In 1942 Ernest Jennings Ford married nineteen-year-old Betty Jean Heminger, whom he had met at Victorville Army Air Base in California. 'River of No Return: Tennessee Ernie Ford and the Woman He Loved' is the recounting of their life together, of Ernie's spectacular success as an entertainer, of their growing spiral of self-destruction as his career flourished, and of their two sons' despair as they watched the light slowly fade from their parents' eyes and the joy vanish from their lives. For Betty it was vodka, valium, and tranquilizers. For Ernie, it was beer for breakfast, Cutty for lunch at the club, and whatever later in the day. In 'River of No Return' their son Jeffery remembers when his family's joy of being together was infectious, when the promise of every day and the thrill of being at the center of the spotlight was rapturous. It was a time when the name Ernie Ford was in the air and his fame worldwide.

Show-business legend Dick Van Dyke is living proof that life does get better the longer you live it. Who better to offer instruction, advice, and humour than someone who's entering his ninth decade with a jaunty two-step? Van Dyke isn't just a born song-and-dance man his irrepressible belief in embracing the moment and unleashing his inner child has proved to be the ultimate elixir of youth. When he was injured during the filming of Chitty Chitty Bang Bang , his doctor warned him he'd be using a walker within seven years, but Dick performed a soft shoe right there and never looked back.In Keep Moving , Dick Van Dyke offers his own playful anecdotes and advice, as well as insights from his brother, actor Jerry Van Dyke his friend and creator of The Dick Van Dyke Show , Carl Reiner and other spirited friends and family. Whether he's describing the pleasure he takes in his habitual visits to the grocery store how he met his late-in-life-love Arlene or how he sprung back, livelier than ever, from a near-death experience, Dick's optimistic outlook is an invigorating tonic for anyone who needs a reminder that life should be lived with enthusiasm despite what the calendar says. You don't have to act your age. You don't even have to feel it. And if it does attempt to elbow its way into your life, you do not have to pay attention. If I am out shopping and hear music playing in a store, I start to dance. If I want to sing, I sing. I read books and get excited about new ideas. I enjoy myself. I don't think about the way I am supposed to act at my age - or at any age. As far as I know, there is no manual for old age. There is no test you have to pass. There is no way you have to behave. There is no such thing as'age appropriate.'When people ask my secret to staying youthful at an age when getting up and down from your chair on your own is considered an accomplishment, you know what I tell them?'Keep moving.'"- Dick Van Dyke

Robert Clary (born Robert Max Widerman in Paris in 1926) is best known for his portrayal of the spirited Corporal Louis Lebeau on the popular television series Hogan's Heroes (on the air from 1965 to 1971 and widely syndicated around the globe). But it is Clary's experiences as a Jew during the Holocaust that infuse his compelling memoir with an honest recognition of life's often horrific reality, a recognition that counters his glittering five-decade career as an actor, singer, and artist and distinguishes this book from those by other entertainers. Clary describes his childhood in Paris, the German occupation in 1940, and his deportation in 1942 at the age of sixteen to the infamous transit camp Drancy. He recounts his nightmarish, two-and-a-half-year incarceration in Nazi concentration camps like Ottmuth, Blechhammer, Gross-Rosen, and Buchenwald. In April 1945, the Allies liberated Clary and other inmates. But the news that his parents, two sisters, two half-sisters, and two nephews had not survived the Nazis' genocidal campaign against the Jews reduced his joy to grief. After the war, Clary made his way to the United States and, against great odds, achieved fame on Broadway and in Hollywood. From the Holocaust to Hogan's Heroes is Robert Clary's extraordinary account of his remarkable life both as a survivor and as an entertainer. Once read, it will not be forgotten.

Here is Niven at his best. He and Errol Flynn were filming The Charge of the Light Brigade for a director, Michael Curtiz, 'whose Hungarian-orientated English was a joy to us all'. High on the rostrum he decided the moment had come to order the arrival on the scene of a hundred riderless chargers. "Okay," he yelled into a megaphone, "Bring on the empty horses!" ' BRING ON THE EMPTY HORSES is the second part of David Niven's internationally bestselling autobiography, following the superbly entertaining THE MOON'S A BALLOON. Both books were highly acclaimed by the critics and remain as wonderful reminders of a much-loved actor who epitomised, for many, the essential British gent, even when surrounded by the stars of Hollywood.

This expanded second edition of Contemporary European Theatre Directors is an ambitious and unprecedented overview of many of the key directors working in European theatre over the past 30 years. This book is a vivid account of the vast range of work undertaken in European theatre during the last three decades, situated lucidly in its artistic, cultural, and political context. Each chapter discusses a particular director, showing the influences on their work, how it has developed over time, its reception, and the complex relation it has with its social and cultural context. The volume includes directors living and working in Italy, Germany, France, Spain, Poland, Russia, Romania, the UK, Belgium, Switzerland, and the Netherlands, offering a broad and international picture of the directing landscape. Now revised and updated, Contemporary European Theatre Directors is an ideal text for both undergraduate and postgraduate directing students, as well as those researching contemporary theatre practices, providing a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe following the end of the Cold War.

Live theatre was once the main entertainment medium in the U.S. and the United Kingdom. The preeminent dramatists and actors of the day wrote and performed in numerous plays in which crime was a major plot element. This remains true today, especially with the longest-running shows such as The Phantom of the Opera, Les Miserables and Sweeney Todd. While hundreds of books have been published about crime fiction in film and on television, the topic of stage mysteries has been largely unexplored. Covering productions from the 18th century to the 2013-2014 theatre season, this volume is the first history of crime plays according to subject matter. More than 20 categories are identified, including whodunits, comic mysteries, courtroom dramas, musicals, crook plays, social issues, Sherlock Holmes, and Agatha Christie. Nearly 900 plays are described, including the reactions of critics and audiences.

Before she achieved immortality on the long-running situation comedy Bewitched, Agnes Moorehead had established a distinguished career as a character actress. After her screen debut in Citizen Kane (1941), Moorehead became one of the most familiar female faces on the silver screen. For moviegoers of the 1940s and '50s, she was the quintessential character actress, earning four Academy Award nominations during a career that saw her gain the respect of her peers in all four major entertainment media: radio, film, theater, and television. In The Films of Agnes Moorehead, Axel Nissen looks at the actress's sixty-three feature films between 1941 and 1973. Each film is profiled here, with particular emphasis placed on the films that merit closer attention: Citizen Kane, The Magnificent Ambersons, Mrs. Parkington, Dark Passage, All That Heaven Allows, The Left Hand of God, The Swan, Tempest, The Bat, and Hush... Hush, Sweet Charlotte. Arranged in chronological order, the discussion of these films highlights Moorehead's contribution to each feature. In addition to analyzing her performances, the author discusses the development of Moorehead's career as a whole, along with her relationship with various studios, directors, producers, and fellow actors. Based on extensive interviews with the actress's surviving friends and co-workers, as well as detailed archival research into primary sources, this book brings to light new information not just about Moorehead's work in film, but on her life and career in general. Though this book will certainly appeal to movie buffs, The Films of Agnes Moorehead will also be of interest to students and scholars of classic Hollywood films, including those interested in women and film, gender studies, and film history.

When Rosie O'Donnell was 10 years old her mother was diagnosed with cancer. It was at this early age that Rosie began to fantasize about what it would be like to become famous. As she puts it: I began to dream I was Judy Garland or Bette. If only I could get famous, I believed my mother would live. Money would pour in from heaven. We would use that money to get her a special cure. For me, fame was survival. Told in Rosie's inimitable voice, CELEBRITY DETOX is an unflinching look at her climb to fame and at the experiences that slowly led her to realise that along with the money, perks and glamour of being a star came the loss of the person she really wanted to be.

'As brutal, withering and funny as you'd expect' Julian Clary 'A rollicking read, packed with wit and old-school glamour' Sunday Telegraph 'Fabulously entertaining, impossibly glamorous and utterly irresistible' Piers Morgan 'Packed with insight and fun' Red *** A keen diarist from the age of twelve, Joan Collins is finally spilling the beans - well, nearly all of them. Taking us on a dazzling tour around the globe - from exclusive restaurants in Los Angeles to the glittering beaches of St Tropez, from dinner parties in London to galas in New York City - some of the characters you will meet in these pages include Rod Stewart, Princess Margaret, Donald Trump, Michael Caine, Princess Diana, Elizabeth Taylor, Rupert Everett, Roger Moore, Shirley MacLaine, Andrew Lloyd Webber and many more. Her diaries are intimate and witty, and they pull no punches, with NO apologies to anyone mentioned in them!

Basil Rathbone is synonymous with Sherlock Holmes. He played the Victorian sleuth in the fourteen Fox/Universal films of the 1930s and '40s, as well as on stage and radio. For many people, he is the Holmes. Basil Rathbone grew to hate Sherlock Holmes. The character placed restrictions on his career: before Holmes he was an esteemed theatre actor, appearing in Broadway plays such as The Captive and The Swan, the latter of which became his launchpad to greater stardom. But he never, ever escaped his most famous role. Basil Rathbone was not Sherlock Holmes. In The Curse of Sherlock Holmes, celebrated biographer David Clayton looks at the behind-the-camera life of a remarkable man who deserved so much more than to be relegated to just one role.

James Bawden: Seeing the way people behave when they're around you, is it still fun being Cary Grant? Cary Grant: I don't like to disappoint people. Because he's a completely made-up character and I'm playing a part. It's a part I've been playing a long time, but no way am I really Cary Grant. A friend told me once, "I always wanted to be Cary Grant." And I said, "So did I." -- from the bookIn Conversations with Classic Film Stars, retired journalists James Bawden and Ron Miller present an astonishing collection of rare interviews with the greatest celebrities of Hollywood's golden age. Conducted over the course of more than fifty years, they recount intimate conversations with some of the most famous leading men and women of the era, including Douglas Fairbanks Jr., Joseph Cotten, Cary Grant, Gloria Swanson, Joan Fontaine, Loretta Young, Kirk Douglas, and many more. Each interview takes readers behind the scenes with some of cinema's most iconic stars. The actors convey unforgettable stories, from Maureen O'Hara discussing Charles Laughton's request that she change her last name, to Bob Hope candidly commenting on the presidential honors bestowed upon him. Humorous, enlightening, and poignant, Conversations with Classic Film Stars is essential reading for anyone who loves classic movies.

Seinfeld? Clueless? The Backstreet Boys? Were the 90's the greatest decade or what? Whatever, this book covers topics ranging from Jurassic Park to Alley McBeal, from Urkel to the Spice Girls, from Monica Lewinsky to Mary-Kate and Ashley.

Daniel Lewis's legacy as a hugely influential choreographer and teacher of modern dance is celebrated in this biography. It showcases the many roles he played in the dance world by organizing his story around various aspects of his work, including his years at the Juilliard School, dancing and touring with the Jose Limon Company, staging Limon's masterpieces around the world, directing his own company (Daniel Lewis Dance Repertory Company), writing and choreographing operas and musicals, and his years as dean of dance at New World School of the Arts. His life has spanned a particular period of growth of modern and contemporary dance, and his biography gives insight into how the artistic and journalistic perspectives on modern dance were influenced by what was occurring in the broader dance and arts communities. The book also offers rarely seen photographs and interviews with unique perspectives on many dance luminaries.

Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "incarnations."

"Clap your hands, rattle your jewelry, and twist and shout for Erin Hosier's Don't Let Me Down....Fierce, catchy, hilarious--like your favorite vinyl punk 45--this bird can sing. A glorious memoir." -- Brando Skyhorse, author of Take This Man This fierce and witty memoir about a father-daughter relationship "is a beautifully written, honest, and often funny account of what it is to grow up as a woman" (Nancy Balbirer, author of A Marriage in Dog Years). Erin Hosier's coming-of-age was full of contradictions. Born into the turbulent 1970s, she was raised in rural Ohio by lapsed hippies who traded 1960s rock 'n' roll for 1950s-era Christian hymns. Her mother's newfound faith was rooted in a desire to manage her husband's mood swings, which could alternately fill the house with music or with violence. With the Beatles providing the soundtrack, Erin grew up adoring her larger than life father, Jack. Together, they bonded over their iconic songs, even as they inspired Erin to question authority--both her father's and others'. Don't Let Me Down is about a brave girl trying to navigate family secrets and tragedies and escape from small-town small-mindedness. With her lyrical and tender writing, Erin "doesn't shy away from the complications and contradictions of love, sharing both the best and the worst of her volatile, vibrant father and detailing--in her singular and often hilarious voice, the difficulty of leaving childhood, home, and the people who loved you first" (Cynthia D'Aprix Sweeney, New York Times bestselling author of The Nest).

The films of Georges MEliEs (1861-1938) are landmarks in the early history of narrative filmmaking and cinematic special effects. He was a harbinger of modern aesthetics and media manipulation, and this book, written by his granddaughter, is the only one that tells his full story. Magnificent MEliEs is a thoroughly researched but highly accessible book that is a crucial source for the scholar and an entertaining read for the nonspecialist. The core of the biography provides detailed accounts of MEliEs's filmmaking years (1896-1912), from his first motion pictures shortly after the public premiere of the LumiEre CinEmatographe through such worldwide successes as his film Le Voyage dans la lune (A Trip to the Moon) and his eventual marginalization by the very industry he had helped to found. The biography also chronicles MEliEs's formative work as director of Paris's preeminent magic theater, the ThEAtre Robert-Houdin; his subsequent career staging operettas for the ThEAtre des VariEtEs Artistiques (1917-1923) in Montreuil on the site of one of his former film studios; and his later years selling toys and candy at the Gare Montparnasse (1926-1932) before being rediscovered by journalists and the avant-garde. These and other fascinating chapters highlight the remarkable range of MEliEs's creative work while suggesting how his singular life was nevertheless shaped by the seismic historical shifts of Second Empire and Third Republic France.

The classic, definitive biography of Marilyn Monroe, now updated in the year of the 60th anniversary of the iconic star's death - now a major Netflix film, The Mystery of Marilyn Monroe: The Untold Tapes 'Gets as near to the heart of the mystery as anyone ever will' Guardian More than half a century after her death, Marilyn Monroe is arguably still one of the most famous people in the world. Her life was a contrast of public brilliance and private misery, her death a tragedy suffused by dark questions - about her relations with President John F. Kennedy and his brother Robert. Drawing on more than 600 first-hand interviews, Anthony Summers offers the classic, definitive biography of a woman who captivated the world. Marilyn's tragic story is clouded by gossip-reporting more than almost any other. GODDESS, however, delivers new, fully documented yet exciting fact. 'Gets as near to the heart of the mystery as anyone ever will' Guardian 'The fullest factual account of Monroe's life and death we're likely to get' Evening Standard 'The definitive story of the legend' Irish Times 'A remarkable performance...The ghost of Marilyn Monroe cries out in these pages' New York Times

Maureen O'Hara was born for Technicolour. Her fiery red hair and piercing green eyes made the screen crackle with electricity. Her bold Irish bearing cast her as the prototypical strong, determined woman struggling in a man's world. During a career that has spanned some sixty years, she has earned a reputation as a fiercely independent thinker, a tireless champion of causes, and, of course, a premier actress. and Hollywood films as THE HUNCHBACK OF NOTRE DAME, HOW GREEN WAS MY VALLEY, RIO GRANDE, OUR MAN IN HAVANA, MCLINTOCK and THE PARENT TRAP. O'Hara also shines a light on her private life, including her romance with aviation pioneer Brigadier General Charles F. Blair, 'the great love of her life', who died in a mysterious plane crash ten year after their marriage. and directors, including John Wayne, Alfred Hitchcock, John Ford, Tyrone Power, John Candy, James Stewart, Charles Laughton, Lucille Ball and Rex Harrison. O'Hara's first-person reminiscences afford readers an unprecedented view of Hollywood's 'Golden Age'.

Yukio Ninagawa (1935-2016) was Japan's foremost director of Shakespeare whose productions were acclaimed around the world. His work was lauded for its spectacular imagery, its inventive use of Japanese iconography and its striking fusion of Eastern and Western theatre traditions. Over a career spanning six decades, Ninagawa directed 31 of Shakespeare's plays, many of them, including Hamlet, on multiple occasions. His productions of Macbeth, The Tempest, Pericles, Twelfth Night and Cymbeline became seminal events in world Shakespeare production during the last 30 years. This is the first English-language book dedicated exclusively to Ninagawa's work. Featuring an overview of his extraordinary output, this study considers his Shakespearean work within the context of his overall career. Individual chapters cover Ninagawa's approach Shakespeare and Greek tragedy, in particular his landmark productions of Macbeth and Medea, and his eight separate productions of Hamlet. The volume includes a detailed analysis of the Sai-no-Kuni Shakespeare Series - in which Ninagawa set out to stage all of Shakespeare's plays in his hometown of Saitama, north of Tokyo. Written by Conor Hanratty, who studied with Ninagawa for over a year, it offers a unique and unprecedented glimpse into the work and approach of one of the world's great theatre directors.

'In this comprehensive volume, we see the actor in a range of roles: loving son, wicked gossip, star actor, indecisive director, anguished lover, brilliant anecdotist...This splendid book reveals an infinitely complicated and attractive character. We may not look upon his like again' Jonathan Croall, Spectator The above quotes sums it up - this astonishing collection of letters brings us up close and personal to one of the foremost, and best loved, actors of this century. John Gielgud wrote letters almost every day of his adult life. Whether at home in London and later in Buckinghamshire, or acting abroad or on location, he delighted in sitting down each morning and recounting what had been going on and what he felt about events around him. Through the letters, which begin with those to his mother, we meet a man who delights in gossip, in describing what he sees and experiences. Here for the first time - and not previously available to biographers - are Gielgud's love letters. They show that he was not shy is expressing the intimacies of personal relationships. Gielgud had a reputation for speaking his mind, and this is evident as he writes about his contemporaries, including the g

I was never a child. I never was coddled, or liked, or understood by my family. I never felt I belonged. Thus begins this autobiography.