446-95492-6
Hollywood Voices: Interviews with Film Directors (edited by Andrew Sarris)
Hollywood is also a country of the mind. The natives – George Cukor, Rouben Mamoulian, Otto Preminger, Preston Sturges – talk to the visitor about the practicalities of being a film director, how to survive, how to do what one wants to do while still pleasing one’s masters, how indeed to be one’s own master. Then there are the fugitives – John Huston, Joseph Losey, Abraham Polonsky, Nicholas Ray, Orson Welles – whose statements reflect both Hollywood’s failure to contain its cleverest children and the pressure for a radically individualistic alternative to Hollywood.
This absorbing collection of confrontations centres on the director’s responsibility and on the auteur theory. Talking to William Pechter in 1962, Polonsky describes his blacklisting and sees no possibility of making films again. Mamoulian discusses with Andrew Sarris, and Cukor, with Richard Overstreet, the details of their craft; Preminger, in conversation with Ian Cameron, Mark Shivas and Paul Mayersberg, maintains his absolute creative autonomy. Welles, in a long interview originally published in Cahiers du Cinéma, talks about his career in the theater and cinema, his relationship with Ernest Hemingway, his feelings about America, his isolation. The interviews by Penelope Houston and John Gillett with Losey and Ray raise, by contrast, specific problems of critical response and communication. There are no irrevocable conclusions in this lively and undogmatic volume.
[Interviews with George Cukor, Rouben Mamoulian, Otto Preminger, Preston Sturges, John Huston, Joseph Losey, Nicholas Ray, Abraham Polonsky, Orson Welles]
ANDREW SARRIS provides a general introduction, as well as critical notes on the individuals included.
Hardcover, dust jacket – 180 pp. – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 377 g (13,3 oz) – PUBLISHER The Bobbs-Merrill Company, Inc., New York, New York, 1967 / 1971
Hollywood: When Silents Were Golden (Evelyn F. Scott)
In an era when entertainment is as close as the switch that lights the TV screen, it’s a struggle to hark back to the days when your Main Street movie theater had the only screen in town, and to get to it you were still about as likely to hitch up the more as crank the Ford. But moviegoers were an avid lot in those days, and, if they demanded morality on film, they weren’t beyond discussing rumors of Hollywood immorality on the front porch after the show, over homemade ice cream or lemonade.
The movie industry itself, before sound came along, referred to this anonymous audience as Lizzie and Jakie. They were assumed to be a fairly naive rural lot, adventurous enough, when whist or checkers paled, to turn to pictures that moved, but certainly not educated up to much that was literary.
Into this infant industry came Beulah Dix Flebbe, chief protagonist in this drama – already a successful playwright and novelist – who arrived in Hollywood to visit her friend and fellow-author Beatrice De Mille. Beatrice was the mother of Cecil B. De Mille and William. Beulah’s visit lasted fifty years. Turned out that Cecil B. needed a continuity writer who would follow actors and cameras wherever they went and write the dialogue which appeared on screen between scenes.
Beulah brought with her to Hollywood her five-year-old daughter, Evelyn, and was shortly followed by her husband, George. Evelyn here describes what it was like to grow up in the bosom of a glamour business that lured trainloads of hopefuls from the hinterlands to Hollywood every year. What about the wild parties? Carefully Brought Up, as were her best friends, the De Mille daughters, she never saw any. The great and the famous? She went to school with a host of them. But if Jean Harlow is two grades behind you, you don’t become close friends.
Seems as though the motion-picture leading lights you’ve heard most about, if you were born in the 1920s or before. were hard-working squares – far from the dreams of Lizzie and Jakie. But they were talented and had a generous capacity for enjoying themselves.
Evelyn Flebbe Scott pays affectionate tribute to her mother. gives you a look at an isolated, idolized community, pulls from her family album pictures of past “greats” for you to look at; and describes as everyday happenings incidents which, had you lived in Duluth, would have given you something to talk about for twenty years.
EVELYN F. SCOTT found a lot to like in Hollywood, for reasons her book makes plain. She works now at MGM, where she has been a story analyst for twenty years. If she never gets to Big Bear lake for exciting “on location” ventures, as did her mother, there’s no loss without some gain. Life is less rigorous in Culver City. She is married to David Scott, at present a film editor, and they have one daughter, Ursula.
Hardcover, dust jacket – 222 pp. – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 513 g (18,1 oz) – PUBLISHER McGraw-Hill Book Company, New York, New York, 1972 – ISBN 0-07-055802-7
The Hollywood Writers’ Wars: How the formation of the Screen Writers Guild – and the political passions it arroused among Hollywood’s writers, actors, directors and producers in the 1930s and 40s – shattered the closely knit movie community and lead to the blacklist years (Nancy Lynn Schwartz, completed by Sheila Schwartz)
The story of the battle to form the Screen Writers Guild is for the first time told fully and in riveting detail, based on diaries, letters, newspaper clippings, pamphlets, and hundreds of recent interviews with Hollywood people. It is told through the voices of the writers, directors and producers who were there – some of them were blacklisted, some of whom helped to blacklist, some of whom were never before willing to tell their stories. Here, brilliantly re-created, is the political turmoil that shattered the Hollywood community through the 1930s and into the 40s – leading to the advent of HUAC and, ultimately, to the blacklist.
Telling the story in all its sweep and ferocity – and in all its controversial detail, taking us into secret meetings, into political confrontations and their private aftermaths – Nancy Schwartz penetrates the political fog that has surrounded the Hollywood ordeal.
The cast of characters dramatically involved in the writers’ wars – the writers on the Left, the writers on the Right, the producers, the labor leaders, the newspaper publishers, and the most celebrated actors and actresses of the day – was on the scale of a DeMille production. Amon those we meet in this book: Dorothy Parker, Donald Ogden Stewart, John Collier, Ring Lardner Jr., Budd Schulberg, Herbert Biberman, Emmet Lavery, John Dos Passos, Charles Brackett, Jack Warner, James M. Cain, Lillian Hellman, Abraham Polonsky, Helen Gahagan Douglas, Dudley Nichols, Roy Huggins, Ronald Reagan, Samson Raphaelson, Harry Cohn, Westbrook Pegler, Darry F. Zanuck, Orson Welles… And throughout Nancy Schwartz makes clear how powerfully the larger reverberations of world-wide tumults and shifting balances affected the struggle: the rise of Hitler, the Hitler-Stalin pact, the Spanish Civil War, the victory of World War II that brought the Right and the Left together in celebration – and the dawn of the Cold War, in which that brief moment of solidarity, the United Front, exploded and the Left-leaning activism and fierce idealism of only a few years before boomeranged. And we come to know how the men and women who were denounced by a long line of political manipulators (from John Tenney and Martin Dies to Joe McCarthy) as betrayers, as enemies of the nation – people whose lives were shaken and changed by the writers’ wars.
From the irrepressible voice of Dorothy Parker attacking an adversary at a Guild meeting (“If you’re a writer, I’m the queen of Roumania”) to the tense drama of witnesses questioned by Martin Dies, a Hollywood nightmare is projected in a ground-breaking book that vividly summons up – from the rise of the unions to the Red Scare and McCarthyism – the larger American experience of those years.
NANCY LYNN SCHWARTZ was twenty-two when she received a grant from the national Endowment for the Humanities to write this book. She had finished all of the research and most of the writing when she died suddenly at the age of twenty-six. The book was completed by her mother, SHEILA SCHWARTZ, professor of English Education at the State University College, New Platz, New York.
Hardcover, dust jacket – 334 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 738 g (26 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1982 – ISBN 0-394-41140-4
Home: A Memoir of My Early Years (Julie Andrews)
Since her first appearance on screen in Mary Poppins, Julie Andrews has played a series of memorable roles that have endeared her to generations. But she has never told the story of her life before fame. Until now.
In Home: A Memoir of My Early Years, Julie takes her readers on a warm, moving, and often humorous journey from a difficult upbringing in war-torn Britain to the brink of international stardom in America. Her memoir begins in 1935, when Julie was born to an aspiring vaudevillian mother and teacher father, and takes readers to 1962, when Walt Disney himself saw her on Broadway and cast her as the world’s most famous nanny.
Along the way, she weathered the London Blitz of World War II; her parents’ painful divorce, her mother’s turbulent second marriage to Canadian tenor Ted Andrews, and a childhood spent on radio, in music halls, and giving concert performances all over England. Julie’s professional career began at the age of twelve, and in 1948 she became the youngest solo performer ever to participate in a Royal Command Performance before the Queen. When only eighteen, she left home for the United States to make her Broadway debut in The Boy Friend, and thus began her meteoric rise to stardom.
Home is filled with numerous anecdotes, including stories of performing in My Fair Lady with Rex Harrison on Broadway and in the West End, and in Camelot with Richard Burton on Broadway; her first marriage to famed set and costume designer Tony Walton, culminating with the birth of their daughter, Emma; and the call from Hollywood and what lay beyond.
Julie Andrews’ career has flourished over seven decades. From her legendary Broadway performances, to her roles in such iconic films as The Sound of Music, Mary Poppins, Thoroughly Modern Millie, Hawaii, 10, and The Princess Diaries, to her award-winning television appearances, multiple album releases, concert tours, international humanitarian work, best-selling children’s books, and championship of literacy, Julie’s influence spans generations. Today, she lives with her husband of thirty-eight years, the acclaimed writer/director Blake Edwards; they have five children and seven grandchildren.
Featuring over fifty personal photos, many never before seen, this is the personal memoir Julie Andrews’ audiences have been waiting for.
Hardcover, dust jacket – 339 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 680 g (24 oz) – PUBLISHER Hyperion, New York, New York, 2008 – ISBN 978-0-7868-6565-9
100 Mooiste Films uit de Geschiedenis: Een reis door honderd jaar filmgeschiedenis (Rolf Schneider, Winifred Maaß, Anne Benthues, Anna Sorge)
De geschiedenis van de film begon toen beelden leerden lopen. De zegetocht van de filmkunst op bioscoopschermen en later op de beeldschermen van de moderne mediawereld is onstuitbaar gebleken. Films zijn de highlights van het hedendaagse amusement. Ze zijn voor iedereen toegankelijk en worden gezien als de belangrijkste uitingen van de moderne massacultuur.
In honderd jaar filmgeschiedenis is een gigantisch aantal cinematografische werken ontstaan. In dit boek is een selectie gemaakt van de honderd mooiste, belangwekkendste, beste films uit de filmgeschiedenis. U leest over onbetwiste filmklassiekers maar ook over onbekende meesterwerken uit landen die lange tijd van de internationale markt afgesneden zijn geweest.
Naast informatie over de hoofdrolspelers, de regisseur en het verhaal, gaat dit boek ook in op de draailocaties van de films. U zult versteld staan op hoeveel plekken ter wereld beroemde locaties ons blijven herinneren aan het ontstaan van onvergetelijke films.
Veel kijk- en leesplezier toegewenst!
Hardcover, dust jacket – 208 pp. – Dimensions 35 x 24 cm (13,8 x 9,5 inch) – Weight 1.385 g (48,9 oz) – PUBLISHER Rebo Productions, Lisse, 2007 – ISBN 978-90-366-2026-0
The Honeycomb: An Autobiography (Adela Rogers St. Johns)
Autographed copy Adela Rogers St. Johns
At eighteen I must have been regarded as a woman, writes the author in this colorful memoir, for I was one of the first women reporters, maybe as an all-around police beat, sports, sin and society reporter the first in the world.
Taking up her life where Final Verdict, her biography of her father, left off, The Honeycomb traces Mrs. St. Johns’ fifty years as a newspaper woman during which, as a star reporter and feature writer for the Hearst papers – under the over-all supervision of William Randolph Hearst – she covered the Lindbergh kidnaping trial, the romance of Edward VIII and Wallis Simpson, the Huey Long saga, and most of the other great American news stories of the twentieth century.
With revealing candor and a vivid style Mrs. St. Johns recalls her progress from her first involvement in the newspaper field with the Los Angeles Evening Herald, through her rising importance as a by-lined writer, her entry into the Hollywood writing stables, and her life amid the glamour of stars and celebrities.
Although she chose what was considered a man’s career, she never forgot that she was a woman, and in her recollections she also finds time to discuss her youthful flirtations, her bittersweet marriage to Ike St. Johns, a profound love affair, her difficulties with being simultaneously a wife, mother and career woman, as well as more serious personal problems. The result is a blockbuster of a story which catches the reader up in its drama and excitement and involves him in a personal confrontation with the events.
Hardcover, dust jacket – 598 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 946 g (33,4 oz) – PUBLISHER Doubleday & Company, Inc., Garden City, New York, 19697
Hooked: Film Writings 1985-1988 (Pauline Kael)
In this her ninth collection of film reviews, Pauline Kael maintains the high standards of perception and incisiveness she set 20 years ago in her first collection of New Yorker film writings and continued in each of its memorable successors.
Hooked runs from July 1985 to June 1988 and discusses over 100 films from Mona Lisa to Robocop and from Beetlejuice to The Unbearable Lightness of Being. With wit and an unerring eye for both the outstanding and the second rate, Kael reviews all the major films of the past three years from the sublime to the ridiculous and back again. As Kael herself admits in her foreword, she is ‘hooked’ on films – she claims she sees each one ‘for pleasure’ – and when she finds a good one she writes about it with a sense of celebration. Critical or laudatory, her reviews are always constructive and intelligent.
PAULINE KAEL is the author of eight other mammoth collections of film essays taken from The New Yorker, most of them published by Marion Boyars: Deeper Into Movies, Kiss Kiss Bang Bang, Reeling, State Of The Art, Taking It All In, When The Lights Go Down and Movie Love.
Softcover – 510 pp., index – Dimensions 21 x 13,5 cm (8,3 x 5,3 inch) – Weight 630 g (22,2 oz) – PUBLISHER Marion Boyars Publishers, Ltd., London, 1990 – ISBN 0-7145-2903-6
The Horror People (John Brosnan)
From fangs and freaks to creatures from outer space and tales of demonic possession, the ‘horror’ film spans an amazing world of the macabre and the bizarre. Yet many in the business resent the ‘horror’ label; they feel that films which seek to portray war and violence realistically are the true horror films, and that their own productions are purely escapist entertainment which terrify at the time (because people enjoy being scared) but which – like nightmares – leave no scars behind.
The Horror People is an immensely engaging close-up of the leading personalities in the British and American horror film industry, and makes rich use of first-hand interviews with the top directors, producers, actors, writers – and fans. The first real horror star was Lon Chaney Sr., himself the son of deaf mutes, who specialized in playing spectacularly disfigured cripples. Later stars quickly became victims of typecasting – some, like Bela Lugosi and Christopher Lee, resenting it, while others, like Boris Karloff, Vincent Price and Peter Cushing, accepted it with more or less good grace.
John Brosnan identifies a number of cycles in the history of the horror film – from the early German-influenced cinema of the grotesque, through the classics of the 1930s (Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, Freaks, The Mummy, etc.) and the atomic-scare boom in science-fiction monsters in the early 1950s, to the great Hammer – and AlP-led revival of the later 1950s. Now that the horror film and directors like Roger Corman and Terence Fisher have become something of a cult, certain critics have tended to treat the subject over-solemnly. John Brosnan avoids this, instead he shows us the sheer fun (as well as the hard work) that has gone into producing works of fantasy and imagination which have, with their vitality, sensuality and color, helped revitalize the cinema.
JOHN BROSNAN was born in Perth, Australia, in 1947. Before arriving in England in 1970 he wrote film reviews for a variety of Australian magazines and journals. His two previous books are James Bond in the Cinema and Movie Magic: The Story of Special Effects in the Cinema, about which Film Review 75 wrote: ‘It is difficult to imagine a book for the layman on this particular subject being better done or more attractively presented.’ John Brosnan has also written a number of science fiction stories and now lives in London.
[Portraits of Boris Karloff, Bela Lugosi, Lon Chaney Sr., Vincent Price, Lon Chaney Jr., Peter Cushing, Christopher Lee, James Whale, Val Lewton, Robert Bloch, Terence Fisher, William Castle, Richard Matheson, Roger Corman, William Castle, Jack Arnold, Freddie Francis, Tod Browning, Karl Freund]
Hardcover, dust jacket – 304 pp., index – Dimensions 24,5 x 18 cm (9,7 x 7,1 inch) – Weight 816 g (28,8 oz) – PUBLISHER MacDonald and Jane’s Publishers, Ltd., London, 1976 – ISBN 0 356 08394 2
Horrors From Screen to Scream: The Stars, The Producers, The Directors, The Studios, 850 Films of Horror, Fantasy and the Supernatural (Ed Naha)
Abbott and Costello Go to Mars, Cat People, A Clockwork Orange, The Curse of the Werewolf, The Day of the Triffids, Dracula, Dr. Jeckyll and Mr. Hyde, Frankenstein, The Hunchback of the Notre Dame, King Kong, The Mummy’s Head, Planet of the Apes, Wolfman, Zardoz.
A few of the 850 films of Horror, Fantasy and the Supernatural featured in this superbly comprehensive encyclopaedic guide.
Ed Naha has spent a life-time gathering information on virtually every Horror / Fantasy film ever screened. Here are the dates, studios, and casts of each film, plus brilliantly succinct plot outlines and reviews, and brief biographies of the leading stars in the field…
Lavishly illustrated with hundreds of stills, Horrors spans more than 60 years of freaks and ghouls, monsters and mummies, vampires and werewolves, mad doctors and dinosaurs from Edison’s 1910 one reel version of Frankenstein to the 1970’s.
Softcover – 306 pp., index – Dimensions 27,5 x 21 cm (10,8 x 8,3 inch) – Weight 862 g (30,4 oz) – PUBLISHER Futura Publications, Ltd., London, 1975 – ISBN 0 8600 74414 2
Hotels: Sterke Verhalen Rond Vermaarde Hotels (Francisca Mattéoli)
Greta Garbo ‘ontstand’ in een Berlijns paleis. James Bond werd geheim agent 007 in een huis op Jamaica. Al Capone sleet zijn laatste dagen in een Grand Hotel in Miami. Jean Cocteau probeerde Radiguet te vergeten in een matrozenbar in Villefrance. Frida Kahlo zocht met Trotski een toevlucht in een haciënda, diep in het Mexicaanse binnenland…
Al deze huizen, paleizen, ryokans en haciënda’s zijn vandaag hotels waar de sporen van beroemde bewoners zorgvuldig worden bewaard.
Onwaarschijnlijke avonturen, onoplosbare mysteries, het draaien van films, fatale liaisons in Rome, Hongkong, Nairobi, Chili, Mexico… Al deze geschiedenissen zijn hier verzameld in een eigenzinnig reisalbum vol herinneringen en openbaringen.
FRANCISCA MATTÉOLI is een Chileense, haar moeder is een Schotse. Mattéoli groeide op in Zuid-Amerika. Na een tijd in Brazilië te hebben gewoond, vestigde ze zich in Parijs. Mattéoli schrijft reisreportages en is medewerkster van Conde Nast Traveller, National Geographic France, Air France Hommes, en The Tribune de San Luis Obispo.
Hardcover, dust jacket – 207 pp. – Dimensions 27,5 x 19 cm (10,8 x 7,5 inch) – Weight 1.060 g (37,4 oz) – PUBLISHER Lannoo nv, Tielt, Belgium, 2003 – ISBN 90 209 5110 6
Hot Toddy: The True Story of Hollywood’s Most Sensational Murder (Andy Edmonds)
By 1935, Thelma Todd was one of the screen’s most popular comediennes, receiving 500 fan letters a week, and her films are still popular entertainment – Monkey Business, Horse Feathers, Two for Tonight… A beauty queen from Massachusetts, Thelma had once wanted to be a schoolteacher, but instead her destiny was to become a movie star – a beautiful woman compulsively attracted to dangerous men.
When the beautiful blonde actress was found battered and bloodied in her Lincoln Phaeton convertible on a cold December night, the authorities immediately declared it a suicide and desperately tried to close the case. By doing so, they opened the floodgates of fantastic speculation, a succession of false confessions, and lurid exposures regarding Thelma Todd’s private life. Hers was a life that had skirted death on the fringes of the underworld – and there were suspects with plenty of reason to kill the woman known as “Hot Toddy.”
The Marx brothers, Gloria Swanson, Laurel and Hardy, ZaSu Pitts, Gary Cooper, Buster Keaton – Thelma worked and played with the best of them. Hot Toddy is set against a fascinating epoch of the movie industry she conquered, but it was an industry increasingly infiltrated by the Mob. From New York to Chicago, the sinister figures of ‘Lucky’ Luciano, Frank Nitti and their murderous cohorts were extending a network of terror, extortion and corruption in quest of rich pickings from the golden denizens of California’s dream factories.
No Hollywood murder has garnered more bizarre solutions and false information over the decades, and now author Andy Edmonds finally unravels a case that has kept film buffs fascinated for fifty years.
ANDY EDMONDS has spent seven years tracing the case of Thelma Todd. Her research has led her from Los Angeles to Florida, from Chicago to Massachusetts, and to personal interviews with the dead star’s friends and colleagues – and a number of mobsters, too. The author of Talkin’ Tough and Let the Good Times Roll, Andy Edmonds lives in California.
Hardcover, dust jacket – 288 pp., index – Dimensions 22 x 14 cm (8,7 x 5,5 inch) – Weight 501 g (17,7 oz) – PUBLISHER Macdonald & Co. Publishers, Ltd., London, 1989 – ISBN 0-356-17897-8
Howard Hawks: Interviews (edited by Scott Breivold)
“The only difference between comedy and tragedy is point of view.”
Howard Hawks (1896-1977) is one of America’s great film directors. During a career that spanned fifty years and produced more than forty films, this writer, producer, and director made highly successful movies and managed to maintain remarkable artistic control during a time when studio moguls usually ruled. Hawks conquered virtually every genre, including action/adventure, comedy, western, film noir, gangster, science fiction, and musical films.
The remarkable diversity of his work may have kept Hawks from being as easily recognized as his contemporaries Alfred Hitchcock and John Ford. Hawks brought a unique stamp to all of his films by mixing dramatic and comedic elements, manipulating gender conventions, emphasizing story and dialogue, and eschewing cinematic trickery and sentimentality. His classic oeuvre includes films such as Scarface, Only Angels Have Wings, His Girl Friday, Sergeant York, Bringing Up Baby, The Big Sleep, Red River, Gentlemen Prefer Blondes, and Rio Bravo.
This collection of interviews takes the reader from talks with his admirers in the French press to revealing discussions late in his life. By his own admission, Hawks was above all a storyteller. These interviews are replete with entertaining anecdotes. Howard Hawks: Interviews is a diverse collection offering valuable access to the life and career of one of the most fiercely independent filmmakers in the history of Hollywood.
SCOTT BREIVOLD is an associate librarian at California State University, Los Angeles, and director of the university library’s music and media center.
Hardcover – 215 pp., index – Dimensions 23,5 x 15 cm (9,3 x 5,9 inch) – Weight 508 g (17,9 oz) – PUBLISHER University Press of Mississippi, Jackson, Mississippi, 2006 – ISBN 1-57806-832-0
Howard Hawks: The Grey Fox of Hollywood (Todd McCarthy)
Howard Hawks is now regarded as one of the greatest directors ever to work in Hollywood. His career stretched from the silent era through the seventies and left an indelible stamp on American cinema. A filmmaker of incomparable versatility, he made the landmark gangster film Scarface, aviation classics (The Dawn Patrol, Only Angels Have Wings, Air Force), several of the best screwball comedies (Twentieth Century, Bringing Up Baby, His Girl Friday), an immortal war story (Sergeant York), two sizzling Bogart-Bacall melodramas (To Have and Have Not, The Big Sleep), a dazzling musical (Gentlemen Prefer Blondes), and several towering Westerns (Red River, Rio Bravo, El Dorado).
He was Hollywood’s leading starmaker, having discovered or given important roles to Lauren Bacall, Montgomery Clift, Carole Lombard, Rita Hayworth, Frances Farmer, Jane Russell, Paul Muni, Joan Collins, James Caan, and Angie Dickinson. He was the most modern of the great masters and one of the first directors to produce his own movies and declare his independence from the major studios. His work has exerted a powerful influence on such contemporary directors as Martin Scorsese, Brian DePalma, Robert Benton, John Carpenter, Walter Hill, and Quentin Tarantino.
Howard Hawks was the filmmaking partner of Howard Hughes; the drinking buddy and working colleague of William Faulkner and Ernest Hemingway; co-founder of Hollywood’s first elite motorcycle gang; an inveterate gambler constantly in trouble with gangsters; and a self-styled ladies’ man whose second wife was to become the celebrated Slim Keith. This first biography of Hawks penetrates the persona he so carefully constructed for himself and reveals one of the most formidable, complex, and enigmatic figures of Hollywood’s Golden Age.
TODD McCARTHY is Variety’s chief film critic and co-editor of the classic anthology Kings of the B’s: Working Within the Hollywood System. He also wrote and co-directed the award-winning Visions of Light: The Art of Cinematography and won an Emmy Award for writing the documentary Preston Sturges: The Rise and Fall of an American Dreamer. He lives in Los Angeles with his wife and daughter.
Hardcover, dust jacket – 754 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 1.200 g (42,3 oz) – PUBLISHER Grove Press, New York, New York, 1997 – ISBN 0-8021-1598-5
How I Made a Hundred Movies in Hollywood and Never Lost a Dime (Roger Corman, with Jim Jerome)
Autographed copy To Leo, Best wishes, Roger Corman
In 1964, Roger Corman produced his first movie for $ 12,000 cash. He shot The Monster from the Ocean Floor in six days, drove and unpacked the equipment truck himself and cleared $ 60,000 on the distribution.
Over three hundred films later, Corman discloses his secrets. Movies were shot in a week and frequently back to back. Scripts were written in days and rewritten in hours. Standing sets were cannibalized with abandon, and footage recycled. Actors played both cowboys and Indians.
The result has been financial success, and cult critical status.
“Roger Corman has a sharp eye for talent and the generosity to encourage and nurture it. Graduates of the Corman school of overworked, lowly-paid apprentices include Francis Coppola, Martin Scorsese, Peter Bogdanovich, Jack Nicholson and Peter Fonda, all of whom owed their start in films to him. But beyond this, he has also a profound effect on the major studios, which began by laughing at him and ended by scrabbling to imitate him. When you list the major influences in film today it would be a grave mistake to overlook Roger Corman, for in his fashion he has as profound an impact on the cinema as anyone else around.” (Barry Norman)
“The most successful independent filmmaker of all time tells what makes him tick… Corman creates a lively self portrait that is modest, self-assured, sometimes regretful. Aside from his personally directed and produced works – eg. his Edgar Allen Poe films (The Fall of the House of Usher, The Pit and the Pendulum, etc.), his biker films with Hell’s Angels, his counterculture films (The Trip with script by Jack Nicholson) – he is best known as president of the School of Corman. Compelling and lots of fun.” (Kirkus)
ROGER CORMAN was born in Detroit in 1926. He graduated from Stanford University with a degree in engineering, did three years’ service with the Navy, then joined 20th Century Fox as a messenger boy. He spent a brief period at Oxford studying Eglsih literature, and on his return to Hollywood began writing screenplays… The rest is cinema history. Corman’s films include Attack of the Crab Monsters, Machine Gun Kelly, The Fall of the House of Usher, The Little Shop of Horrors, The Pit and the Pendulum, The Man With the X-Ray Eyes, The Tomb of Ligeia, The Wild Angels, The St. Valentine Day’s Massacre, The Trip, Bloody Mama, Boxcar Bertha, Capone, Deathrace 2000 and Frankenstein Unbound.
Hardcover, dust jacket – 237 pp. – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 552 g (19,5 oz) – PUBLISHER Muller, London, 1990 – ISBN 0-09-174679-5
How It Was (Mary Welsh Hemingway)
The vibrant, spirited woman who was married to Ernest Hemingway for fifteen years now gives us the whole story of her life, and of their life, in a book whose concreteness and immediacy make us know – make us understand – how it was.
She gives us the person she was: her Huck Finn childhood, growing up in a sunny clapboard house in a small Minnesota town, summering on lakes and rivers with her handsome, iconoclastic, adored father… Her years as a reporter (in Chicago, working for the toughest woman’s-page editor in the business; in London, for Lord Beaverbrook, in Paris, for Time)… Her brief marriage to an Australian newspaperman…
Her first glimpse of Hemingway (she’s at lunch with Irwin Shaw. Ernest ambles over: “Introduce me to your friend, Shaw”). And two short meetings later: “I don’t know you, Mary. But I want to marry you.”… Their first days in Paris, Mary enthralled by him, yet nervous, “feeling the heat of his exuberance melting my identity away” … Their first fight (Marlene Dietrich pleads for him: “He is good. He is responsible. He’s a fascinating man. You could have a good life, better than being a reporter.”)… Their marriage in Cuba… The Finca where they live their “own special crazy good life” (guests in endless relays, feasts, the halcyon days fishing aboard their beloved Pilar, nonstop talk, nonstop daiquiris)… Their compromises and quarrels and lovings… Ernest at the race track, showering Mary’s baffled, puritanical mother with his winnings… Mary, helping as best she could through the turmoils that marked the writing of Across the River and lnto the Trees, The Old Man and the Sea, and A Moveable Feast… Meeting, becoming a friend of, his second wife, Pauline…
Their life in Idaho (“In four years he has become the most important part of me”)… And in Italy, suffering the campaigns of women to snare him (from her diary: “Have worked out I’ll-kill-you-chat with any dame who flirts too much with Papa”)… Their friendships: Saroyan, Marlene Dietrich, the Gary Coopers, Berenson, Sinclair Lewis, Harold Ross, Spencer Tracy, S. J. Perelman, Antonio Ordóñez and other famous matadors of the day, Anita Loos, Noel Coward, Salvador Dali…
His unexpected tantrums (Mary wears a black dress, he lashes out: “Your hangman’s suit. Your executioner’s suit.”)… And the African safaris – Mary learning to shoot (oryx, rhino, zebra, wildebeest, impala)… The near-fatal plane crashes in Africa: Ernest using his head as a battering ram to escape and later, as a joke, someone actually pouring gin into the hole in his head… The unbearable pain and his obsessive reading of his own premature obituaries… The attempt to return to a normal life, to writing… Winning the Nobel Prize… His growing paranoia and madness (the FBI is after him, the IRS is parked down the street, watching), his increasing obsession with guns up to the last morning in Idaho and his suicide.
And her own life after his death: traveling to Africa again (saluting Kilimanjaro on his birthday), to New Zealand, Russia, Antarctica… Working, learning to be alone.
In this book, two extraordinary people come alive: MARY WELSH HEMINGWAY looking back realistically, wryly, never self-importantly – and Ernest Hemingway, seen with love and with candor, by the splendid woman and reporter who added her own good life to his.
Hardcover, dust jacket – 635 pp., index – Dimensions 21,5 x 14,5 cm (8,5 x 5,7 inch) – Weight 783 g (27,6 oz) – PUBLISHER Alfred A. Knopf, New York, New York, 1976
How to Be a Movie Star: Elizabeth Taylor in Hollywood (William J. Mann)
‘I don’t pretend to be an ordinary housewife’. So said Elizabeth Taylor, and therein lay her secret. From her days as a youthful minx at Metro-Goldwyn-Mayer to her post-studio reign as America’s lustiest middle-aged movie queen, Taylor has defined the very essence of Hollywood stardom. Marching through the decades swathed in mink, discarding husbands nearly as frequently as she changed her diamond necklaces, Taylor dominated the headlines as no other star before or since. From America’s sweetheart to America’s homewrecker and then back again, she uncannily reflected (and at times predicted) the always shifting cultural zeitgeist.
How to Be a Movie Star is a different kind of book about Elizabeth Taylor: an intimate look at a girl who grew up with fame, who learned early – and well – how to be famous, and how that fame was used and constructed to carry her through more than sixty years of public life. Indeed, one might say Elizabeth Taylor went to school to learn how to be famous, her education courtesy of Metro-Goldwyn-Mayer, the greatest, most glamorous studio of all time. Care has been taken to recreate in delicious detail the intricate star-making machinery of MGM, back in the days when the studio churned out a full-length movie every nine days.
The critic Andrew Sarris has written, ‘Montgomery Clift and Elizabeth Taylor were the most beautiful people in the history of cinema. Those gigantic close-ups of them kissing [in A Place in the Sun] were unnerving – like gorging on chocolate sundaes.’
Some years ago, Taylor called herself ‘Mother Courage’, and vowed she’d be dragging her sable coat behind her into old age. Today, stars of her calibre are at a premium. If not the greatest, she is certainly the last.
WILLIAM J. MANN has written for the Boston Globe, the Los Angeles Times, the Hartford Courant, Salon, and other publications. He is the author of Kate: The Woman Who Was Katharine Hepburn; Edge of Midnight: The Life of John Schlesinger; Behind the Screen: How Gays and Lesbians Shaped Hollywood; and Wisecracker: The Life and Times of William Haines. He lives in Provincetown, Massachusetts.
Hardcover, dust jacket – 484 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 854 g (30,1 oz) – PUBLISHER Faber and Faber, New York, New York, 2009 – ISBN 978-0-571-23707-4
How to Dress for Success (Edith Head)
Would you like to look younger, prettier, slimmer? Would you like to attract a new man, hold on to the current one? Would you like to get a better job, earn more money? Would you like your husband to move up the ladder of success, attract more friends?
Then this is your book. Edith Head, world-renowned fashion designer and adviser, knows that clothes can be crucial to the kind of success a woman en joys at business and at home, as a wife and a sweetheart, at work and at play. Starting off with basics, Miss Head shows how to analyze your own figure coldly and objectively. How to cape with its defects (yes, even movie stars have some defects). She then guides the reader in how to shop for and build a successful wardrobe, how to choose colors and accessories. Above all, she gives the inside story of camouflage that works. Miss Head illustrates her ideas with informal and amusing line drawings and has included basic wardrobe lists and color charts that are indispensable for every woman who wants to look better than her best.
Most of the great Hollywood stars have worn Edith Head’s creations, including Elizabeth Taylor, Marlene Dietrich, Sophia Loren and Shirley MacLaine. They have all taken her advice with notably good results, and that advice is equally good for every woman.
EDITH HEAD, native Californian, received her B.A. degree at the University of Californian her M.A. degree at Stanford, taught Spanish for two years, gave up teaching to study art, started at Paramount as sketch artist, later became assistant designer. Her best-selling book, The Dress Doctor, has been translated into many languages and is being used as a textbook around the world. Miss Head won seven Academy Awards and twenty-two nominations for her fashion designs. JOE HYAMS, well-known columnist for the New York Herald Tribune, is the author of a numerous succcessful books, the latest of which is Bogey.
Hardcover, dust jacket – 212 pp. – Dimensions 21 x 14,5 cm (8,3 x 5,7 inch) – Weight 386 g (13,6 oz) – PUBLISHER Random House, New York, New York, 1967
How to Grow Old Disgracefully: An Autobiography (Hermione Gingold; tidied up by her friend, Clements Eyre)
“After one’s dead, people write such terrible things about one. Of course, in my case they’ll be true, but I’d rather write it myself and set the record straight.” – Hermione Gingold
Described as “an amalgam of Groucho Marx and Tallulah Bankhead,” Hermione Gingold was the last of the British eccentrics. The red-headed actress wowed audiences all over the world with her devastating wit and her reputation as a man-eater, witch, and queen of “high-camp.” Her vigorous acting career spanned seventy-eight years, from childhood appearances on the British stage with young Noël Coward, Shakespeare at London’s Old Vic Theatre, to her outrageous comedy performances in West End and Broadway revues. Her enduring film roles include The Music Man; Bell, Book and Candle; and Gigi, in which she sang the unforgettably bittersweet duet with Maurice Chevalier, “Ah Yes, I Remember It Well.” At the age of eighty-one, she was once again the toast of Broadway in Side by Side by Sondheim. That same year she enjoyed her last great love affair with a man fifty-three years her junior.
Written in her own inimitable and very personal style, How to Grow Old Disgracefully is a hilarious, no-holds-barred, outrageous self-portrait of the actress once dubbed “the funniest woman in the world.”
Hardcover, dust jacket – 230 pp., index – Dimensions 21,5 x 14 cm (8,5 x 5,5 inch) – Weight 430 g (15,2 oz) – PUBLISHER St. Martin’s Press, New York, New York, 1988 – ISBN 0-312-02220-4
How to Make It in Hollywood (Wende Hyland, Roberta Haynes)
If you wanted to become an actor and you had an opportunity to ask Walter Matthau how to begin, he would say, “Don’t.” He tries to dissuade all young people from seeking a career in film or television. When asked why, he says: “There are so few jobs. For every 150 good people, there’s maybe one job, and for every 150 good people, I would say there are 1,500 people who are incompetent. And let’s say ten percent of 1,500 are competent, and one person gets the job. That means 149 people who are competent don’t get the job, don’t work. That’s why I try to dissuade them.”
Yet thousands of hopefuls each year refuse to be dissuaded. What they want to know is what this book is all about – how to make it in Hollywood. Millions more, entertained by movies, television, and live theater, are fascinated by the personality driven to be an actor. What makes such a personality tick? Is there a formula for success?
Wende Hyland and Roberta Haynes (both highly educated in theater arts and both intimately acquainted with the Hollywood scene) have brought together in this book in-depth interviews with a cross-section of persons working in different areas of film and television.
How to Make It in Hollywood is based on the personal experience and shared observations of actors, actresses, producers, directors, agents, and writers – those who have what it takes and those who can recognize and develop a “star” quality – who discuss not only how the actor looks at Hollywood but also how Hollywood looks at the actor. The question-and-answer format has been utilized to bring the reader an ad-lib, straight-from-the-shoulder appraisal of an industry; it covers the whole range of problems and promises that can he expected by those pursuing a career in film and television. Since the interviewers are not press agents and the interviewees have been through the mill, this book tells it exactly like it is.
Some of the big questions are: How does one get started? How does one get that “lucky break”? What is the secret of success? Is it talent, beauty, sex appeal, luck, timing, or just what? What do film executives look for when they cast a show? How valuable is legitimate theater training? What is the agent’s function and how does an unknown actor find an agent? What is the role of the producer, the director, and the casting director?
How to Make It in Hollywood is essential reading for anyone interested in a career in acting. Fortified with the experience and counsel of working professionals, aspiring actors can make personal and realistic assessments about whether they have the stamina, dedication and talent to beat the odds against their making it in Hollywood.
WENDE HYLAND is vice president of the Dick Irving Hyland Literary Agency, which represents some of the finest writers in the motion picture industry. She herself concentrates mainly in the area of packaging – putting together all the elements that make a film. Born in Melbourne, Australia, she spent her years there as a successful actress and painter. She left at the age of twenty, when she married an Italian marquis, and came to live in Los Angeles. Early in her career she and another former actress founded a highly successful talent agency that specialized to a degree in young, unknown actors and actresses. In 1975 she tackled her first producing assignment. ROBERTA HAYNES is presently writing a Movie of the Week for ABC. She attained stardom in the picture Return to Paradise, in which she appeared opposite Gary Cooper, and in Gun Fury with Rock Hudson while under contract to Columbia Pictures. Born in Wichita Falls, Texas, she moved to Hollywood with her family when she was seven. That was when she decided to become a movie star. Although everyone tried to discourage her, Roberta persisted. She studied ballet, modern dance under Martha Graham, and drama at the Actor’s Lab in Hollywood and with Stella Adler in New York. Apart from her many film and stage credits, she did early live television with Jack Lemmon, Martin Ritt, and Yul Brynner. Recently she returned from Rome, where she wrote, acted, and worked on the production side of motion pictures.
[Interviews with Jack Lemmon, Walter Matthau, Albert S. Ruddy, Susan Anspach, Aaron Spelling, Daniel Mann, Telly Savalas, Michael Campus, David Dortort, Milton Katselas]
Hardcover, dust jacket – 237 pp., index – Dimensions 22 x 14,5 cm (8,7 x 5,7 inch) – Weight 481 g (17,0 oz) – PUBLISHER Nelson-Hall, Inc., Chicago, Illinois, 1975 – ISBN 0-88229-239-0
How to Succeed in Hollywood Without Really Trying – P.S. You Can’t! (Melville Shavelson)
Melville Shavelson is one of Hollywood’s triple-threat writer-director-producers, and a two-time Academy Award nominee for his original screenplays, which he also directed. He served three terms as President of the Writers Guild of America, West, and is the recipient of its highest honor, the Laurel Award for Screen Writing.
He has written, alone or in collaboration, over thirty-five feature motion pictures, directed twelve of them, and created for television two Emmy Award-winning series. He is the author of two novels and four works of non-fiction, including the New York Times best-seller, Don’t Shoot, Its Only Me, this last in collaboration with Bob Hope. Among the stars he has directed in feature films are – in alphabetical order, please! – Lucille BalI, Yul Brynner, James Cagney, Vittorio De Sica, Angie Dickinson, Kirk Douglas, Robert Duvall, Henry Fonda, Clark Gable, Cary Grant, Barbara Harris, Charlton Heston, Bob Hope, Danny Kaye, Jack Lemmon, Sophia Loren, Paul Newman, Lee Remick, Frank Sinatra, John Wayne, and Joanne Woodward.
Among the films he both wrote and directed are Houseboat, The Seven Little Foys, The Five Pennies, It Started in Naples, On the Double, A New Kind of Love, Cast a Giant Shadow, The War Between Men and Women, and Yours, Mine and Ours.
Recently he served on the faculty of USC’s Master of Professional Writing Program. He has often said, “There are a lot of good things about growing older – and I wish I could remember what they were.”
Softcover – 237 pp., index – Dimensions 22,5 x 15 cm (8,9 x 5,9 inch) – Weight 348 g (12,3 oz) – PUBLISHER BearManor Media, Albany, Georgia, 2007 – ISBN 159393066-6
Hughes: The Private Diaries, Memos and Letters – The Definitive Biography of the First American Billionaire (Richard Hack)
The definitive biography of the first American billionaire. Howard Hughes was a true American original: legendary lover, record-setting aviator, award-winning film producer, talented inventor, ultimate eccentric, and, for much of his lifetime, the richest man in the United States.
His desire for privacy was so fierce and his isolation so complete that even now, twenty-five years after his death, inaccurate stories continue to circulate, and many have been published as fact, Hughes explodes the illusion of his life and exposes the man behind the myth. He was a playboy whose sexual exploits with Hollywood stars and starlets were legendary. He was a man without compassion; an entrepreneur without ethics; an explorer without maps; and ultimately, an eccentric trapped by his own insanity, sealed off from reality, who died a lonely and, until now, mysterious death.
Newly uncovered personal letters, over 110,000 pages of sealed court testimony, recently declassified FBI files, never-before-published autopsy reports and exclusive interviews reveal a man so devious in his thinking, so perverse in his desires, and so influential that his impact continues to be felt even today. From entertainment to politics, aviation to espionage, the influence and manipulation of this billionaire has left an indelible and unique mark on the American cultural landscape.
Howard Hughes never kept a diary, yet he wrote over 8000 pages of memos, letters and personal notes that chronicle his life and thoughts. Impeccably researched for decades by Hollywood investigative writer Richard Hack, here at last is the complete and definitive story of a truly extraordinary life.
Contains 12 pages of exclusive and revealing photographs, many never before published.
RICHARD HACK has been an investigative writer for 20 years, covering Hollywood and the media for much of that time. He has written biographies of billionaire businessman Ron Perelman and pop star Michael Jackson, as well as co-written the autobiography of Howard Hughes’ alter-ego, Robert Maheu. His columns have appeared in over 600 newspapers. A noted lecturer and industry expert, he frequently appears on television as a commentator. He lives on a horse ranch in Maui, Hawaii.
Hardcover, dust jacket – 444 pp., index – Dimensions 23 x 15,5 cm (9,1 x 6,1 inch) – Weight 826 g (29,1 oz) – PUBLISHER New Millennium Press, Beverly Hills, California, 2001 – ISBN 1-893224-35-X
Humphrey Bogart (Alan G. Barbour)
“Each succeeding generation somehow manages to produce its own assortment of popular heroes. Some are chosen because they have committed an act of heroism, while still others are derived from contemporary fiction or legend. For many of us, who spent a good part of our lives in the early forties watching celluloid images provide us with almost total escapism from the real world outside our favorite theaters, the hero we chose to admire and appreciate was a synthetic character created by a versatile and convincing actor, Humphrey Bogart.
Distilled from his portrayals of Sam Spade in The Maltese Falcon and Rick in Casablanca, this Bogart-created “perfect” man was a complex being whose virtues and vices tended to counterbalance each other perfectly. He was a confirmed cynic, yet compassionate enough to tolerate the weakness of others. He was moral, yet was capable of immorality within his own predetermined restrictions. He was ruggedly good-looking, but decidedly not handsome. He had his own code of ethics and he followed it to the letter, and he expected those close to him to follow it with similar dedication. He could be tough, yet he could experience the cold sweat of fear. He could be romantic, brash, insulting, clever, or any of a hundred different, equally descriptive adjectives, but when you amalgamated them, they all described Humphrey Bogart, a man men wanted to emulate and women wanted to love. It was an image so strong and, apparently, so right that its appeal has transcended Bogart’s own lifetime and has become a potent image for moviegoers of today and, perhaps, the future as well.” From the Introduction.
From Rick (of “Rick’s Cafe”) to Charlie Allnut, from Sam Spade to Fred C. Dobbs, Humphrey Bogart created a gallery of unforgettable film characters. Through most of his career, he epitomized the tough-minded, hard-bitten man who often (but not always) adhered to a private code of honor and decency. Alan Barbour’s profusely illustrated book examines the man, the actor, and the myth, and evaluates the over seventy films that have kept Bogart a never-fading legend over the years.
The Illustrated History of the Movies is a series of volumes that offers a comprehensive overview of – and brings a fresh perspective to – the influential figures, forms, and styles in the development of motion pictures. Each lavishly illustrated volume has been designed to stimulate the interest of the student for whom film is an art, and to stir the memories of the fan for whom “going to the movies” will always be an exhilarating experience.
Softcover – 160 pp., index – Dimensions 19 x 13 cm (7,5 x 5,1 inch) – Weight 253 g (8,9 oz) – PUBLISHER A Star Book, London, 1973
Humphrey Bogart (Wolfgang Fuchs)
“Ein leichter Zungenschlag, verursacht durch eine VerIetzung der Oberlippe, hätte alles verhindern können. Aber er wurde zum Markenzeichen für einen Star der Stars, eine Kultfigur, deren Einstellung zum Leben auf der Leinwand und im wirklichen Leben zu seinen Lebzeiten die Kinogänger ebenso faszinierte wie nach seinem Tode. Humphrey Bogart ist ein Kinomvthos, ein Mythos des 20. Jahrhunderts. Film, Comics und Werbung haben diesen Mythos begierig aufgenommen und für ihre Zwecke ausgenützt. Es ist cool, Bogart-like zu sein. Bogarts Gesicht und seine Filme haben unsere Zeit mitgeprägt. Sein Bild ist eine Landkarte unserer Zeit. Dieser Band zeigt Bogarts Leben, seine Filme und die Spuren, die “Bogey” noch immer hinterläbt. Denn ist es nicht so, dass unser Jahrhundert seine Kinoreife nicht zuletzt dadurch erreicht hat, dass die Gedanken, Gesichter und Handlungen, die uns einst auf der Leinwand Vorbild wurden, noch heute nachwirken? Es kann kaum einen Zweifel daran geben, dass die Inhalte der Massenmedien in diesem Jahrhundert mit dazu beigetragen haben, das Antlitz der Erde neu zu gestalten. Unsere Kultstars liefern uns die Bilder. die uns prägen und dafür sergen, dass wir die Wirklichkeit oft genug in Szenen verwandeln, die man eher in Filmen vermuten sollte. Unsere Sprache tut ein übriges, uns an unsere Filmvergangenheit ebenso zu erinnern wie an unsere tatsächliche. Im Fall von Humphrey Bogart hat sich in Deutschland allerdings nicht durchgesetzt, wie in USA der Name dieses Schauspielers in die Alltagssprache eingegangen ist, “Don’t Bogart” sagt man zu jemandem, der zu lange an seinem Joint nukkelt, das führt zumindest ein Slang-Lexikon in Anlehnung an Easy Rider, einen anderen Kultfilm, aus. Und in den 50er und 60er Jahren bogarteten auch die Afro-Amerikaner gern, das heisst, sie handelten gem stark und mit Nachdruck. Aber tun oder täten wir das nicht alle gem? Hier ist noch einmal nachzulesen und anzuschauen, warum Bogart uns nicht aus dem Kopf geht. Ziehen Sie Ihre kugelfeste Weste an und blättern sie urn….” – From The Foreword
Softcover – 128 pp., index – Dimensions 29,5 x 22 cm (11,6 x 8,7 inch) – Weight 655 g (23,1 oz) – PUBLISHER Taco, Berlin, Germany, 1986 – ISBN 3-8228-0032-5
A Hundred Different Lives: An Autobiography (Raymond Massey)
Autographed copy For Edna Davidson, with best wishes and gratitude, Raymond Massey 1979
The recollections of one of the great actors of this century, A Hundred Different Lives is Raymond Massey’s personal account of an illustrious career that placed his name among the most important in the story of stage and screen. A host of his renowned co-workers crossed paths or shared fates with this craggy-faced player during his more than fifty years of distinguished professional activity on the British, Canadian, and American stages, in movies and TV.
In A Hundred Different Lives, Raymond Massey rolls back the years to tell of the events of his career, sharing a wealth of anecdotes about his friendships and encounters with the great and the famous: Dame Sybil Thorndike, Sir Noel Coward, Ruth Gordon, Dame Gladys Cooper, Sir Gerald du Maurier, Humphrey Bogart, Lord Olivier, Gertrude Lawrence, Katharine Cornell, Charles Laughton, Tyrone Power, Christopher Plummer, Richard Chamberlain, Sir Cedric Hardwicke, Robert Sherwood, Gregory Peck, David Niven, Dame Judith Anderson, Dorothy McGuire. These are only some of the friends and colleagues who populated Massey’s world and influenced his career. We meet them all here in situations that are amusing, revealing, tense, touching, surprising, and always memorable.
In these pages, Broadway, London, and Hollywood come alive through the eyes of a man who was at the heart of the action. He shares it all with a wit, candor, and urbanity that are always engaging and often riveting. Here is the view from the stage and from in front of the camera, the real-life dramas that sometimes occur during performances and go undetected by the audience, the offstage or off-camera events that rarely come to light, professional traits of people who are universally revered and idolized – not the least of whom is Mr. Massey himself.
Raymond Massey is among the first Canadian-born actors to attain international stardom. Born in Toronto in 1896, he was educated at public and private schools in Canada and at Oxford University in England. He served for four years with the Canadian army in the First World War and worked for a time in the Massey farm machinery business, which he left to embark on a career in the theater. That career involved acting and directing in every kind of play throughout England and North America, appearing in over seventy movies and starring in countless television shows, most notably as Dr. Gillespie in the popular Dr. Kildare series. Among many other plays in the theater he has starred in Abe Lincoln in Illinois, Ethan Frome, J.B., John Browms Body, Pygmalion, Idiot’s Delight, and The Doctor’s Dilemma. His most popular movies include The Scarlet Pimpernel, Abe Lincoln in Illinois, Arsenic and Old Lace, Things to Come, and East of Eden.
During his long and distinguished career, Mr. Massey has received seven honorary doctorates from universities in Canada and the United States. On March 21, 1944, Massey became a naturalized citizen of the United States. He remained active in the theater until 1976, when arthritis forced his retirement, and then began his memoirs, the first volume of which, When I Was Young, appeared shortly after. Illustrated with almost 100 photographs from the author’s private collection.
Hardcover, dust jacket – 444 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 939 g (33,1 oz) – PUBLISHER Little, Brown and Company, Boston, Massachusetts, 1979 – ISBN 0-316-54971-1
Hurricane Billy: The Stormy Life and Films of William Friedkin (Nat Segaloff)
His meteoric rise was accomplished with the release of The French Connection, and confirmed two years later with The Exorcist. A new, young, and brash director was on the scene, and with him the New Hollywood. His films shocked and disturbed audiences who were excited at the pace of the famous chase scenes and the raw power of his nightmare vision. Gradually, William Friedkin’s techniques, themes, and innovations became the staples of the American film industry. Along with Francis Ford Coppola, Brian De Palma, Martin Scorcese, and a handful of others, Friedkin transformed the movies.
Billy Friedkin actually lied about his age when he was awarded his first Oscar in 1972, yet even the truth was extraordinary. In twenty-five years of filmmaking he has generated some great pictures, and his work has been complemented by a succession of exceptional writers, producers, cinematographers, editors, and actors who were transfixed by Friedkin’s inner fire and mercurial personality. He has worked to date with some of the biggest names in the business including Al Pacino, Cher, Roy Scheider, Gene Hackman, Sigourney Weaver, Chevy Chase, Peter Falk, Norman Lear, David L. Wolper, Gerald Petievich, and William Peter Blatty. Each of his films has been an event met with great expectations and a storm of gossip and controversy – though the assault is more often than not directed at the elusive Friedkin himself.
In Hurricane Billy Nat Segaloff explores for the first time the life and works of William Friedkin. Although Friedkin considers himself an outsider, we see how he is very much in the center of Hollywood activity and enjoys the life style of a dealmaker, writer, and director extraordinaire. More important, Segaloff focuses on the parallel between the prominent cinematic themes and their repeated occurrence in Friedkin’s real life.
Through dozens of interviews with colleagues, friends, and Friedkin himself, we discover an individual who is as feared as he is respected, an artist first and a social creature a distant second. Nat Segaloff has successfully unveiled the enigmatic artist who continues to conjure some of the darkest images ever put on screen.
NAT SEGALOFF has known William Friedkin on a personal and professional basis for many years. Currently a film critic, whose work appears in The Boston Herald, Nat has been a writer, teacher, broadcaster, and publicist within the film industry. He lives in Cambridge, Massachusetts.
Hardcover, dust jacket – 320 pp., index – Dimensions 24 x 15,5 cm (9,5 x 6,1 inch) – Weight 677 g (23,9 oz) – PUBLISHER William Morrow & Company, Inc., New York, New York, 1990 – ISBN 0-688-07852-4
The Hustons: The Life & Times of a Hollywood Dynasty – Updated Version (Lawrence Grobel)
From Walter to John to Anjelica, there are three generations of Oscar winners in the remarkable Huston family. Their lives and careers crisscross continents and involve great personalities and issues. In this surprisingly candid book, biographer Lawrence Grobel recounts their hardships and triumphs, their love affairs and losses. Based on more than two hundred interviews with his wives, mistresses, children, co-stars, and the man himself, this book pays particular attention to the rich career and tumultuous personal life of director / actor John Huston (1906-1987). The Hustons is the definitive history of this show business dynasty. The author details their incalculable impact on vaudeville, theater, and Hollywood, and their creation of a film legacy that includes The Maltese Falcon, The African Queen, The Treasure of the Sierra Madre, Prizzi’s Honor, The Dead, and Agnes Browne. This updated edition covers Anjelica’s stormy relationship with Jack Nicholson, her liberating marriage to artist Robert Graham, the exploits of her brothers Tony and Danny, the mysterious silence of Maricela, John’s last love interest, and much more.
LAWRENCE GROBEL is the author of Conversations with Brando (available from Cooper Square Press), Conversations with Capote, and Talking with Michener, and a contributing editor of Playboy and Movieline. Grobel’s interviews with such elusive celebrities as Barbra Streisand, Al Pacino, George C. Scott, and Patty Hearst led Playboy to dub him “the Interviewer’s Interviewer.” He lives in Los Angeles.
Softcover – 830 pp., index – Dimensions 23 x 15 cm (9 x 6 inch) – Weight 1.215 g (42,9 oz) – PUBLISHER Cooper Square Press / Rowman & Littlefield Publishers, Inc., New York, New York, 2000 – ISBN 0-8154-1026-3
Huxley in Hollywood (David King Dunaway)
Huxley in Hollywood is the unforgettable story of one of the most brilliant modern English novelists and his life in Hollywood during its Golden Age. Aldous Huxley, author of the ageless best-seller Brave New World, arrived in Hollywood in 1937 and soon began working as a screenwriter in what he called the “adult toy palace.”
David King Dunaway reveals the startling truths behind Huxley’s shift from smart set novelist to prophet of science and society, and his pioneering steps into the world of meditation, hallucination, mesmerism, and psychoactive drugs. The book is filled with news about the lives – both spiritual and sexual – of moviedom famed denizens. What a cast! Anita Loos, Charlie Chaplin, Greta Garbo, Paulette Goddard, Christopher Isherwood, Igor Stravinsky, Thomas Mann, Bertolt Brecht, and other celebrated artists were part of Huxley’s dazzling circle of friends. Huxley’s wife Maria, shared his passion for pacifism as well as his taste for beautiful women: part of Hollywood’s underground lesbian community, Maria and her own avant-garde coterie added zest to an extraordinarily divers marriage.
Dunaway has interviewed those who were closest to Huxley, pored over FBI documents on the artist, and discovered a number of Huxley’s film scripts previously considered lost. He reconstructs the twists of Huxley’s fate: from celebrity to despair and isolation, through his struggle against progressing blindness to the quest to unify internal and external vision. What emerges is fascinating portrait of one of the most forward-looking, original, and lucid minds of the century struggling to expand his – and our – understanding of life.
Hardcover, dust jacket – 458 pp., index – Dimensions 24 x 16 cm (9,5 x 6,3 inch) – Weight 941 g (33,2 oz) – PUBLISHER Harper & Row Publishers, New York, New York, 1989 – ISBN 0-06-039095-6