Jeanine Basinger gives us an immensely entertaining look into the “star machine,” examining how, at the height of the studio system, from the 1930s to the 1950s, the studios worked to manufacture star actors and actresses. With revelatory insights and delightful asides, she shows us how the machine worked when it worked, how it failed when it didn’t, and how irrelevant it could sometimes be. She gives us the “human factor,” case studies focusing on big stars groomed into the system: the “awesomely beautiful” (and disillusioned) Tyrone Power; the seductive, disobedient Lana Turner; and a dazzling cast of others—Loretta Young, Errol Flynn, Irene Dunne, Deanna Durbin. She anatomizes their careers, showing how their fame happened, and what happened to them as a result. (Both Lana Turner and Errol Flynn, for instance, were involved in notorious court cases.) In her trenchantly observed conclusion, she explains what has become of the star machine and why the studios’ practice of “making” stars is no longer relevant. Deeply engrossing, full of energy, wit, and wisdom, The Star Machine is destined to become an invaluable part of the film canon.

    The book traces Gable's life from its humble, hard-scrabble beginnings in Ohio, to his hard-work and determined efforts to achieve success on Broadway, to his meteoric rise to stardom in Hollywood, his time spent in the Army Air Force in Europe, and his many loves, including Carole Lombard who was tragically killed in an airplane crash in 1942. The King paints an intimate, contemporary portrait of Clark Gable the man, both on and off camera, and ends with Gable's work on his last film, The Misfits, and his subsequent decline in health and his death on November 16, 1960, at age 59.

    A paperback guide to 100 of the funniest bad movies ever made, this book covers a wide range of hopeless Hollywood product, and also including rare Razzie ceremony photos and a complete history of everything ever nominated for Tinsel Town's Tackiest Trophy.

    The role of Jenny in "Love Story" brought Ali MacGraw stardom. She married producer Bob Evans and bore him a son, but after two years she left Evans for Steve McQueen. McQueen was a troubled man who longed to live simply, almost reclusively, with his wife barefoot and pregnant. At his insistence MacGraw gave up acting at the peak of her fame, making a decision from which her career never recovered. When the tumultuous marriage ended after six years she was not much in demand, and what acting she did, for example in television's "Dynasty", was ridiculed - justly, she felt. A lifelong pattern of destructive love affairs continued and her depression was abetted by unacknowledged alcoholism. When a friend persuaded her in 1986 to go to the Betty Ford Clinic, MacGraw felt she needed only a "tune-up". What she found instead was life-saving help. Now Ali MacGraw takes stock of her life, revising the mythical childhood she once invented for a "Time" cover story and describing the heady early years in New York, her attempted transformation by the Hollywood machine and the realities she faces today as a woman who hopes her greatest adventures are yet to come. ** Publisher's Weekly In this candid, courageous autobiography, MacGraw discusses her artistic, emotionally cold parents, her schooling at Wellesley College and her stint as Diana Vreeland's ``girl'' at Harper's Bazaar . The focus, however, is on her struggle with addiction--alcoholism and ``male dependency''--that grew as her acting career and personal life sputtered. A sudden star in her first major role, in Goodbye, Columbus in 1969, and the following year with the even more popular Love Story. Library Journal - Thomas Wiener McGraw now tells the whole sad story of her life. In what could be appropriately filed under ``self-help,'' she writes extensively about coming to grips with her addictions to alcohol and men. This is certainly not a series of pretty pictures. Entertainment Weekly - Margot Miflin This competently written memoir hinges on McGraw’s discovery that women can be addicted to men. Chicago Tribune - Jon Anderson "Love Story"; the subject of a Time cover story, "The Return to Romance"; and the wife, in turn, of two powerful Hollywood figures: Robert Evans, head of production at Paramount, and actor Steve McQueen....McGraw reveals that a lot more action, not all of it happy, was going on off- stage. Los Angeles Times - Constance Casey "Moving Pictures" demonstrates that underneath all that shallow stuff, lies "an ordinary human heart."

    Taking Dennis Hopper's words, "That's what it's all about man" to heart, they abandoned their comfortable upper middle class life and gave Illeana a childhood filled with hippies, goats, free spirits, and free love. Illeana writes, "Since it was all out of my control, I began to think of my life as a movie, with a Dennis Hopper-like father at the center of it."I Blame Dennis Hopper is a testament to the power of art and the tenacity of passion. It is a rollicking, funny, at times tender exploration of the way movies can change our lives. With crackling humor and a full heart, Douglas describes how a good Liza Minnelli impression helped her land her first gig and how Rudy Valley taught her the meaning of being a show biz trouper. From her first experience being on set with her grandfather and mentor-two-time Academy Award-winning actor Melvyn Douglas-to the moment she was discovered by Martin Scorsese for her blood-curdling scream and cast in her first film, to starring in movies alongside Robert DeNiro, Nicole Kidman, and Ethan Hawke, to becoming an award winning writer, director and producer in her own right, I Blame Dennis Hopper is an irresistible love letter to movies and filmmaking. Writing from the perspective of the ultimate show business fan, Douglas packs each page with hilarious anecdotes, bizarre coincidences, and fateful meetings that seem, well, right out of a plot of a movie.I Blame Dennis Hopper is the story of one woman's experience in show business, but it is also a genuine reminder of why we all love the movies: for the glitz, the glamor, the sweat, passion, humor, and escape they offer us all.

    Of the scripts included here, Barton Fink--an intense look at the psychological ruin of a New York playwright trying to make it in 1940s Hollywood--is a masterful culmination of these themes.

    Jay Slater explains how the myth of the Haitian walking dead (zombies) merged with legends of third-world cannibalism to create such gruesome zombie cult films as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project.

    Its cast includes actors, writers, musicians and composers, producers and directors, racketeers and labor leaders, journalists and politicians in the turbulent decade from World War II to Korea.

    And why —Come hell or high waterThrough thick and through thinFor better and for worseBut not quite until death did we part —It was great fun. — K. H.

    Following its subject from the moody Oklahoma teenager to the Method-trained star to the eccentric recluse of his later years, Marlon Brando offers a penetrating look at the actor's evolving persona: the volcanic Stanley Kowalski in A Streetcar Named Desire, the sensitive rebel in The Wild Ones, the iconic Don Corleone in The Godfather. Bosworth probes Brando's alcoholic parents' influence on his acting, his decades of psychoanalysis, and his tumultuous personal relationships. Here, from rebellious unknown to reluctant idol to falling star, is the complex charismatic genius who changed the face of acting.

    At the height of his career, Sturges had not only won an Academy Award but was also one of the most highly paid executives in the country.The only account of his life in his own words, Preston Sturges by Preston Sturges unveils the source of his extraordinary creativity: a life that was every bit as antic and unconventional as his movies.

    Filmed on a shoestring budget after hours at a convenience store, it was crude (in technique and language), realistic and, above all, hilarious. The movie's nationwide success helped launch the indepedent film boom of the 1990s and catapulted its director, Kevin Smith, to full-fledged stardom. Smith's work is explored in AN ASKEW VIEW, the first ever study of his films. John Kenneth Muir examines all of Smith's movies. including MALLRATS, CHASING AMY, and the hugely controversial and variously interpreted DOGMA. Muir discusses Smith's themes and obsessions in depth: his New Jersey boosterism, the cast of characters that pop in and out of all of his films, and the references to STAR WARS and other icons of pop culture. AN ASKEW VIEW is a fascinating and detailed history of the art of this visionary filmmaker, New Jersey's favorite local-boy-makes-good since Bruce Springsteen.

    Noted film historian John Culhane tells the story behind the creation of Fantasia, using never-before-published material and a wealth of memorable illustrations, including actual frames from the classic film.

    My Own Private Idaho charts the pilgrimage of a narcoleptic hustler who is searching for his long-lost mother in a world absent of love.

    Although she made her name as a star of the silent screen, she found her calling as a gossip columnist, where she had the ear of the most powerful force in show business: the public. With a readership of 20,000,000 people, Hopper turned nobodies into stars, and brought stars to their knees. And in this sensational memoir, she tells all. In her career, Hopper crossed some of Hollywood’s biggest bold-faced names, from Joan Crawford and Bette Davis to Charlie Chaplin and Katherine Hepburn, and her feud with rival gossip columnist Louella Parsons became the stuff of legend. In The Whole Truth and Nothing But, we get Hedda’s side of the story—and what a story it is. Hedda Hopper is portrayed by Judy Davis in the Ryan Murphy TV series Feud.