In 1917, a fifteen-year-old Bankhead boldly left her established Alabama political family and fled to New York City to sate her relentless need for attention and become a star. Five years later, she crossed the Atlantic, immediately taking her place as a fixture in British society and the most popular actress in London's West End. By the time she returned to America in the 1930s, she was infamous for throwing marathon parties, bedding her favorite costars, and neglecting to keep her escapades a secret from the press. At times, her notoriety distracted her audience from her formidable talent and achievements on stage and dampened the critical re-sponse to her work. As Bankhead herself put it, "they like me to 'Tallulah,' you know -- dance and sing and romp and fluff my hair and play reckless parts." Still, her reputation as a wild, witty, over-the-top leading lady persisted until the end of her life at the age of sixty-six.From her friendships with such entertainment luminaries as Tennessee Williams, Estelle Winwood, Billie Holiday, Noël Coward, and Marlene Dietrich, to the intimate details of her family relationships and her string of doomed romances, Joel Lobenthal has captured the private essence of the most public star during theater's golden age. Larger-than-life as she was, friends saw through Bankhead's veneer of humor and high times to the heart of a woman who often felt second-best in her father's eyes, who longed for the children she was unableto bear, and who forced herself into the spotlight to hide her deep-seated insecurities.Drawn from scores of exclusive interviews, as well as previously untapped information from Scotland Yard and the FBI, this is the essential biography of Tallulah Bankhead. Having spent twenty-five years researching Bankhead's life, Joel Lobenthal tells her unadulterated story, as told to him by her closest friends, enemies, lovers, and employees. Several have broken decadelong silences; many have given Lobenthal their final interviews. The result is the story of a woman more complex, more shocking, and yet more nuanced than her notorious legend suggests.

    She was a leading film personality for more than fifty years, from her beginnings as a dancer in silent films of the 1920s, to her portrayals of working-class shop girls in the Depression thirties, to her Oscar-winning performances in classic films such as Mildred Pierce . Crawford's legacy has become somewhat tarnished in the wake of her daughter Christina's memoir, Mommie Dearest, which tu

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which he never fully recovered. For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

    Her autobiography, the story of a pioneering woman make-up artist, whose career spanned the entire length of Hollywood’s Golden Era from silent movies to the great films of the 1930s, 1940s, and 1950s, puts a new foundation on the stars. Sinners and saints without greasepaint make for memorable close-ups. Enjoy Dottie’s confidential revelations about Judy Garland, Marlene Dietrich, Mae West, Carole Lombard, Clark Gable, Gary Cooper, Joan Blondell, Paulette Goddard, Barbara Stanwyck, and others. “No stranger is going to pat this puss,” Mae West once declared. Mae, and Dottie’s other clients, often demanded her services, but tomcats and contracts seldom blended. Dottie constantly fought all-male make-up departments at the studios to get the recognition she deserved. Amazing challenges facing a woman at the top of her craft play poignantly against her straight-talking, heartwarming, hilarious encounters with famous faces. Dottie Ponedel. The designer with eye liner.

    During that time he became acquainted, both professionally and socially, with the remarkable women who were the greatest screen personalities of their day. I Loved Her in the Movies is his intimate and revealing account of the charisma of these women on film, why they became stars, and how their specific emotional and dramatic chemistries affected the choices they made as actresses as well as the choices they made as women.Among Wagner’s subjects are Joan Crawford, Bette Davis, Marilyn Monroe, Gloria Swanson, Norma Shearer, Loretta Young, Joan Blondell, Irene Dunne, Rosalind Russell, Dorothy Lamour, Debra Paget, Jean Peters, Linda Darnell, Betty Hutton, Raquel Welch, Glenn Close, and the two actresses whom he ultimately married, Natalie Wood and Jill St. John. In addition to offering perceptive commentary on these women, Wagner also examines topics such as the strange alchemy of the camera—how it can transform the attractive into the stunning, and vice versa—and how the introduction of color brought a new erotic charge to movies, one that enabled these actresses to become aggressively sexual beings in a way that that black and white films had only hinted at.Like Wagner’s two previous bestsellers, I Loved Her in the Movies will be a privileged look behind the scenes at some of the most well-known women in show business as well as an insightful look at the sexual and romantic attraction that created their magic.

    From Walter to John to Anjelica, there are three generations of Oscar winners in the remarkable Huston family.

    An apartment house-turned-hotel, it has hosted generations of gossip and folklore: 1930s bombshell Jean Harlow took lovers during her third honeymoon there; director Nicholas Ray slept with his sixteen-year-old Rebel Without a Cause star Natalie Wood; Anthony Perkins and Tab Hunter met poolside and began a secret affair; Jim Morrison swung from the balconies, once falling nearly to his death; John Belushi suffered a fatal overdose in a private bungalow; Lindsay Lohan got the boot after racking up nearly $50,000 in charges in less than two months.Perched above the Sunset Strip like a fairytale castle, the Chateau seems to come from another world entirely. Its singular appearance houses an equally singular history. While a city, an industry, and a culture have changed around it, Chateau Marmont has welcomed the most iconic and iconoclastic personalities in film, music, and media. It appeals to the rich and famous not just for its European ambiance but for its seclusion: Much of what's happened inside the Chateau's walls has eluded the public eye.Until now. With wit and prowess, Shawn Levy recounts the wild revelries and scandalous liaisons; the creative breakthroughs and marital breakdowns; the births and deaths that the Chateau has been a party to. Vivid, salacious, and richly informed, his book is a glittering tribute to Hollywood as seen from inside the walls of its most hallowed hotel.

    These women infiltrated the all-male domain of Disney Studios and used early technologies to create the rich artwork and iconic storylines that would reach millions of viewers across generations. Over the decades--while battling sexism, domestic abuse, and workplace harassment--these women also fought to influence the way female characters are depicted to young audiences.Based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation tells the story of their vital contribution to Disney's golden age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film.

    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.

    So when Roy Disney, chairman of Walt Disney Animation and nephew of founder Walt Disney, abruptly resigned in November 2003 and declared war on chairman and chief executive Michael Eisner, he sent shock waves through the entertainment industry, corporate boardrooms, theme parks, and living rooms around the world—everywhere Disney does business and its products are cherished.Drawing on unprecedented access to both Eisner and Roy Disney, current and former Disney executives and board members, as well as thousands of pages of never-before-seen letters, memos, transcripts, and other documents, James B. Stewart gets to the bottom of mysteries that have enveloped Disney for years: What really caused the rupture with studio chairman Jeffrey Katzenberg, a man who once regarded Eisner as a father but who became his fiercest rival? How could Eisner have so misjudged Michael Ovitz, a man who was not only “the most powerful man in Hollywood” but also his friend, whom he appointed as Disney president and immediately wanted to fire? What caused the break between Eisner and Pixar chairman Steve Jobs, and why did Pixar abruptly abandon its partnership with Disney? Why did Eisner so mistrust Roy Disney that he assigned Disney company executives to spy on him? How did Eisner control the Disney board for so long, and what really happened in the fateful board meeting in September 2004, when Eisner played his last cards?DisneyWar is an enthralling tale of one of America’s most powerful media and entertainment companies, the people who control it, and those trying to overthrow them. It tells a story that—in its sudden twists, vivid, larger-than-life characters, and thrilling climax—might itself have been the subject of a Disney classic—except that it’s all true.

    From horror masterpieces like The Beyond and Zombie Flesh-Eaters to erotic thrillers like One On Top of the Other and A Lizard in a Woman's Skin; from his earliest days as director of manic Italian comedies to his notoriety as purveyor of extreme violence in the terrifying slasher epic The New York Ripper, his whole career is explored. Supernatural themes and weird logic collide with flesh-ripping gore to breathtaking effect. Bleak horrors are transformed into bloody poetry - Fulci's loving camera technique, and the decayed splendour of his art design, make the films more than just a gross endurance test. Lucio Fulci built up a fanatical following, who at last will have the chance to own this book - five years in the making - which is the ultimate testament to 'The Godfather of Gore'. Featuring a foreword by Fulci's devoted daughter Antonella, and produced with her blessing and full co-operation. This book is quite simply the last word on Fulci. His whole career is studied in obsessive depth. Huge supplementary appendices make this volume essential for all serious students of the Italian horror movie scene. Featuring COMPLETE FILMOGRAPHIES for ALL the major actors and actresses ever to appear in Fulci films, the appendices alone are a unique, breathtakingly detailed reference source in their own right. Without doubt, by far and away the largest collection of Fulci posters, stills, press-books and lobby cards ever seen together in print. We have scoured the Earth to find the most stunning, rare and eye-catching Fulci images. Everything worth seeing is here. This is a truly beautiful book.

    Allan Brown describes the filming and distribution of the cult masterpiece as a 'textbook example of How Things Should Never Be Done'. The omens were bad from the start, and proceeded to get much, much worse, with fake blossom on trees to simulate spring, actors chomping on ice-cubes to prevent their breath showing on film, and verbal and physical confrontations involving both cast and crew. The studio hated it and hardly bothered to distribute it, but today it finds favour with critics and fans alike, as a serious—if flawed—piece of cinema. Brown expertly guides readers through the film's convoluted history, attempting along the way to explain its enduring fascination, and providing interviews with the key figures—many of whom still have an axe to grind, and some of whom still harbour plans for a sequel.

    As told by Corman himself and graduates of “The Corman Film School,” including Peter Bogdanovich, James Cameron, Francis Ford Coppola, Robert De Niro, and Martin Scorsese, this comprehensive oral history takes readers behind the scenes of more than six decades of American cinema, as now-legendary directors and actors candidly unspool recollections of working with Corman, continually one-upping one another with tales of the years before their big breaks.Crab Monsters is supplemented with dozens of full-color reproductions of classic Corman movie posters; behind-the-scenes photographs and ephemera (many taken from Corman’s personal archive); and critical essays on Corman’s most daring films—including The Intruder, Little Shop of Horrors, and The Big Doll House— that make the case for Corman as an artist like no other. Praise for Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses: “This new coffee table book, brimming with outrageous stills from many of Corman’s hundreds of films, looks at the wild career of the starmaker who was largely responsible for so much of the Hollywood we know today.” —New York Post “Vividly illustrated.” —People “An enthusiastic ode to colorful, seat-of-your-pants filmmaking, this one’s hard to beat.” —Booklist (starred review) “It includes in-depth aesthetic appreciations of ten of Corman’s movies, which, taken together, make a compelling case for Corman as an artist.” —Hollywood.com “Author Nashawaty deftly describes how Corman’s legacy is far more nuanced than most realize.” —American Way magazine “Outrageously entertaining . . .”  —Parade magazine “Endlessly fascinating.” —PopMatters.com “You’d think it’d be impossible for any writer to put together a Roger Corman biography that's anywhere near as fun as his movies, but Entertainment Weekly writer/critic Chris Nashawaty has done just that.”  —Complex magazine

    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.