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'I've been protected by studio publicity men most of my life, so in some ways I'm a goddam image, not a person. I was a commodity, a piece of property... I felt an overwhelming obligation to my career, and so I was an actress first, a wife second. I worked almost constantly, and even when I wasn't working, there was that image thing of looking like a star, conducting myself like a star. I just went ahead like a bulldozer. I was a very selfish woman.' Joan Crawford was a complex, contradictory, driven human being, but not the alcoholic, sadistic monster depicted in the notorious book, Mommie Dearest, which appeared a year after her death. In some ways, Donald Spoto's Possessed is the ultimate...
During Hollywood’s infancy, Marie Prevost is a beautiful Canadian who becomes famous for her silent film work with Mack Sennett’s Bathing Beauties.Lured away by an offer from Universal Pictures, she makes more profitable flapper-themed movies, and when her contract ends, she moves to Warner Brothers, where her star continues to rise. Her triumph in Ernst Lubitsch’s The Marriage Circle and her marriage to actor Kenneth Harlan mark her as one of filmdom’s biggest stars of the 1920s. But in 1926, a series of tragedies combine to torpedo her career. By the 1930s, with her star fallen, Marie desperately claws her way back, fighting weight gain and alcohol in her struggle to get back on top. In Bathing Beauty, Marie tells the story of her rise to fame and her struggle to regain it, despite all the odds.
This book offers a different take on the early history of Warner Bros., the studio renowned for introducing talking pictures and developing the gangster film and backstage musical comedy. The focus here is on the studio’s sustained commitment to produce films based on stage plays. This led to the creation of a stock company of talented actors, to the introduction of sound cinema, to the recruitment of leading Broadway stars such as John Barrymore and George Arliss and to films as diverse as The Gold Diggers (1923), The Marriage Circle (1924), Beau Brummel (1924), Disraeli (1929), Lilly Turner (1933), The Petrified Forest (1936) and The Private Lives of Elizabeth and Essex (1939). Even the most crippling effects of the Depression in 1933 did not prevent Warners’ production of films based on stage plays, many being transformed into star vehicles for the likes of Ruth Chatterton, Leslie Howard and Bette Davis.
"Report of the Dominion fishery commission on the fisheries of the province of Ontario, 1893", issued as vol. 26, no. 7, supplement.
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