Synopses & Reviews
Called “God’s angry man” for his unyielding demands in pursuit of personal and artistic freedom, Oscar-winning filmmaker Richard Brooks brought us some of the mid-twentieth century’s most iconic films, including Blackboard Jungle, Cat on a Hot Tin Roof, Elmer Gantry, In Cold Blood, and Looking for Mr. Goodbar. “The important thing,” he once remarked, “is to write your story, to make it believable, to make it live.” His own life story has never been fully chronicled, until now. Tough as Nails: The Life and Films of Richard Brooks restores to importance the career of a prickly iconoclast who sought realism and truth in his films. Douglass K. Daniel explores how the writer-director made it from the slums of Philadelphia to the heights of the Hollywood elite, working with the top stars of the day, among them Humphrey Bogart, Cary Grant, Elizabeth Taylor, Jean Simmons, Sidney Poitier, Sean Connery, Gene Hackman, and Diane Keaton. Brooks dramatized social issues and depicted characters in conflict with their own values, winning an Academy Award for his Elmer Gantry screenplay and earning nominations for another seven Oscars for directing and screenwriting. Tough as Nails offers illuminating insights into Brooks’s life, drawing on unpublished studio memos and documents and interviews from stars and colleagues, including Poitier, director Paul Mazursky, and Simmons, who was married to Brooks for twenty years. Daniel takes readers behind the scenes of Brooks’s major films and sheds light on their making, their compromises, and their common threads. Tough as Nails celebrates Brooks’s vision while adding to the critical understanding of his works, their flaws as well as their merits, and depicting the tumults and trends in the life of a man who always kept his own compass.
Review
“From Bomba, the Jungle Boy to Some Like It Hot and In the Heat of the Night . . . Walter Mirisch produced many of the films which dazzled and inspired me (and I’m not kidding about Bomba. I loved those movies as a kid.)When I later acted in one of his (lesser) productions, The Spikes Gang, I learned that a prolific and brilliant producer could also be a terrific guy and a wonderful teacher.No surprise then that Walter has given us a wise and utterly engrossing look at his life . . . and extraordinary experiences in this film business.”—Ron Howard
Review
“Walter Mirisch has written the quintessential behind-the-scenes book on the glory days of Hollywood. If you ever wanted to know everything there was to know, this will surely be touted as a ‘bible’ of our industry—for Walter tells it as it really was, with the integrity for which he is known and loved. It is an engaging story; insightful and entertaining, poignant with personal anecdotes.”—Julie Andrews and Blake Edwards
Review
andldquo;Glenn Ford never got the respect he deserved for being a tough, straight-ahead actor who always had a way of rising to the occasion demanded by Fritz Lang or Vincente Minnelli. His sonandrsquo;s biography is a welcome tribute to a conflicted man and an often overlooked star.andrdquo;andmdash;Scott Eyman, author of Pieces of My Heartand#160;
Review
and#147;A much-needed work that captures the spirit and thinking of John Williams. Audissino is to be applauded for taking on such a large musical figure and for presenting him in the most wide-ranging manner. One gets the impression that he has tracked down every significant fact on Mr. Williams.and#8221;and#151;Vincent LoBrutto, author of
Sound-On-FilmReview
and#147;Emilio Audissino should be commended for his passion and research of such a stellar composer as John Williams.and#8221;and#151;Larry Timm, author of
The Soul of Cinema: An Appreciation of Film MusicReview
“Walter Mirisch’s love of movies led him to make some of the best films that the industry has produced. Whether as producer or as an executive of one of the best production companies in town, he has seen it all and now can tell it all to you from his own fiercely independent perspective.”—Steven Spielberg
Review
andquot;A frank portrait of a conflicted man and a respected star of Golden Age Hollywood. . . . Peter succeeds in objectively revisiting his fatherandrsquo;s life and work while peeling back without fear the painful layers in their mutual history. . . . This biography should rank with Maria Rivaandrsquo;s Marlene Dietrich as one of the best examples of a family biography and should appeal to film scholars and film fans alike.andquot;andmdash;Library Journal
Review
andldquo;Glenn Ford was a perfect gentleman, educated and kind. When called upon to perform, he was a hell of an actor.andrdquo;andmdash;Mickey Rooney
Synopsis
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others.
With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens.
From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.”
Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
Synopsis
In 1968, at the peak of the Vietnam War, centrist Congressman Melvin Laird (R-WI) agreed to serve as Richard Nixon s secretary of defense. It was not, Laird knew, a move likely to endear him to the American public but as he later said, Nixon couldn t find anybody else who wanted the damn job. For the next four years, Laird deftly navigated the morass of the war he had inherited. Lampooned as a missile head, but decisive in crafting an exit strategy, he doggedly pursued his program of Vietnamization, initiating the withdrawal of U.S. military personnel and gradually ceding combat responsibilities to South Vietnam. In fighting to bring the troops home faster, pressing for more humane treatment of POWs, and helping to end the draft, Laird employed a powerful blend of disarming Midwestern candor and Washington savvy, as he sought a high moral road bent on Nixon s oft-stated (and politically instrumental) goal of peace with honor.
The first book ever to focus on Laird s legacy, this authorized biography reveals his central and often unrecognized role in managing the crisis of national identity sparked by the Vietnam War and the challenges, ethical and political, that confronted him along the way. Drawing on exclusive interviews with Laird, Henry Kissinger, Gerald Ford, and numerous others, author Dale Van Atta offers a sympathetic portrait of a man striving for open government in an atmosphere fraught with secrecy. Van Atta illuminates the inner workings of high politics: Laird s behind-the-scenes sparring with Kissinger over policy, his decisions to ignore Nixon s wilder directives, his formative impact on arms control and health care, his key role in the selection of Ford for vice president, his frustration with the country s abandonment of Vietnamization, and, in later years, his unheeded warning to Donald Rumsfeld that it s a helluva lot easier to get into a war than to get out of one. Best Books for Regional Special Interests, selected by the American Association of School Librarians, and Best Books for Special Interests, selected by the Public Library Association"
Synopsis
This first biography of Oscar-winning filmmaker Richard Brooks, writer-director of Elmer Gantry and Cat on a Hot Tin Roof, restores to importance the career of one of the mid-twentieth century’s most influential Hollywood figures and includes analysis of Brooks’s filmography and interviews with stars Sidney Poitier and Jean Simmons, Brooks’s wife for twenty years.
Synopsis
Douglass K. Daniel is a writer and editor with the Associated Press. He is author of Harry Reasoner: A Life in the News and Lou Grant: The Making of TV’s Top Newspaper Drama.
Synopsis
This biography documents the life and the occasionally scandalous private life of Glenn Ford, chronicling a renowned actorandrsquo;s relentless infidelities and long, slow fade-out, while also celebrating his talent-driven career.
Synopsis
Glenn Fordandmdash;star of such now-classic films as
Gilda,
Blackboard Jungle,
The Big Heat,
3:10 to Yuma, and
The Roundersandmdash;had rugged good looks, a long and successful career, and a glamorous Hollywood life. Yet the man who could be accessible and charming on screen retreated to a deeply private world he created behind closed doors.
and#160;and#160;and#160; Glenn Ford: A Life chronicles the volatile life, relationships, and career of the renowned actor, beginning with his move from Canada to California and his initial discovery of theater. It follows Fordandrsquo;s career in diverse mediaandmdash;from film to television to radioandmdash;and shows how Ford shifted effortlessly between genres, playing major roles in dramas, noir, westerns, and romances.
and#160;and#160;and#160; This biography by Glenn Fordandrsquo;s son, Peter Ford, offers an intimate view of a starandrsquo;s private and public life. Included are exclusive interviews with family, friends, and professional associates, and snippets from the Ford family collection of diaries, letters, audiotapes, unpublished interviews, and rare candid photos. This biography tells a cautionary tale of Glenn Fordandrsquo;s relentless infidelities and long, slow fade-out, but it also embraces his talent-driven career. The result is an authentic Hollywood story that isnandrsquo;t afraid to reveal the truth.
Best Books for General Audiences, selected by the American Association of School Librarians
Best Books for General Audiences, selected by the Public Library Reviewers
Synopsis
An in-depth examination of how the legendary film composer (
Star Wars,
Jaws,
Superman,
Raiders of the Lost Ark) restored the classical Hollywood music style and became a pivotal figure the history of film music.
Synopsis
John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for
Star Wars, the
Indiana Jones series,
E.T. the Extra-Terrestrial,
Jaws,
Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williamsand#8217;s work and career.
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williamsand#8217;s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywoodand#8217;s Golden Age (1933and#150;58), Emilio Audissino traces the turning points of Williamsand#8217;s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williamsand#8217;s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williamsand#8217;s and#147;neoclassicismand#8221; and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.
About the Author
“Walter Mirisch’s love of movies led him to make some of the best films that the industry has produced. Whether as producer or as an executive of one of the best production companies in town, he has seen it all and now can tell it all to you from his own fiercely independent perspective.”—Steven Spielberg “From Bomba, the Jungle Boy to Some Like It Hot and In the Heat of the Night . . . Walter Mirisch produced many of the films which dazzled and inspired me (and I’m not kidding about Bomba. I loved those movies as a kid.)When I later acted in one of his (lesser) productions, The Spikes Gang, I learned that a prolific and brilliant producer could also be a terrific guy and a wonderful teacher.No surprise then that Walter has given us a wise and utterly engrossing look at his life . . . and extraordinary experiences in this film business.”—Ron Howard“Walter Mirisch has written the quintessential behind-the-scenes book on the glory days of Hollywood. If you ever wanted to know everything there was to know, this will surely be touted as a ‘bible’ of our industry—for Walter tells it as it really was, with the integrity for which he is known and loved. It is an engaging story; insightful and entertaining, poignant with personal anecdotes.”—Julie Andrews and Blake Edwards
Table of Contents
List of Illustrationsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Acknowledgmentsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Preface on Methodologyand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Introductionand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Part I The Classical Hollywood Music Style
1 "The Classical Hollywood Music": A Chronicleand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
2 "The Classical Hollywood Music": A Stylistic Definitionand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Part II John Williams and the Classical Hollywood Music Style
3 The "Modern" Hollywood Music Style: The Context of Williams's Restorationand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
4 Star Wars: An Oppositional Scoreand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
5 Williams's Early Years: Spotting the First Traces of Neoclassicismand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
6 Jaws: Williams's Neoclassicism Floats Up to the Surfaceand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
7 Williams's Neoclassicism: Style and Habitsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
8 Williams's Naysayers: A Deconstruction of Classical and New Criticismsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
9 Raiders of the Lost Ark Background: A Neoclassical Filmand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
10 Raiders of the Lost Ark Analysis: The Return of Max Steinerand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
11 Beyond the Films: Conductor John Williamsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Conclusionsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Appendix 1
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Completing the Picture: Williams's Versatility for Spielberg (and Others)and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Appendix 2
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Scores for Feature Filmsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; TV Scoresand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Principal Early-Year Collaborationsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Fanfares, Orchestral Miniatures, and Concert Piecesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Catalogue of Film-Music Concert Piecesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Principal Medleys and Arrangements from Film Scores, Songs, and Popular Musicand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Notesand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Bibliographyand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Index