4 comments about The Runaway Bride: Hollywood Romantic Comedy of the 1930s.

1. Ever since the Battelle Film Club's showing of Preston Sturges' The Palm Beach Story, I've been on a screwball kick. Screenplays, biographies, non-fiction, what-have-you about that lunatic genre of film greatly interest me. This book by Kendall isn't solely about screwball, but rather an overview of the larger film genre that it falls under, the romantic comedy. Sturges is only the last chapter here. The majority of director coverage goes to Frank Capra and Leo McCarey, and the book goes even more into the lives of the major actresses of the period, Barbara Stanwyck, Katherine Hepburn, Ginger Rogers, and Claudette Colbert, who the author asserts were co-creaters of the classic romantic comedy films. The argument goes like this: due to the depression and the unusual success of particular directors (men, and I use the term correctly in this case, who were able to fulfill the cathartic needs of the public going through this rough period), these directors were given extremely free reign. They used it to explore collaborations with their favorite subjects, these independent women. Movies before and after delegated women more to the supporting roles (with notable exceptions, but only as exceptions), but in these romantic comedies of the 30s the women were the lead and often the most sympathetic and fleshed-out characters.

   While the descriptions of the making of the movies was quite interesting, it is the concise biographies of the people involved--directors, actors, actresses, and writers--that help you understand this moment in cinema history. An excellent book on its subject.




2. Along with Marjorie Rosen's "Popcorn Venus" and Brendan French's "On the Verge of Revolt," this is one of three superb feminist film books published in the '70s and '80s. Witty, engaging, and intelligent without lapsing into jargon-studded academic verbiage or theoretical pretention.



3. This is an extremely well-thought out book that should be just as interesting to a film scholar as to the casual reader. Kendall's exploration of the feminist potential in thirties romantic comedy is very assured. Biographical criticism is coming back with a vengeance (in Literary circles anyway) and the author's focus on the relationship between the directors and their female stars makes this book an ideal companion to the more textually-oriented Stanley Cavell's "Pursuits of Happiness". She chooses great movies to discuss. I particularly like her focus on the Capra-Stanwyck relationship--and I envy her for having seen "Forbidden" & "Ladies of Leisure", which I can't find anywhere!



4. I found out about this book when researching Clara Bow. It really is terrific. I suggest you read it right away!

No comments about Circus Comes Home, The.

2 comments about The Soundies Book: A Revised and Expanded Guide.

1. If you love Soundies -- as I do -- this is the perfect book for you. A fun, lively, meticulously-researched volume packed with a ton of information you won`t find elsewhere. Perhaps someday soon these amazing little films -- which preserved the performances of many historic musical artists -- will receive an "official" release on DVD.



2. Although one might wish for additional information on the featured artists and entertainers (as well as the information on particular films), this is a very useful guide through a very interesting portion of american entertainment industry... It's a good start for a more serious study.
   
   The book gives listing of artists featured in the "soundies", list of titles and short but informative essay on this cinematic and cultural phenomenon...

1 comments about The Virtuoso (Regents Restoration Drama).

1. This book, out of print since the sixties, was impossible to find, until I tried Amazon, and it was worth the wait. Shadwell's comedy is an intense satire of the original Geographic Society founded in London. While I wouldn't recommend this to just anyone, those who enjoy a hefty dose of sarcasm and satirical comedy, and who don't mind reading works in the play format should find this to be a very entertaing piece.

2 comments about Marie Dressler: A Biography, with a Listing of Major Stage Performances, a Filmography and a Discography.

1. Louis B. Mayer once said that the three greatest actors who ever worked at Metro-Goldwyn-Mayer were Greta
   Garbo, Spencer Tracy and Marie Dressler. Beloved actress Marie Dressler (1868-1934) was my writing
   obsession for four years. How did this delightfully idiosyncratic woman overcome so many demons in
   herlifetime? How did she shape her epoch and how did it shape her? Known simply as "Marie" to millions of
   fans, she is a fascinating creature of American popular culture. She is most known today for her amazing
   popularity in early talkies such as MIN AND BILL (Academy Award, Best Actress, 1930/31), TUGBOAT
   ANNIE and DINNER AT EIGHT. In fact, the large, unlovely sixtysomething year old was the number one
   box-office attraction of the early Depression. Her earlier years were equally compelling. In the 1880s, she fled
   an abusive father by joining a horse drawn carriage pulling a third-rate theater company. Later she charmed
   Broadway and was the comic foil to legendary stage stars Lillian Russell, Eddie Foy and Weber & Fields. She
   co-starred with Charlie Chaplin in Mack Sennett's 1914 hit TILLIE'S PUNCTURED ROMANCE, the first
   feature length comedy every filmed. She was a passionate advocate of women's suffrage and the American
   participation in World War I. In 1919, she co-founded Actors Equity. Her career took a nosedive in the 1920s
   and she was broke and pitiable at the time of her rediscovery by the brilliant screenwriter Frances Marion. Her
   final makeover as warmly embraced mega-star remains one of Hollywood's great comeback stories.
   Researching the life of Marie Dressler took me to screening rooms, dusty archives and quiet libraries all over
   the United States and Canada. In addition to interviews with her surviving colleagues at MGM, I had moving
   conversations with Joseph Newman, assistant director on MIN AND BILL and DINNER AT EIGHT, and
   Grace Ruthrruff, the generous nurse who was at Marie's deathbed in 1934. It is my hope that this biography will
   help restore Marie Dressler's legacy as one of the twentieth century's great entertainers.



2. Ever since Marie Dressler knocked my socks off when I first saw DINNER AT EIGHT I have been frustrated that most biographical sketches of her life recycled the same tantalizing ten pages or so of information, and although Betty Lee's competing biography was welcome, it left as many questions as answers. This book finally does this fabulous star justice with comprehensive research on her now-obscured early life; loving, intelligent coverage of all her extant films; savvy, well-written documentation of her stage career; and endlessly perceptive reconstruction of what Dressler was like as human being. Catching Dressler in a rare showing of her films EMMA and TUGBOAT ANNIE in San Francisco some years back and espying a notice that this biography was being written, I spent years anticipating it, and was never disappointed in the slightest. Truly a bravura performance -- Dressler lives again. But WHEN will more of her work be released on video?

5 comments about Hirschfeld On Line.

1. "OVER 400 HIRSCHFELD DRAWINGS AND PHOTOGRAPHS MANY NEVER BEFORE COLLECTED
   Essays by Whoopi Goldberg, Arthur Miller, Mel Gussow, Kurt Vonnegut, Grace Mirabella, Louise Kerz Hirschfeld, and Nina!
   
   Commentary by Hirschfeld Throughout.
   [from the book of the back cover of the jacket]



2. What a joy of a book. Not just the great grafics but very interestng information about the Great Hirschfeld



3. Here is the indispensible Hirschfeld book - a must for any fan of his work, or of line in general. From his earliest pieces, all the way through his long career with New York theatre, his work is showcased - and done so through his eyes. Each piece is described by this great artist - his inspirations, methods, and thoughts. I cannot imagine a better way to present his wonderful drawings, and I am so very, very thankful that this collection was printed before his death. Although, yes, the work would show just as beautifully without, his commentary alongside each piece just opens up an entirely new viewpoint. This is a truly timeless book, and I highly recommend it.



4. Al Hirschfeld rose above titles like "cartoonist" and "illustrator", and every other tag specifically applied to visual artists who inject design and humor into their work. His intelligent blend of the caricaturist's eye and the designer's sense of the beauty in flat forms add up to an entirely unique contribution to twentieth century popular culture- and a highly influential one. His recent passing at age 99 marks the end of the century that he witnessed and commented upon so wittily and so stylishly. His legions of admirers (and imitators) will be well served by this 1999 book, assembled by the artist himself, with an excellent selection from his career, his invaluable commentary, and a fairly satisying selection of his amazing (and less celebrated) color work. The reproductions are fine here, and the volume is designed and presented well. It can only be hoped that more comprehensive releases and reissues of earlier books are in the near future.



5. I really enjoyed looking through this book. I am absolutely in love with theater and I love seeing how he depicts all of my favorite shows and actors. He's been through the "Golden Age" of theater and has also done so much work for modern entertainment. I also have tons of fun looking for all the hidden "Nina"s. Just in case you might not know what I'm talking about, let me explain. After his daughter was born, Hirschfield began hiding her name in his drawings. The number by his "signiture" indicates the number of "Nina"s in the drawing. "Nina" is also written all in caps. Because of this, this book is not going to be just some ordinary coffee table book that only his fans might check out. It could also be a great deal of amusement for those who like to play the kind of "Where's Waldo" games.

5 comments about The Complete Films Of John Wayne (Film Library).

1. I ordered this book afteer seeing it in Williams, Arizona. My husband is a great fan of John Wayne and the story and pictures were so enjoyable. I find him looking at it all the time.



2. One of the best books on John Wayne films that I have ever
   seen. I already own a softback copy and intend on purchasing
   a hardback copy. I would recommend this to any serious John
   Wayne Collector. It gives you a complete history of all the
   films with a list of actors and a short bio of the film with
   some pictures.



3. Aside from the illustrations, I don't find much to recommend this book. There are no commentaries about the making of Wayne's films, no discussion of Wayne's working methods, no critical analysis, and nothing about the films' financial impact in the theaters. No character names are included in the cast lists, so they are basically useless in finding out who played who. Much of the information is inacturate. In the introduction the authors state that in his early days Wayne appeared in several Ham Hamilton comedies, but no such films appear in the main body of the book (in fact, I've never heard of a screen comedian named Ham Hamilton, although there was an animator by that name working for Walt Disney at the time). The plot synopis to many of the films are incorrect, listing wrong character names and describing incidents that don't happen in the film. And I'm still trying to figure out why Ward Bond is listed twice in the cast list of DAKOTA. There's a really great blooper in the write-up to CHISUM: The authors state that the true-life characters of Pat Garrett and Billy the Kid are included in the story and that Garrett is gunned down by Billy! Say what? (No, this doesn't actually occur in the film.) Oh, yes, if this book is the "complete" films of John Wayne, then why isn't COLLEGE COACH (1933) included?

   My final verdict: Skip this book and seek out a copy of Allen Eyles' far superior (and, unfortunately, now out-of-print) book JOHN WAYNE AND THE MOVIES (re-issued as simply JOHN WAYNE).




4. If you are looking for John Wayne films this is the book to have. It tells what the film is about, who also starred in and what year it was made. It also has plenty of photos to help you recognize what movie it is and if it is the one you are looking for. The book has some interesting facts about some of the movies.



5. The real testimony to the value of a resource is whether it occupies eternal space on your shelf, gathering dust, or if it becomes so worn out that it bears replacement. I have dogearred, destroyed, or otherwise "used up" two complete paperback copies of TCFOJW over the past twelve years since it first appeared. It was not until the last replacement that I finally relinquished and went to a hardback copy. This book is an indespensable (if not exhaustive) resource for any serious John Wayne film buff. My only complaints (and, subsequently, suggestions for future revisions) are that the cast and tech lists are not complete; and that Wayne's appearences on radio and television are not documented. Another helpful feature would be to show which films are available in video and letterbox formats. You need this book

1 comments about Drive-In Dream Girls: A Galaxy of B-Movie Starlets of the Sixties.

1. This is a companion piece to Tom Lisanti's excellent 2001 book Fantasy Femmes. While that book dealt with '60s starlets who appeared in beach, biker, Elvis, delinquent youth, and horror films, this book concentrates a bit more on ladies who graced the beach and Elvis films (with no repeats). For me, a huge admirer of the beach films, that makes for an even more enjoyable read than the first book. Such Beach Party staples as Donna Loren and Luree Holmes are interviewed in depth, while Patti Chandler, Susan Hart, Valora Noland, and my absolute favorite, the Bardot-like Mary Hughes are also profiled.

   Like Fantasy Femmes, Drive-In Dream Girls interviewed 20 of the '60s most delightful gals. Those included here are:
   Sue Caey (The Beach Girls and the Monster, Catalina Caper); Andrea Dromm (Come Spy With Me, Hit The Surf); Gail Gilmore (Girls On The Beach, Harum Scarum); Laurel Goodwin (Girls! Girls! Girls!); Sharyn Hillyer (A Guide For The Married Man); Luree Holmes (Beach Party series, Ski Party); Suzie Kaye (Clambake, It's A Bikini World); Sue Ann Langdon (Roustabout, Frankie & Johnny); Donna Loren (Beach Party series, Sergeant Deadhead); Vitina Marcus (The Lost World, the Green Lady on Lost In Space); Arlene Martel (Angels From Hell); Marlyn Mason (The Trouble With Girls); Quinn O'Hara (Ghost In The Invisible Bikini, A Swingin' Summer); Melody Patterson (Wrangler Jane from tv's F-Troop; Cycle Savages); Cynthia Pepper (Kissin' Cousins); Hilarie Thompson (Maryjane, If It's Tuesday This Must Be Belgium); Darlene Tompkins (Beyond The Time Barrier, Blue Hawaii); Beverly Washburn (Spider Baby, Pit Stop); Carole Wells (The Lively Set); Lori Williams (Faster Pussycat Kill! Kill!, A Swingin' Summer).

   While Fantasy Femmes also profiled 12 '60s sweeties, Drive-In Dream Gals looks at an additional 30 favorites, all longer profiles than the first book. They are: Brenda Benet (Beach Ball, Harum Scarum); Diane Bond (Pajama Party, A Swingin' Summer); Cindy Carol (Gidget Goes To Rome, Dear Brigitte); Regina Carroll (Satan's Sadists, Angels' Wild Women); Patti Chandler (Beach Party series, Ski Party); Nancy Czar (WIld Guitar, Winter-a-Go-Go); Jackie DeShannon (C'mon Let's Live A Little, Surf Party); Jill Donohue (Winter A Go-Go, Nobody's Perfect); Joan Freeman (Roustabout, The Reluctant Astronaut); Susan Hart (Ride The Wild Surf, Dr. Goldfoot & the Bikini Machine); Anne Helm (Follow That Dream, The Magic Sword); Mary Hughes (Beach Party series, Ski Party); Mikki Jamison (Beach Ball, Ski Party); Candy Johnson (Beach Party series, Pajama Party); Marta Kristen (Judy from Lost In Space, Beach Blanket Bingo as the mermaid); Meredith MacRae (Bikini Beach, Billie Jo on Petticoat Junction); Dodie Marshall (Easy Come Easy Go, Spinout); Claudia Martin (For Those Who Think Young, Ghost In The Invisisble Bikini); Jenny Maxwell (Blue Hawaii, Take Her She's Mine); Mary Mitchel (A Swingin' Summer, Girls On The Beach); Laurie Mock (Hot Rods To Hell, Riot On Sunset Strip); Valora Noland (Beach Party, Muscle Beach Party); Angelique Pettyjohn (Hell's Belles, Clambake); Pat Priest (Marilyn on The Munsters, Easy Come Easy Go); Juliet Prowse (G.I. Blues, Who Killed Teddy Bear?); Bobbi Shaw (How To Stuff A Wild Bikini, Pajama Party); Ulla Stromstedt (tv's Flipper, Catalina Caper); Wende Wagner (Out Of Sight, tv's Green Hornet); Debbie Watson (Cool Ones, Tammy and the Millionaire); Venita Wolf (Catalina Caper).

   As I mentioned in my review of Fantasy Femmes, most of these lovely ladies had their careers end by the time they reached 30. A lot of that had to do with getting married, having kids, and being expected by society to concentrate on raising their family. Another key reason was the end of the studio contract system by the late '60s. Most of the gals profiled here were contract players at one time or another. With no studio to support them, they often faded away, leaving us to savor their all too brief careers and wishing we had gotten to see them grow in their work.

2 comments about The Birds (Dover Thrift Editions).

1. The problem with "The Birds" ("Ornithes") is that for once Aristophanes does not seem to be attacking some specific abuse in Athens. Still, we suspect that even this little fantasy is not simply escapist entertainment. Certainly there are those who see it as a political satire about the imperialistic dreams that resulted in the disastrous invasion of Sicily (which happened the year before his play was produced in 414 B.C.). Then again, this could just be Aristophanes bemoaning the decline of Athens.

   Pisthetaerus ("Trusting") and Euelpides ("Hopeful") have grown tired of life in Athens and decide to build a utopia in the sky with the help of the birds, which they will name Necphelococcygia (which translates roughly as "Cloud Cuckoo Land"). Pisthetaerus and his feathered friends have to fight off those unworthy humans, malefactors and public nuisances all, who try and join their utopia. Then there are the gods, who come to make some sort of agreement with the new city because they have created a bottleneck for sacrifices coming from earth.

   Because it is a more general satire, "The Birds" tends to work better with younger audiences than most comedies by Aristophanes. Besides, the chorus of birds lends itself to fantastic costumes, which is always a plus with young theater goers. In studying any of the Greek plays that remain it is important to I have always maintained that in studying Greek plays you want to know the dramatic conventions of these plays like the distinction between episodes and stasimons (scenes and songs), the "agon" (a formal debate on the crucial issue of the play), and the "parabasis" (in which the Chorus partially abandons its dramatic role and addresses the audience directly). Understanding these really enhances your enjoyment of the play.




2. Or rather, you can give an Athenian wings but he won't become a gentle agrarian bird rather, he'll rouse the citizenship, attack the Gods, and turn on you at the last possible moment. While some literary critics tout this as Aristophanes' most unfathomable work, well, I just think they're being silly. Maybe that's my own lack of education speaking, but I think The Birds a pretty obvious, as well as bitingly funny, commentary on humans, or men, or Athenians (all of these concepts probably being more or less the same to Aristophanes)as hopelessly political and power-hungry beings. One thing I love about this, and, I suppose, all of the Greek dramas, is that they are ultimately very malleable and applicable to my (our?) modern experience. (With a certain ammount of difficulty) you can lead a 21st Century North American to social conciousness but they're still gonna want and have the economic buying power to get, cheap Nikes. Cynical? Yes. Scathing? Yes. Real? You betcha. Sure we've got indoor plumbing, but our cultural context is back in the golden age. Lucky we've still got dudes like Aristophanes to give us a clue as to how to slog through it all.

5 comments about Jerry Seinfeld, the Entire Domain: The Entire Domain.

1. This is not so much an autobiography on Jerry, but more on the Seinfeld show. Everyone from Jerry, Larry David as well as the other cast member's backgrounds are included as well as how the show was pitched to NBC and the hurdles that had to be overcome before it was a success.

   There are a few colour photographs in the middle as well as an index at the back. Each year of the show has a commentary of what happened both on the show and behind the scenes and how the fans reacted. Also what was going on in the star's lives at the time. A summary of each episode, who was in it, directed it and so on is also in the back of the book. Also talks about his previous book Sein Language and CD Telling You for the Last Time.

   This is a must for anyone who enjoyed one of the funniest and best shows ever made.




2. Books about the show Seinfeld and Jerry Seinfeld have become something of a major industry in the United States since the show leap-frogged from it's cult status into a bigtime ratings hit. A lot of these books recounted episodes, offered bios of the actors and had lots of information about Seinfeld's private life. What was MISSING? A book that had a lot of this information but also put it into a comedic context -- into the context of who Jerry Seinfeld was, who he is and how and why his series had such innovative humor...humor that would define a generation. This book truly explains it. It's clear that Seinfeld and his collaborator Larry David had a concept for the anti-sitcom sitcom. They were willing for it never to be aired, rather than compromise on it. They did add cast members if the network wanted...but there was no "hugging" and topics were unusual and even the comic payoffs were different than on other shows. They weren't trying to be cutting edge, they were trying to execute their creative idea with integrity. They truly didn't compromise and that's why the series remains so unusual and consistently funny to this day. Stylistically, this is a good sized book but a very quick read due to the easy writing style. Quotes are used very skillully throughout. Of all the books I've read on Jerry Seinfeld and the show, this is the best...because it explains why this show is among television comedy's best.



3. This book allocated sufficient chapters to cover issues that we needed & wanted to know about Seinfeld, the person & Seinfeld, the show. It's interesting to read about the backgrounds & humble beginnings of the 'family' members of Seinfeld mainly Larry David, Michael Richards, Jason Alexander, Julia Louis Dreyfus. I was most interested to read how the team came up with the storylines for a show about nothing, of how they came out with characters such as George, Kramer, & Elaine (life imitated art, literally). We also read about how desperate NBC was to retain the Seinfeld team for more seasons towards the end, the pay rise negotations which sparked other actors & actresses from other NBC projects to follow suits, Jerry's romance with Shosanna, & so forth. The ending of the book stated that whilst Jerry was the king of his domain, his life remained a void...which would stay corrected considering that he has since married. Not to be missed. An exciting & user friendly read.



4. David Wild did an excelent job on this book. He gives a review of every single episode of Seinfeld up to Feb. 26, the episode where elaine thinks she is dating an African man, making it an interacial relationship. The book also has alot of trivia on the cast of characters. The book is covered with hillarious pictures of the episodes. It also has quotes from other comedians on Seinfeld like Dr. Katz and Jeff Foxworth. Excelent, excelent book.



5. Jerry Seinfeld: the Entire Domain (1998 Birch Lane Press, written by Kathleen Tracy) Perhaps the best biography to date, if in part because it's the most recent and even covers some post-TV show stuff. More oriented towards Jerry's professional life than his personal history, it almost seems at times to be a biography of the career, not the person. But there is plenty of info on Jerry's private life, his loves, his ambitions, etc. But the TV show is the reason to read this book. Tracy takes us through the entire 9 year run from conception to Finale, with lots of FAQworthy tidbits and includes an episode guide at the end. There's also a 12-page color photo section included as an added bonus.