Indians And Indian Wars, The Past And Present Of The Rocky Mountain Country, 1864-1900.

Indians And Indian Wars, The Past And Present Of The Rocky Mountain Country, 1864-1900.

Indians And Indian Wars, The Past And Present Of The Rocky Mountain Country, 1864-1900.

In his fifty-year career, Vaughn has made his mark in roles on stage, in film, and on television the world over.

"A Fortunate Life "reveals the details of his early years in Hollywood, when he found himself appearing as often in the gossip magazines as on screen, and follows his emergence as one of the world's biggest stars.

Vaughn warmly recalls his romances with stars like Natalie Wood, his adventures with friends like Steve McQueen and James Coburn, and insider stories about such legendary figures as Judy Garland, Charlton Heston, Oliver Reed, Elizabeth Taylor, and many more. Equally important, however, was his leading involvement in the antiwar movement of the 1960s, when he became the first actor to publicly speak out against the war in Vietnam.

With a wealth of moving, wonderfully entertaining and often jaw-dropping stories from the worlds of acting and politics, "A Fortunate Life" is a must-read for fans of Robert Vaughn and anyone who wants a glimpse behind the scenes of classic Hollywood.

A huge glass tower block, touted as the tallest building in the world, bursts into flame on its opening night.

An all-star cast includes Steve McQueen as Michael O'Hallorhan, the fire chief determined to get the blaze under control, while Paul Newman stars as embarrassed architect Doug Roberts, trapped inside with fellow guests Fred Astaire, Richard Chamberlain and Robert Wagner.

The Towering Inferno became the biggest of the Seventies cycle of disaster movies, which began four years earlier with 'Airport'.

In a dramatic change of role, the noted television and film star has written a vivid and incisive account of the House Committee on Un-American Activities' probe of the entertainment industry from 1938 to 1958. Formed to investigate alleged subversives, by the late fifties the committee had succeeded in ruining the careers and sometimes the lives of many of Hollywood and Broadway's top writers and performers. Quoting generously from transcripts of its hearings, Vaughn shows how the committee's primary purpose was punitive rather than legislative, and concludes that its most serious damage to American theatre and film is not easily documented: the loss of all the words never written or spoken because of the impact - and the fear - of the committee's misdeeds.