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"George Stevens could do anything," said veteran Hollywood producer Pandro S. Berman, "break your heart or make you laugh." Winner of two Best Director Oscars-for A Place in the Sun (1951) and Giant (1956)-Stevens excelled in a range of genres, gave luster to some of Hollywood's brightest stars and was revered by his peers. Yet his work has been largely neglected by critics and scholars. This career retrospective highlights Stevens' achievments, particularly in his sweeping "American Dream" trilogy (A Place in the Sun, Shane (1953) and Giant). His recurrent themes and characteristic style reveal a progressive attitude towards women's experiences and highlight the continued relevance of his films today.
Patsy Rodenburg explores how we speak, what we speak and the impact of the spoken word. As one of the world's leading voice coaches, she describes practical ways to approach language, and uses Shakespeare, Romantic poetry, modern prose and a range of other texts to help each of us discover our own unique need for words. In Part One the author attacks the myth that there is only one correct way to speak by clearing away the blocks that can make language inaccessible. Part Two, a series of language and text exercises, connects the voice to the shape and quality of individual words and phrases. Drawing on the author's time spent coaching in the worlds of business and politics, this new edition reflects on how the way we use words has changed since the book was first published. It brings a renewed focus on the language of power - spoken in the worlds of politicians and company directors - which will give readers an insight into the potency of clear, direct communication. Finally, new language exercises provide readers with unmediated access to this new research, allowing them to practice and master the language and words that drive the modern world.
With 14 HBO specials, five Grammys, a critical Supreme Court victory over censorship and countless appearances on the international comedy circuit, George Carlin saw it all and made fun of most of it. Here, he spares no details describing his life and career, discussing his personal battle with substance abuse, his often turbulent relationships with the women in his life and the politics that informed his stand-up routines. From the highs to the lows, Last Words is told with the same brash, unblinking honesty that defined George Carlin's life as a comedian.
Barbara La Marr's (1896-1926) publicist once confessed: "There was no reason to lie about Barbara La Marr. Everything she said, everything she did was colored with news-value." When La Marr was sixteen, her older half-sister and a male companion reportedly kidnapped her, causing a sensation in the media. One year later, her behavior in Los Angeles nightclubs caused law enforcement to declare her "too beautiful" to be on her own in the city, and she was ordered to leave. When La Marr returned to Hollywood years later, her loveliness and raw talent caught the attention of producers and catapulted her to movie stardom. In the first full-length biography of the woman known as the "girl who was too beautiful," Sherri Snyder presents a complete portrait of one of the silent era's most infamous screen sirens. In five short years, La Marr appeared in twenty-six films, including The Prisoner of Zenda (1922), Trifling Women (1922), The Eternal City (1923), The Shooting of Dan McGrew (1924), and Thy Name Is Woman (1924). Yet by 1925 - finding herself beset by numerous scandals, several failed marriages, a hidden pregnancy, and personal prejudice based on her onscreen persona - she fell out of public favor. When she was diagnosed with a fatal lung condition, she continued to work, undeterred, until she collapsed on set. She died at the age of twenty-nine. Few stars have burned as brightly and as briefly as Barbara La Marr, and her extraordinary life story is one of tempestuous passions as well as perseverance in the face of adversity. Drawing on never-before-released diary entries, correspondence, and creative works, Snyder's biography offers a valuable perspective on her contributions to silent-era Hollywood and the cinematic arts.
From birth, Katharine Hepburn seemed destined to become a symbol of the modern woman on stage, on screen, and in the world. Fiercely competitive, private, and independent, Hepburn was one part Olympic athlete Babe Didrikson, one part Amelia Earhart, and two parts Greta Garbo. Although often paired with the greatest actors in Hollywood - Humphrey Bogart ("The African Queen"); Cary Grant ("Bringing Up Baby"), James Stewart ("The Philadelphia Story"), and Spencer Tracy ("Adam's Rib", "Woman of the Year") - Hepburn was able to carry her own films like "Summertime", "Little Women", and "Sylvia Scarlett" over a stage and screen career that spanned eight decades. Her home was never in Hollywood (where she won four Oscars) or New York but in Connecticut, where she died lamenting "I could have accomplished three times as much. I haven't realized my full potential." "The Movie Icon" series: People talk about Hollywood glamour, about studios that had more stars than there are in heaven, about actors who weren't actors but were icons. Other people talk about these things, TASCHEN shows you. "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. For each title, series editor Paul Duncan has painstaking selected approximately 150 high quality enigmatic and sumptuous portraits, colorful posters and lobby cards, rare film stills, and previously unpublished candid photos showing the stars as they really are. These images are accompanied by concise introductory essays by leading film writers; each book also includes a chronology, a filmography, and a bibliography, and is peppered with apposite quotes from the movies and from life.
Charlie Chaplin once said, "Life is a tragedy when seen in close-up, but a comedy in long shot." Chaplin released the first of his four autobiographies in 1916 when he was on top of the world. He had just signed to appear in films for Mutual Company for the massive sum of $670,000. Three years earlier, he was earning $150 per week. However, within weeks of its release, his autobiography was withdrawn by its publisher, and all copies were thought to have been destroyed due to accusations of "ghost-writing" and Chaplin being less than accurate with the truth of his life. Charlie Chaplin's Own Story covers Chaplin's earliest life through his first brushes with fame and depicts Chaplin as he wished to be seen in 1916. Its naivete and pseudo-Dickensian portrayal of Chaplin's childhood give us an invaluable glimpse into the psyche of the man behind "The Little Tramp." Honoring the 130th anniversary of Chaplin's birth, this unique edition is illustrated with more than 20 black-and-white photographs. Professor Harry M. Geduld provides a unique and authoritative introduction to Chaplin's earliest theatrical career, which Chaplin himself discussed only sporadically.
Scene 1: Harlean Carpenter comes to Hollywood.
Scene 2: Hollywood creates Jean Harlow.
Scene 3: Her legend lives forever.
At last, the story of how Hollywood shaped a myth and determined a young woman's reality. A town, a remarkable town, became the backdrop for one of Hollywood's most incredible stories, a life rife with glamour, pleasure, power, and--in the end--utter sorrow. Her story lives in the pages and breathtaking pictures of Harlow in Hollywood. When Jean Harlow became the Blonde Bombshell, it was all Hollywood's doing. She was the first big-screen sex symbol, the Platinum Blonde, the mold for every famous fair-haired superstar who would emulate her.
For years, Todd Snider has been one of the most beloved country-folk singers in the United States, compared to Bob Dylan, Tom Petty, John Prine, and dozens of others. He's become not only a new-century Dylan but a modern-day Will Rogers, an everyman whose intelligence, self-deprecation, experience, and sense of humor make him a uniquely American character. In live performance, Snider's monologues are cheered as much as his songs. But never before has he told the whole story. Running the gamut from personal memoir to shaggy-dog comedy to rueful memories of his troubles and triumphs with drugs and alcohol to sharp-eyed observations from years on the road, "I Never Met a Story I Didn't Like" is for fans of Snider's music, but also for fans of America itself: the broad, wild country that has produced figures of folk wisdom like Will Rogers, Mark Twain, Ambrose Bierce, Tonya Harding, Garrison Keillor, and more. There are storytellers and there are performers and there are stand-up comedians. And then there's Todd Snider, who is all three in one, and something else entirely.
Playing Shakespeare's Lovers examines Shakespeare's romantic characters from multiple perspectives. Contributing actors, directors, educators and scholars bring diverse and wide-ranging insights into the motives, context, history and challenges of performing Shakespeare's "infinite variety" of lovers. The volume begins with an introductory essay, followed by brief essays and interviews, on various characters within the world of Shakespeare's lovers.
He came to mainstream prominence as a machine more human than his creators in Blade Runner, terrified us as a hitchhiker bent on his own death and the death of anyone who got in his way in The Hitcher, and unforgettably portrayed a lonely king roaming the night as a wolf and pining for the love of a hawk during the day in Ladyhawke, Rutger Hauer has dazzled audiences for years with his creepy, inspiring, and villainous portrayals of everyone from a cold-blooded terrorist in Nighthawks to a blind martial arts master in Blind Fury, but his movie career was nothing compared to his real-life adventures of riding horses, sword fighting, and leaving home at fifteen to scrub decks on a freighter and explore the world. From poverty to working with a traveling theater troupe to his breakout European performance in Turkish Delight and working with legendary directors such as Paul Verhoeven (RoboCop and Basic Instinct) and Ridley Scott (Alien and Gladiator), Hauer has collected All Those Moments here.
"Mrs. Robinson, you're trying to seduce me. Aren't you?" These famous lines from The Graduate (1967) would forever link Anne Bancroft (1931 - 2005) to the groundbreaking film and confirm her status as a movie icon. Along with her portrayal of Annie Sullivan in the stage and film drama The Miracle Worker, this role was a highlight of a career that spanned a half-century and brought Bancroft an Oscar, two Tonys, and two Emmy awards. In the first biography to cover the entire scope of Bancroft's life and career, Douglass K. Daniel brings together interviews with dozens of her friends and colleagues, never-before-published family photos, and material from film and theater archives to present a portrait of an artist who raised the standards of acting for all those who followed. Daniel reveals how, from a young age, Bancroft was committed to challenging herself and strengthening her craft. Her talent (and good timing) led to a breakthrough role in Two for the Seesaw, which made her a Broadway star overnight. The role of Helen Keller's devoted teacher in the stage version of The Miracle Worker would follow, and Bancroft also starred in the movie adaption of the play, which earned her an Academy Award. She went on to appear in dozens of film, theater, and television productions, including several movies directed or produced by her husband, Mel Brooks. Anne Bancroft: A Life offers new insights into the life and career of a determined actress who left an indelible mark on the film industry while remaining true to her art.
Between 1995 and 1999, Patton Oswalt lived with an unshakable addiction. It wasn't drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton's life schoolbook, informing his notion of acting, writing, comedy, and relationships. Set in the nascent days of LA's alternative comedy scene, Silver Screen Fiendchronicles Oswalt's journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way. "Clever and readable...Oswalt's encyclopedic knowledge and frothing enthusiasm for films (from sleek noir classics, to gory B movies, to cliche-riddled independents, to big empty blockbusters) is relentlessly present, whirring in the background like a projector" (TheBoston Globe). More than a memoir, this is "a love song to the silver screen" (Paste Magazine).
Great Shakespeare Actors offers a series of essays on great Shakespeare actors from his time to ours, starting by asking whether Shakespeare himself was the first-the answer is No-and continuing with essays on the men and women who have given great stage performances in his plays from Elizabethan times to our own. They include both English and American performers such as David Garrick, Sarah Siddons, Charlotte Cushman, Ira Aldridge, Edwin Booth, Henry Irving, Ellen Terry, Edith Evans, Laurence Olivier, John Gielgud, Ralph Richardson, Peggy Ashcroft, Janet Suzman, Judi Dench, Ian McKellen, and Kenneth Branagh. Individual chapters tell the story of their subjects' careers, but together these overlapping tales combine to offer a succinct, actor-centred history of Shakespearian theatrical performance. Stanley Wells examines what it takes to be a great Shakespeare actor and then offers a concise sketch of each actor's career in Shakespeare, an assessment of their specific talents and claims to greatness, and an account, drawing on contemporary reviews, biographies, anecdotes, and, for some of the more recent actors, the author's personal memories of their most notable performances in Shakespeare roles.
Actor. Musician. Heartthrob. Feminist icon (sort of). There's only one Ryan Gosling. Women want him. Men want to be him. Most Tumblr blogs are about him. No mere Hollywood pretty boy, he's symbolic of everything modern manhood should aspire to. Packed with trivia, jokes and over 100 full-colour photos, '100 Reasons to Love Ryan Gosling' provides scientifically irrefutable evidence of exactly why Ryan is so damn loveable.
Edward Alleyn was a man of many talents and great energy. He was the actor who created the roles of Tamburlaine, Dr Faustus, and Barabas, the Jew of Malta, in Christopher Marlowe's plays and played in comedies, histories and tragedies by the leading authors of his day. In one week in August 1594, he took the leading part in six different plays. His acting was praised by Queen Elizabeth I herself. From an early age he was determined to make money and became successful in doing so as an impresario managing entertainments including bear and bull baiting and as a dealer in property. He made a fortune and gave it away; the College of God's Gift in Dulwich, which he founded in 1619, is his lasting memorial.
An inspiring look at the politics of a generation through the words
of one of the most iconic women of our time--illuminating
thirty-five years of activism in the United States.
With disconcerting candor and without any regard for conflict, contradictions, or encounters with the law, James Brown narrates the long journey that, from a disadvantaged childhood, would end up taking him to the height of success through the paths of gospel, R&B, and soul. "Con un candor desconcertante y sin velar conflictos, contradicciones o tormentosos encuentros con la justicia, James Brown relata en este libro el largo viaje que, desde una menesterosa infancia, lo llevaria a la cumbre por los caminos del gospel, el R & B y el soul. "
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