Showing posts with label film history. Show all posts
Showing posts with label film history. Show all posts

From Peepshow to Palace Review

From Peepshow to Palace
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From Peepshow to Palace ReviewThis book is hardly new, having been published in 1996. However, given that it is a potted history of the first two decades of since cinema, 1983 through 1913, this should hardly be troublesome.
Since I have just read the book for the second time, and given there are no other comments (and taking into account that the title can be bought secondhand for under $2!) I thought a word or two might help encourage someone to pick it up.
The main text of this book runs for a little over 170 pages. There are many lavish illustrations and pictures, including color inserts in the mid-section.
The book sets out to document the rise of moving pictures from their very earliest origins (such as magic laterns) to the epics of GW Griffith. Since the first documented Magic Lantern apears to be from 1420, you can see that the book starts at the very beginning of what can be considered moving projected images for entertainment.
By 1893 the likes of Edison and his company were set on their way to defining, and refining what we know as cinema today. The book covers developments quite well, and while there are books out there that have more detail, it can be advantageous to have a title such as this that condenses the topic for an educated overview.
The stories told here include technological developments, patent litigations, the rise of the Nickleodean, the rise of multi-reel films, the development of a star system, the Director, the photographer, experiments in sound and color, the development of marketing campaigns, the cinema poster, the import of movies from and to Europe, and the effects of the First World War on film production. It's quite a canvas to cover in so few pages, but for me that is the beauty of this volume, short, concise, and to the point.
I'd recommend this as a starting point for people interested in the development of motion pictures. If you want more detail you can get other titles later, but as an introduction, this serves well.From Peepshow to Palace Overview

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Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System Review

Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System
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Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System ReviewIf you felt a little let down by Peter Biskind's recent look at 90's indie film, "Down & Dirty Pictures," this juicier but also more personal book might be closer to what you were hoping to find there.
Instead of focusing primarily on Sundance and Miramax, Waxman focuses on the six men responsible for some of the biggest movies of the past decade: Quentin Tarantino ("Pulp Fiction"), P.T. Anderson ("Boogie Nights," "Magnolia"), Spike Jonze ("Being John Malkovich"), David O. Russell ("Three Kings"), David Fincher ("Fight Club") and Steven Soderbergh ("Traffic").
They're a mixed bag of personalities and Waxman tells their stories with detail and relish, and also touches on other interesting filmmakers such as Wes Anderson, Roger Avary, Charlie Kaufman, Alexander Payne and others (though some are conspicuously absent -- Spike Lee and especially Richard Linklater, who isn't even mentioned).
It's hard to miss with a collection of stories like this: Tarantino's rise to power; Hackman cursing Wes Anderson on the set of "Tenenbaums"; Avary's attempts to buy a famous French film studio; Russell headbutting George Clooney on the set of "Kings" and P.T. Anderson admitting that "Magnolia" was probably too long.
"Rebels" (very deliberately) rises to the same sordid, "print the legend" heights as Biskind's "Easy Riders, Raging Bulls." But it also suffers from some of the same weaknesses - occasionally questionable accounts; some poor copy editing and more than a few awkward sentences that feel like they were written the Sunday night before the term paper was due: "Traffic" screenwriter Stephen Gaghan's high school drug problems are introduced twice in three pages; Wes Anderson's debut was "Bottle Rocket" not "Rushmore"; and what can one say about lines such as, "Soderbergh questioned his own questioning" and "The director kept the obituary about his father printed in the local paper framed in his office in Los Angeles" ? Waxman also has a strange storytelling habit of explaining the results of a situation, then backtracking once or twice to tell the circumstances that led to the results.
Nevertheless, it is absolutely impossible to deny the appeal of this book, and it was equally impossible for me to put the damn thing down for the past week.
Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System Overview

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Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre Review

Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre
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Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre ReviewI read "Uncanny Bodies" because I am such a big fan of "Dracula" and "Frankenstein", the films that most of the text is committed to studying. However, I ended up learning a lot more than I bargained for about an era in film history that is often ignored -- the four years of transition between "The Jazz Singer" and the end of silent film production from the major studios. "Dracula" was made during the end of the transition era, and by the time "Frankenstein" was produced, Universal had ended all silent film production.
The book cites many primary sources and critical writing of the era to shed light on the uncertain responses of a 1931 viewer to the novelty of sound film, and does an excellent job supporting its thesis that the producers of "Dracula" and "Frankenstein" played off of their audience's experiences of early sound films to heighten the terror of the living dead who are threatening the protagonists. Well-written and accessible, while exhaustively researched and remaining very academic, Spadoni's book uses reception study to reveal a lot about the often hailed, derided, and misunderstood early horror masterpieces.Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre OverviewIn 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

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Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era Review

Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era
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Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era Reviewi liked how this book captured the time period and showed the images and spoke on how preception was. you feel the atmosphere and see a shift from the way things were. of course hollywood is and will always be color struck, however there was a certain manner at presenting actors and actress's during this time. very compelling book.Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era OverviewThis is the second volume of Thomas Cripps's definitive history of African-Americans in Hollywood.It covers the period from World War II through the civil rights movement of the 1960s, examining this period through the prism of popular culture.Making Movies Black shows how movies anticipated and helped form America's changing ideas about race.Cripps contends that from the liberal rhetoric of the war years--marked as it was by the propaganda catchwords brotherhood and tolerance--came movies that defined a new African-American presence both in film and in American society at large.He argues that the war years, more than any previous era, gave African-American activists access to centers of cultural influence and power in both Washington and Hollywood. Among the results were an expanded black imagery on the screen during the war--in combat movies such as Bataan, Crash Dive, and Sahara; musicals such as Stormy Weather and Cabin in the Sky; and government propaganda films such as The Negro Soldier and Wings for this Man (narrated by Ronald Reagan!).After the war, the ideologies of both black activism and integrationism persisted, resulting in the 'message movie' era of Pinky, Home of the Brave, and No Way Out, a form of racial politics that anticipated the goals of the Civil Rights Movement. Delving into previously inaccessible records of major Hollywood studios, among them Warner Bros., RKO, and 20th Century-Fox, as well as records of the Office of War Information in the National Archives, and records of the NAACP, and interviews with survivors of the era, Cripps reveals the struggle of both lesser known black filmmakers like Carlton Moss and major figures such as Sidney Poitier. More than a narrative history, Making Movies Black reaches beyond the screen itself with sixty photographs, many never before published, which illustrate the mood of the time.Revealing the social impact of the classical Hollywood film, Making Movies Black is the perfect book for those interested in the changing racial climate in post-World War II American life.

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Boris Karloff: A Gentleman's Life Review

Boris Karloff: A Gentleman's Life
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Boris Karloff: A Gentleman's Life ReviewMuch has been written about Boris Karloff in terms of the characters he played. Until now,very few have known, much less understood, Karloff's passion for the craft and vocation of acting, his profound work ethic, and the dedication, depth and humanity he brought to even his least celebrated roles. Until now, virtually nothing was known about the man's personal life and loves.
Scott Allen Nollen fills a deep gap in the legacy left to us by the distinguished British actor, who was instrumental in the establishment of the horror genre of film, the Screen Actors Guild, and even the popularization of television as an entertainment medium. And he does it beautifully.
"Boris Karloff: A Gentleman's Life" takes us behind the outlandish makeup jobs, the B-movie schtick and the "official" histories, to the place from which the essential humanity of Frankenstein's "creature" comes. It reveals a truly gentle - and genteel - soul, whose love for the theatre and for film was the source of both his greatest joys, and greatest sorrows.
This is a very important book for Karloff fans, film buffs, and readers who appreciate solid biography tastefully done. A breakthrough book for an emerging author whose time has come.Boris Karloff: A Gentleman's Life OverviewBeing able to know and work with Sara Jane Karloff on this project has been a highlight of my career.Hopefully this book is the most thorough, accurate and entertaining chronicle of her father, Boris Karloff''s, fascinating life.Perhaps a few Karloff mysteries have been solved.—Scott Allen Nollen

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America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry Review

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry
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America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry ReviewThe National Film Registry is a fascinating endeavour. It collects, in the Library of Congress, what it deems the most important films in our history. NOT the best, necessarily (some of them are downright awful... Elia Kazan's "Wild River", anyone?); not necessarily the most famous (I'll wager there isn't a movie buff alive who won't find at least one or two films he/she's never heard of before). Even being a full-length film isn't required,(any number of 7 minute cartoons and, from earlier days, brief snippets like "The Kiss"). All that IS required is that the film, in some way or other, has contributed something unique to the history and/or art of film. What have each of the films in this book, the first 500 selections, contributed? THAT is what this marvelously readable compendium is all about! Indeed, I can't imagine ANY film fan worthy of the name who WOULDN'T want to read this.America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry Overview

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A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration Review

A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration
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A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration ReviewA great book by Mr. Haver, filled with facts on the making of "A Star Is Born", the masterpiece. It also shows that rumors have been wrong for many years,in blaming the high cost of filming on Ms. Garland and also why this masterpiece ended up being a disappointment at the box office, having been cut up by Warner's to appease the movie houses' demands for a shorter version so it could be run for more viewings. A shame, when you consider they would have made more if audiences had been allowed to see it in its entirety, as planned. However, we have this wonderful book to tell us and show us exactly what took place! Thank you again, Mr. Haver!A Star Is Born: The Making of the 1954 Movie and Its 1983 Restoration Overview"There is no book about Hollywood as riveting as this documentary." - Allan Carr, Vanity Fair There is no question that the 1954 version of A STAR IS BORN holds a special place in the pantheon of classic movies. It was director George Cukor's first foray into musicals, his first color film, and it was, without a doubt, Judy Garland's greatest screen performance.With incredible detail and color, Ronald Haver gives us the fascinating story of the making, marketing and restoration of this groundbreaking classic. Here is how producer Sid Luft orchestrated the deal for his wife, how Cukor was selected to direct, how James Mason was cast to co-star and how Moss Hart's script was developed. Here are the myriad techincal problems, the clashes of personalities and the shocking emotional ups and downs of the film's star. Here, finally, is the author's own mission to restore the film to its original length and glory in the 1980s.

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Slow Fade to Black (Galaxy Books) Review

Slow Fade to Black (Galaxy Books)
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Slow Fade to Black (Galaxy Books) ReviewEverything arrived in perfect orderSlow Fade to Black (Galaxy Books) OverviewSet against the backdrop of the black struggle in society, Slow Fade to Black is the definitive history of African-American accomplishment in film--both before and behind the camera--from the earliest movies through World War II.As he records the changing attitudes toward African-Americans both in Hollywood and the nation at large, Cripps explores the growth of discrimination as filmmakers became more and more intrigued with myths of the Old South: the "lost cause" aspect of the Civil War, the stately mansions and gracious ladies of the antebellum South, the "happy" slaves singing in the fields.Cripps shows how these characterizations culminated in the blatantly racist attitudes of Griffith's The Birth of a Nation, and how this film inspired the N.A.A.C.P. to campaign vigorously--and successfully--for change.While the period of the 1920s to 1940s was one replete with Hollywood stereotypes (blacks most often appeared as domestics or "natives," or were portrayed in shiftless, cowardly "Stepin Fetchit" roles), there was also an attempt at independent black production--on the whole unsuccessful. But with the coming of World War II, increasing pressures for a wider use of blacks in films, and calls for more equitable treatment, African-Americans did begin to receive more sympathetic roles, such as that of Sam, the piano player in the 1942 classic Casablanca.A lively, thorough history of African-Americans in the movies, Slow Fade to Black is also a perceptive social commentary on evolving racial attitudes in this country during the first four decades of the twentieth century.

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A Talent For Trouble: The Life Of Hollywood's Most Acclaimed Director, William Wyler Review

A Talent For Trouble: The Life Of Hollywood's Most Acclaimed Director, William Wyler
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A Talent For Trouble: The Life Of Hollywood's Most Acclaimed Director, William Wyler ReviewA thoroughly engrossing book that delves not only in Wyler the director, but Wyler the man. This books offers a rare glimpse into the inner workings of this phenomenal director, from his early days as a young immigrant to becoming honored by the AFI.
Learn what went on before, during and after some of filmdom's greatest movies (Mrs. Miniver, Best Years Of Their Lives, and Ben-Hur) as well as Wylers' time in the service, shooting award winning documentaries. As well as how the HUAC hearings impacted on his professional life and those he came to rely on, and how he dealt with personal triumphs and tragedies.
Jan Herman has taken what could have been a dry retelling of movie making, and offers up a book that is both informative and entertaining.A Talent For Trouble: The Life Of Hollywood's Most Acclaimed Director, William Wyler Overview

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D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time Review

D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time
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D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time ReviewMelvyn Stokes has written a book that should provide most people with everything they need to know about D.W. Griffith's epic film "The Birth of a Nation." The author includes background on the sources for the film, the life and career of Griffith, details on the making of the film, the initial reception of the film, the contemporary controversy, subsequent history of the film and some of the main people involved with it, a discussion of the historical veracity, and a some overview of modern scholarly opinion about the film. The book itself is a scholarly work, with large bibliography and extensive footnotes. However, the book itself is not very long and reads quite well, so that anyone with an interest in this subject should find it difficult to put down.
"The Birth of a Nation" has to be considered as the greatest film in the history of American film. Most films up to this time had been short, fairly simple and direct amusements seen inexpensively largely by working class and immigrant audiences. Audiences at the time had never seen anything with this epic sweep, spectacular historical recreations, emotional intensity, and gripping suspenseful action. Audiences and commentators were bowled over, the film was seen by millions, and it made a ton of money. The form and perception of movies were changed forever.
On the other hand, the film must be the most racist ever to come out of mainstream Hollywood. Not just casually or unconsciously, but really ideologically racist. Though the film deals with Northern and Southern characters and historical figures (and caricatures) through the Civil War into Reconstruction, the main thrust of the plot is toward the birth of the Ku Klux Klan and its brave riders restoring white supremacy and saving white women from the old fate-worse-than. Though the source material book (or two) and play by Thomas W. Dixon (well-discussed by Stokes) may make their points more explicitly, the blood and thunder of Griffith's film technique make them more powerfully. Perhaps it is somehow fitting that this seminal American film should be infused with the stain of racism, not unlike the U.S. Constitution.
The book contains a fair number of factual repetitions, and I would have liked some discussion the state and variations among existing prints of the film. Aside from these minor points, I would highly recommend this book to anyone interested in this film, D.W. Griffith, or film history. It may even provide you with sufficient context to enable you to watch the film.
D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time OverviewIn this deeply researched and vividly written volume, Melvyn Stokes illuminates the origins, production, reception and continuing history of this ground-breaking, aesthetically brilliant, and yet highly controversial movie. By going back to the original archives, particularly the NAACP and D. W. Griffith Papers, Stokes explodes many of the myths surrounding The Birth of a Nation (1915). Yet the story that remains is fascinating: the longest American film of its time, Griffith's film incorporated many new features, including the first full musical score compiled for an American film. It was distributed and advertised by pioneering methods that would quickly become standard. Through the high prices charged for admission and the fact that it was shown, at first, only in "live" theaters with orchestral accompaniment, Birth played a major role in reconfiguring the American movie audience by attracting more middle-class patrons. But if the film was a milestone in the history of cinema, it was also undeniably racist. Stokes shows that the darker side of this classic movie has its origins in the racist ideas of Thomas Dixon, Jr. and Griffith's own Kentuckian background and earlier film career. The book reveals how, as the years went by, the campaign against the film became increasingly successful. In the 1920s, for example, the NAACP exploited the fact that the new Ku Klux Klan, which used Griffith's film as a recruiting and retention tool, was not just anti-black, but also anti-Catholic and anti-Jewish, as a way to mobilize new allies in opposition to the film. This crisply written book sheds light on both the film's racism and the aesthetic brilliance of Griffith's filmmaking. It is a must-read for anyone interested in the cinema.

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Stepin Fetchit: The Life & Times of Lincoln Perry Review

Stepin Fetchit: The Life and Times of Lincoln Perry
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Stepin Fetchit: The Life & Times of Lincoln Perry ReviewChances are you don't know who Lincoln Perry is, and chances are you do know who Stepin Fetchit is, even though you may never have seen any of Fetchit's movies. Fetchit was Perry's stage persona, famous for playing the "shiftless darky," the slow-talking, drowsy shuffler that was the comic bane of his white masters. Perry was as full of contradictions as the character he portrayed, and both get a full biography in _Stepin Fetchit: The Life & Times of Lincoln Perry_ (Pantheon) by Mel Watkins. Watkins has previously written a history of African American comedy, and so is well acquainted with Fetchit, his fellow performers, and the social changes of the twentieth century that led to the changes in feeling about Fetchit's screen character. This biography is not just about the man and character, but about a particular aspect of twentieth century American race relations.
Perry was born in 1902 in Key West, Florida, and followed his father into performing, working tent shows, carnivals, and eventually vaudeville. Movies were not a career that black performers considered at the time, because if depicted, blacks were played by whites in blackface. Perry may have taken a job as a porter at MGM, and in 1927 he acted in _In Old Kentucky_, his first film appearance, one which got him some critical notice. Perry did not invent Fetchit's "torpid physical presence and halting, meandering speech," but he performed the role with meticulous attention and timing. When onstage before an audience, a key part of his act (it sounds like the sort of transformation for which Andy Kaufman was famous) was to come meandering out, looking lost and confused, and start a whining, incoherent monologue. He would then suddenly burst into a spirited dance that showed that the sloth and stupidity were nothing but pretense. Watkins makes the point that on the screen, there was no such transformation; Perry's sluggard, always performed with skillful languor, was the only role he got to play. He became the first true black movie star, and one of the first to have a studio contract. Like so many actors of his time, he spent lavishly and foolishly. Throughout his movie career, he would irritate studio executives so much that he would get fired from a movie or from his contract, whereupon he would go back to the road for work on the stage. He was criticized by the civil rights movement in the 1940s, and was unemployable because of it, although he could have made a comeback in drama in the sixties. He died in a home for Hollywood actors in 1985.
Watkins has provided a full picture of a complex man of real talent who used it in a timely way, a way that simply became unfashionable as times changed. Perry's aggressive demands to be treated (and paid) like white stars branded him a troublemaker. His fame opened doors for other black actors in less controversial roles, but his name stands for a now-regrettable image. This entertaining biography shows that there was more to him than the image.Stepin Fetchit: The Life & Times of Lincoln Perry Overview

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The Sundance Kids: How the Mavericks Took Back Hollywood Review

The Sundance Kids: How the Mavericks Took Back Hollywood
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The Sundance Kids: How the Mavericks Took Back Hollywood ReviewMottram's "Sundance Kids" is subtitled "How the mavericks took back Hollywood". Except, of course, in the end they didn't. And that is only the beginning to some of the problems that plague this book (which I bought for a dollar on a sale table at the local book store).
Long on history but short on style, Mottram gives the reader a 3-decade glimpse of what the "mavericks" were up to during the 80s, 90s and early 2000s. Using The Sundance Film Festival as his yardstick, he cherry-picks various directors, writers and producers to cover, showing their beginnings, their inspirations and their cumulative output to date. It's a good primer on art films, outsider films and indy productions and anyone interested in Hollywood as seen through the independent lens will enjoy what content it has to offer from an educational standpoint.
But that's where the enjoyment ends.
The tone of this 512-page encyclopedia of indy films is slanted towards popular writers and directors he obviously loves and it leaves out multitudes of others he apparently does not. Mottram waxes lovingly of Soderburg, Tarentino and the like in an apparent move to stay on the good side, possibly in order to garner future interviews. What's left out are the crass egotistical interviews, on-set tantrums, belligerent badgering and horrifying treatment of actors, set crew and others - most notably from director Russell, whose fights with actors are legendary (see: YouTube's viral video of actor Lily Tomlin tangling with him on the set of I Heart Huckabees and losing her temper after he's made so many instant changes she can't tell which end is up). It's akin to watching a loving biopic by the very directors themselves, wherein almost everything negative is left on the cutting room floor.
Mottram's writing style is pre-college-level at best. Sentence structure is poor in many places and the work does not flow well from one subject to the next. I found it difficult to get through some chapters since his knowledge of subject and predicate seem to be lacking. The absence of these basic writing tenants hurt an otherwise revealing book, but don't let that stop you from reading it. There are very few other books out there like this one - as mediocre as it is.
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The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 Review

The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930
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The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 ReviewYou know you're dealing with a serious achievement when you read a book and can't conceive how one person was able to write it. Eyman does some amazing things in this book. He covers the BUSINESS side of the talkie revolution. He covers the TECHNOLOGICAL side of it. He covers the ARTISTIC side of it. And he covers the HUMAN side of it. Moreover, he does this in the context of a flowing narrative that drops some stories here and picks them up there, juggles one aspect with another; sets them aside, traces another development . . . without ever losing the flow, without ever losing the reader.I've read a lot of film books, and the skill and the intelligence of this one just amazed me. This is a dazzling piece of work, and it reads like a really good novel. I couldn't recommend a book more enthusiastically.The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 Overview

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Redefining Black Film Review

Redefining Black Film
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Redefining Black Film Reviewtook forever to ship to me. i wish i would've just bought it in the store bc i missed out a week of reading for class. Order in advance in order to get it on time or else just buy in the store.Redefining Black Film Overview

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An Illustrated History Of Horror And Science-fiction Films Review

An Illustrated History Of Horror And Science-fiction Films
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An Illustrated History Of Horror And Science-fiction Films ReviewLike another reviewer, I first read the '67 edition of Clarens' book when I was in high school. Already a horror movie fan, I needed context and appreciation of the genre, and that's exactly what this wonderful book provided, then and now. This is a book for the serious fan in search of a history of both the technique and ideas behind horror films. Clarens' observations about specific films' production, actors' performances, and even camera tricks will stay with you and help you to enjoy horror movies, old and new, even more than you did before. It is illustrated well, but it's an illustrated history, not an annotated photo catalog. Thus this is a book with terrific words and ideas, plus images--it's not intended to be a glossy fan mag with captions. Approach it with an expectation of ideas plus a few images, and let your imagination work its magic. Read the book to understand the big picture--not just to savor a few illustrations. I'm thrilled with the re-issue, and expect the book to support intelligent fans as well as cinema scholars. It's a book to keep, appreciate, and savor.An Illustrated History Of Horror And Science-fiction Films OverviewIn this book Carlos Clarens, author of Crime Movies (also available from Da Capo/Perseus), George Cukor, and many articles in film magazines, brings his encyclopedic knowledge of films and filmmakers to the subject of horror and science-fiction films of the classic era. Whether discussing the erotic aspects of King Kong, examining the works of Val Lewton, contrasting the director's attitude toward the monster in Frankenstein and The Bride of Frankenstein, accounting for the special genius of Lon Chaney, or comparing the various versions of Dr. Jeckyll and Mr. Hyde, Clarens entertains as he enlightens. Supplemented with a new introduction by J. Hoberman, Village Voice film critic and coauthor of Midnight Movies (also available from Da Capo/Perseus), and an extensive filmography listing complete credits for over 300 films, this fascinating study illuminates both the genre and the reasons for its popularity.

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Discovering Orson Welles Review

Discovering Orson Welles
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Discovering Orson Welles ReviewHaving just finished Peter Tonguette's book on the later days of Welles, I was really re-inspired to read more about my favorite film director. I knew Jonathan Rosenbaum to be a dedicated Welles scholar and I was excited to see this book. It's simply a fantastic book featuring Rosenbaum's articles over the years on Welles.
If you're a Welles fan, you need to get this book!Discovering Orson Welles OverviewOf the dozens of books written about Orson Welles, most focus on the central enigma of Welles's career: why did someone so extravagantly talented neglect to finish so many projects? Film critic Jonathan Rosenbaum has long believed that to dwell on this aspect of the Welles canon is to overlook the wealth of information available by studying the unrealized works. Discovering Orson Welles collects Rosenbaum's writings to date on Welles--some thirty-five years of them--and makes an irrefutable case for the seriousness of his work, illuminating both Welles the artist and Welles the man. The book is also a chronicle of Rosenbaum's highly personal writer's journey and his efforts to arrive at the truth. The essays, interviews, and reviews are arranged chronologically and are accompanied by commentary that updates the scholarship. Highlights include Rosenbaum's 1972 interview with Welles about his first Hollywood project, Heart of Darkness; Rosenbaum's rebuttal to Pauline Kael's famous essay "Raising Kane"; detailed essays and comprehensive discussions of Welles's major unfinished work, including two unrealized projects, The Big Brass Ring and The Cradle Will Rock; and an account of Rosenbaum's work as consultant on the 1998 re-editing of Touch of Evil, based on a studio memo by Welles.

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The Dame in the Kimono: Hollywood, Censorship, and the Production Code Review

The Dame in the Kimono: Hollywood, Censorship, and the Production Code
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The Dame in the Kimono: Hollywood, Censorship, and the Production Code ReviewThe Dame in the Kimono, Leff & Simmons
The two authors are university professors in English at Oklahoma State University, and constitutional history at the University of Nebraska. The book is dedicated to their wives. The threats of federal and state censorship forced the movie industry to create a Production Code to protect the morals of America. [People may say they want squeaky-clean pictures, but they also watch sensational movies like "Blow Up".] Show Business is inherently dirty or sexy because it presents the novel and unusual that people want to see. Think of those politicians whose private lives were exposed. Aristotle wrote of the cleansing effects of seeing crimes on stage. Did morality plays in the past centuries provide this like many films in the past decades? The `Acknowledgments' lists the very many who helped the authors.
The `Preface' tells about the long-suppressed 1931 "Maltese Falcon" movie. The major companies featured sex, wise-cracks, and double entendre to attract paying customers (p.xii). The threat of a nationwide Catholic boycott led to the PCA in 1934 (p.xiii). Some pre-1934 movies are available today. Censorship forced writers to be cleaner and cleverer. Did such classic restraint result in better movies? The authors chose eleven movies to use as examples. This book tells how the Production Code was created, worked, and finally ended. [Around the time when movie theaters went out of business.]
Part I (Chapters 1 to 3) starts with the fantasy "America lost her innocence" (p.3). That depends on how far back you go. It could go back to the 1830s when the factory system came to New England to end small owner-operated businesses. When was there ever a lack of scandal among actors and actresses? The censorship bills in 1921 coincided with the economic depression. [The earlier silent films also covered controversial topics, like "The Jungle"] Performers had to sign a "morals clause"; producers and directors did not. Some films are described (p.6). Note how the economic bad times resulted in more calls for censorship (p.8). The Production Code was wanted by Investment Bankers for their growing business (p.11). Sensational movies with sex and violence were profitable (p.14). Violence had a "moral value" (p.15). Falling profits eroded the Code (p.26). Hollywood's business followed the balance sheet (p.35). A new Production Code would prevent state censors (p.37). Investment Bankers were an ally (p.47). The real threat that credible was by the Catholic Church; a boycott would cripple Hollywood (p.52).
Part II (Chapter 4 to 11) discusses eleven movies and the censorship conflicts behind their scripts. It seems any story that is dramatic would have censorship problems. A sign of the cross would be objectionable to British censors (like `Dracula'). A bland movie might not do well at the box office. You will be able to decode scenes from old movies. A saloon with dancing girls represented a brothel. These chapters show a lot of research went into this book. These films are seldom available today on TV (like many other B&W movies). [While I've seen a few of these movies on TV, I don't remember much.] You may find some of these details interesting, but it is the finished product that is important, not details of the production.
Many know that the book is usually better than the movie; this book explains why. There are a lot more people involved in creating a movie than for most books. Modifying the story could attract those who read the book. This book also explains how movies are made. Money is raised from `Wall Street' investors, given to Hollywood studios to produce a movie (story, actors, directors, etc.), which is then advertised to generate paying customers. Usually this works well. Sometimes there are clunkers, other times big hits. Many people go to the movies every week so there is an audience for these products.
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Buzz: The Life and Art of Busby Berkeley (Screen Classics) Review

Buzz: The Life and Art of Busby Berkeley (Screen Classics)
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Buzz: The Life and Art of Busby Berkeley (Screen Classics) ReviewThis is a newly published book on the life and art of Busby Berkeley. Berkeley was a pioneer in the early days of American cinema and although as a director he lacked the all round character of a man like Orson Welles he easily made up for this with his ability to entertain people. The book starts out by examining Berkeley's family ancestry and takes you through his early days as a struggling stage director in New York followed by his first film roles, his car accident and subsequent trial and finishes with his demise in 1976. Some of the information contained in this book was previously examined in a TV documentary shown in 1998 called "Busby Berkeley going through the roof", but where this book expands is by gaining access to his unpublished autobiography which fills in lots of spaces and ads a lot more detail, invaluable information you would never have known had the book not been published.
This isn't a glossy film book loaded with images it's a flat out biography and if you're a fan of his work then you should find it interesting. In the early days of cinema when most of his contemporaries where busy ripping of early German and Russian filmmaking techniques Berkeley pioneered whole new styles and never got the credit he deserved.
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Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film) Review

Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film)
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Action Speaks Louder: Violence, Spectacle, and the American Action Movie (Wesleyan Film) ReviewConsidering how dominant the action film is in American popular culture, it's pretty astounding how little serious scholarship there's been about this important genre, outside of feminist rants (albeit justifiable), or overly intellectualized, post-modern deconstructions written by and for the miniscule audience of academics. ACTION SPEAKS LOUDER is the rare book which is written for the rest of us - for the educated, curious movie-goer who wants to think more seriously about movies we know and might even love.
While he's not above placing films in their historical context, or speculating about their larger meanings and their influences on society, author Lichtenfeld never loses sight of the fact that these movies are commercial enterprises - mass entertainments made within the confines of a commercial marketplace. He explores creative choices made by filmmakers and writers, and the book is peppered with interviews. Aware that form is content, Lichtenfeld delves into the stylistic features of the movies. He also explores how technological advances patently change the nature of these movies.
ACTION SPEAKS LOUDER combines the details fans love (think of a great DVD commentary) with serious scholarship. And best of all, it's highly readable (think extended New Yorker article) - not bogged down by the obfuscating, post-modern jargon that dominates academia. Highly recommended.
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Print the Legend: The Life and Times of John Ford Review

Print the Legend: The Life and Times of John Ford
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Print the Legend: The Life and Times of John Ford ReviewAt the end of "The Man Who Shot Liberty Valance," the newspaper reporter interviewing James Stewart discovers that Stewart's hero didn't really kill Lee Marvin's villain. His response is: "When the legend becomes fact, print the legend." That's just what John Ford did in all 140 of his films over five decades. Ford used a fledgeling medium and created it into an art form. In doing so, he reformulated the American "legend," how we understand our past. Much of how we see ourselves as Americans, for better or worse, has its basis in the film depictions that Ford created. There have been numerous books on Ford and his films, but Scott Eyman's is undoubtedly the most comprehensive treatment of a brilliant artist who was also a deeply flawed man. Previous biographies of Ford have either concentrated on the meanings of his films or on his personal life. Eyman's book does both, but he also looks at how Ford directed actors, how he related to them and how he elicited such great performances from them (sometimes gently and sometimes harshly). No other book on Ford has done this to the same degree, and this is what makes the book so good. Also, Eyman interviewed dozens of Ford's peers from the silents through the sixties. The book is well written, comprehensive and fair in the treatment of its subject. More importantly, like a good Ford movie, it never ceases to hold your attention. I came away from this book with a better appreciation for the films, and a healthy respect for an often difficult yet gifted director. Orson Welles was once asked who he thought were the three greatest American directors. His response was "John Ford, John Ford and John Ford." Whether you agree with Welles or not, Eyman's biography is a great read.Print the Legend: The Life and Times of John Ford Overview

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