One of the most exquisite and enigmatic beauties of her generation, she intrigued the public for decades. Now, in this stunning biography, new light is shed, at last, on the mystery that was... OONA The daughter of Nobel Prize-winning playwright Eugene O'Neill, Oona mixed easily among Manhattan's cafe society and was named New American Debutante of the 1941-42 social season. But at just eighteen she shocked the world by running off to Hollywood and marrying a man thirty-six years her senior: the brilliant and controversial Charlie Chaplin. From the child who yearned for her absent father's love, to the woman who became the mainstay in an extraordinary marriage; from the dedicated wife and devoted mother of eight to the devastated widow, this book reveals a spirit as fascinating as the geniuses who surrounded her. Extensively researched, Oona's story is rich with exciting insights into her successful union, her world of celebrity--Hollywood in its heyday--and the allure and intellect that made her a heroine in her own right.

    Though he died at the young age of fifty-seven more than half a century ago, his influence among actors and filmmakers, and his enduring appeal for film lovers around the world, remains as strong as ever. What is it about Bogart, with his unconventional looks and noticeable speech impediment, that has captured our collective imagination for so long? In this definitive biography, Stefan Kanfer answers that question, along the way illuminating the private man Bogart was and shining the spotlight on some of the greatest performances ever captured on celluloid.Bogart fell into show business almost by accident and worked for nearly twenty years before becoming the star we know today. Born into a life of wealth and privilege in turn-of-the-century New York, Bogart was a troublemaker throughout his youth, getting kicked out of prep school and running away to join the navy at the age of nineteen. After a short, undistinguished stint at sea, Bogart spent his early twenties drifting aimlessly from one ill-fitting career to another, until, through a childhood friend, he got his first theater job. Working first as a stagehand and then, reluctantly, as a bit-part player, Bogart cut his teeth in one forgettable role after another. But it was here he began to develop a work ethic; deciding that there were “two kinds of men: professionals and bums,” Bogart, for the first time in his life, wanted to be the former.After the Crash of ’29, Bogart headed west to try his luck in Hollywood. That luck was scarce, and he slogged through more than thirty B-movie roles before his drinking buddy John Huston wrote him a part that would change everything; with High Sierra, Bogart finally broke through at the age of forty—being a pro had paid off. What followed was a string of movies we have come to know as the most beloved classics of American cinema: The Maltese Falcon, Casablanca, The Big Sleep, The African Queen . . . the list goes on and on. Kanfer appraises each of the films with an unfailing critical eye, weaving in lively accounts of behind-the-scenes fun and friendships, including, of course, the great love story of Bogart and Bacall. What emerges in these pages is the portrait of a great Hollywood life, and the final word on why there can only ever be one Bogie.

    The issues it tackled, from the failures of the drug war and criminal justice system to systemic bias in law enforcement and other social institutions, have become more urgent and central to the national conversation. The show's actors, such as Idris Elba, Dominic West, and Michael B. Jordan, have gone on to become major stars. Its creators and writers, including David Simon and Richard Price, have developed dedicated cult followings of their own. Universities use the show to teach everything from film theory to criminal justice to sociology. Politicians and activists reference it when discussing policy. When critics compile lists of the Greatest TV Shows of All Time, The Wire routinely takes the top spot. It is arguably one of the great works of art America has produced in the 20th century.But while there has been a great deal of critical analysis of the show and its themes, until now there has never been a definitive, behind-the-scenes take on how it came to be made. With unparalleled access to all the key actors and writers involved in its creation, Jonathan Abrams tells the astonishing, compelling, and complete account of The Wire, from its inception and creation through its end and powerful legacy.

    Sinister and sexy, it forged a new icon: the tough, independent, take-no-guff dame. Determined, desirable, dangerous when cornered, she could handle trouble -- or deal out some of her own.If you thought these women were something special onscreen, wait till you meet the genuine articles. In "Dark City Dames, acclaimed film historian Eddie Muller profiles six women who made a lasting impression in this cinematic terrain -- from veteran "bad girls" Audrey Totter, Marie Windsor, and Jane Greer to unexpected genre fixtures Evelyn Keyes, Coleen Gray, and Ann Savage. The book surveys the lives of these formidable women during the height of their careers circa 1950, as they balanced love and career, struggled against typecasting, and sought fulfillment in a ruthless business. Their personal stories -- teeming with larger-than-life characters like Howard Hughes, L.B. Mayer, Robert Mitchum, Otto Preminger, and John Huston -- offer an illuminating counterpoint to their movies, such as "Out of the Past, Detour, The Lady in the Lake, and "The Killing. Then "Dark City Dames revisits each one of these women today, fifty years on, to witness their hard-won -- and triumphant -- survival. On every page their own voices ring through, reflecting on their lives with as much passion, pain, intelligence, energy, and humor as any movie script."Dark City Dames re-creates the excitement and glamour of a group of gifted performers who lived out their youthful fantasies -- and, along the way, remade the image of the American woman.

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

    A sympathetic biography of the 10-time Academy Award nominated Hollywood legend, written by Stine with "running commentary" by Davis inserted throughout the text in red ink. "Mother Goddam" is apparently a nickname that Davis called herself.

    Provocative. Shocking. Call them what you will...but don't call them open and shut. Did Lizzie Borden murder her own father and stepmother? Was Jack the Ripper actually the Duke of Clarence? Who killed JonBenet Ramsey?America's foremost expert on criminal profiling and twenty-five-year FBI veteran John Douglas, along with author and filmmaker Mark Olshaker, explores those tantalizing questions and more in this mesmerizing work of detection. With uniquely gripping analysis, the authors reexamine and reinterpret the accepted facts, evidence, and victimology of the most notorious murder cases in the history of crime, including the Lindbergh baby kidnapping, the Zodiac Killer, and the Whitechapel murders.Utilizing techniques developed by Douglas himself, they give detailed profiles and reveal chief suspects in pursuit of what really happened in each case.The Cases That Haunt Us not only offers convincing and controversial conclusions, it deconstructs the evidence and widely held beliefs surrounding each case and rebuilds them -- with fascinating, surprising, and haunting results.

    But Olivier was as elusive in life as he was on the stage, a bold and practiced pretender who changed names, altered his identity, and defied characterization. In this mesmerizing book, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier’s private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure. Beginning with the death of his mother at age eleven, Olivier was defined throughout his life by a passionate devotion to the women closest to him. Acting and sex were for him inseparable: through famous romances with Vivien Leigh and Joan Plowright and countless trysts with lesser-known mistresses, these relationships were constantly entangled with his stage work, each feeding the other and driving Olivier to greater heights. And the heights were great: at every step he was surrounded by the foremost celebrities of the time, on both sides of the Atlantic—Richard Burton, Greta Garbo, William Wyler, Katharine Hepburn. The list is as long as it is dazzling.Here is the first comprehensive account of the man whose autobiography, written late in his life, told only a small part of the story. In Olivier, Coleman uncovers the origins of Olivier’s genius and reveals the methods of the century’s most fascinating performer.

    Pale

    Features interviews with all the original cast members and a comprehensive episode guide. Photos.

    This book was published about a year after her death of cancer in 1970.

    To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released.

    In that role he manifestly shaped the conception and writing, as well as the presentation, of many of the period's iconic works, reshaping the values of the stage and bringing a new realism and intensity of performance to the screen. His various achievements include the original Broadway productions of The Skin of Our Teeth, All My Sons, and Death of a Salesman and such Hollywood films as Gentleman's Agreement, Brando's Streetcar, and Splendor in the Grass.A non–traditional biography, this book combines social and political history with a sharp critical evaluation of Kazan's work. Schickel presents Kazan as a figure of his culture and time, much in the same way that David Remnick treated Muhammed Ali and the larger picture of American history in King of the World. History's view of Kazan is now colored by a single political act –– his naming names in testimony before the House Un–American Activities Committee. By putting the actions, work, and words of this towering figure in context, Schickel not only defends his hero and his hero's work; he also helps the reader move beyond Kazan's most infamous moment to appreciate the larger American story in which he played such a pivotal role. The result is an intelligent and lively biography and social history.

    Bill Bass. A pioneer in forensic anthropology, Bass created the world's first laboratory dedicated to the study of human decomposition—three acres of land on a hillside in Tennessee where human bodies are left to the elements. His research at "the Body Farm" has revolutionized forensic science, helping police crack cold cases and pinpoint time of death. But during a forensics career that spans half a century, Bass and his work have ranged far beyond the gates of the Body Farm. In this riveting book, the bone sleuth explores the rise of modern forensic science, using fascinating cases from his career to take readers into the real world of C.S.I.Some of Bill Bass's cases rely on the simplest of tools and techniques, such as reassembling—from battered torsos and a stack of severed limbs—eleven people hurled skyward by an explosion at an illegal fireworks factory. Other cases hinge on sophisticated techniques Bass could not have imagined when he began his career: harnessing scanning electron microscopy to detect trace elements in knife wounds; and extracting DNA from a long-buried corpse, only to find that the female murder victim may have been mistakenly identified a quarter-century before.In Beyond the Body Farm, readers will follow Bass as he explores the depths of an East Tennessee lake with a twenty-first-century sonar system, in a quest for an airplane that disappeared with two people on board thirty-five years ago; see Bass exhume fifties pop star "the Big Bopper" to determine what injuries he suffered in the plane crash that killed three rock and roll legends on "the day the music died"; and join Bass as he works to decipher an ancient Persian death scene nearly three thousand years old. Witty and engaging, Bass dissects the methods used by homicide investigators every day, leading readers on an extraordinary journey into the high-tech science that it takes to crack a case.

    Taking what he knew from vaudeville--ingenuity, athleticism, audacity and wit--Keaton applied his hand to the new medium of film, proving himself a prodigious acrobat and brilliant writer, gagman, director and actor in more than 100 films. Between 1920 and 1929, he rivaled Fatty Arbuckle, Harold Lloyd, and even Charlie Chaplin as the master of silent comedy by writing, directing, and starring in more than 30 films. The book celebrates Keaton in his prime--as an antic genius, equal parts auteur, innovator, prankster and daredevil--while also revealing the pressures in his personal and professional life that led to a collapse into drunkenness and despair before his triumphant second act as a television pioneer and Hollywood player in everything from beach movies to Beckett. McPherson describes the life of Keaton--in front of the camera and behind the scenes--with the kind of exuberance and narrative energy displayed by the shrewd, madcap films themselves.