But a mere day into her idyllic vacation, all hope of fun in the sun is dashed with a shocking discovery: the body of an unknown man on the driveway. A failed second homicide attempt hits even closer to home when Wendy’s fiancé barely survives poisoning. There’s no way to sugarcoat it—a murderer is on the prowl, and no one is above suspicion.Unsettled by the proximity of foul play, Wendy asks Erica to investigate. Erica is convinced that the near double-murder was no coincidence, so she accepts her friend’s request—with her skill, solving the mystery should be a piece of cake. But as she sifts through mounting evidence, one thing becomes clear: everyone had a reason for wanting both men dead. And as the plot thickens, it appears that Erica may have bitten off more than she can chew . . .

    Some of the country s finest theatre and film talents all at key stages in their careers participated in its creation, but the journey was anything but smooth. Among other things, it involved bumping off disco killers and talking gorillas, finding air-conditioned rooms for dead rats, persuading a respected actor to stop sulking and eat his meals, and resisting the temptation to introduce logic into a madcap script. In the end, it was worth it.Kundan Shah s Jaane Bhi Do Yaaro is now a byword for the sort of absurdist, satirical humour that Hindi cinema just hasn t seen enough of. This is the story of how it came to be despite incredible odds and what it might have been. Jai Arjun Singh s engaging take on the making of the film and its cult following is as entertaining as the film itself.

    Now, in West of Eden, she turns to Los Angeles, the city of her childhood. Stein vividly captures a mythic cast of characters: their ambitions and triumphs as well as their desolation and grief.   These stories illuminate the bold aspirations of five larger-than-life individuals and their families. West of Eden is a work of history both grand in scale and intimate in detail. At the center of each family is a dreamer who finds fortune and strife in Southern California: Edward Doheny, the Wisconsin-born oil tycoon whose corruption destroyed the reputation of a U.S. president and led to his own son’s violent death; Jack Warner, the son of Polish-Jewish immigrants, who together with his brothers founded one of the world’s most iconic film studios; Jane Garland, the troubled daughter of an aspiring actress who could never escape her mother’s schemes; Jennifer Jones, an actress from Oklahoma who won the Academy Award at twenty-five but struggled with despair amid her fame and glamour. Finally, Stein chronicles the ascent of her own father, Jules Stein, an eye doctor born in Indiana who transformed Hollywood with the creation of an unrivaled agency and studio.   In each chapter, Stein paints a portrait of an outsider who pins his or her hopes on the nascent power and promise of Los Angeles. Each individual’s unyielding intensity pushes loved ones, especially children, toward a perilous threshold. West of Eden depicts the city that has projected its own image of America onto the world, in all its idealism and paradox. As she did in Edie, Jean Stein weaves together the personal recollections of an array of individuals to create an astonishing tapestry of a place like no other.

    It is full of glamorous moments, heart-warming episodes, and exciting personalities.

    It’s also one of the only accounts; incredibly, there has never been an authoritative biography of Lee. Following a decade of research that included conducting more than one hundred interviews with Lee’s family, friends, business associates, and even the actress in whose bed Lee died, Polly has constructed a complex, humane portrait of the icon. Polly explores Lee’s early years as a child star in Hong Kong cinema; his actor father’s struggles with opium addiction and how that turned Bruce into a troublemaking teenager who was kicked out of high school and eventually sent to America to shape up; his beginnings as a martial arts teacher, eventually becoming personal instructor to movie stars like James Coburn and Steve McQueen; his struggles as an Asian-American actor in Hollywood and frustration seeing role after role he auditioned for go to a white actors in eye makeup; his eventual triumph as a leading man; his challenges juggling a sky-rocketing career with his duties as a father and husband; and his shocking end that to this day is still shrouded in mystery. Polly breaks down the myths surrounding Bruce Lee and argues that, contrary to popular belief, he was an ambitious actor who was obsessed with the martial arts—not a kung-fu guru who just so happened to make a couple of movies. This is an honest, revealing look at an impressive yet imperfect man whose personal story was even more entertaining and inspiring than any fictional role he played onscreen.

    From the isolated farmhouse of her childhood, to the series of houses her family occupied in small towns across Nebraska as her father pursued his dream of becoming a minister, to the equally small houses she lived in as a single mother and graduate student, houses have shaped her understanding of her place in the world and served as touchstones for a life marked by both constancy and endless cycles of change. On September 12, 2001, Randolph and her husband bought a dilapidated farmhouse on twenty acres outside Lincoln, Nebraska, and set about gutting and rebuilding the house themselves. They had nine months to complete the work. The project, undertaken at a time of national unrest and uncertainty, led Randolph to reflect on the houses of her past and the stages of her life that played out in each, both painful and joyful. As the couple struggles to bring the dilapidated house back to life, Randolph simultaneously traces the contours of a life deeply shaped by the Nebraska plains, where her family has lived for generations, and how those roots helped her find the strength to overcome devastating losses as a young adult. Weaving together strands of departures and arrivals, new houses and deep roots, cycles of change and the cycles of the seasons, Leaving the Pink House is a richly layered and compelling memoir of the meaning of home and family, and how they can never really leave us, even if we leave them.

    Allison; Cape Fear; The Longest Day; Farewell, My Lovely; and The Winds of War. Mitchum's powerful presence and simmering violence combined with hard-boiled humor and existential detachment to create a new style in movie acting: the screen's first hipster antihero-before Brando, James Dean, Elvis, or Eastwood-the inventor of big-screen cool.Robert Mitchum: "Baby, I Don't Care" is the first complete biography of Mitchum, and a book as big, colorful, and controversial as the star himself. Exhaustively researched, it makes use of thousands of rare documents from around the world and nearly two hundred in-depth interviews with Mitchum's family, friends, and associates (many going on record for the first time ever) ranging over his seventy-nine years of hard living. Written with great style, and vividly detailed, this is an intimate, comprehensive portrait of an amazing life, comic, tragic, daring, and outrageous.

    The book also features an exclusive foreword by rock legend Glenn Hughes (Black Sabbath, Deep Purple).

    Under extreme pressure on a catastrophic location shoot, Universal's 27 year-old prodigy crafted a thriller so effective that for many years Jaws was the highest-grossing film of all time. It was also instrumental in establishing the concepts of the event movie and the summer blockbuster. Jaws exerts an extraordinary power over audiences. Apparently simplistic and manipulative, it is a film that has divided critics into two broad camps: those who dismiss it as infantile and sensational - and those who see the shark as freighted with complex political and psychosexual meaning. Antonia Quirke, in an impressionistic response, argues that both interpretations obscure the film's success simply as a work of art. In Jaws Spielberg's ability to blend genres combined with his precocious technical skill to create a genuine masterpiece, which is underrated by many, including its director. Indeed, Quirke claims, this may be Spielberg's finest work.

    Now, for the first time, Mark and Jay take readers on a tour of their lifelong partnership in this unique memoir told in essays that share the secrets of their success, the joys and frustrations of intimate collaboration, and the lessons they've learned the hard way.From a childhood spent wielding an oversized home video camera in the suburbs of New Orleans to their shared years at the University of Texas in early-nineties Austin, and from the breakthrough short they made on a three-dollar budget to the night their feature film Baghead became the center of a Sundance bidding war, Mark and Jay tell the story of a bond that's resilient, affectionate, mutually empowering, and only mildly dysfunctional. They are brutally honest about how their closeness sabotaged their youthful romantic relationships, about the jealousy each felt when the other stole the spotlight as an actor (Mark in The League, Jay in Transparent), and about the challenges they faced on the set of their HBO series Togetherness--namely, too much togetherness.But Like Brothers is also a surprisingly practical road map to a rewarding creative partnership. Rather than split all their responsibilities fifty-fifty, the brothers learned to capitalize on each other's strengths. They're not afraid to call each other out, because they're also not afraid to compromise. Most relationships aren't--and frankly shouldn't be--as intense as Mark and Jay's, but their brand of trust, validation, and healthy disagreement has taken them far.Part coming-of-age memoir, part underdog story, and part insider account of succeeding in Hollywood on their own terms, Like Brothers is as openhearted and lovably offbeat as Mark and Jay themselves."Wright. Ringling. Jonas. I'm sure you could name a bunch of famous brother teams. They're all garbage compared to Mark and Jay. I can't wait for you to read this book."--from the foreword by Mindy Kaling

    Her ‘reel life’ histrionic performances held (and continue to hold) audiences/viewers entranced. Her talent was phenomenal, and she could literally glide through a movie, whatever be the role. She could convey an impressive array of emotions with her eloquent eyes and facial expressions without resorting to melodramatic contortions. Tragedy, romance, comedy, drama, and what have you – she could take everything in her stride, exquisitely and flawlessly, as convincingly proved by superhits such as Mahal, Tarana, Chalti Ka Naam Gaadi and the magnum opus, Mughal-e-Azam. All this she achieved despite a major heart disease, which assumed serious proportions as her career soared. This volume presents a fascinating panorama not only of the ‘reel life’ Madhubala but also of the ‘real life’ Madhubala, who was an extremely compassionate and caring human being, but lived in the shadow of her dominant father. The author recounts her captivating saga, right from her first film – Basant (1942), as a child star, up to the magnificent Mughal-e-Azam (1960) and beyond. Enthralling cameos from her masterpieces such as Mahal, Mr & Mrs 55 and Amar, are depicted in graphic detail. Also, all the drama involved in her love affair with Dilip Kumar, which culminated in intense acrimony, has been poignantly portrayed. The last few years of her life were spent in virtual solitude in spite of her being married to Kishore Kumar, and death, in a way, came as a release for her.

    He relates his story via flashbacks to a reporter visiting him on death row. Based on the original screenplay for the upcoming Universal Studios film, starring Kevin Spacey, Laura Linney, and Kate Winslet, set for release in December. Original.

    Few are so angelically androgynous and masculine in the same breath. From teen hearth-throb to an accomplished actor who has worked with art house directors such as Emir Kusturica, Terry Gilliam, Roman Polanski, Jim Jarmusch, and John Waters, Depp has built himself wildly successful and unconventional career. Movie Icons is a series of photo books that feature the most famous personalities in the history of cinema. These 192-page books are visual biographies of the stars.

    Fat, lonely, burning with fear and ambition, his childhood was an isolated one, scented with fish from his father's shop. Afraid to leave his bedroom, he would plan great voyages, using railway timetables to plot an exact imaginary route across Europe. So how did this fearful figure become the one of the most respected film directors of the twentieth century?As an adult, Hitch rigorously controlled the press's portrait of himself, drawing certain carefully selected childhood anecdotes into full focus and blurring all others out. In this quick-witted portrait, Ackroyd reveals something more: a lugubriously jolly man fond of practical jokes, who smashes a once-used tea cup every morning to remind himself of the frailty of life. Iconic film stars make cameo appearances, just as Hitch did in his own films. Grace Kelly, Carey Grant and James Stewart despair of his detached directing style, and, perhaps most famously of all, Tippi Hedren endures cuts and bruises from a real-life fearsome flock of birds.Alfred Hitchcock wrests the director's chair back from the master of control and discovers what lurks just out of sight, in the corner of the shot.

    Victoria Loustalot (author of This Is How You Say Goodbye) offers a fresh spin on what made Audrey Hepburn so popular on film and off, what she had to say about life and living it fully, and why we still have such a strong emotional connection with her. With seldom-seen photos and quotes from Audrey and those who loved her throughout, Living Like Audrey turns the spotlight on this remarkable woman's defining characteristics and contains lessons on how we all can be a little "more Audrey" in our daily lives.