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Judy Garland was an entertainment icon whose performances on stage,
screen and television had a tremendous impact across decades and
media. This film-by-film study of her work follows her progression
from pig-tailed child to a top motion picture star, with such
timeless classics as The Wizard of Oz, Meet Me in St Louis, and A
Star is Born. Garland's talent and versatility as an actress are
explored through each of her movie roles. More than just a
reference filmography, this work examines how Garland's talents
were realized and understood by producers and the world. It
analyzes the star's relatonships with various co-stars and
directors and details how she balanced her painful insecurities
with her often focused and driven approach to her work. Through the
context of her work on film, Judy Garland's innate and enduring
star power is readily appreciated and acknowledged.
In 1931 Universal Studios released Dracula starring Bela Lugosi.
This box office success was followed by a string of films featuring
macabre characters and chilling atmospherics, including
Frankenstein, The Mummy, and The Invisible Man. With each new film,
Universal established its place in the Hollywood firmament as the
leading producer of horror films, a status it enjoyed for more than
twenty years. In The Monster Movies of Universal Studios, James L.
Neibaur examines the key films produced by the studio from the
early 1930s through the mid-1950s. In each entry, the author
recounts the movie’s production, provides critical commentary,
considers the film’s commercial reception, and offers an overall
assessment of the movie’s significance. Neibaur also examines the
impact these films had on popular culture, an influence that
resonates in the cinema of fear today. From the world premiere of
Dracula to the 1956 release of The Creature Walks among Us,
Universal excelled at scaring viewers of all ages—and even
elicited a few chuckles along the way by pitting their iconic
creatures against the comedic pair of Abbott and Costello. The
Monster Movies of Universal Studios captures the thrills of these
films, making this book a treat for fans of the golden age of
horror cinema.
Frank Sinatra is an iconic figure in music, but his film career is
often overlooked. His innate talent as an actor is proven in many
serious dramatic roles, including films like Man with the Golden
Arm, The Manchurian Candidate, and From Here to Eternity, for which
he received an Oscar. From romantic musical comedies to Rat Pack
films, Frank Sinatra achieved a great deal of success in motion
pictures. He even took a stab at directing. This book examines each
of Frank Sinatra's movies, from his early years as a bobby soxer
idol, to more serious roles that exhibited the depth of his talent.
Provided are background stories, production information, critical
assessments, and an explanation of how his career as a recording
artist connected to the movie. Discover through 60 photographs,
interviews, and more, this underappreciated aspect of Sinatra's
career.
The 1930s represented the strongest and most significant decade in
Clark Gable's career. Later known as The King of Hollywood, Gable
started out as a journeyman actor who quickly rose to the level of
star, and then icon. With his ruggedly attractive looks and
effortless charisma, Gable was the sort of manly romantic lead that
bolstered features alongside the likes of Jean Harlow, Joan
Crawford, and Spencer Tracy. The decade culminated with Gable's
most noted movie, Gone With the Wind. This book traces Gable's
early career, film-by-film, offering background information and a
critical assessment of each of his movies released during the
1930s,
Harry Langdon was a silent screen comedian unlike any other. Slower
in pace, more studied in movement, and quirkier in nature, Langdon
challenged the comic norm by offering comedies that were frequently
edgy and often surreal. After a successful run of short comedies
with Mack Sennett, Langdon became his own producer at First
National Pictures, making such features as Tramp Tramp Tramp, The
Strong Man, and Long Pants before becoming his own director for
Three's a Crowd, The Chaser, and Heart Trouble. In The Silent Films
of Harry Langdon (1923-1928), film historian James Neibaur examines
Langdon's strange, fascinating work during the silent era, when he
made landmark films that were often ahead of their time.
Extensively reviewing the comedian's silent screen work film by
film, Neibaur makes the case that Langdon should be accorded the
same lofty status as his contemporaries: Charlie Chaplin and Buster
Keaton. With fascinating insights into the work of an
under-appreciated artist, this book will be of interest to both
fans and scholars of silent cinema.
For ten years Jack Nicholson toiled in low-budget films and guest
spots in such television shows as Dr. Kildare and The Andy Griffith
Show before his breakout performance in Easy Rider. Despite
"retiring" in 2010, Nicholson remains one of the most revered
actors of the last half century. Nominated for twelve Academy
Awards-the most of any male actor-Nicholson has received three
Oscars and countless other honors. The Essential Jack Nicholson
looks at the key films in the career of one of Hollywood's biggest
stars. After a brief profile of the actor, James L. Neibaur
highlights each of Nicholson's most important works, explaining why
his performances are essential viewing. In addition to Easy Rider,
the films discussed include Five Easy Pieces, The Last Detail,
Chinatown, One Flew over the Cuckoo's Nest, The Shining, Reds,
Terms of Endearment, Prizzi's Honor, Ironweed, Batman, A Few Good
Men, As Good as It Gets, About Schmidt, and The Departed. Neibaur
also provides details about each film's production, critical
reaction, commercial reception, major nominations, and awards. A
filmography of all of Nicholson's movie roles (and select
television performances) is also included. The Essential Jack
Nicholson is a valuable source of information for fans of this
iconic star and his films.
Mickey Rooney is a cinematic icon whose career lasted from the
silent era into the twenty-first century. From the shorts he made
as Mickey McGuire to supporting roles in such films as Night at the
Museum, Rooney had more than 300 film appearances to his credit.
Mickey Rooney was not just a movie star, he was the most popular
film performer for several years in a row in the 1930s. In addition
to his four Academy Award nominations, Rooney received two special
Oscars, including an honorary award for his variety of memorable
performances spanning several decades. In The Essential Mickey
Rooney, James L. Neibaur examines more than sixty feature films in
which the actor appeared, from starring roles in Boys Town, Babes
in Arms, and The Human Comedy to acclaimed supporting performances
in The Bold and the Brave and The Black Stallion. In addition to
familiar works like the Andy Hardy comedies or musicals opposite
Judy Garland, lesser known films like Quicksand and Drive a Crooked
Road are discussed as examples of the masterful performances he
offered again and again. An actor of rare talent and unrestrained
exuberance, Rooney appeared so often on film that it probably is
impossible to view every performance of his career-one that lasted
longer than any other actor in Hollywood. While minor roles are not
discussed here, all of his vintage works are, making The Essential
Mickey Rooney an indispensable resource for anyone wanting to learn
more about the best work of this film icon.
While the western was a staple of cinema for many decades, the form
began to fade as its greatest star, John Wayne, made fewer films of
distinction toward the end of his career. In the mid-1960s, the
genre was redefined by a handful of directors, including Don Siegel
and Italian filmmaker Sergio Leone, who offered something edgier,
bloodier, and more violent. Working with both directors was an
actor who had made a name for himself on the small screen in the
hit western Rawhide. While Clint Eastwood would also star in and
direct a number of successes with contemporary settings, his work
in westerns represents the most significant part of his film
career. In The Clint Eastwood Westerns, James L. Neibaur takes a
film-by-film look at each of the superstar's signature works, from
A Fistful of Dollars in 1964 to his modern-day classic Unforgiven,
which earned him two Academy Awards, including best director. The
author discusses in detail the production, impact, influences, and
successes (both critical and commercial) of each film. In addition,
Neibaur examines the continued success and influence of these
works-how they redefined, challenged, and progressed the western
genre. The book also features chapters that look at Eastwood's
other films in the context of his overall career. From the
spaghetti westerns he made with Leone, including The Good, the Bad,
and the Ugly, to his revisionist look at the Old West in
Unforgiven, The Clint Eastwood Westerns shines a spotlight on some
of the most thrilling films of the genre. For devotees of
Eastwood-the actor or director-or simply fans of the western, this
book is an entertaining look at one of Hollywood's most enduring
stars.
One of the biggest stars of the golden age of Hollywood, James
Cagney appeared in more than sixty films throughout his career. In
addition to starring in the classics White Heat, Mister Roberts,
and One, Two, Three, Cagney received the Academy Award for his
performance as George M. Cohan in Yankee Doodle Dandy. From his
debut in Sinner's Holiday to one of his many gangster portrayals in
The Roaring Twenties, the actor appeared in more than thirty films
of the 1930s. Though he started out in supporting roles, Cagney
quickly became a leading man and by the end of the decade, he was a
box-office star. In James Cagney Films of the 1930s, James L.
Neibaur reviews the first decade of the great actor's work. A
film-by-film look at Cagney's movies during this pivotal period,
this book traces the actor's transition from a song-and-dance man
on stage to a tough guy on screen. Although Cagney occasionally was
able to deviate from studio typecasting-in such films as Footlight
Parade and A Midsummer Night's Dream-his most notable roles were in
gangster dramas like The Public Enemy and Angels with Dirty Faces.
Throughout this book, Neibaur provides readers with plot summaries,
production details, and critical and commercial reception of each
film. For fans of the actor's work, James Cagney Films of the 1930s
is an invaluable resource that will also appeal to anyone
interested in movie-making during one of Hollywood's greatest eras.
Charley Chase began his film career in early 1913 working as a
comedian, writer, and director at the Al Christie studios under his
real name, Charles Parrott. Chase then joined Mack Sennett's
Keystone studio in 1914, costarring in early films of Charlie
Chaplin and Roscoe "Fatty" Arbuckle, as well as directing the
frenetic Keystone Cops. By 1924 he was starring in a series of
one-reel comedies at Hal Roach studios, graduating to two-reel
films the following year. In 1929, he made the transition to sound
films. Along with the continuing popularity of his own short
comedies, Chase often directed the films of others, including
several popular Three Stooges efforts. In The Charley Chase
Talkies: 1929-1940, James L. Neibaur examines, film-by-film, the
comedian's seventy-nine short subjects at Roach and Columbia
studios. The first book to examine any portion of Chase's
filmography, this volume discusses the various methods Chase
employed in his earliest sound films, his variations on common
themes, his use of music, and the modification of his character as
he reached the age of forty. Neibaur also acknowledges the handful
of feature film appearances Chase made during this period. A
filmmaker whom Time magazine once declared was receiving the most
fan mail of any comedian in movies, Charley Chase remains quite
popular among classic film buffs, as well as historians and
scholars. A detailed look into the work of an artist whose career
straddled the silent and sound eras, The Charley Chase Talkies will
be appreciated by those interested in film comedy of the 1920s and
30s.
Using interviews with Jerry Lewis and many of his co-stars, this
book analyses his collaborative efforts with Dean Martin, his
subsequent solo work, his writing and directorial careers, and more
recent movies such as Hardly Working (1979) and The King of Comedy
(1982). Comprehensive filmographic data are provided for each of
the films, with cast and production credits, studio, release date,
and running time. Lewis's own reflections on his work are included
for many of the entries.
By the mid-1920s, Buster Keaton had established himself as one of
the geniuses of cinema with such films as Sherlock, Jr., The
Navigator, and his 1927 work The General, which was the highest
ranked silent on the American Film Institute's survey of the 100
greatest films. Before Keaton ventured into longer works, however,
he had honed his skills as an actor, writer, and director of short
films produced in the early 1920s. In Buster Keaton s Silent
Shorts: 1920-1923, James L. Neibaur and Terri Niemi provide a
film-by-film assessment of these brilliant two-reelers. The authors
discuss the significance of each short The High Sign, One Week,
Convict 13, The Scarecrow, Neighbors, The Haunted House, Hard Luck,
The Goat, The Playhouse, The Boat, The Paleface, Cops, My Wife s
Relations, The Blacksmith, Frozen North, Daydreams, The Electric
House, The Balloonatic, and The Love Nest to the Keaton
filmography, as well as each film s importance to cinema. Offering
a clear and in-depth perspective on these 19 films, the authors
explain what makes these shorts effective and why they re funny.
Buster Keaton s Silent Shorts will enlighten both scholars and
casual fans alike about the early work produced by one of cinema's
most gifted comedians and filmmakers."
Long before his momentous teaming with Oliver Hardy, comedian Stan
Laurel (1890-1965) was a motion picture star in his own right. From
his film debut in Nuts in May (1917) through his final solo
starring effort Should Tall Men Marry? (1928), Laurel headlined
dozens of short comedies for a variety of producers and production
companies, often playing characters far removed from the meek,
dimwitted ""Stanley"" persona that we know and love. This
film-by-film look at the pictures Stan made as a solo artist, as
well as those he wrote and directed for other stars, shows his
development as a movie comedian and filmmaker. Comedy legend Jerry
Lewis, a longtime friend and admirer of Stan Laurel, provides an
affectionate and eloquent foreword. Included are several rare
photographs and production stills.
Born into a family of vaudevillians, Buster Keaton made his first
film appearance in 1917 at the age of 21. By the early 1920s, he
had established himself as one of the geniuses of silent cinema
with such films as Sherlock, Jr. and The Navigator and his 1925
work, The General, placed at number 18 in the American Film
Institute's poll of the 100 greatest features, the highest ranked
silent film on the survey. But with the advent of sound in the late
1920s, silent stars like Keaton began to fall out of favor and the
great comedian's career began to decline. In The Fall of Buster
Keaton, James Neibaur assesses Keaton's work during the talking
picture era, especially those made at MGM, Educational, and
Columbia studios. While giving some attention to the early part of
Keaton's career, Neibaur focuses on Keaton's contract work with the
three studios, as well as his subsequent work as a gagman,
supporting player, and television pitchman. The book also recounts
the resurgence of interest in Keaton's silent work, which resulted
in a lifetime achievement Oscar and worldwide recognition before
his death in 1966. This fascinating account of an artist's struggle
and triumph during the more challenging period of his career will
be of interest to anyone wanting to learn about one of film's most
influential performers.
When Charlie Chaplin left Keystone Studios for more money and
greater creative control at Essanay Film Manufacturing Company, he
added more depth to his character, more thought to his direction,
and more substance to his humor: at Essanay, he grew from a
comedian to a true cinematic artist. This work carefully examines
all sixteen Chaplin comedies produced at Essanay, showing Chaplin
as an artist in transition from the knockabout Keystone farces to
more refined, sometimes brilliant Mutual productions. From ""His
New Job"" (1915) to ""Triple Trouble"" (1918), the book covers each
film with key details, a history of its production, and valuable
commentary that places the picture in context within Chaplin's
canon.
Noted for its ?B? westerns, RKO also produced several movie
classics; two were Citizen Kane and Gunga Din. Comprehensive
filmographic data are included here for all of the studio's
features: title, year of release, production credits, cast, genre,
running time, alternate titles, availability on videocassette, and
plot synopsis. Many entries give background information on the
film's production and stars.
Bob Hope got his start in show business when he was in his
twenties, remained active past the age of 90, and lived to be 100.
His longevity was remarkable, especially when one considers that he
was active in vaudeville, radio, motion pictures and television. He
excelled in each of these popular forms of entertainment, but his
films are the most genuine testaments to his timeless comedy. His
smart quips, fast pace, and breezy manner were perfect ingredients
for the brand of comedy that was popular during World War II and
the years immediately following the war. This book begins with a
discussion of Bob Hope's early career and the short films that he
starred in, and then covers each of the Hope films beginning with
The Big Broadcast of 1938. The Hope films, the author says, do not
have deep subtexts or clever cinematic innovations, but provide
clever, uplifting entertainment that continues to inspire laughter
and offer solid examples of the humor that made Americans smile
during and after World War II. Cast and credit information is
provided for each film.
Producer Hal Roach wanted to match his success with Laurel and
Hardy by producing films with a female comedy team. So in 1931 he
teamed up Thelma Todd and ZaSu Pitts for a series of two reel
shorts that were quickly successful. When Pitts left the studio for
other pursuits, she was replaced by Patsy Kelly and the series
continued to be successful. Thelma Todd died suddenly under
mysterious circumstances in 1935 and Patsy tried to carry on alone,
first with Pert Kelton, then with Lyda Roberti. When Lyda died in
1938, the series ended. This book is the first film-by-film look at
each of the comedies these women made, how they responded to
different directors, and how the movies adapted to changes along
the way. As the short comedies are discussed, other projects each
of the actresses engaged in outside of the series will also be
mentioned. Each film examined will include credits, production
information, period reviews, background, and a critical assessment.
The Andy Clyde's Columbia Comedies is a film-by-film look at the
short subjects Andy Clyde starred in for Columbia Pictures from
1934-1956. Clyde had the longest running series of shorts at that
studio after The Three Stooges, with nearly 80 productions. Each
film will be discussed. There will also be introductory chapters on
Clyde's early life, stage work, silent films, and early talkies. A
concluding chapter will discuss his appearances in feature films,
including several Hopalong Cassidy westerns, and his work in
television on such shows as Lassie and The Real McCoys. The Andy
Clyde's Columbia Comedies will also include information found in no
other study, and many rare photos and graphics.
In 1931 Universal Studios released Dracula starring Bela Lugosi.
This box office success was followed by a string of films featuring
macabre characters and chilling atmospherics, including
Frankenstein, The Mummy, and The Invisible Man. With each new film,
Universal established its place in the Hollywood firmament as the
leading producer of horror films, a status it enjoyed for more than
twenty years. In The Monster Movies of Universal Studios, James L.
Neibaur examines the key films produced by the studio from the
early 1930s through the mid-1950s. In each entry, the author
recounts the movie's production, provides critical commentary,
considers the film's commercial reception, and offers an overall
assessment of the movie's significance. Neibaur also examines the
impact these films had on popular culture, an influence that
resonates in the cinema of fear today. From the world premiere of
Dracula to the 1956 release of The Creature Walks among Us,
Universal excelled at scaring viewers of all ages-and even elicited
a few chuckles along the way by pitting their iconic creatures
against the comedic pair of Abbott and Costello. The Monster Movies
of Universal Studios captures the thrills of these films, making
this book a treat for fans of the golden age of horror cinema.
W.C. Fields is one of the top comedians of Hollywood's golden era
of the 1930s and 1940s, and has emerged as a comic icon since. This
book is a film-by-film study of his work, offering assessments and
background information on each, from his early silent movies
through his final starring film and later supporting cameos at the
end of his life. This is the first book to assess many of the
once-lost silent films that have since been discovered and
restored, while also offering new information about movies that are
still lost, and fresh assessments of his noted classics.
From 1917 to 1919, Joseph Schenck produced a series of Comique
comedies starring master movie comedian Roscoe ?Fatty? Arbuckle and
featuring an apprentice, Joseph Frank ?Buster? Keaton. These films
were initially deemed significant by modern archivists for
representing the first movie appearances of Keaton, widely
considered one of the most important figures in motion picture
history. But the Comique films also remain the most important of
Arbuckle's career because they feature him at the height of his
cinematic genius. The 14 short comedies starring Arbuckle and
Keaton are analyzed in this book. After two chapters of
biographical introductions, the rest of the book discusses their
collaborative efforts and reveals the way in which the films
evolved from Arbuckle's wild slapstick to feature more of the
subtlety and cleverness of Keaton. Closing sections discuss what
became of Arbuckle and Keaton afterward, commenting significantly
on the scandal that undermined Arbuckle's career.
One of the great icons of 1930s Hollywood film, Jean Harlow died a
tragically early death in 1937 at age 26. During her brief career,
she delivered memorable performances in such MGM classics as Red
Dust (1932), Bombshell (1933), Dinner at Eight (1933) and Libeled
Lady (1936), among others. Taking a film-by-film look at Harlow's
work and her own impressions of her costars and directors, this
retrospective traces her growth as an actress-from tentative
supporting player to top star at a prestigious studio-and how her
often tumultuous life informed her performances.
Elvis Presley's stature as the King of Rock 'n Roll will never be
challenged. Between his first single in 1956-the number one smash
Heartbreak Hotel-and his death in 1977, Elvis amassed more than 100
hits on the music charts, a success that has never been equaled.
But Presley's dominance on the music chart was paralleled by the
singer's motion picture career. Between 1956 and 1969, Elvis
appeared in more than thirty films, further cementing his place as
one of the most popular entertainers of the 20th century. While
there have been countless books that explore the real Elvis tucked
beneath layers of showbiz mythology, often such volumes dismiss his
motion picture career as insignificant or overlook entirely his on
screen work. In The Elvis Movies, James L. Neibaur looks at the 31
features that Presley made, from Love Me Tender in 1956 to Change
of Habit in 1969. Most of these were star vehicles tailor-made for
his image. As Neibaur points out, Elvis had a real interest in
being a good actor, but his initial promise was soon thwarted by
anti-creative decisions that sold a packaged version of the
singer.Despite lapsing into a predictable formula of lightweight
musicals, Elvis Presley's star power ensured that the films became
box office successes. One by one, Neibaur examines each film,
providing information about their production and offering
assessments about their values as films in general as well as their
place in the Presley canon. Additional details include behind the
scenes personnel, costars, DVD availability, and hit songs featured
in each film. An entertaining and informative look at an often
underrated aspect of the singer's career, The Elvis Movies offers
readers insights into each of these films. This volume will be a
welcome resource to fans of the singer who want to know more about
the King and his successful ventures on the big screen.
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