Before they teamed up, Dean Martin seemed destined for a mediocre career as a nightclub singer, and Jerry Lewis was dressing up as Carmen Miranda and miming records on stage. But the moment they got together, something clicked—something miraculous—and audiences saw it at once. Before long, they were as big as Elvis or the Beatles would be after them, creating hysteria wherever they went and grabbing an unprecedented hold over every entertainment outlet of the era: radio, television, movies, stage shows, and nightclubs. Martin and Lewis were a national craze, an American institution. The millions (and the women) flowed in, seemingly without end—and then, on July 24, 1956, ten years from the day when the two men joined forces, it all ended.After that traumatic day, the two wouldn’t speak again for twenty years. And while both went on to forge triumphant individual careers—Martin as a movie and television star, recording artist, and nightclub luminary (and charter member of the Rat Pack); Lewis as the groundbreaking writer, producer, director, and star of a series of hugely successful movie comedies—their parting left a hole in the national psyche, as well as in each man’s heart.In a memoir by turns moving, tragic, and hilarious, Jerry Lewis recounts with crystal clarity every step of a fifty-year friendship, from the springtime, 1945 afternoon when the two vibrant young performers destined to conquer the world together met on Broadway and Fifty-fourth Street, to their tragic final encounter in the 1990s, when Lewis and his wife ran into Dean Martin, a broken and haunted old man.In Dean and Me, Jerry Lewis makes a convincing case for Dean Martin as one of the great — and most underrated — comic talents of our era. But what comes across most powerfully in this definitive memoir is the depth of love Lewis felt, and still feels, for his partner, and which his partner felt for him: truly a love to last for all time.

    His epic romance with Elizabeth Taylor, his legendary drinking and story-telling, his dazzling purchases (enormous diamonds, a jet, homes on several continents), and his enormous talent kept him constantly in the public eye. Yet the man behind the celebrity façade carried a surprising burden of insecurity and struggled with the peculiar challenges of a life lived largely in the spotlight.This volume publishes Burton's extensive personal diaries in their entirety for the first time. His writings encompass many years—from 1939, when he was still a teenager, to 1983, the year before his death—and they reveal him in his most private moments, pondering his triumphs and demons, his loves and his heartbreaks. The diary entries appear in their original sequence, with annotations to clarify people, places, books, and events Burton mentions.From these hand-written pages emerges a multi-dimensional man, no mere flashy celebrity. While Burton touched shoulders with shining lights—among them Olivia de Havilland, John Gielgud, Claire Bloom, Laurence Olivier, John Huston, Dylan Thomas, and Edward Albee—he also played the real-life roles of supportive family man, father, husband, and highly intelligent observer. His diaries offer a rare and fresh perspective on his own life and career, and on the glamorous decades of the mid-twentieth century.

    Like a novel but Ava really lived it.In this chatty autobiography, Gardner tells of her upbringing in a poor but proud Southern family, her sudden success in early-'40s Hollywood--mainly because of her beauty--and rails against MGM, which played up her cheesecake potential. She neatly sums up the problems in each of her three short marriages: Mickey Rooney was a blatant womanizer; Artie Shaw was cool and overbearing; Frank Sinatra (the two were the loves of each other's lives) was as jealous as she, leading to drunken marathon fights. Gardner also sketches a creepy portrait of Howard Hughes, who for years stopped at no machination in an unsuccessful attempt to bed and marry her. A shy woman who used drink to feel comfortable socially, Gardner seems very likable, down-home, spontaneous and sadly derogatory toward her intelligence, acting abilities--and even her beauty. Of the seven included "eulogies" from friends and colleagues, Stephen Birmingham's best captures the joy and tragedy of Gardner's life.

    It also explores the real Woody Allen, the critically acclaimed filmmaker from the Upper East Side, and his amusing movie persona of a neurotic and lovable loser.Shrewdly and effectively deconstructing Woody, John Baxter's biography illuminates Allen's preoccupation with sex and mortality, his personal quirks and obsessions, his manipulation of celebrity, and his cinematic achievement as chronicler and court jester of Manhattan's intellectual elite."A splendidly written, exhaustive account and a major achievement" - The Observer"Astute and highly entertaining biography" - Daily Telegraph"A bracing corrective to the usual po-faced, sycophantic studies of the cult of Woody" - Mail on Sunday"Full of interesting information for cinema enthusiasts" - The Spectator"The saga [of Woody and Mia] makes compulsive reading" - The Guardian

    He was a gambler among gamblers, a heavy drinker in the days when everyone drank seemingly all the time, and a lover to legions of the most attractive women in the most glamorous business in the world, including the great love of his life, Carole Lombard.In this well-researched and revealing biography, Warren G. Harris gives an exceptionally acute portrait of one of the most memorable actors in the history of motion pictures—whose intimates included such legends as Marilyn Monroe, Joan Crawford, Loretta Young, David O. Selznick, Jean Harlow, Judy Garland, Lana Turner, Spencer Tracy, and Grace Kelly—as well as a vivid sense of the glamour and excess of mid-century Hollywood.

    A look at over 400 of the best historical movies (and some of the worst) purporting to be ‘factual’ or ‘based on actual events’; and how Hollywood has distorted, altered, manipulated, exaggerated, even falsified history under the all-encompassing premise…based on a true story…

    Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me.In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately.From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).

    Burt Reynolds has been a Hollywood leading man for six decades, known for his legendary performances, sex-symbol status, and storied Hollywood romances. In his long career of stardom, during which he was number one at the box office for five years in a row, Reynolds has seen it all. But Enough About Me will tell his story through the people he’s encountered on his amazing journey. In his words, he plans to “call out the assholes,” try to make amends for “being the asshole myself on too many occasions,” and pay homage to the many heroes he has come to love and respect. Beginning with Reynolds’s adolescence as a notable football player and the devastating car accident that ended his sports career, But Enough About Me takes readers from the Broadway stages where Reynolds got his start to his subsequent rise to fame. From Oscar nominations, to the spread in Cosmopolitan magazine that remains a notorious pop-cultural touchstone to this day, to the financial decisions that took him from rich to poor and back again, Reynolds shares the wisdom that has come from his many highs and lows. He is also ready, now more than ever, to dish. Reynolds famously romanced Dinah Shore, Sally Field, and Loni Anderson, to name only the top few; batted eyes at Bette Davis, Greta Garbo, Goldie Hawn, Farrah Fawcett, Marilyn Monroe, Candice Bergen, and so many more; went a few rounds (or more) with the likes of Donald Trump and Helen Gurley Brown; and rubbed elbows with Jon Voight, Clark Gable, Clint Eastwood, Frank Sinatra, Orson Welles, Mel Brooks, Woody Allen, and Johnny Carson, among many others. Through it all, Reynolds reflects on his personal pitfalls and recoveries and refocuses his attention on his legacy as a father and an acting teacher, leaving readers with a classic from one of Hollywood’s most enduring and treasured stars.

    But over the years, Humphrey Bogart has remained an enigma, despite what we have learned of him from wife Lauren Bacall's own fond memories and from the various biographies that have appeared over the years since his death in 1957. With Bogart, this wonderful enigma is brought under the light as never before. Although authors Ann M. Sperber and Eric Lax never met, Bogart is a unique collaboration, combining the strengths of two prize-winning biographers. Sperber, the author of the New York Times best-selling Pulitzer-Prize finalist Murrow: His Life and Times (1986), spent seven years before her death in 1994 amassing a vast archive of original research on the life and times of Humphrey Bogart, including more than 200 interviews she conducted with people who had known and worked with him, including Katharine Hepburn and John Huston. Eric Lax, whose Woody Allen was a national bestseller in 1991, took over the project after Sperber's death and spent two years completing it. The result is the definitive portrait of the actor who merged his screen anti-heroism with his own staunch personal integrity in a manner new to Hollywood, fashioning a persona as timely today, forty years after his death, as it was during his own life.

    She married a Frenchman, took on all his compatriots, and has been the heroine of a love affair ever since. Her skirmishes with French traffic, French maids, French salesladies, French holidays, French law, French doctors, above all, the French language, are here set forth in a delightful and amusing record. Paraphrasing Caesar, Miss de Havilland says, "I came, I saw, I was conquered."

    Audrey Hepburn insisted that a proper biography could never be completed unless she was willing to share some intensely personal and painful memories. For the next year, Hepburn and Maychick spent countless hours together in conversation, as Audrey opened up about her childhood, her careers, and the loves of her life. What Diana Maychick did not know was that Audrey Hepburn was dying and that these conversations would, all too soon and all too sadly, come to an end. What emerges from the pages of Audrey Hepburn: An Intimate Portrait is a wonderfully personal look at one of the most elegant women of the century. It also provides a candid look at Audrey's painful childhood, her parents' constant battles, her mother's demanding hauteur, her father's blatant Nazi sympathies, the deprivation of the war years, the Nazi occupation of their town and the garrisoning of their very house, her escape from the Germans and the month she spent in a rat-infested cellar nearly starving to death, and her life-long struggle with food disorders. It also celebrates her fabled rise from show girl to film star and how, with her beguiling eyes and sophisticated manners, she seduced Hollywood away from its fixation on blond bombshells. In Audrey Hepburn readers will discover, often in Hepburn's own words, her innermost feelings about the men in her life - William Holden, Mel Ferrer, Givenchy, Andrea Dotti, Albert Finney, Ben Gazzara, and Robbie Wolders - as well as how she felt about working with some of the screen's leading men, including Gregory Peck, Cary Grant, Humphrey Bogart, Fred Astaire, and Gary Cooper, in some of the most enduringly charming films of all time, Roman Holiday, Sabrina, Love in the Afternoon, Funny Face, Breakfast at Tiffany's, Charade and My Fair Lady. We also get an intimate view of Hepburn's

    It's one of the most revered movies of Hollywood's golden era. Starring screen legend Gary Cooper and Grace Kelly in her first significant film role, High Noon was shot on a lean budget over just thirty-two days but achieved instant box-office and critical success. It won four Academy Awards in 1953, including a best actor win for Cooper. And it became a cultural touchstone, often cited by politicians as a favorite film, celebrating moral fortitude.Yet what has been often overlooked is that High Noon was made during the height of the Hollywood blacklist, a time of political inquisition and personal betrayal. In the middle of the film shoot, screenwriter Carl Foreman was forced to testify before the House Committee on Un-American Activities about his former membership in the Communist Party. Refusing to name names, he was eventually blacklisted and fled the United States. (His co-authored screenplay for another classic, The Bridge on the River Kwai, went uncredited in 1957.) Examined in light of Foreman's testimony, High Noon's emphasis on courage and loyalty takes on deeper meaning and importance.In this book, Pulitzer Prize-winning journalist Glenn Frankel tells the story of the making of a great American Western, exploring how Carl Foreman's concept of High Noon evolved from idea to first draft to final script, taking on allegorical weight. Both the classic film and its turbulent political times emerge newly illuminated.

    Smith Goes to Washington," and "The Philadelphia Story." He symbolized the patriotism of the time, and even joined the army in World War II, winning a Distinguished Flying Cross. Up to that point, his characters had espoused the same values that Stewart himself, a devout Presbyterian, lived by. But after the war, his youthful exuberance faded, and he settled into darker roles, including his classic performances in Hitchcock's "Rear Window" and "Vertigo." Biographer Donald Dewey suggests that while the boyish charm of his early characters reflected pre-war hopefulness, his disturbed, nearly psychotic later characters mirrored the introspection and suspicion of the 1950s.

    America's favorite girl next door may have projected a wholesome image that led Oscar Levant to quip "I knew Doris Day before she was a virgin," but in Considering Doris Day Tom Santopietro reveals Day's underappreciated and effortless acting and singing range that ran the gamut from musicals to comedy to drama and made Day nothing short of a worldwide icon.             Covering the early Warner Brothers years through Day's triumphs working with artists as varied as Alfred Hitchcock and Bob Fosse, Santopietro's smart and funny book deconstructs the myth of Day as America's perennial virgin, and reveals why her work continues to resonate today, both onscreen as pioneering independent career woman role model, and off, as a recipient of the Presidential Medal of Freedom, the United States' highest civilian honor. Praised by James Cagney as "my idea of a great actor" and by James Garner as "the Fred Astaire of comedy," Doris Day became not just America's favorite girl, but the number one film star in the world. Yet after two weekly television series, including a triumphant five year run on CBS, she turned her back on show business forever.             Examining why Day's worldwide success in movies overshadowed the brilliant series of concept recordings she made for Columbia Records in the  '50s and '60s, Tom Santopietro uncovers the unexpected facets of Day's surprisingly sexy acting and singing style that led no less an observer than John Updike to state "She just glowed for me." Placing Day's work within the social context of America in the second half of the twentieth century, Considering Doris Day is the first book that grants Doris Day her rightful place as a singular American artist.

    “I had all I ever wanted, from Lana Turner and Joan Crawford to every starlet in Hollywood, and then some. They were mine to have. Ava [Gardner] was the best. I screwed up my life. I pissed away millions. I was #1, the biggest star in the world.” Mickey Rooney began his career almost a century ago as a one-year-old performer in burlesque and stamped his mark in vaudeville, silent films, talking films, Broadway, and television. He acted in his final motion picture just weeks before he died at age ninety-three. He was an iconic presence in movies, the poster boy for American youth in the idyllic small-town 1930s. Yet, by World War II, Mickey Rooney had become frozen in time. A perpetual teenager in an aging body, he was an anachronism by the time he hit his forties. His child-star status haunted him as the gilded safety net of Hollywood fell away, and he was forced to find support anywhere he could, including affairs with beautiful women, multiple marriages, alcohol, and drugs. In The Life and Times of Mickey Rooney, authors Richard A. Lertzman and William J. Birnes present Mickey’s nearly century-long career within the context of America's changing entertainment and social landscape. They chronicle his life story using little-known interviews with the star himself, his children, his former coauthor Roger Kahn, collaborator Arthur Marx, and costar Margaret O’Brien. This Old Hollywood biography presents Mickey Rooney from every angle, revealing the man Laurence Olivier once dubbed “the best there has ever been.”