He transformed a nickelodeon novelty into a new art form and a powerful, glamorous American industry. He codified the rules and techniques of screen story-telling, and pioneered the conventions that brought films to life, from surging spectacle to soul-baring close-ups. A poor farm boy from the South, Griffith rose to fame with The Birth of a Nation, a cinematic masterpiece stained by the racism that infected his heritage. Though he went on to direct some of the most legendary films of the silent era, Griffith was doomed by his over-reaching drives, and he died an embittered man, shunned by the community he had largely created. His story is told here with unsparing truth and compelling narrative sweep.

One of our most thoughtful film critics here takes on eight of Hollywood's finest directors in conversation, reminiscing about their working lives which spanned the most intriguing decades of American filmmaking. The directors are Alfred Hitchcock, Frank Capra, Vincente Minnelli, George Cukor, Howard Hawks, William A. Wellman, King Vidor, and Raoul Walsh. Speaking with them, Mr. Schickel found in these men a special quality: "They felt in their bones the character and quality of a vanished America." There was something valuable to be learned from them, not merely about the cinema but about the conduct of life. Each of these directors created a canon of work that even today sustains critical analysis without sacrificing popular appeal. Each maintained his artistic integrity while working in an atmosphere generally credited with ruining rather than nurturing talent. Their attitudes, Mr. Schickel writes in his introduction, were "composed of a toughness that was never harsh, a pride in achievement that was never boastful, a self-reliance and an acceptance of the difficulties under which they had labored which contained neither self-pity nor a desire to blame others for the things that had gone wrong." Rich in behind-the-scenes stories about such modern classics as It Happened One Night, Dawn Patrol, The Champ, Born Yesterday, Father of the Bride, and Shadow of a Doubt, as well as in anecdotes about the men and women of Hollywood, this book is an enduring tribute to the men who made the movies. With 33 black-and-white photographs. "Immensely readable and richly informative...it provides a real education in just how movies are made.... One of the best introductions to the cinema that one could ask for."-Library Journal.

A new kind of film emerged from Hollywood in the early 1940s, thrillers that derived their plots from the hard-boiled school of crime fiction but with a style all their own. Appearing in 1944, "Double Indemnity "was a key film in the definition of the genre that came to be known as film noir. Its script creates two unforgettable criminal characters: the cynically manipulative Phyllis Dietrichson (Barbara Stanwyck) and the likeable but amoral Walter Neff (Fred MacMurray). Billy Wilder's brilliant direction enmeshes them in chiaroscuro patterns, the bright California sun throwing shadows of venetian blinds across dusty rooms, shafts of harsh lamplight cutting through the night. Richard Schickel traces in fascinating detail the genesis of the film: its literary origins in the crime fiction of the 1930s, the difficult relations between Wilder and his scriptwriter Raymond Chandler, the casting of a reluctant Fred MacMurray, the late decision to cut from the film the expensively shot final sequence of Neff's execution. This elegantly written account, copiously illustrated, confirms a new the status of "Double Indemnity" as an undisputed classic.

In trying to understand the power of celebrity in modern life, Richard Schickel ranges through every realm of our culture - film, theatre, television, literature, art, the media, pop music, politics - for examples of how celebrity shapes our world and bends our minds. He considers the careers of figures as diverse as John Kennedy and Marlon Brando, Marilyn Monroe and Dwight Eisenhower, Walter Cronkite and Andy Warhol, among dozens of others. And he reflects on the dangerous, sometimes deadly, political and social consequences of the fascinating, largely unacknowledged relationship between the famous elite and the unfamous majority. In demonstrating how the carefully fostered illusion of intimacy between these two groups has created a devastating confusion between public life and private life, in showing how the play of celebrity symbols has largely replaced the play of ideas in our society, Schickel takes us on a journey to the heart of contemporary darkness - and offers, finally, a chilling warning about the psychopathic consequences of our national obsession with celebrity. "Intimate Strangers is, simply, in my estimation, the single most important book about celebrity." - Neal Gabler.

On the basis of deeply probing conversations with the actor-director, conducted over a three-year period, and interviews with friends, colleagues and family members, Schickel gives us the most candid and close-up portrait of Eastwood we have ever had. We see the boy, Clint, regularly changing homes and schools as his family struggles to overcome the hardships of the Depression. We watch a restless West Coast adolescent obsessed with cars and jazz turn into an angry young man going through years of frustration and rejection as he tries to establish himself as an actor. After Eastwood achieves star status in the television series Rawhide, we witness him making the daring choices that propel him first to international stardom - the decision to make a spaghetti western (Sergio Leone's A Fistful of Dollars) - and then to superstardom as the controversial Dirty Harry. We trace, too, the emergence of Eastwood the director, from modest beginnings (Play Misty for Me) through increasingly complex and ambitious films such as The Outlaw Josey Wales and Bronco Billy to the Oscar-winning success of Unforgiven. And finally Eastwood becomes not only one of the most admired figures in his profession, but an American icon. Here is the essential Eastwood, caught in action as he directs and stars in some of his most important movies, reflecting on what is unquestionably a remarkable career. Here is Eastwood describing his feelings about his own work, about his unwillingness to settle for the roles he knows he can play and his desire to challenge himself; about films and filmmakers, directors, actors and actresses; about his family; about what he has accomplished and what he hopes to accomplish.

This is an electrifying biography, by one of America's foremost film scholars, of the controversial director Elia Kazan (1909-2003), that looks at the man and his art in the context of the social, political, and cultural environments in which he lived and worked. From the late forties through the sixties, Elia Kazan was the most important and influential director in America, and the only one who managed simultaneously to dominate both theater and film. In that role, he manifestly shaped the conception and writing, as well as the presentation, of many of the period's iconic works, reshaping the values of the stage and bringing a new realism and intensity of performance to the screen. His various achievements include the original Broadway productions of "All My Sons", "A Streetcar Named Desire", and "Death of a Salesman" and such Hollywood films as "Brando's Streetcar", "On the Waterfront", "East of Eden", and "Splendor in the Grass". These enormously popular works, in turn, shaped the social, sexual, and political ideas of a generation. The result is an intelligent and lively biography and social history.