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Perry mason is in the middle of a plot that is so skillfully planned that even he is baffled. The only clue that helps him solve is a careless kitten. What did the kitten do to help mason solve a case where every suspect seems to have an air tight alibi! The desire to find out what happens next kept me turning pages. So, watch out for the answers & learn a little bit of cat psychology!

In 1942 California Helen Kendal receives a phone call. The strange voice identifies himself as her long-lost Uncle Franklin Shore, and tells her secrets to verify his identity. Helen is to contact Perry Mason, bring him to a hotel, and ask for Henry Leech. Helen lives with her Aunt Matilda Shore, whose husband ran off ten years earlier. But her kitten takes sick, and is rushed to the vet (a mysterious poisoning). Later she meets Perry Mason and goes to the hotel. A message redirects them to a place in the hills; when they arrive there they find a dead body in an automobile, and call the police. It is not the uncle; his death would leave a large sum to Helen. Helen returns home alone, as her aunt was taken to the hospital. When she and her boyfriend hear a noise, they investigate. Shots ring out, and her boyfriend is hit. Perry is notified.

When Perry and Della visit the Shore residence, Perry is taken inside where the police ask him to produce the long missing Franklin B. Shore. Della finds Tom Lunk, the gardener, and drives away with him. Lunk tells Perry that Franklin visited his home earlier to spend the night. But they find Franklin has disappeared again. Perry wants Lunk to hide in a hotel, and Della takes him there. But the police find out, and arrest Della for hiding Franklin! Della escapes conviction for hiding Franklin, a material witness, because of the actions of the kitten at Lunk's shack! Lunk can't appear again as a witness because he is killed in a hit-and-run accident. But this results in solving the three murders. The clue again is eye-witness testimony that can't be corroborated. This story shows the variety of events and surprises that will mark future novels.

There is one warning in Chapter 20. Prosecutors have campaigned to sweep away constitutional guarantees, supposedly to fight professional criminals. But the end result was to stack the cards against ordinary citizens because the whole legal procedure has been completely undermined. Can you trust government to see that no known innocent person is ever prosecuted? The prosecution of Della Street provides an answer. Della will be found guilty unless she can prove her innocence! [Was this a veiled criticism of witch hunts?]

It is an interesting case, where Perry Mason defends his secretary, charged with hiding a material witness. As usual, the plot is well developed and the court room drama is highly interesting. A very good novel.

D.A. Hamilton Burger is out for blood this time. While investigating the return of a man missing for ten years, Mason sends Della Street out to interview the man before the police get there. What happens? When the man can't be found by the police, Della is charged with spiriting away a material witness. Burger plans to convict her, then try Mason as an accessory, convict him, then institute disbarrment proceedings against him. This will end Mason's career of legal dramatics and "outwitting the police".

Mason doesn't care anything about a murdered man, a wounded man, or the missing man who is the prime suspect - all he cares about is aquitting Della Street. And since Burger made it personal, Mason refuses to give the true solution to him during or after the trial. After all, if he did so, he'd be "outwitting the police" once again...

After seeing the watered down final volume of "The Watcher's Guide" for "Buffy the Vampire Slayer," I had some trepidation for the second volume of "The Casefiles" for "Angel." But Paul Ruditis and Diana G. Gallagher follow in the footsteps of Nancy Holder, Jeff Mariotte, and Maryelizabeth Hart and you will find more of the same: a Character Guide, an Episode Guide for Season Three and Season Four, and Actor Profiles. Volume 2 is a hundred pages shorter than Volume 1, and the book is also a shave smaller in both height and width than Volume 1, which you will discover as soon as you put them side-by-side on the shelf. Since Volume 3 is only going to cover the fifth and final season it is probably going to be at least a hundred pages shorter as well.

The character guides are for Angel, Cordelia Chase, Wesley Wyndam-Pryce, Charles Gunn, Fred, the Host, Connor, Lilah Morgan, Darla, Captain Daniel Holtz, Justine Cooper, Jasmine, Sahjhan, Gavin Park, Linwood Murrow, the Groosalugg, Skip, the Beast, Faith, Gwen Raiden, Willow Rosenberg, and Knox. These are not background descriptions, but take each character through Season Four. For example with Angel/Angelus/Liam you get a complete history of the character, which consists of brief summary of the "BtVS" years and the first two seasons of "Angel," and then focusing on what happens during seasons three and four. For the minor characters (e.g., Faith and Willow) the emphasis is just on those episode of "Angel" on which they appear.

Because these casefiles cover the third and fourth seasons, the focus is on the saga of Angel and his son, Connor. Each episode is covered in three main sections: (1) From the Files of Angel Investigations commences with the "Case No" for the episode number, and a list of the writer, director, guest stars and costars, and then the "Action Taken" (plot synopsis) and "Resolution" (episode climax). We then have a whole bunch of possible categories. "Dossiers" covers the client, civilian support (e.g., Merl and Lorne), and suspects. "Continuity" covers familiar faces and providing other details that help explain what is going on, while "Office Romance" keeps us up to date on the tangled love lives of the gang and "Quote of the Week" provides a choice exchange of words; (2) The Devil is in the Details looks at the sub-categories of "Expenses", "Weaponry," and "The Plan+ (such as it is). Here is also where you will find "Demons, Etc....," which keeps you up to date on what specific bads are running around in the episode, and can include a look at things like The Vampire Rules. "As Scene in L.A" explains where things are taking place in the episode relative to the real Los Angeles; (3) The Pen Is Mightier is the choice section where you get to see parts of the episode that did not make the "Final Cut," and have all of the "Pop Culture" references identified and explained for you. "The Name Game" explains the episode's title while "Six Degrees of..." covers anybody in the episode whom we have seen before on "Angel," one of Joss Whedon's other shows, or any other place that makes them familiar faces. "Tracks" records any instance of Angel singing anything. "Our Heroes" is where cast and crew members get to comment on the episode (or the series in general).

There are two 16-page sections of color photographs, the first devoted to the major and minor characters, and the second providing candid shots of the making of "Angel." There is a Season 5 Teaser, "Look Homeward Angel," and a tour of the Wolfram & Hart sets with production designer Stuart Blatt and set decorator Sandy Struth, "The Changing Facing of Evil." Last, and also least, are the "Actor Profiles." These were skimpy in Volume 1 and we are treated to more of the same in Volume 2. If there is an area where "The Casefiles" had lagged behind "The Watcher's Guide" volumes it has been in giving the cast and crew ample room to talk about their characters, the show, Joss, and whatever else enters their minds.

Overall I would grade "The Casefiles, Volume 2" as a 4.5, mainly on the strength of the episode guides, where we are still getting the level of detail we have come to expect. I round up because I do not want to give it the same rating as I gave "The Watcher's Guide, Volume 3." I suspect that since "Angel" stopped production last spring the volume is now considered more as a reference book and less as a way of feeding the show's fan base. The final season of "Angel" will be out on DVD early next year and then it is just a question of how long we have to wait for "The Casefiles, Volume 3." Hopefully by then Joss Whedon will have finished with his "Astonishing X-Men" comic book limited series and with his "Firefly" film and will be back in production on the small screen. I suspect he would like to make feature films, but I really would rather have a television show that I can enjoy twenty-two weeks a year that one hit film.

the angel casefiles volume 2 is the a great read after you have watched the episodes

When I first heard that a new writer was going to take over the reins for "The Watcher's Guide 3", I was a little worried. I had never heard of Paul Ruditis. My worries were not unfounded when the third volume, while still fun and competently written, came out and was a huge disappointment because it lacked so much. So, imagine my horror when I learned he was going to do the new Angel book. Oh no. Well, was I so happily surprised!. Teaming up with Diana Gallagher, Ruditis has redeemed himself with a book that stays true and faithful to the first book, and makes WG 3 a distant memory. Ruditis and Gallagher pretty much keep the same pattern and style as Nancy Holder on the first Casefiles. Sadly, and oddly, the book only covers seasons 3 and 4. WG 3 managed to fit in the final season, and Nikki Stafford's excellent "Once Bitten" did too, so why not this one?. Hmm. Included here are the always welcomed "Character Bios", something lacking in WG 3. It goes through all the major players, and most of the recurring players thru the two seasons. They also have "Actor Profiles" as well. They do make some mistakes. Such as saying that Connor, in the character bio part, was 18 when he came back, when he was actually 16. Although they do change it in the actual episode guides. They also mention the song "Lady Marmelade", and say it was by Aretha Franklin, when it was by Patti LaBelle. The episode guides are always the main focus of these books, and the authors don't disappoint. With long, detailed synopses of each episode, they bring the same categories and facts and such with each ep as they always do. The episodes, like the first book, are designed as actual case files. What are they?. Every episode summary is titled "Action Taken". We have "Dossiers", which is a section that informs of who the client, clientele, or outside support is(if there is any in a particular episode)that they deal with. Then there is "Continuity", which deals with the ongoing story and arcs and history that the show has come from. "Quote Of The Wek" is pretty self explanatory. No need to go into that one further. "The Devil Is In The Details" portion has "Expenses", which shows pretty much what you'd expect. "Weaponry" tells exactly what kind of weapon was used, or if it was a weapon at all. "The Plan" is basically what the gang's, well, plan is for this episode's situation. "Demons, ETC...." is a section dealing with what kinds of ghouls ans goblins, if any, were seen in that particular episode. And there is a handful more, like "Tracks", which is for music featured in the episode. "The Final Cut" which is things that didn't make it to the end episode. "As Scene In L.A." is stuff from Angel's city. "Pop Culture" is pretty much saying it there in the title. "The Name Game" tells about the meaning of an episode's title. "Six Degrees Of..." is basically a "Where Have I Seen Them Before?" thing, and a few more. There are also interviews and little tid bits from cast and crew about that particular episode in the guides as well. The episodes are finely detailed and the format for each episode in the casefile way is fun and clever. Afterwards, there is a section called "The Changing Face Of Evil", which is a look at the new design and sets for Wolfram & Hart. And season five doesn't go entirely unnoticed, as there is a section towards the end which gives an overview on what happened. Wether or not we see something on season five in a AC 3 is unclear and not mentioned, and that is this book's one sore spot. I doubt there will be another book for one season. It wouldn't fill a book. If there isn't anything, it would be Angel getting the short end of the stick again. Like The WG's, this book also comes with two sections of photos, all in glorious color. If anybody was upset with Ruditis' work on WG 3, then you should know that this book pretty much stays on course with first book, and makes WG 3 seem all the more like a wasted opportunity. This one is not.

At first on appearance this book is thinner then case files 1, but dont be deceived inside is packed full of information from seasons 3 & 4. Even though this 2nd book is written by different authors it still resembles case file 1 on presentation. I fully support anyone buying this to put it next to case file 1.

My 3 yo daughter LOVES backyardigans.
THis is such a fun book for us to read at bedtime together.
If she feels like it she gets to "read" along with me when I get to the picture clues.
Ever since they came out with the backyardigans books she wants at least one read everynight at bedtime. I really dont get sick of them myself, yet :).

My daughter is obsessed with books and we end up having to read long books to her each night. This book is quick and fun. There are also pictures in place of the words to help preschoolers with their reading.

My Daughter loves this book and memorized it in the first day. She reads it daily.

Ahoy!

In the softcover book Castaways!, Uniqua, Pablo, and Tyrone pretend that their leaky ship was lost at sea, and now they're stranded on a desert island.

What they don't realize is that Austin has been "stranded", too, but he's too shy to say "Ahoy!" to the rest of the castaways.

While Uniqua, Pablo, and Tyrone look for wood, vines and leaves to build a hut for shelter, they soon realize that everything they need mysteriously shows up. Where did it come from? Could it be that they aren't alone on the island?

Castaways! is a Level 1 Ready-to-Read book which uses simple stories and rebuses to help teach reading. My son loves this book and can now read it on his own. It's a colorful, engaging bedtime story for younger children, and good for older children who are beginning to read.

My daughter (age 2) and I love the Backyardigans! She has all the books and she really loves this one!! I read it to her every night and she points at the pictures as I tell her what they are. It's a very easy read and easy to follow along.

It's a long book for a little one, but it's great since the story is simple, cute, and fun to read!!

Though he hasn't made a movie since the 1950s, CB DeMille is still a name that says "Hollywood" to anyone who hears it. But, aside from The Ten Commandments, it's possible that most people today don't know who he was or what he did. Robert Birchard's book, written in a blithe, easy-going style -- as if you're talking to him -- reminds us who CB was and how important he was to the history of film. Using original sources as much as possible (rather than second and third hand accounts) Mr. Birchard has traced DeMille's career through his films, in the process seeing as many as are still available (sadly not all are). In doing so, he manages to trace much of DeMille's life and the life and history of Hollywood as it grows and learns to use new and better technology to tell its stories. This book is both easy to read, fun to read, and even (gasp!) informative! But don't let stop you from buying and enjoying it!

Mention Cecil B. DeMille to many serious film fans, and they might snicker. DeMille has a reputation for corny, big-budget epics like THE TEN COMMANDMENTS or THE GREATEST SHOW ON EARTH. DeMille also has a reputation as a dictatorial director whose politics were extremely conservative.

DeMille was not really that simple of a person. He made some very personal films, some really entertaining films, and even some daring films for the time. Although he was politically conservative, several of his films preached the dangers of religious intolerance. His battle with the Radio performer's union was a matter of principle, and not money. And while the stereotypical Hollywood director was modeled on him, part of it was an act. DeMille had a great respect for his actors, as long as they were professional. DeMille also had a sense of humor, as some of his cameo appearances in films show.

Robert Birchard has assembled an incredible history of DeMille's film and radio work. DeMille was around during the birth of Paramount in 1915, and he was still a successful director all of the way through the 1950s. Using DeMille's original papers, telegrams from studio moguls like Jesse Lasky, and other direct sources of information.

You will read about DeMille's struggles with technical issues like poorly perforated film stock, cameramen, good and difficult actors, and pressure from management to get his films completed on time and under budget. Mr. Birchard has viewed all of DeMille's films that still exist, and he gives a candid review of all of them. The book also contains very detailed cast and crew listings, a list of DeMille's many cameo appearances, and everything is painstakingly documented in the end notes.

I can guarantee you that after reading this book, you will be very tempted to rent or buy a Cecil B. DeMille film and rediscover this master director yourself.

Before David Lean, before Michael Curtiz, and waaay before Ridley Scott and Steven Spielberg, there was Cecil B. DeMille, the creator of gargantuan epics from Hollywood's Golden Age. C.B. started making movies the year that D.W. Griffith shot "The Birth of a Nation" and died when Steven Spielberg was a kid in Arizona, shooting home movies. In between, he wrote, produced, directed and acted in close to a hundred films

Today, of course, DeMille is remembered for "The Ten Commandments" and "The Greatest Show on Earth," but Demille was far more than that. The Great Man directed westerns and bedroom comedies, time travel adventures (in the silent days, no less), and even a musical.

Remarkably, most of Cecil B. DeMille's five decades of film work survive, and Robert Birchard has seen all fifty years worth, and written about each film in a lucid, graceful prose; Birchard has delivered a feast of information for anyone who's interested in the history of Hollywood. (Did you know that Charlton Heston, the star of "The Ten Commandments," was making less than Yul Brynner? Did you know that during the filming of C.B.'s FIRST "Ten Commandments" (a gargantuan hit in 1923) that the slaves who were supposedly sweltering in the Egyptian desert were actually extras on the central California coast FREEZING in chilly Spring weather, and who bundled themselves into coats as soon as the director yelled "Cut"? Mr. Birchard lets us in on the behind-the-scenes action on each of C.B's films (each movie has its own individual chapter), as well as when the films were shot, when they were released, what they cost and what they made at the box office.

This is a book for anyone who wants to know where American films have been...and how we got to where we are today.

This excellent book rates 5 stars for a very factual, no-nonsense in-depth research job on the work of famous director/producer, Cecil B. DeMille. And the emphasis is on his work in Hollywood (hence the title) not on DeMille himself as a person, although quite a few passages throughout this book do shed light on his character and mentality. Rather than a biography-style work with speculation, rumour and gossip, the author of this book has painstakingly searched for, found and quoted all kinds of correspondence and other written records to tell the story of DeMille's career. At times it was quite fascinating to read telegrams and other notes between DeMille and producers or other co-workers, for instance, and while explaining certain events or procedures in the film industry, these letters also reveal a lot about DeMille's thoughts and ways of doing business.

Another highlight for me personally is how the book goes through DeMille's films chronologically, with a chapter on almost every film he directed (and he produced many more) often giving a summary of the plot, which is especially interesting in the case of his early silent films which are not readily available at present. Besides details of cast, crew and plot, many business aspects of the film industry are related, giving an overall comprehensive story of the course of DeMille's career such as how he moved from one type of film to another, or from one studio to another when circumstances changed. Even though this book deals with hard facts only, it is easy and enjoyable to read, and does not get bogged down with too much detail. As a bonus, there are sections of many good photos, further notes and information in the appendixes for anyone who is looking for more in-depth material. For anyone interested in DeMille's work and getting a realistic look into the film industry from the early 1910s onwards, this book will definitely fit the bill.

John Ebert's remarkable book, Celluloid Heroes & Mechanical Dragons, does to movies what Joseph Campbell's Hero With a Thousand Faces did to myths. This is a mouthful, I know, but Ebert delivers. Armed with vast knowledge of our cultural past and a profound understanding of our present, he ventures into the world of "celluloid myths" (that Campbell pretty much dismissed until, as pointed out in the book, George Lucas turned him on to his Star Wars trilogy) and comes back with the boon. And what an incredibly rich and enriching boon it is.
Ebert uses his vast knowledge of myths, and practically everything else, to reveal the mythic dimension of some our most popular movies. As he maintains in the book, the first conscious incorporation of myths in movies, what he calls celluloid myths, was initiated by Stanley Kubrick's 2001: A Space Odyssey, which (according to the author) was inspired by Campbell's Hero. All the films discussed in the book are heirs to Kubrick's 1968 masterpiece: "2001 was the first major presentation of a theme that would come to be reiterated in film over and over again, namely that of the battle of an individual human being against an impersonal system that is threatening to dehumanize him, whether that system is defined as the megalopolitan city, the meta-national corporation, or technology in general . . .All are reworkings of Bowman's battle with HAL."
What I really liked about the book is that it doesn't dissect the movies to death, but rather provided enough insight so that I wanted to see many of these movies again. Before finishing the book, I couldn't wait to get the DVD's of the first two covered movies, Apocalypse Now (Redux) and 2001. The "guided tour of the films of David Cronenberg" even got me to the point where I want to take a second look at his movies, which (the ones I saw) I generally find hard to watch. I guess this best describes what the book did for me. Somewhat like the shield in Perseus and the Gorgon Medusa, it functions as a mirror that allows us to see the Mechanical Dragons that have become such a prevalent part of our movies (and our lives) and how they're slain by our Celluloid Heroes. It updates many of our most popular myths as never before.

With a white-hot strike to the center of the frozen, sterile and inert films that typifies modern Hollywood, John David Ebert reignites the passion, grandeur and vision that make film the most compelling, and relevant form of mass entertainment today. By distilling the great films of yesterday and today, Ebert manages in clear, distinct and entertaining prose to explain and explore why film has surpassed the novel as the preeminent purveyor of myth and wonder in our society.

His journey is precise and with an overall purpose, however, one may skip to chapters that hold special interest, for me, I found that reading the entire book was far more satisfying, even when I arrived at dissimilar conclusions than Ebert. For example, Ebert has long been an admirer of David Croenenberg, a director I find distasteful and vulgar in many respects, but in reading Ebert's exploration of Croenenberg's films, I found a new prism in which to view the director, and upon seeing his latest work A HISTORY OF VIOLENCE, watched the film with a deeper sense of what he was trying to achieve.

For me, myth has always been the cornerstone of all great art, whether it be visual art (painting), films, novels, I find that all such works are enriched by a foundation that embraces the great mysteries and universal connections which are the lynchpin of myth. Ebert's gift is the uncanny ability to take interesting films and dissect them at a historical, mythological and sociological level, deepening our understanding and appreciation of what makes certain films imprint the mind with images that recur and haunt and amaze us. What's even more interesting is that many of us watch these films with only a subconscious understanding of why they grip us in their web, which is actually the point. Myth is anything but conscious, it's wellspring is the imagination, the realm of dreams and nightmares and visions, and as such, need not be fully understood to be effective. Ebert's gift is to be able to show us all the facets that arise from the world's myths, whether rooted in Western or Eastern culture, his erudition, knowledge and ability to make them all cohesive is amazing. He's a good writer, a better thinker, a good critic, a better scholar.

One would assume that such an examination of myth and films would be dry and turgid, but just take a look at chapter 3, which is an interview Ebert did for a magazine. The discussions range from APOCALYPSE NOW to GODFATHER 3 to 2001 A SPACE ODYSSEY, and the way Ebert breaks them down is incredible. On APOCALYPSE NOW, he describes the film as a hero's descent into the underworld, mirroring some of Dante's INFERNO, and then in the same sentence, makes a segue to the Egyptian Book of the Dead, where the sun god Ra, journeys down a river through a kingdom of the dead, encountering obstacles until he reaches the Lord of the Dead, Osiris. Sounds convuluted? You're wrong. Ebert makes the transition so seamless and obvious that I actually started laughing with sheer intellectual enjoyment at what he was saying. In the same chapter, Ebert takes on the notion that many of these mythological symbols are accidental and not planned by the creative artist, and again provided brilliant analysis. For some, Ebert agrees, these symbols are certainly not always intentional, but he goes on to say that they spring for a universal source of creativity that is tied directly into the mythological wonder that occurs when the creative spirit is open to anything. So, though Kubrick certainly knew what he was doing when the ape throws the bone that becomes a spaceship, other artists arrive at the same powerful symbols through their own inward journey, which manifests itself as something that has existed for thousands of years. If you're confused by this, don't worry. Ebert breaks it down far more eloquently than I can, that's why he writes about myth and I try to tap into them in my day-job as a screenwriter.

A few nitpicky comments so as not to give the impression that I agree with EVERYTHING Ebert writes, that would make me a less-than critical thinker, which I hope I will always be. I wish he'd gone more into the Western and its mythic underpinnings, specifically films like THE WILD BUNCH, THE SEARCHERS, RED RIVER, ONCE UPON A TIME IN THE WEST, and THE MAN WHO SHOT LIBERTY VALANCE, all of which seethe with classical mythological symbols and images (John Wayne standing in the open doorway at the end of the Searchers as civilization occurs within the house, while he's forever isolated from such comforts). Also, Ebert has a list of films he considers notable, and while "best ever" lists are always subjective, it's still a fun way to measure your tastes against others to see what you have in common and more importantly, what you don't agree on. Ebert has a top 16 of his generation, topped by 2001, and including JAWS and TITANIC. Every film on the list has been at least tangentially or substantively discussed in the book, but as with any list, there are some head-scratchers for me. I wouldn't include all 3 original STAR WARS films, I would only include EMPIRE STRIKES BACK, and leave it at that. I would drop VIDEODROME, AI, and SCHINDLER'S LIST (Ebert has a great affinity for SPIELBERG, a director I think is visually brilliant, but intellectually facile). Other than that, the list isn't bad, considering Ebert limited himself to "my generation" freeing himself from having to go back to a number of other great films. He pretty much starts his list from 1968 and moves forward, leaving the omission of WILD BUNCH (1969) as a puzzler, but subject to lively debate. That's what makes the book great, Ebert lays out the foundation of these visionary films and their directors and then invites you to do your own investigation and arrive at your own conclusions. His, he states with force and logic and conviction, no getting around that. But the whole point is for you to leave the book wanting more and going back to favorite films and having a second, third of fourth look, seeing new symbols, new connections, previously unnoticed.

The idea that visionary films have replaced great novels as the preeminent creative force of our time is one that bears more exploration. In the old days, you had great writers like MANN, JOYCE, PROUST and HESSE. Now, you have prose stylists masquerading as "serious" writers, with nothing visionary and interesting to contribute. they write mostly to impress their brethren, the audience be damned. I'm no Thomas Wolfe fan, but I agree with his manifesto years ago, that today's writers have abandoned great, realist stories in favor of fancy prose and post-modern angst that makes for empty reading. Films admittedly have their share of bad writers and bad directors, but on the other hand, there are more interesting and talented and risk-taking artists in filmmaking today than in literature. You have SPIELBERG, TYWKER, VINTERBERG, CUARON, SALLES, COPPOLA (he has one last masterpiece, trust me), SCORSCESE, JACKSON, CARO, CAMERON, et al. They represent a vital, powerful force that is driving the great films of today and tomorrow. If nothing else, Ebert's book leaves you awaiting the next, great work of these artists, knowing it will draw on symbols and touchstones that go back thousands of years, to our universal connection. And that's all we really care about when we view art. We want to be moved, touched, transported, entertained, frightened.

Awed.

Ebert knows this.

So should you

In the introduction to his "Understanding Media," McLuhan wrote that his editor "noted in dismay that `seventy-five percent of your material is new. A successful book cannot venture to be more than ten percent new.'" Ebert's "Celluloid Heroes & Mechanical Dragons" presents a lot of new material, but when the world has changed and few have noticed, there's a lot to cover.

To understand Ebert's book we have to address change, as in technology (biotech, computing, nanotech, quantum theory, etc.) is about to change us as a species. And a lot of the traditions that used to help us with change, like European intellectuals, the literary novel, and academia, are nowhere to be found.

Europe has left the scene. Today, looking at European/American culture wars, one is tempted to think of a quiet retirement community disturbed by rowdy teenagers with noisy motorcycles. The bikers can be dangerous, but we are not going to hear anything new from the retirees.

Academia has collapsed. We might have hoped that in a period of profound change academia would be on the case. Not. The contemporary PhD thesis, article, and book in cultural studies is typically written by putting poststructuralist jargon in a word randomizer and printing out the results to signal that one is a member of the tribe. (One such randomizer, Pixmaven's Instant Art Critique Phrase Generator, is available online) Which leaves it to the nonacademic "independent public intellectual" to analyze our culture. John Ebert is a leading member of this vital group.

And the literary novel has ended. Myers' "A Reader's Manifesto" looks at the state of the contemporary literary novel, the pretentious kind that wins awards and gets reviewed in literary magazines, and finds that it has degenerated into gibberish-"some of the most acclaimed contemporary prose is the product of mediocre writers availing themselves of trendy stylistic gimmicks." Ebert makes a related point at the beginning of "Celluloid Heroes" where he writes: "Surveying at a glace the current states of western literature ... compared to its state in, say the first half of the twentieth century, what strikes one is an appalling decline in overall quality."

Ebert's conclusion? A culture chooses an art form in which to invest its energy. That art form has a period of vitality and then falls into decline. The literary novel has fallen into such a decline, and has been replaced by movies.

Ebert's interest is in what he calls the "visionary movie" since 1968 (think Speilberg, Kubrick, Coppola, Lucas, Cronenberg, Tarkovsky, Scott, Cameron, etc.), and its focus on the impact of technology on our culture and ourselves as human beings. His approach is to treat movies as mythologically informed literature.

Despite the rejection of mythology in much of academia, it appears that our filmmakers have retained their mythological literacy, whether through subliminally absorbing the classics, or actually reading them. Ebert observes that in "Apocalypse Now," Coppola shows Kurtz reading Eliot's "The Hollow Men," which was inspired by Conrad's "Heart of Darkness," also the source of the plot of the movie, while the camera picks up Frazer's "Golden Bough" and Weston's "From Ritual to Romance" on Kurtz's desk.

What do we mean by mythology? We might describe a mythological position, particularly as taken by Joseph Campbell, as the notion that the structures and patterns of the energies of the cosmos that pour into the phenomenal realm are revealed in our myths, literatures, and arts.

Ortega y Gasset wrote:
"[T]he political or cultural aspects of history are... the mere surface of history; that in preference to, and deeper than these, the reality of history lies in biological power, in pure vitality, in what is in man of cosmic energy, not identical with, but related to, the energy which agitates the sea, fecundates the beast, causes the tree to flower and the star to shine."

It is this cosmic energy that Ebert identifies in the great visionary movies of our time. Thus Visionary movies are mythologically based and assume that there are archetypal patterns in the course of empires and nations, in our becoming fully human, in the human/technology interface, and in the cosmos itself. Academia today, with its poststructuralist viewpoint, takes Locke's "tabula rasa" position and is profoundly anti-essentialist, vehemently denying transcendence and archetypal patterns. Ebert's book is a refutation of this position.

From Ebert's point of view, the role of the movie critic becomes to approach movies with a background of literacy adequate to unpacking them and helping us in our readings of them. Ebert does this. Few other movie critics can.

So, should you buy this book? Here is how to decide: Write down a list of your top sixteen films. If five or more overlap with Ebert's list, order the book immediately. Here is Ebert's list.

1. 2001: A Space Odyssey
2. Apocalypse Now
3. The Star Wars movies
4. The Godfather movies
5. Close Encounters of the Third Kind
6. Alien
7. Blade Runner
8. Videodrome
9. Raiders of the Lost Ark
10. The Shining
11. The Exorcist
12. A.I,
13. Schindler's List
14. The Road Warrior
15. Titanic
16. Jaws

Another test is that if you enjoy the books of Joseph Campbell or William Irwin Thompson, you will love this book. You can see more of Ebert's work at the website, CinemaDiscourse.

John Ebert's book is essential reading for anyone even slightly interested in "visionary" film-- that genre of film that explores the imaginative and mythic possibilities of film, pioneered all the way back with George Melies, and carried on by such modern proponents as Kubrick, Coppola, Lynch, etc (where Ebert's focus predominates). He offers his keen scholarly insight into the mythic and sociological undercurrents of this still-evolving trend, which I found to be fresh and original. While one will inevitably disagree with some of his assessments ("The Matrix" as garbage?), that's actually some of the fun--and value--of works like this, since it forces one to formulate one's own views in response more clearly, and stimulate one's thinking in ways that straight consensus wouldn't.

There are a few notable omissions from his overview---horror films and experimental cinema surely deserve an seat at this visionary table--but then, a work covering every conceivable facet of this subject would have required a series of volumes rather than just one, so that may actually be a blessing in disguise. All in all, an important work on the premier art of our time--cinema.

I loved this book and liked the mix-ups about Cher and "Shar" you should read it.

This book was awesome!!!!!! I love it when Cher and De do makeovers, and it was cool how the story tied in with Frankentstein (dont worry, it isnt dorky, its awesome). This is a total must read!!!!!!!!!

I love these books!I's really funny how Cher talks using words like chronic,betty, baldwin,rampant,snaps,etc. and how she's always talking about her designer clothing.Aside from that,these are very humorous books.All of them are great!

another one of the best clueless books. i really enjoy reading it. and all you people out there, read this book!!!

The series is quite rich in characters and lends fictional background to the Bible. I would recommend this series to anyone who has a love of history or someone who is open to ideas of the people in the Bible.

The Children of the lion series is a great way to get younger people interested in reading. Full of great characters, Biblical and fictional, it traces the lives of Cain's descendents who all have a brilliant talent for metal-working and find themselves interwound into the lives of kings, prophets, warriors and slaves.

I loved these books when I was in middle school and would read them all again now in my mid 20's.

I have read all nineteen books in the series and loved each one. The author takes events in the Bible and fills in the details using fiction. Peter Danielson did a through job of research and the stories show how such things that happened in the Bible were possible.

My favorite part was when Moses was a young man and Egypitian soldier. Reading about his life made him so real to me. My favorite character was Tatia, a child of the lion and woman armorer. The characters in the books were so well written that I felt like I knew them personally. I recomend this series to anyone who has an intrest in Bible and ancient history as well as anyone who loves a good book.

This book was an exceptional overview of Abraham's life period in the Old Testament. The addition of a slave's point of view, a handicapped blacksmith, and the Legendary Child of the Lion portrays an excellent story that will remain in your thoughts for years. I recommend it to everyone, especially those who wish to find out more on the Old Testament of the Bible.

A great book by Jack Hunter. Christopher Walken is a very gifted actor, and Hunter gives loads of insight into the many characters he has played throughout the years. You may even be inclined to view some of the movies, again after reading this book. It is obvious that Hunter recognizes talent when he sees it. Hunter goes beyond the typical type-casting, that many film critics are stuck on. This book has many nuggets of wisdom, and is laced with respect. Christopher Walkwn is very fortunate to have an insightful author, like Hunter, write about him. Thanks Chris for sharing your gift of acting. Thanks Jack for sharing your gift of writing. The pleasure has been mine from Indiana.

A great book by Jack Hunter. Christopher Walken is a very gifted actor, and Hunter gives loads of insight into the many characters he has played throughout the years. You may even be inclined to view some of the movies, again after reading this book. It is obvious that Hunter recognizes talent when he sees it. Hunter goes beyond the typical type-casting, that many film critics are stuck on. This book has many nuggets of wisdom, and is laced with respect. Christopher Walkwn is very fortunate to have an insightful author, like Hunter, write about him. Thanks Chris for sharing your gift of acting. Thanks Jack for sharing your gift of writing. The pleasure has been mine from Indiana.

This is a great source of information about Christopher Walken, his movies, and the themes that drive them - however - it does tend to overanalyze, and contains little information on Walken that you could not pick up yourself on the internet. It seems that Walken is not the chatty type. In his own words, he enjoys working and is not proud of all the 90+ features he has appeared in, but he does have his favorites. I have no idea after reading this book if one of these top ten are in fact the actors favorite - rather they are showcased as his best performances. This is a lot of speculation, as Walken has an incredible amount of work, including broadway shows to choose from. So if you are looking for that personal touch, it's not really there. You have to ask yourself though, is there really anything behind Walken as a person that would warrant a personal touch? From all appearences, he works, he goes home, he works some more. He has been married to the same woman for 30+ years, thinks he cooks really well, and aside from the really odd stab at screenwriting (he wants to do the John Holmes story - apparently he is fascinated with Holmes' life, and the attention paid to Holmes' member vs. the real man behind the porn - Okay Chris - you get the different award) he would appear to be reasonably stable (discounting the Natalie Wood thing, but even that is scandal of the most mundane variety.). Christopher Walken is a person who has lived his entire life on film (since the age of 3) and no doubt will die on film as is his wish. So perhaps there is no personal touch to be had and his films are the only window into his life, aside from the odd interview (such as his most recent wish - to host a cooking show). If you want to experience an exhaustive analysis of ten of what are his best well-known films by good reviewers that have never interacted personally with Walken himself - this is for you. If you want to read Walken on Walken, get the playboy interview.

I only rate this book with 4 stars because of its interesting subject - not for the editor Jack Hunter. Did Hunter actually read it? I was completely distracted from the material by the numerous spelling and grammatical errors. An actor like Christopher Walken deserves better treatment than this sloppily thrown together collection of essays. Though some of them were pretty interesting (Deer Hunter, Comfort of Strangers), I found myself wondering if Hunter actually watched all of the actor's major films. How could he include The Addiction and Suicide Kings in the Walken Top 10 but leave out the awesome performances in At Close Range and Biloxi Blues - both with gripping climax scenes that deserve essays of their own. A comparison of Walken in his stand-off with Sean Penn to Walken's flip-flop stand-off with Mathew Broderick (Walken is held at gunpoint by Penn/ Broderick held at gunpoint by Walken) sorely needed to be added to this collection. Will someone please re-write this book?!?!! Heck, give me a week; I could do better than this.

Lots of good recipes and that means GOOD EATING!!! A+ for the book...has lots of pictures too!

Who knew there was a right meal to eat with a certain movie? For people who like good movies and great food, this is the cookbook to have.

As another reviewer has said, this is the companion book to the tbs dinner and a movie weekly show. I am a big fan of the show and will actually make these recipes to watch with the movies. Some of my favorite movie and recipe combinations from this book are: The Cutting Edge, The Breakfast Club, The Outsiders, Fargo, Groundhog Day, and too many more to count. Hopefully, in a few years they will release another edition featuring even more of their wit, movies, and recipes.

Chef Claud Mann has turned cinematic cuisine into a television art form on his popular TBS Superstation weekly program, "Dinner & A Movie". Now with Claud Mann's TBS Superstation Dinner & A Movie Cookbook, he has brought together 100 of his favorite recipes in this third edition of an enduringly popular cookbook. From Beetlejuice - Dearly Departed Sole; Sleepless in Seattle - An Eclair to Remember; and U.S. Marshals - We always Get Our Manicotti; to Ferris Bueller's Day Off - Can't Go To School, I Falafel; Tootsie - What's Under Your Skirt Steak; and Conspiracy Theory - It's All In Your Headcheese, the individual recipes are served up with an on-air wit and an in-kitchen wisdom. If you like to combine watching movies with great do-it-yourself cooking, then Claud Mann's TBS Superstation Dinner & A Movie Cookbook is the one for you!

This book is exactly what it says, it is comprehensive (it covers his whole life in great detail). It's Illustrated (it has pictures and photographs throughout the book). It can most definitely be used as a reference to many things, Drama, The Arts, Claude rains, life in british poverty. Overall this is a very good book.

Another great biography from John Soister. Mr. Soister wrote the definitive book on Universal horror films from the 1930's a year ago, now he publishes the definitive biography of one of filmdon's acting giants, Claude Rains. A book on this wonderful actor was way overdue. Soister proves it was well worth the wait! Each of Rains' films is recounted in detail, with Soister's well informed opinion on each film, and Mr. Rains' performance. If you are a fan of Claude Rains, or Hollywood's Golden Era, THIS is a must book for you! He may have been short in physical stature, but Claude Rains was a towering giant when it came to talent, style, and film presence. You won't be disappointed in buying this great work!

Claude Rains, A Comprehensive Illustrated Reference is the book Claude Rains fans have been waiting for for years. It starts off with a wonderful mini bio from his daughter, Jessica. Especially nice, is a charming story about them going to see 'The Invisible Man' together. The reader gets a sense of Claude Rains, the man as well as Claude Rains, the actor. Both are well worth reading about. There is a detailed synopsis for each movie with lots of little backround tidbits and loads of great photos. Also discussed, in less detail, is his stage, tv and radio career. The author says that the book is a 'labor of love' and it shows. If your a Claude Rains fan, and who isn't,buy the book... you'll love every minute of it.

As a life-long film buff, I've long regarded Claude Rains as one of the finest screen actors in movie history. He stole every scene he was ever in and enlivened even the worst of his movies. His voice was incomparable, like "honey with a little gravel thrown in." In addition, there was his formal manner, the way he moved... the whole package was quite mesmerizing. Prior to this book, I had to glean my information on Claude from various Hollywood books and many interviews with the inimitable Bette Davis, who adored "my gorgeous Claude." I have to agree with Bette, Claude Rains was everything in a man that discerning women want: sweet, brilliant, a gentleman and sexy as hell. If you're a Claude-besotted soul, this book will please you enormously. The photos alone are worth the price, as are the all-too-brief recollections from his daughter. Excellent work on an essential actor.