Books · Directors · Interviews · Writers & Critics
I could begin to see how the movie was art imitating life and then morphed into life imitating art, with such a palpable sense of the greatest director who ever lived[…]
Allan Dwan and the Rise and Decline of the Hollywood Studios, by Frederic Lombardi (Jefferson, NC: McFarland, 2013, 370pp, $49.95 from the publisher’s website) Allan Dwan (1885-1981) was one of[…]
Birds of Paradise: Costume as Cinematic Spectacle, ed. Marketa Uhlirova. London: Koenig Books, 2013. 341 pp. I first became intrigued by London’s Fashion in Film at an unusual series of[…]
Dr. Steve Jones has written a book on a subject few people have examined in depth, though the press and critics have vilified it to no end. It’s a subject[…]
Books · Exploitation & Erotica
Sexplosion: From Andy Warhol to A Clockwork Orange – How a Generation of Pop Rebels Broke All the Taboos, by Robert Hofler. New York: HarperCollins, 2014. Hardcover, $27.99 When Michael[…]
Books · LGBT & Queer · Producers & Studios
“He won’t be gay when I get through with him!” Revisiting legendary gay agent Henry Willson via Robert Hafler’s biography Henry Willson, The Man Who Invented Hollywood * * *[…]
My Lunches with Orson: Conversations Between Henry Jaglom and Orson Welles, Edited by Peter Biskind. New York: Metropolitan Books, 2013. Hardcover, $28.00. 306pp. ISBNL 978-0-8050-9725252800 The reader in search of[…]
The Entertainer: Movies, Magic, and My Father’s Twentieth Century, by Margaret Talbot. New York: Riverhead/Penguin Group, paperback, 2013, 432pp, $18.00. Margaret Talbot must have known a straight-ahead biography or “a[…]
The Worldwide Film Noir Tradition: The Complete Reference to Classic Dark Cinema from America, Britain, France and Other Countries Across the Globe by Spencer Selby. Ames, Iowa: Sink Press, 2013. […]
The Searchers: The Making of an American Legend, by Glenn Frankel. New York: Bloomsbury, USA. 416pp. Hardcover. $28.00. The scene is a rough wooden fort on an East Texas homestead.[…]
Actors & Personalities · Books
Lee Marvin: Point Blank, by Dwayne Epstein. Tucson, AZ: Schaffner Press, 2013. 303pp. Hardcover. $27.95. With his many iconic films, his record of combat action in the Pacific during WW2,[…]
Hollywood Cinema and the Real Los Angeles, by Mark Shiel. London: Reaktion, 2012. Hardback: $39.00. 336pp. ISBN: 978-1-86189-902-6 We all think we know Los Angeles. We think we know it because[…]
Mae Murray: The Girl with the Bee-Stung Lips, by Michael Ankerich. Lexington: University Press of Kentucky, 2012. Hardcover. $40.00. Not too many remember Mae Murray. Not a one of her[…]
Rape-Revenge Films: A Critical Study, by Alexandra Heller-Nicholas. Jefferson, NC, and London: McFarland, 2011. Paperback. $45.00 Rape-Revenge Films: A Critical Study opens with Jean-Luc Godard’s well-traveled maxim that “all you need[…]
Col. William N. Selig: The Man Who Invented Hollywood by Andrew A. Erish. Austin: University of Texas Press, 2012. Cloth, $60.00, 303pp, illustrated. ISBN: 978-0-292-72870-7. Anyone writing about a pioneer of[…]
Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento by Maitland McDonagh. University of Minnesota Press, 2010 (revised with new material from 1994 edition). Trade paperback, $22.95, 296pp, illustrated. ISBN 0-816-65607-X..[…]
A Companion to Rainer Werner Fassbinder. Ed. Brigitte Peucker. Chichester: Wiley-Blackwell, 2012, 656pp, £110/$199.95. When Fassbinder first burst onto the scene, his German contemporaries were horrified by his lifestyle, and[…]
Brutal Intimacy: Analyzing Contemporary French Cinema, Tim Palmer. Connecticut: Wesleyan University Press, 2011. Paperback, $28.00. 304pp. ISBN: 978-0819568267 Endemic to any reading of a new work lionizing French cinema is[…]
Béla Balázs: Early Film Theory — Visible Man and The Spirit of Film. Edited by Erica Carter. Translated by Rodney Livingstone. New York: Berghahn Books, 2010. Béla Balázs: Early Film[…]
“Black hair is set off by bright colour, and these women often resembled blocks of pure pigment. They look ravishing but only half-alive . . . even the tough-talking Gardner looks like an image painted onto the screen.”
