From Groucho Marx's first warblings with the singing Leroy Trio, this book brings to life the vanished world of America's wild and boisterous variety circuits, leading to the Marx Brothers' Broadway successes, and their alliance with New York's theatrical lions, George S. Kaufman and the 'Algonquin Round Table'.Never-before-published scripts, well-minted Marxian dialogue, and much madness and mayham feature in this tale of the Brothers' battles with Hollywood, their films, their loves and marriages, and the story of the forgotten brother Gummo.

    Hugely prolific in his first decade--Breathless, Contempt, Pierrot le Fou, Alphaville, and Made in USA are just a handful of the seminal works he directed--Godard introduced filmgoers to the generation of stars associated with the trumpeted sexuality of postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul Belmondo, and Anna Karina.As the sixties wore on, however, Godard's life was transformed. The Hollywood he had idolized began to disgust him, and in the midst of the socialist ferment in France his second wife introduced him to the activist student left. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists.Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts.

    Groucho, Harpo, Chico and Sometimes Zeppo: A History of the Marx Brothers and a Satire on the Rest of the World

    Conventional wisdom long held that big name, highly athletic hitters and young pitchers with rocket arms were the ticket to success. But Beane and his staff, buoyed by massive amounts of carefully interpreted statistical data, believed that wins could be had by more affordable methods such as hitters with high on-base percentage and pitchers who get lots of ground outs. Given this information and a tight budget, Beane defied tradition and his own scouting department to build winning teams of young affordable players and inexpensive castoff veterans. Lewis was in the room with the A's top management as they spent the summer of 2002 adding and subtracting players and he provides outstanding play-by-play. In the June player draft, Beane acquired nearly every prospect he coveted (few of whom were coveted by other teams) and at the July trading deadline he engaged in a tense battle of nerves to acquire a lefty reliever. Besides being one of the most insider accounts ever written about baseball, Moneyball is populated with fascinating characters. We meet Jeremy Brown, an overweight college catcher who most teams project to be a 15th round draft pick (Beane takes him in the first). Sidearm pitcher Chad Bradford is plucked from the White Sox triple-A club to be a key set-up man and catcher Scott Hatteberg is rebuilt as a first baseman. But the most interesting character is Beane himself. A speedy athletic can't-miss prospect who somehow missed, Beane reinvents himself as a front-office guru, relying on players completely unlike, say, Billy Beane. Lewis, one of the top nonfiction writers of his era (Liar's Poker, The New New Thing), offers highly accessible explanations of baseball stats and his roadmap of Beane's economic approach makes Moneyball an appealing reading experience for business people and sports fans alike. --John Moe

    I partied in every capital in Europe and basked on all the world's most famous beaches'. Frank W Abagnale, alias Frank Williams, Robert Conrad, Frank Adams and Ringo Monjo, was one of the most daring con men, forgers, imposters and escape artists in history. In his brief but notorious career, Abagnale donned a pilot's uniform and co-piloted a Pan Am jet, masqueraded as a member of hospital management, practised law without a licence, passed himself off as a college sociology professor, and cashed over $2.5 million in forged checks all before he was twenty-one. Known by the police of twenty-six foreign countries and all fifty states as 'The Skywayman', Abagnale lived a sumptuous life on the run - until the law caught up with him. Now recognised as the nation's leading authority on financial foul play, Abagnale is a charming rogue whose hilarious, stranger-than-fiction international escapades and ingenious escapes - including one from an aeroplane - make CATCH ME IF YOU CAN an irresistable tale of deceit.

    Pete Van Wieren’s legacy began in 1976, when he and a young Skip Caray were hired to call Atlanta Braves games. During the next three decades, "the Professor" and Caray became the voices of a team known nationwide as America's Team courtesy of Ted Turner's SuperStation TBS. In this heartfelt autobiography, Van Wieren shares his memories of thrilling moments in Braves history, such as the 1995 season when the Braves won the world championship; the pitching mastery of Greg Maddux, Tom Glavine, and John Smoltz; the heartbreak of the 1996 World Series loss to the Yankees; and Atlanta's unprecedented run of 14 consecutive division titles.

    Marigold provides an Introduction in which he reflects on his graduation from low-budget independent cinema to a big-budget studio picture, while nevertheless continuing to explore unsettling, often unglamorous human stories with his particular blend of human empathy and an unblinking eye for the details of existence.

    Clarke was published in 1972 by Signet as an accompaniment to the novel 2001: A Space Odyssey.The book itself consists in part of behind-the-scenes notes from Clarke concerning scriptwriting (and rewriting), as well as production issues. The core of the book, however, is contained in excerpts from the proto-novel and an early screenplay that did not make it into the final version.Alternative settings for launch preparation, the EVA scene where astronaut Frank Poole is lost, and varying dialogues concerning the HAL 9000 unit are all featured in the book. Also included is the original short story The Sentinel on which 2001 is loosely based.

    

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    Now, Charmian Carr, who in 1965 captivated moviegoers as Liesl Sixteen Going on Seventeen von Trapp, tells what it was like to be a part of the film that has become a cultural phenomenon. It's all here: from how she got the role (and why she almost didn't) to romances on the set and wild nights in Salzburg; from the near-disaster during the gazebo dance to her relationships--then and now--with her six celluloid siblings. Charmian offers stories from fans and friends and a treasury of photographs. And she reveals why she left acting, what she learned when she met the real von Trapp children; and how The Sound of Music has helped her get through stormy times in her own life. Forever Liesl celebrates the spirit of the movie and what it stands for: family love, romance, inspiration, nostalgia, and the joy and power of music.

    It premiered in April 2000 at the Gielgud Theatre, Shaftesbury Avenue, London, starring Kathleen Turner as Mrs RobinsonCalifornia in the 60s. Benjamin's got excellent grades, very proud parents and, since he helped Mrs Robinson with her zipper, a fine future behind him… A cult novel, a classic film, a quintessential hit of the 60s, now Benjamin's disastrous sexual odyssey is brought vividly to life in this world stage premiere production."Terry Johnson is that rare creature: a moralist with wit. He writes with responsible gaiety" (Guardian)

    In 1981, years before he sat down to tackle On Writing, Stephen King decided to address the topic of what makes horror horrifying and what makes terror terrifying. Here, in ten brilliantly written chapters, King delivers one colorful observation after another about the great stories, books, and films that comprise the horror genre—from Frankenstein and Dracula to The Exorcist, The Twilight Zone, and Earth vs. The Flying Saucers.With the insight and good humor his fans appreciated in On Writing, Danse Macabre is an enjoyably entertaining tour through Stephen King’s beloved world of horror.

    On arrival he finds the climate delicious, the food even better, and two of the locals ravishing. Unfortunately, the wine produced on his new property is swill. Why then are so many people interested in it? Enter a beguiling Californian who knows more about wine than Max does – and may have a better claim to the estate. Fizzy with intrigue, bursting with local color and savor, A Good Year is Mayle at his most entertaining.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.