a national treasure!”Now, finally, Vern is ready to unleash his magnum opus: an in-depth study of the world's only aikido instructor turned movie star/director/writer/blues guitarist/energy drink inventor — the ass-kicking auteur Steven Seagal. From Above the Law to his Mountain Dew commercials, his entire career is covered in Vern’s inimitable style.As Vern himself puts it, Seagalogy is “a book that will shake the very foundations of film criticism, break their wrists and then throw them through a window."

    From such great radio works as "War of the Worlds" to his cinematic masterpieces Citizen Kane, The Magnificent Ambersons, Othello, Macbeth, Touch of Evil, and Chimes at Midnight, Welles was a master storyteller, as expansive as he was enigmatic. This Is Orson Welles, a collection of penetrating and witty conversations between Welles and Peter Bogdanovich, includes insights into Welles's radio, theater, film, and television work; Hollywood producers, directors, and stars; and almost everything else, from acting to magic, literature to comic strips, bullfighters to gangsters. Now including Welles's revealing memo to Universal about his artistic intentions for Touch of Evil, (of which the "director's edition" was released in Fall 1998) this book, which Welles ultimately considered his autobiography, is a masterpiece as unique and engaging as the best of his works.

    Scott Berg tells the life story of Samuel Goldwyn, as rich with drama as any feature-length epic, and as compelling as the history of Hollywood itself.

    Relates the life of the secretly gay Hollywood director who guided to stardom such legendary actresses as Garbo, Bergman, Garland, and Hepburn.

    The arc of Lyle Talbot’s career is in fact the story of American entertainment. Born in 1902, Lyle left his home in small-town Nebraska in 1918 to join a traveling carnival. From there he became a magician’s assistant, an actor in a traveling theater troupe, a romantic lead in early talkies, then an actor in major Warner Bros. pictures with stars such as Humphrey Bogart and Carole Lombard, then an actor in cult B movies, and finally a part of the advent of television, with regular roles on The Adventures of Ozzie and Harriet and Leave It to Beaver. Ultimately, his career spanned the entire trajectory of the industry.In her captivating, impeccably researched narrative—a charmed combination of Hollywood history, social history, and family memoir—Margaret Talbot conjures warmth and nostalgia for those earlier eras of ’10s and ’20s small-town America, ’30s and ’40s Hollywood. She transports us to an alluring time, simpler but also exciting, and illustrates the changing face of her father’s America, all while telling the story of mass entertainment across the first half of the twentieth century.

    This new collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.From Roger's review of Deuce Bigalow: European Gigolo (0 stars): "The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.'Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: 'Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind. . . . Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers. . . .'Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor, but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks."

    A true auteur, Anderson is known for the visual artistry, inimitable tone, and idiosyncratic characterizations that make each of his films—Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom—instantly recognizable as “Andersonian.”The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

    From his early days as a taxi dancer in New York City to his near apotheosis as the ultimate Hollywood heartthrob, Rudolph Valentino (often to his distress) occupied a space squarely at the center of controversy. In this thoughtful retelling of Valentino' s short and tragic life–the first fully documented biography of the star–Emily W. Leider looks at the Great Lover' s life and legacy, and explores the events and issues that made him emblematic of the Jazz Age. Valentino's androgynous sexuality was a lightning rod for fiery and contradictory impulses that ran the gamut from swooning adoration to lashing resentment. He was reviled in the press for being too feminine for a man; yet he also brought to the screen the alluring, savage lover who embodied women's darker, forbidden sexual fantasies.In tandem, Leider explores notions of the outsider in American culture as represented by Valentino's experience as an immigrant who became a celebrity. As the silver screen's first dark-skinned romantic hero, Valentino helped to redefine and broaden American masculine ideals, ultimately coming to represent a graceful masculinity that trumped the deeply ingrained status quo of how a man could look and act.

    But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer.His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches.Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

    Dangerous Men takes a close look at the images of manhood during this pre-Code era, which coincided with an interesting time for men-the culmination of a generation-long transformation in the masculine ideal. By the late twenties, the tumult of a new century had made the nineteenth century's notion of the ideal man seem like a repressed stuffed shirt, a deluded optimist. The smiling, confident hero of just a few years before fell out of favor, and the new heroes who emerged were gangsters, opportunists, sleazy businessmen, shifty lawyers, shell-shocked soldiers-men whose existence threatened the status quo. In this book, LaSalle highlights such household names as James Cagney, Clark Gable, Edward G. Robinson, Maurice Chevalier, Spencer Tracy, and Gary Cooper, along with lesser-known ones such as Richard Barthelmess, Lee Tracy, Robert Montgomery, and the magnificent Warren William. Together they represent a vision of manhood more exuberant and contentious-and more humane-than anything that has followed on the American screen.

    When they began living together, she was 25; he was 58. Three years later, they married, but within a year and a half, she left him, amidst reports of loud arguments and spanking episodes. Their divorce, finalized in 1968, was a major news splash even in that pre-TMZ, pre-internet era. Grant died in 1986, but Cannon has continued to wrestle with the details, the rights, and the wrongs of their relationship. Dear Cary is a memoir that celebrates and scrutinizes the great love of her life.

    Lincoln, The Lady Eve, 12 Angry Men, On Golden Pond—helped define "American" in the twentieth century. He worked with movie masters from Ford and Sturges to Hitchcock and Leone. He was a Broadway legend. He fought in World War II and was loved the world over.Yet much of his life was rage and struggle. Why did Fonda marry five times—tempestuously to actress Margaret Sullavan, tragically to heiress Frances Brokaw, mother of Jane and Peter? Was he a man of integrity, worthy of the heroes he played, or the harsh father his children describe, the iceman who went onstage hours after his wife killed herself? Why did suicide shadow his life and art? What memories troubled him so?McKinney's Fonda is dark, complex, fascinating, and a product of glamour and acclaim, early losses and Midwestern demons—a man haunted by what he'd seen, and by who he was.

    Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Now in its tenth anniversary year, The Room is an international phenomenon to rival The Rocky Horror Picture Show. Thousands of fans wait in line for hours to attend screenings complete with costumes, audience rituals, merchandising, and thousands of plastic spoons.Readers need not have seen The Room to appreciate its costar Greg Sestero’s account of how Tommy Wiseau defied every law of artistry, business, and interpersonal relationships to achieve the dream only he could love. While it does unravel mysteries for fans, The Disaster Artist is more than just an hilarious story about cinematic hubris: It is ultimately a surprisingly inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of a supremely enigmatic man who will capture your heart.

    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.

    Travel with him as he chaperones three out-of-control child actors as they barnstorm Japan, almost drowns actress Catherine Keener in her first film role, and transforms a short story about Elvis Presley battling a four thousand year-old Egyptian mummy into a beloved cult classic film.Witness the incredible cast of characters he meets along the way from heavy metal god Ronnie James Dio to first-time filmmakers Quentin Tarantino and Roger Avary. Learn how breaking bread with genre icons Tobe Hooper, John Carpenter and Guillermo Del Toro leads to a major cable series and watch as he and zombie king George A. Romero together take over an unprepared national network television show with their tales of blood and horror.This memoir fits an entire film school education into a single book. It's loaded with behind-the-scenes stories: like setting his face on fire during the making of Phantasm, hearing Bruce Campbell's most important question before agreeing to star in Bubba Ho-tep, and crafting a horror thriller into a franchise phenomenon spanning four decades. Find out how Coscarelli managed to retain creative and financial control of his artistic works in an industry ruled by power-hungry predators, and all without going insane or bankrupt.True Indie will prove indispensable for fans of Coscarelli's movies, aspiring filmmakers, and anyone who loves a story of an underdog who prevails while not betraying what he believes.