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Father of the Bride
THE STORY: Mr. Banks learns that one of the young men he has seen occasionally about the house is about to become his son-in-law. Daughter Kay announces the engagement out of nowhere. Mrs. Banks and her sons are happy, but Mr. Banks is in a dither. The gr
Reconstructing American Historical Cinema
In Reconstructing American Historical Cinema: From Cimarron to Citizen Kane, J. E. Smyth dramatically departs from the traditional understanding of the relationship between film and history. By looking at production records, scripts, and contemporary reviews, Smyth argues that certain classical Hollywood filmmakers were actively engaged in a self-conscious and often critical filmic writing of national history. Her volume is a major reassessment of American historiography and cinematic historians from the advent of sound to the beginning of wartime film production in 1942. Focusing on key films such as Cimarron (1931), The Public Enemy (1931), Scarface (1932), Ramona (1936), A Star Is Born (1...
American Theatre
This book concludes Gerald Bordman's acclaimed survey of American non-musical theatre. It deals with the years 1930 to 1969, a period when the number of yearly new plays was shrinking, but a period during which American drama as a whole entered the world stage and became a dominant force. With works like Eugene O'Neill's Long Day's Journey into Night, Tennessee Williams's A Streetcar Named Desire, and Arthur Miller's Death of a Salesman, American theater finally reached adulthood both dramatically and psychologically. Bordman's lively, authoritative study covers every Broadway production, as well as every major off-Broadway show. His discussion moves season by season and show by show in chronological order; he offers plot synopses and details the physical production, directors, players, theaters, and newspaper reviews. This book stands together with the preceding volumes of American Theatre as the premier history of American drama.
The Movie Guide
From The Big Sleep to Babette's Feast, from Lawrence of Arabia to Drugstore Cowboy, The Movie Guide offers the inside word on 3,500 of the best motion pictures ever made. James Monaco is the president and founder of BASELINE, the world's leading supplier of information to the film and television industries. Among his previous books are The Encyclopedia of Film, American Film Now, and How to Read a Film.
Film Quotations
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
American Theatre: A Chronicle of Comedy and Drama 1914-1930
The American Theatre series discusses every Broadway production chronologically--show by show and season by season. It offers plot summaries, production details, names of leading actors and actresses--the roles they played, as well as any special or unusual aspects of individual shows. This second volume in the series, covers what is probably the richest period in American theater, the years 1914 through 1930. Bordman includes most of Eugene O'Neill's work, along with playwrights as diverse as Elmer Rice and George Kaufman. Among the era's stars one finds John and Ethel Barrymore, Helen Hayes, Katherine Cornell, and Lynn Fontaine and Alfred Lunt. Considering the sheer number of productions, American theater climbed to its all-time high in the 1920s; by mid-decade, nearly 300 new plays appeared on Broadway each year. America saw more theatrical activity--in every sense of the word-- than any time before or since.
