Movies Books

MGM's movie,based on the book by L. Frank Baum,"The Wizard of Oz,"is nearly 70 years old. But its stars, Judy Garland, Bert Lahr, Frank Morgan, Ray Bolger, Jack Haley, Billie Burke and Margaret Hamilton, still shine brightly as ever, and the movie continues to be a particular favorite of young and old.

Aljean Harmetz is the daughter of a woman who worked backstage at MGM. Harmetz's mother worked in the Wardrobe Department; she was able to estimate sewing costs on thousands of costumes, from 1937 to 1951 --including the nearly one thousand needed for "The Wizard of Oz,"alone.

So starting from this birds' eye view, Harmetz is well able to explain how "movie magic and studio power in the prime of MGM" resulted in "the miracle of Production #1060." To that end, she did hundreds of interviews, with actors, singers, songwriters, cameramen, screen writers, costumers, directors, and technicians. She succeeded in bringing the great glory days of MGM, under its sentimental czar L.B. Mayer, to technicolor life.

Harmetz explains how the Emerald City was designed and built; how the cyclone was created. She tells us how Judy Garland's immortal "Over the Rainbow" was nearly lost, as envious, nitpicking producers responded after the film's first screening: "Why does she sing in a barnyard? Take it out!"

The author gives us fine portraits of Margaret Hamilton, who played the Wicked Witch of the West--"she enjoyed every moment screaming about those slippers." Binnie Barnes, who played the Good Witch Glinda, retiring to her pink and blue dressing room to await her next call. Bert Lahr creating the endearing cowardly lion-- his costume weighed over 50 pounds. "It was like carrying a mattress around with you," he said. And he could only sip liquids once in full makeup. Ray Bolger, the dancer who created the Scarecrow, " I have no bones. I have nothing inside me. It's just the wind holding me up." And Jack Haley who inherited the Tin Woodman's part after an allergic reaction to the aluminum paste makeup, put Buddy Ebsen, first cast for the part, in hospital.

You should find you read these marvelously detailed pages with great enjoyment, and if you're as sentimental a fool as I can sometimes be, even with emotional involvement. If you love the movie, you might want to try to find this book.

"The Making of the Wizard of Oz: Movie Magic and Studio Power in the Prime of MGM--And the Miracle of Production No 1060" is just downright enthralling. It is an expose' that breaks down the machinery and the machinations of what it took to get a major movie made in the days of the autocratic studio heads. The book offers an entertaining and totally engrossing look at the legendary film. Judy, Ray, Jack, Bert, Margaret, and Toto, too, are all analyzed in this brilliant work. The songwriters, the respective directors, the many other craftsmen, as well as the "little people," in more than the figurative sense, are all here. Vividly embellished with stills from the production, the book's text is just as captivating. The familiar as well as the unfamiliar stories about the production make for a most satisfying read for any "Oz" fan. It is also a good primer for anyone with an interest in pursuing film as a career.

It doesn't matter unduly if you didn't grow up watching MGM's 1939 color movie "The Wizard of Oz" in re-release or on TV. You might think that a "Munchkin" is what used to be called a "doughnut hole." You may think of Judy Garland only as Liza Minnelli's mother, and avoid prewar movies like the plague. Maybe you didn't feel that shock of recognition that "Cora the Coffee Lady" in Maxwell House TV commercials was none other than Margaret Hamilton, the green-faced Wicked Witch of the West.

Of course, if you love "The Wizard of Oz" you've love THE MAKING OF THE WIZARD OF OZ all the more. I just read this book for the second time (the first upon its initial publication), and was astonished and pleased by how well it has held up. Author Aljean Harmetz has crafted a book relevant not only in terms of one particular "prestige" movie off the Hollywood assembly line; but indeed her insight, research and friendly presentation make the book stand as a metaphor of all Hollywood filmmaking during the height of the Studio Era, ca. 1940. Perhaps the late Irving Thalberg was one of the few Hollywood insiders who could "keep the whole equation of pictures inside his head," but Ms. Harmetz opens up this world for us, and shows us both its realism and its wonder.

We return to an era in which studio moguls were as eccentric and powerful as today's software barons, when studio hands were nonunionized yet intensely loyal to their studios, when no movie studio even thought about a future containing broadcast TV, when movie stars were better known than Presidents or Kings, and when Technicolor would give you any color except the one you wanted. Nonetheless, solving the creative problems inherent in bringing L. Frank Baum's novel "The Wizard of Oz" to the screen was seen as an invigorating set of challenges to be met and conquered.

Back then, MGM had a real "can-do" attitude. So no one had
ever created a moving tornado for a film? After two tries the MGM tech people got it right, and the depiction of that horrendous twister so set the tintype for what a tornado ought to look like that it persists in our collective consciousness today, despite today's ubiquitous video cameras.

There were no tape recorders. How, then, to raise or lower voices artificially for dubbing? This book tells how. What happened when Buddy Ebsen almost died from an allergy to aluminum dust he had worn as the (originally intended) Tin Man? Why was Margaret Hamilton burned severely and ignored, yet Billie Burke turned an ankle and was whisked off the set in a white ambulance? Why did the film need four directors and half a dozen screenwriters, yet was fondly recalled as a labor of love by practically everyone except a prematurely embittered Judy Garland? Was the film the great commercial and critical success you might think it would be? And, by the way, what about those Munchkins' alleged sexual proclivities? Excellent answers provided by excellent research present a fully-formed world view, warts and all.

THE MAKING OF THE WIZARD OF OZ would be a wonderful companion to the new restored DVD version of the film, which is so crisp you can count the gingham checkers on Dorothy's blue dress (which was actually violet, to fool the Technicolor process). How were the ruby slippers made? What about that poppy field? Read on. Some critics have said that Harmetz's later work is not as excruciatingly well researched as THE MAKING OF THE WIZARD OF OZ, but I don't care. This book and the movie are not only as much fun as ever, but a great education in the good old/bad old days of the Hollywood "Dream Factory." Don't miss it!

The making of the Wizard of Oz is a wonderful book to anyone who has grown to love the Wizard of Oz. You don't even have to be an obsessive fan of the movie like myself to enjoy it. It is extremely well researched. If information is not known the author says it so and does not attempt to recreate history as some nonfiction works do.

Perhaphs what makes the 1939 movie so wonderful is learning all the behind the scenes things that went into making it. This book gives respect and a knew sense of understanding as to what movie making was like in the biggest studio of that time. It is written so that it doesn't need to be read front to back. You can start in the special effects section and finish in the chapter about the script, or the music, or the directors (did you know there were four?).

Did you know that the movie had the work of 10 writers or do you know how the surrender dorothy scene was done? Well, in this book you find out his and thousands more did you know facts to impress friends. I recommend this to anyone who has watched the Wizard of Oz. And if Oz didn't win an academy award for best picture in 1939 than that was because the academy didn't have this book to help choose.

If you're a die hard fan of this classic film then you'll want to read this well-researched "making of" tome. The book is filled with all sorts of wonderful trivia tidbits but most of all it gives an insightful review of those behind the camera in a way I've yet to find in other "OZ" related books. The one and only shortcoming of this book is to be found in the number of pictures, in my opinion there could have been more, otherwise it's a behind the scenes look that most OZ fans won't be disappointed with.

This is the most informative/coolest book, if your looking to get involved in the music business, the book is aweosme, but the guys are even cooler

This book is a great education in what a music supervisor does and needs to know. The spotlight interviews are informative and give the reader a practical application of the text. The technical aspects of the job were eye opening and extensive. A must read for anyone who thinks music supervision entails picking songs from an iPod and placing them to picture. I have a greater appreciation for good music supervisors after reading Music Supervision.

This book came to me out of nowhere and consequently turned into one of the most inspiring, captivating, and education texts that I have ever read. In this, the summer of 2006, I have currently been working as an intern for MTV On-Air Promos. There, I met David Hnatiuk and overlooked his profession as a music supervisor. Having interest and aspirations for his work (being a music industry and sound recording major), I decided to purchase "Music Supervision".
So, I got it- I read it- and loved it!

Reading "Music Supervision" flat out bridged the gap between everything I learned at the University of New Havem concerning the music industry and sound recording and everything that was coming as new to me from MTV about broadcast television and its promotion. The books facets including, but not limited to: Legal Issues, Sound Design, Licensing, DAW discussion, working with producers/directors, etc. are all topics that I learned and dealt with at school and at MTV.

This coincidence of reflection between these that I encovered was simply amazing and will prove to be beneficial to my success and education at MTV and as a music student.

Aside from teaching me about my loves and interests, the book also took my vision of my career and future life, twisted and distorted it, and showed me it as I have imagined before. Now, since the book educated me on the subject and how to succeed in it, being a music supervisor is now a career path that I am interested in pursuing. It entails the music industry. It entails sound recording. And hopefully, it'll someday entail me.

Congratulations to Ramsay Adams, David Hnatiuk, and David Weiss. They have succeeded in writing a book that is highly informative, useful, and very insightful. Whether you are interested in pursuing a career as a music supervisor, or would simply like to do research on the profession, this book will far exceed your expectations. It's an easy read that features random interviews from experienced music supervisors that candidly articulate what the primary considerations are in selecting music, and shines light on the process of "spotting" and "auditioning" songs for placement, in addition to offering helpful advice on how to deal with challenges that music supervisors face in their position such as difficulties in obtaining master, sync and mechanical licenses; working harmoniously with egotistical producers and directors; managing creative conflicts; preventing legal problems; dealing with financial constraints; and marketing their services. A great educational and reference resource.

I bought this book because I wanted to learn how I can get my songs into movies and tv. I heard that was the best way to make money and get exposure. This book gave me the answers and even the names of people who select music for films and tv. I already got one of my songs into a film that competed in Tribeca Film festival. Some of the writing is a little long handed but the information is really right on. If you are a songwriter who wants to get your tunes into the movies, this is the book for you.

As previously said, this is a very well and beautifully writen errr... memoir. The cover tells you the whole story of what to expect inside. At first glance Alec dancing appears as a comical figure almost, but as you look closer you can see he is in some sort of agony. And as the book moves on, it is hard for him to not show his melancholy.
Despite being a bit of a emotional downer, this is still a very worthwhile read for any of his fans.

The journal of an extraordinary gentleman, one of the greatest actors ever to grace stage or screen. His reflections on his career are moving and perceptive, totally lacking in self-aggrandisement. His thoughts on the whole "Star Wars" phenomenon are particularly witty but smack of the desperation of being hounded by that film's fans. It's tragic that this great man may only be remembered by modern generations for his appearance in that opus instead of for his work in the Ealing comedies, "The Bridge on the River Kwai", his lengthy stage career and his magnificent turn on TV as George Smiley.

Alec Guinness is undeniably one of the most gifted actors of our times, and now, with his offering of "A Positively Final Appearance," we get to know something of the man behind the mask. This journal, kept between the summer of `96, and 1998, is chock full of insightful musings, reminiscences and anecdotes that are a delight. He shares his love of the theater, discussing many of the plays he attended during this period, and gives comments on recent movies, as well. An avid reader, he talks enthusiastically of favorite authors and books; his love of literature is unmistakable. The stage is his first love, however, and he speaks fondly, and frankly, of many of the plays he's done, and of his experiences with many of the actors and directors with whom he has had the privilege of working. He invites you into his private life, discussing the love of his life, Merula, and discoursing on their life at home, as well as their many travels. You learn what the greatest regret of his life is, who some of the people are he admires most, and a few of whom he could do without. He explains his negative attitude toward the "Star Wars" phenomenon, and addresses many of the events, large and small, that have in some way affected his life, and helped mold his perspectives. His concern over world events and the human condition is poignantly evident. Guinness writes so fluently, you can almost hear that distinct, familiar voice; you seem to be listening, rather than reading. There is a dignity and charm to his words that reveal, to some degree, the man behind them. That he values his privacy is apparent, and it becomes very clear that he is not the most accessible person, yet without any rancor; he holds his fans in high esteem, but there is a sincere humility to the man, who simply doesn't feel worthy of all the fuss. In a world seemingly rife with crass sensationalism and indifference, "A Positively Final Appearance" is like a tonic to the soul; it is so refreshing to discover that somewhere elegance and refinement still exist. My positively, final word on this book is that it is a joy, and should not be missed.

I picked up this book because I like Alec Guinness' work in "Lawrence of Arabia" and his other David Lean films (not because of "Star Wars" which I can take or leave). To be honest, I was worried it might be kind of boring.

Well, it was not boring -- it was delightful. The man was full of many profound observations about life that he communicated by writing about everyday things such as the birds in his yard or the weather. His vivid memories of his stage career and the people he knew were vastly entertaining. I was surprised to find him to be a humble, not-too-well-off everyday kind of man, not some fabulously rich egomaniac as I had supposed him to be.

Even though I could not be more different from him politically, I still enjoyed reading his views on politics. It was like talking to a dapper, well-bred older gentleman you bumped into on the street. His writing was assertive, yet polite and genteel.

If you miss reading this book, you've missed a simple pleasure that will make you smile. It's worth buying!

The late Sir Alec Guinness was a lovely writer, and with this, his final memoir, he improved vastly over his previous gift to us, MY NAME ESCAPES ME. Whereas the latter was strictly a selection from his diary, with this Guinness moves beautifully from journalistic descriptions of day-to-day events (from eye surgery to walks with his wife, Merula, to the indignities of moving slowly in an ever fast-paced and impolite world) and wry reflections on current events to anecdotes spanning his entire career in theatre and film. Each chapter is arranged by a theme, mostly seasonal, but they meander charmingly.

Those interested in his encounter with the church and his beginnings as an artist should find his autobiography, BLESSINGS IN DISGUISE. Those who might want reflections on STAR WARS will be disappointed. When one gentleman asked Guinness for an autograph from Ben Kenobi immediately after mass, Guinness admonished him, "Not in front of the parishioners!" and disappeared as nimbly as a young Jedi.

THIS BOOK IS ABOUT LEGENDARY FILM MAKER ROGER CORMAN. HE IS KNOWN FOR MAKING FILMS AS QUICK AND CHEAP AS HE COULD. MANY OF THESE ARE CULT FAVORITES SUCH AS LITTLE SHOP, GIANT LEECHES AND MANY MORE. I HAVE SPENT MANY A FRIDAY NIGHT AND SATURDAY AFTERNOON WATCHING THESE "CLASSICS". ROGER CORMAN IS KNOWN FOR MAKING CHEAP BUT INTERESTING AND SOMETIMES HILARIOUS B MOVIES. THE BOOK GOES BEHIND THE SCENES AS THE AUTHOR INTERVIEWS MANY FORMER EMPLOYEES WHO HAVE WORKED FOR CORMAN AND HAVE INTERJECTED THEIR VIEWS AND OPINIONS ON CORMAN. ROGER IS ALSO KNOWN FOR GIVING MANY STARS THEIR START. CORMAN IS ALSO A COMPLEX GUY WHO CAN BE VERY GENEROUS AND CAN ALSO BE AS CHEAP AS THEY COME. SOMETIMES MOOD BUT ALWAYS LOOKING TO MAKE ANOTHER MOVIE. I REALLY ENJOYED THIS BOOK AND I RECOMMEND IT FOR ALL FANS OF KING OF THE B'S AND WHO APPRECIATE BRILLIANCE ON A BUDGET.

Wow! Talk about switching personalities! This amazing biographer can emit the style of the person she is writing about to really give you a flavor of the personality. And of course, she spent time working for him, so you are privy to more of a view. Written somewhat bruskly like Roger's personality, you really gain insight into his life and what made him the person he is. Contrast this book with Beverly's biography of Ron Howard and you see some of the exceptional talent of this lady. A great read!

(...)

Gray's biography--fun as it is-- is more than a story about a man who is arguably one of Hollywood's most idiosyncratic moguls. It is a chronicle that parallels that of The Great Depression, World War II, the growth of the film industry and Los Angeles itself. We meet again celebrities we haven't thought about in years like the adorable dimpled Jon Davison, the memorable Vincent Price and even run across pop culture icons like Frank Gorshin.

Occasionally this book is burdened with glitz-town detail that only a dedicated film buff might adore but these moments are rare. Like a super hero, Corman--now 75 and still going--is resilient because he is multi-faceted. The same can be said for screenwriter cum UCLA instructor and journalist Beverly Gray. The two seem admirably paired in that way. Gray uses her many experiences and talents to tell the story of a man of many parts.
(...)

This fascinating "biography" is really a savvy "how to" book that belongs on the shelf of every screenwriter, aspiring producer, director, and development executive -- and everyone else who loves films and craves to know the secrets of Hollywood's most colorful mogul.

I found it fun to read as a realistic "behind the scenes" glimpse of what it takes to be a profitable mogul, such as the way Corman hired young cheap "promising" talent instead of going for experience. Directors fresh out of film school reading this book, for example, can get a good feel for the mindset and financial situation of producers they interview with. Screenwriters will learn how Corman and team (Gray had been his development executive) managed to write and produce so many successful films quickly.

Few books reveal the inner machinations of a successful producer so intimately. Gray, a screenwriting teacher at UCLA, has done a spectacular job of showcasing the life story of an intruiging man through more than eighty interviews and via her own experience.

I have to agree with the other five-star reviews. "Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches, and Driller Killers" is the best book on the subject, the subject being the most unique American studio head in film history.

Beverly Gray really paints a nuanced picture of Corman and never panders to the fans, the haters, or her old boss Corman himself. Though it's impossible to pull back the curtains entirely and see into a man's soul, Gray seems to have at least pulled back one side, giving us as much a glimpse as is possible without telepathy.

Storywise, Corman is, as always, fascinating, and Gray's perfectly detailed retelling of his story is the best yet written.

One gets the feeling that Mr. Barer was enjoyed writing this book. There is intence action and suspence that keeps one glued to the book no matter what your 'suppose' to be doing. This was a fun read. I laughed, I cried and occationally cursed the book thinking the characters would actually hear me. The identities of the 'Saint' were inspired and brought out diversity and complexities of Siimon's character. I give this 2 thumbs up. A good read and worth a second look

I absolutely loved Barer's novel! It is GREAT FUN, very clever, and very well written. Anyone who wants to read a roaring adventure spiced with wit and verve should order this book immediately. I hope Burl Barer writes more books like this -- I enjoyed every minute I spent reading it.

The book is a roller-coaster of intelligence, charm and wit. But then, what else would you expect from Burl Barer. Simon Templar is one of those icons of pop-culture that you just want to invite to dinner and sit and listen to. I can't wait for the next Saint book

When I saw the movie, a whole new world of advendture was opened up. I read the book and was pleased that he wrote material that was not seen in the movie. I recommend this book to everybody! Especially since it made a #1 fan out of me.

The author has captured the flavour and style of the original Leslie Charteris' novels. This novelization is far superior to the film. I recommend this to all Saint fans.

I bought this book because I've enjoyed John DiLeo's other books for their informed, but casual, approach to movie love. At a time when so many movie books are either earnestly academic (you know, political readings of gender performance in Nikkatsu gangster movies of the 60s,) or infinitely culty-geeky (do I really need the whole history of Philippine horror movies?), DiLeo assumes the existence of a readership that is, like him, informed and serious, but not obsessive-compulsive, and in it for the entertainment.
The book is divided into eight chapters, each devoted to a separate genre. (For the record, the eight genres are "Musicals Written Directly For The Screen," "Film Noir and Variations," "Love Stories," "Westerns," "Fantasy and Horror," "War," "Vintage Comedy," and the vague catch-all "Life and Times in America," which basically means "drama." The focus is exclusively American, but the time frame is from the silent era to the present. The presumption is that you've already seen the rote classics, and he therefore offers five movies in each genre that he feels have received insufficient attention, and that you therefore might have reasonably overlooked.
You can agree or disagree with the choices, but none are eccentric, deliberately provocative, or contrived to display mere cleverness. The real joy of this book, though, is in the wealth of background information. DiLeo will, for example, in describing "Comanche Station," give an overview of Randolph Scott's career, the placement of his "amiability and lean beauty" in two decades worth of decent but unnoteworthy roles in diverse genres, as a way of positioning the surprise of his late-career flowering in the films of Budd Boetticher, and their collaboration on seven morally complex westerns. Being a movie fan, DiLeo doesn't fail to mention the final triumph of the comic hommage to Scott in "Blazing Saddles." This precise positioning and career review is done not only for stars and directors, but screenwriters, cinematographers, character actors, even the evolution of genre conventions themselves. And it's presented in a chatty, highly readable style. The net effect is that "Screen Savers" is like an encyclopedia in friendly conversation.
I expect that I'll be using this book as a reference work for a long time to come. It is, I think, DiLeo's best book yet.

This book is a joy to read. Aside from John Dileo's amazing scope of knowledge about film, he is a terrific writer. Dileo has an uncanny ability to fully and clearly describe story lines, performances and a variety of other details about each movie. I guarantee that anyone who reads this book will come away wanting to see most, if not all, of the movies discussed here so eloquently.

Having purchased Mr. DiLeo's previous books, I was delighted to discover he had a new one on the shelves. After planning some time off for the holidays, I overnighted this book -- eager to reacquaint myself with this author's clever and keen insight into classic motion pictures. By the time Christmas came, I had gobbled it up -- cover to cover. And... what a surprise to see my co-worker bought the very same book for me at this year's Secret Santa. I didn't let on that I had already purchased it but loved that fact that he was so eager to tell me that "SCREEN SAVERS is the type of book that all the TCM watchers should love!" Do yourself a favor and buy John DiLeo's new book.

I was thoroughly delighted to read John DiLeo's third book, Screen Savers.

His quirky takes on actors and directors are refreshing and novel. He opens new insights when viewing and reviewing films that have been forgotten or have never received the accolades they deserved.

Mr. DiLeo has a wonderful way with words, a lovely sense of humor and a pleasant and breezy style.

Screen Savers makes for terrific reading whether sitting in front of a fireplace on a cold evening or while enjoying an iced tea on a summery afternoon.

I highly recommend Screen Savers to any movie buff or would-be movie buff. It opens new paths to understanding the magic of film and the skills of the actors and directors involved.

Netflix should send a thank you note to Mr. DiLeo for his artful awakening of our appreciation for some half-remembered and some totally forgotten films.

I saw Seven Brides for Seven Brothers for the first time after reading about it in John DiLeo's Screen Savers. I would not have bothered to see it had I not first read DiLeo's analysis and insights regarding this underappreciated film. His essay led me to a much fuller understanding of its beauty, craft and surprising depth, making me want to see what I had previously considered an old-fashioned and uninteresting musical. Upon completing each chapter, I find myself scanning the upcoming programming for Turner Classic Movies, hoping they will soon be showing one of DiLeo's selections, so that I can use my new "behind the scenes" information while watching the film. It is clear that the movies the author selects for rediscovery are on a personal list of favorites, they moved or inspired him. But while he clearly loves movies, the tone never sinks to that of a fawning fan. He backs up his choices with detailed analyses and thorough research, convincing the reader of their rightful rank among films that should be reexamined. The joy of this book is that he educates the reader while imparting some of his obvious infatuation and love for his subject. And like any satisfyingly juicy critical discussion, the author allows a dialogue to develop with his reader. You may even find yourself disagreeing with him about a favorite star or director (c'mon, Lana Turner wasn't that untalented) and that is part of the fun. This book has rekindled in this reader a new enthusiasm for older and "gently used" movies. I can't wait for my first viewings of The Man Who Laughs and The Iron Giant.

I always know when my husband is reading this because i can hear him laughing from the other end of the house! These are really cute and I recommend them to all my friends and family members.

I grew up with "talking heads" type comics. I can burn through the Sunday funnies in about a minute-and-a-half just reading the text and, truthfully, this is what I =did= do for many years because it was rare to find anything really interesting to look at. But when "Calvin and Hobbes" came around, and Berke Breathed transmogrified "Bloom County" into "Outland", I started to stop and look at what could be done in what I had formerly considered a fairly seriously limited medium.

Around 1992, I started a subscription to a local paper which carried "Rose is Rose" and I immediately recognized the same kind of wondrous artistic talent in Pat Brady that I had seen in Breathed and Waterston. Even more so, since the author didn't have the clout of these other two, he had to cram this creativity into the formats and patterns dictated by the newspaper nazis (who want to make sure there's plenty of room for those Sizzler's coupons).

The subject matter of the strip isn't for everyone. It's a sincere, sweet look at a happy family. The humor in the strip doesn't generally derive from strife or even serious friction, but from the characters' expressions of imagination, and even the creative manner in which they get along. The fact that this works without being cloying, in a millenium ushered in by the Simpsons and South Park, is a testament to the truth behind the art.

I love Rose is Rose, and this collection of strips has given me no reason to think otherwise. For the humorous looks at life you've come to expect from Rose and her family, (and Peekaboo, too!), get this. :) I couldn't stop laughing, and I had to read the whole book in one sitting!

If you love "Rose is Rose" especially Jimbo and Rose's relationship and/or Peekaboo the cat, you need this book.

This is a collection of Rose Is Rose comic strips, one of the few decent ones not to appear in the Washington Post (along with Foxtrot and maybe Funky Winkerbean). They're a bit sappy at times: son Pasquale has a helpful guardian angel and is too good to be believed. On the other hand, the artwork is excellent and some of the ideas superb. Rose, the mother, has recurring fantasies of being a biker babe, which are brought out at odd moments. Dad is a great tease, at one point getting onto his knees with his shoes under them and telling Pasquale that he got that way because he didn't eat his vegetables. Certainly very entertaining.

This book was without a doubt the funniest book I've ever read. Naturally, readers familiar with his movies will get the most out of this book, but there's a lot in there even for those who can't sit through one of his movies. I especially like Waters's tales of his mischief as a lad attending Catholic school. Considering the time, his educational background, and the Baltimore environment, I can really understand how Waters turned out the way he did.

This book is impossible to describe in one word. It's no surprise that Water's life is funnier, and more bizare then any of his films can ever hope to be. We learn about Baltimore life, his childhood, Divine, Edith Masey, Pink Flamingos,Desperate Living,and more. THIS needs to be his next film project! The only thing sad about this book is that it feels dated at certain parts (especially when it refers to Divine in the present tense, since this was written before he died...and before Cookie Muller died...and Edith Masey). But it remains a fascinating read that really encourages people to feel grateful for living in Baltimore(or makes you wish you lived there).

Out of maybe a few hundred, this is probably the funniest book I have ever read. I remember reading it late at night in my parents house, trying to stifle my laughter so I wouldn't get in trouble for waking people up. "...a cry went up from the sleaze-mavens"

With this book, you could argue that John Waters is a better writer than he is a film maker.

Shock Value is like Waters' autobiography, mainly focused on his film career. There are only two chapters about his childhood. The book will be very interesting to every Waters fan as it provides in depth looks at the making of several of his earlier films. The book's material is dated, however, since it was written before he completed "Polyester". Waters' updates you in the new introduction though. It is very clean and has few curse words, unlike Waters' films, but is still good. I recommend it.

I finished Shock Value only moments ago, and i feel like i should go to baltimore and fall on my knees worshipping Waters and the crew. i thought i was weird...This book focuses on the early years and has truly inspired me to raise myself above the boring muck of semiconformist existence. READ IT

This is a wonderful Buffy the Vampire Slayer resource guide. It really is a shame that it is so hard to find now, because it really does answer a lot of questions.
Unlike the Watcher Guide books it gives great detail about episodes and characters There are also interesting side notes about meanings for some episodes and what the entitle idea for them were.
Characters like Xander, Willow, Giles , and etc... Are also mentioned a lot, and there is no doubt that you will learn something new about the series in this.
Even though this is a very heavy novel I totally recommend it. As a Buffy fan and reader I really think it is worth hunting for.
If you want some other good Buffy references. Then check out the Monster Book by Christopher Golden. This is another really good book about Buffy the Vampire Slayer.
However, if you can handle all of the reading in this book. Then you will defiantly enjoy this.

This really is a very good book and it's a shame that it's so hard to find. There is so much covered in this book about Buffy. Ever since Buffy has ended a few years ago. It seems like more people are interested in it then ever.
There are a few resources books out there that really can explain the series well.
This is one of them.
One of the things I found hard about this one though was that it was rather long and ongoing.
However, if you can get past that I think you'll enjoy it.

Don't bother with any other unauthorised Buffy reference guides as Keith Topping's 'Slayer' books are the only ones you'll ever need. This guide is packed with all sorts of information and Keith doesn't shy away from giving his informed and personal opinions about the series. He also briefly covers the spin-off comics, books and websites.

Keith Topping is a talented writer (check out his Doctor Who novels from BBC Books and Telos) and his episode guides are the best ones on the market. He has also written a companion book that covers Angel called 'Hollywood Vampire' which is well worth purchasing.

Each episode, up to and including season 5, gets 3-to-6 pages of coverage, organized under various thematic headings: Plot summary, music, memorable quotes, comments on the women's clothing, continuity errors, logic flaws, pop culture references, etc. Books of this nature are enjoyable because it's fun to compare one's reaction with the author's reaction, and Topping notices every tiny detail.

There are also separate essays: (1) History of the vampire myth, (2) 'The Outsiders' as a series theme, (3) BtVS and real-life school violence, (4) BtVS and the internet, and (5) disputes with the TV networks. As well, each BtVS novel gets about a page of coverage.

This differs from other BtVS books because of Topping's perspective as a Brit. He's a bit thin-skinned about the anti-British jibes, especially Principal Flutie's snide remark about the royal family in the second episode (Flutie was right!). On the other hand, Topping sees connections between BtVS and US culture with an objectivity that US viewers lack. Apart from the vampires, Sunnydale is a bit too perfect to be realistic, and it's certainly bizarre that a southern California town would be so lily-white. It is only in the 7th season (beyond the scope of this book) that we see a recurring black character (Principal Wood) and a recurring hispanic character (Iyari Limon as 'Kennedy'). Topping notes that (white) Americans often see themselves as decent people, perhaps overly trusting, fighting off non-white underclass intruders who seek to ruin their caucasian paradise. See the connection? Does the shoe fit?

There are a number of Buffy episode guides on the market, but Keith Topping's are my favorite by a considerable margin. Both volumes of THE WATCHER'S GUIDE are very fine, but I find they are more useful for the large number of interviews with cast and crewmembers. Although Topping ends his volume with some interesting essays and reviews of various Buffy-related publications and websites, the vast bulk of his guides are devoted to the episodes themselves. Currently this guide to episodes 1-5 is out of print in the United States (though available from Britain, I believe), and only the guide to Episode 6 in print here. Hopefully, they will bring out a new one-volume edition of seasons 1-7.

Each episode is covered in around 4-6 pages, offering a very brief synopsis of the plot, some of the better quotes, some ravings about the highpoints, a fun section about illogical elements, a general comment section at the end, and a host of other fun things. Oh yeah, those wanting to know about the music in each show can find a list here. I don't agree with his evaluation of each episode (e.g., he hates "Anne," which starts off Season 3, along with many others, but I think it is one of the best episodes ever, with a great deal of super clever writing that many people seem to miss), but he is always fun to argue with, and he is never merely sloppy. Most of all, Topping is clearly a fan of great TV, and there is the spirit of a fellow-fan informing the book as a whole. I also like the fact that each episode is introduced with the publication of the original date in the U.S. and in Great Britain, and also gives the titles in their French and German releases.

Now, I don't want to be misunderstood here, but this is also one of the great bathroom books of all time. It rates right up there with Dave Marsh's THE BOOK OF ROCK LISTS,THE NORTON ANTHOLOGY OF POETRY, and THE ESSENTIAL BIFF. Never underestimate the value of a good bathroom book.

This is good book that briefly describes the events of Episode I in a picture format perfect for young and non-readers

this is the best book you can look at to see all the details put into episode 1! there are pictures, quotes, and much info about each character! it truly is a good buy!

I just bought this book and I just can't get over how amazing it is. I learned who played Darth Maul finally and I found out a lot of things about the movie I really didn't noticed when I watched it.

When I got this book, It was totally AWESOME! there are a lot of pics and COOL stuff that you couldn't of had guessed...I mean is was "THE BEST" I couldn't stop reading it...it's REALLy good...trust me!

This book is really great. I learned a lot of stuff I didn't know before! For example, it explained more about the Jedi council and other characters.