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Film
& Cinema
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here for current Cover to Cover
Film & Cinema titles on ABE Will open in a new window - prices in UK Pounds. |
| Cinema is the most beautiful fraud in the world. Jean-Luc Godard |
| Selected Titles: |
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Picture
Show Annual 1957 Amalgamated Press Ltd 1957 A review of the
stars and films of the period, from the pomp and pageantry of ‘Richard
III’, ‘The Ten Commandments’, ‘Attila the Hun
and ‘War and Peace’ to the widescreen wild west of ‘Oklahoma’,
‘The Fastest Gun Alive’ and ‘The Searchers’.
Contains numerous articles on stars and their films with full-page monochrome
portraits. ‘Newcomers’ of 1957 include Shirley Ann Field,
Angie Dickinson, Rod Steiger and Brigitte Bardot. |
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Hollywood and the Great Fan Magazines Levin, Martin Ian Allan 1st 1970 For the long-in-tooth and young-in-heart, here is a lovingly created, authentic replication of the wondrous fan literature of 1930's moviedom. It comes to you, pure and unadulterated, in the format of a single giant fan magazine complete with characteristic opening spreads and livened by succulent scoops, inside stories and lore. Here is a sampler of the ambrosia within: The First True Story of Garbo's Childhood The Inside Story of Joan's Divorce Motherhood-What It Means to Helen Twelvetrees! What About Clark Gable Now? I'm No Gigolo! Says George Raft Studio Sweethearts Jean Harlow-From Extra to Star Shirley Temple's Letter To Santa Marlene Dietrich Answers Her Critics Bogie What's Wrong With Hollywood Love? What's the Matter with Lombard? Charlie Chaplin's Kids The Most Revealing Interview Janet Gaynor Ever Gave These and much more from 1930's editions of Photoplay, Motion Picture, Silver Screen, Screenland and Screen Book make Hollywood and the Great Fan Magazines a unique momento of the wonderfully ebullient communication that once existed between the stars and their fans. Whether new or old to the pleasures of movie fandom, the editor invites you "to turn on your Tiffany lamp" and savor this most happy time when the movies were a world of truly pure make-believe. 4to. VG++ in a VG++ wrapper. 1110 gms £15.00 |
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Mr Chips - the life of Robert Donat Barrow, Kenneth F'word by Walther Matthau Methuen 1st 1985 It is, surprisingly, more than a quarter of a century since Robert Donat died. Surprisingly because, due to the vigour of his screen persona, he is still with us in a dozen film classics. Donat was one of the handful of stars to emerge from Britain in the golden years of the cinema, and he held a unique position by constantly refusing to be type?cast. Hitchcock claimed that Donat was responsible for the world-wide success of The 39 Steps. He received an Oscar nomination for The Citadel, and won the coveted award for his performance in Goodbye Mr Chips, his bestloved film. Other notable roles included Pitt the Younger, the Count of Monte Cristo, the Carson-like barrister in The Winslow Boy and the founder of cinema in The Magic Box. He bade a poignant farewell to his public as the Chinese mandarin in The Inn of the Sixth Happiness. But his first love was the theatre and this book also details this forgotten part of his life from childhood theatricals in the toolshed, through touring with Sir Frank Benson in Shakespeare, his first starring role as Gideon Sarn in Precious Bane, to his last performance as Becket in Murder in the Cathedral. It is the story of a man wracked with physical suffering, a chronic asthmatic with a voice of unforgettable beauty, a genius of an actor cruelly taken away at the age of fifty-three; it is the story of a father, a husband, a lover. Official biographer
Kenneth Barrow unravels the enigma of this gentle, passionate, private
person who once claimed,'I never had any real security in my life until
I found the false security of stardom'. Laurence Olivier, Marlene Dietrich,
Charles Laughton, Ingrid Bergman, Ralph Richardson, Deborah Kerr, Irving
Thalberg, Greer Garson, Alexander Korda and George Bernard Shaw are
just some of the glittering characters who people his life story. Included
is the testimony of many of these, together with substantial extracts
from Donat's own writings revealing fluency and an individual wit. |
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Fantastic
Cinema - an illustrated survey Peter Nicholls Ebury Press 1st 1984 Fantastic Cinema, the book, chronicles that excitement from the beginnings of cinema to the present day: science fiction, fantasy, magic, the supernatural, the surreal, horror, monsters, animation, prehistoric pasts and brightly coloured futures. Fantastic Cinema reviews all of the great fantasy movies from Metropolis to Return of the Jedi, from The Cabinet of Dr Caligari to Poltergeist, from The Wizard of Oz to Superman III. This superbly illustrated study surveys the directors, the stars, the special effects and the imagery that have made this genre the most fascinating and vigorous form of contemporary world cinema. The years from 1968 to the present are, without doubt, the high point of fantastic cinema. with the best commercial talents of the day ,such as Kubrick, Lucas, Spielberg, Roeg and Carpenter, creating box-office and critical successes on a huge scale. In-depth analysis of key films from these years is supplemented by chapters on qreat directors, producers and special effects men. Over 300 films are discussed in the main text with a further 400 detailed in a comprehensive filmography which will be a delight to all cinemagoers. Throughout, the book is heavily illustrated with stills in colour and black and white, graphically evoking the world of the fantastic in all its strangeness and excitement. 4to. Fine in a Fine wrapper. 1090 gms £12.50 |
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Reed All About Me Oliver Reed BCA 1980 Out of step, out of time, Oliver Reed rollicks the world's headlines as a hellraising chauvinist who doesn't give a damn. 'Thank God,' said an awed Russell Harty on TV, 'there are people like you through whom we can live vicariously.' Now, in Reed All About Me, the man who does it his way tells it his way in a delightfully funny autobiography that is happily free of the usual show-business genufiexions. From the marvellous opening line - 'My father found me through a ration book' every page is a surprising revelation. His granny May gave his grandfather, Sir Herbert Beerbohm Tree, six love childrenincluding Sir Carol Reed - and gave Oliver a direct bastard descendance from Peter the Great. But he ignored family influence, ran away from home, and made it to the top as an international film star with successes such as Women in Love and The Devils. Oliver Reed bows to no man, only to the ladies. And he writes about them with devastating charm: 'I never cease to be fascinated by naked women or by a new kiss, a new romance or a new flirtation,' he says. 'But 1 don't have many women as platonic friends. 1 prefer my relationships to be far more direct than that.' Read about how Oliver clashed with Bette Davis; the night Shelley Winters poured a bottle of whisky over his head on a TV show; the antics which resulted in him being barred from the Beverly Wilshire Hotel in Hollywood; and how he took away Lee Marvin's drinking cloak. What more can we Billy Walter Mitty Liars ask of a true man other than true grit and a delicious sense of the absurd. 8vo. Fine in a VG++ wrapper. 480 gms £75.00 |
Kino-Eye - the writings of Dziga Vertov Michelson, Annette (ed & intro) translated by Kevin O'Brien Pluto Press 1st UK 1984 Of all the great innovators of Soviet cinema' none speaks so directly to issues of our time as Dziga Vertov The radical complexity of his work in both sound and silent forms has given it a central place within contemporary theoretical inquiry. The Man with the Movie Camera has, after long years of relative obscurity, become one of the most studied of all film classics. Vertov's writings, collected here, range from calculated manifestoes setting forth a new, heroic vision of film's potential to dark rumination on the inactivity forced upon him by the growing bureaucratization of the Soviet state and its film industry. His theory was at every point elaborated in direct, vigorous relation with practice; his doctrine of the kino-eye, breaking with film's subjection to traditional narrative purposes, was a passionate call to action. Vertov`s spirit of revolutionary optimism leaps from his pages. He proposed a cinema implicated in the process of revolutionary transformation, one that would play a leading role in the construction of socialism. His kinopravda presented a sustained challenge to the expenditure of funds and personnel on other, less urgent kinds of production. Rejecting the compromises of the NEP period, insisting upon the elimination of traditional film drama as symptomatic of the corruption of the old regime, he worked with his crew of kinoks to organize Soviet film-making into new patterns of form and production. Articles, memoranda, speeches, letters, proposals for films, poured from his pen explaining, defining, persuading. In voluminous notebooks and diaries he revealed his sense of affinity with Mayakovsky, the condemned poet, or goaded himself to greater efforts. Recording the trials of daily existence, he also chronicled the struggles of the postrevolutionary period, including the sabotaging of the distribution of his films. The force and prodigality of his late maturity, which produced project upon project, ranging from documentary to science-fiction scripts, were, together with those of so many others, wasted in the dark period of the '40s and '50s. His writings, however, resonant with the sense of the future of film, remain as powerful documents of the modernist imagination in its cinematic mode. 8vo. Very, very minor bumps to the boards; very, very minor cockling to the dustwrapper otherwise the book is in VG++ condition in a VG++ wrapper. 685 gms £25.00 |
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