By their daughter, an acclaimed writer and producer.Fay Wray was most famous as the woman--the blonde in a diaphanous gown--who captured the heart of the mighty King Kong, the twenty-five-foot, sixty-ton gorilla, as he placed her, nestled in his eight-foot hand, on the ledge of the 102-story Empire State Building, putting Wray at the height of New York's skyline and cinematic immortality.Wray starred in more than 120 pictures opposite Hollywood's biggest stars--Spencer Tracy, Gary Cooper (The Legion of the Condemned, The First Kiss, The Texan, One Sunday Afternoon), Clark Gable, William Powell, and Charles Boyer; from cowboy stars Hoot Gibson and Art Accord to Ronald Colman (The Unholy Garden), Claude Rains, Ralph Richardson, and Melvyn Douglas. She was directed by the masters of the age, from Fred Niblo, Erich von Stroheim (The Wedding March), and Mauritz Stiller (The Street of Sin) to Leo McCarey, William Wyler, Gregory La Cava, "Wild Bill" William Wellman, Merian C. Cooper (The Four Feathers, King Kong), Josef von Sternberg (Thunderbolt), Dorothy Arzner (Behind the Make-Up), Frank Capra (Dirigible), Michael Curtiz (Doctor X), Raoul Walsh (The Bowery), and Vincente Minnelli.The book's--and Wray's--counterpart: Robert Riskin, considered one of the greatest screenwriters of all time. Academy Award-winning writer (nominated for five), producer, ten-year-long collaborator with Frank Capra on such pictures as American Madness, It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon, and Meet John Doe, hailed by many, among them F. Scott Fitzgerald, as "among the best screenwriters in the business." Riskin wrote women characters who were smart, ornery, sexy, always resilient, as he perfected what took full shape in It Happened One Night, the Riskin character, male or female--breezy, self-made, streetwise, optimistic, with a sense of humor that is subtle and sure.Fay Wray and Robert Riskin lived large lives, finding each other after establishing their artistic selves and after each had had many romantic attachments--Wray, an eleven-year-long difficult marriage and a fraught affair with Clifford Odets, and Riskin, a series of romances with, among others, Carole Lombard, Glenda Farrell, and Loretta Young.Here are Wray's and Riskin's lives, their work, their fairy-tale marriage that ended so tragically. Here are their dual, quintessential American lives, ultimately and blissfully intertwined.

    Isolating his star cast in the wilds of West Texas, director George Stevens brought together a volatile mix of egos, insecurities, sexual proclivities, and talent. Stevens knew he was overwhelmed with Hudson’s promiscuity, Taylor’s high diva-dom, and Dean’s egotistical eccentricity. Yet he coaxed performances out of them that made cinematic history, winning Stevens the Academy Award for Best Director and garnering nine other nominations, including a nomination for Best Actor for James Dean, who died before the film was finished. In this compelling and impeccably researched narrative history of the making of the film, Don Graham chronicles the stories of Stevens, whose trauma in World War II intensified his ambition to make films that would tell the story of America; Edna Ferber, a considerable literary celebrity, who meets her match in the imposing Robert Kleberg, proprietor of the vast King Ranch; and Glenn McCarthy, an American oil tycoon; and Errol Flynn lookalike with a taste for Hollywood. Drawing on archival sources Graham’s Giant is a comprehensive depiction of the film’s production showing readers how reality became fiction and fiction became cinema.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.