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The Lost One
The first full biography of this major actor draws upon more than 300 interviews, including conversations with directors Fritz Lang, Alfred Hitchcock, Billy Wilder, John Huston, Frank Capra, and Rouben Mamoulian, who speak candidly about Lorre, both the man and the actor.
The Bipolar Express
In the past few decades, awareness of bipolar disorder has significantly increased, but understanding of the condition remains vague for most of the general public. Though the term itself is relatively recent, the condition has affected individuals for centuries—and no more profoundly than in the arts. The historical connections among manic depression and such fields as literature, music, and painting have been previously documented. However, the impact of bipolar disorder on movie makers and its depiction on the screen has yet to be thoroughly examined. In The Bipolar Express: Manic Depression and the Movies, David Coleman provides an in-depth examination of the entwined natures of mood d...
The Very Witching Time of Night
The book covers unusual and often surprising areas of horror film history: (1) The harrowingly tragic life of Dracula's leading lady, Helen Chandler, as intimately remembered by her sister-in-law. (2) John Barrymore's 1931 horror vehicles Svengali and The Mad Genius, and their rejection by the public. (3) The disastrous shooting of 1933's Murders in the Zoo, perhaps the most racy of all Pre-Code horror films. (4) A candid interview with the son of legendary horror star Lionel Atwill. (5) The censorship battles of One More River, as waged by Frankenstein director James Whale. (6) The adventures (and misadventures) of Boris Karloff as a star at Warner Bros. (7) The stage and screen versions of...
The Story of America
From celebrated writer Jill Lepore, a literary and political history of American origin stories In The Story of America, Harvard historian and New Yorker staff writer Jill Lepore investigates American origin stories—from John Smith's account of the founding of Jamestown in 1607 to Barack Obama's 2009 inaugural address—to show how American democracy is bound up with the history of print. Over the centuries, Americans have read and written their way into a political culture of ink and type. Part civics primer, part cultural history, The Story of America excavates the origins of everything from the paper ballot and the Constitution to the I.O.U. and the dictionary. Along the way it presents...
Hollywood's War with Poland, 1939-1945
During World War II, Hollywood studios supported the war effort by making patriotic movies designed to raise the nation's morale. They often portrayed the combatants in very simple terms: Americans and their allies were heroes, and everyone else was a villain. Norway, France, Czechoslovakia, and England were all good because they had been invaded or victimized by Nazi Germany. Poland, however, was represented in a negative light in numerous movies. In Hollywood's War with Poland, 1939-1945, M. B. B. Biskupski draws on a close study of prewar and wartime films such as To Be or Not to Be (1942), In Our Time (1944), and None Shall Escape (1944). He researched memoirs, letters, diaries, and memoranda written by screenwriters, directors, studio heads, and actors to explore the negative portrayal of Poland during World War II. Biskupski also examines the political climate that influenced Hollywood films.
Peter Lorre, Face Maker
Peter Lorre described himself as merely a 'face maker'. His own negative attitude also characterizes traditional perspectives which position Lorre as a tragic figure within film history: the promising European artist reduced to a Hollywood gimmick, unable to escape the murderous image of his role in Fritz Lang's M. This book shows that the life of Peter Lorre cannot be reduced to a series of simplistic oppositions. It reveals that, despite the limitations of his macabre star image, Lorre's screen performances were highly ambitious, and the terms of his employment were rarely restrictive. Lorre's career was a complex negotiation between transnational identity, Hollywood filmmaking practices, the ownership of star images and the mechanics of screen performance.
Rochelle Hudson
Rochelle Hudson's career as an actress was planned from the start (born in 1916) by her ambitious stage mother. Given rigorous dance and musical training as a child, Hudson won her first film contract at the age of 14. A WAMPAS Baby Star in 1931, she co-starred with actors such as W.C. Fields, Henry Fonda, Claudette Colbert, Will Rogers and Fredric March in classic films like Imitation of Life (1934) and Les Miserables (1935). But within a few years, she was stuck in B movies and frustrated. Stepping away from Hollywood, Hudson worked as a realtor and a rancher, and even did wartime espionage work for the Navy. She continued acting occasionally, in Rebel Without a Cause (1955), the TV sitcom...
Angels and Ministers of Grace Defend Us!
Like a lovingly guided midnight tour, this book covers the seductive shadows of the most fascinating horror films and melodramas from the 1930s and 1940s. From the bloody censorship battles behind 1935's Bride of Frankenstein, to the sexual controversies of 1941's Dr. Jekyll and Mr. Hyde and the gruesome Nazi atrocities of 1943's Women in Bondage, this book delves into newly excavated research to tell the behind-the-scenes sagas of some of Hollywood's most frightening films. Peek behind the scenes, revel in on-the-set anecdotes and get a look at the script notes illuminating characters like WereWolf of London, Richard III, Panther Woman and Rasputin. Included are profiles of the performers and filmmakers who made the nightmares feel all too real in the darkened theaters of yesteryear, and an examination of the factors that have kept these films popular so many decades later.
Destination London
The legacy of emigrés in the British film industry, from the silent film era until after the Second World War, has been largely neglected in the scholarly literature. Destination London is the first book to redress this imbalance. Focusing on areas such as exile, genre, technological transfer, professional training and education, cross-cultural exchange and representation, it begins by mapping the reasons for this neglect before examining the contributions made to British cinema by emigré directors, actors, screenwriters, cinematographers, set designers, and composers. It goes on to assess the cultural and economic contexts of transnational industry collaborations in the 1920s, artistic cosmopolitanism in the 1930s, and anti-Nazi propaganda in the 1940s.
