Movies Books

This is a beautifully written book on the portrayal of New York City in the movies. The author is extremely knowledgeable about the architecture of NYC (in fact, he is a New York architect), about the geography and history of NYC, and about film, both in its historical and technical aspects. The writing is imaginative, lyrical, thoughtful, and intelligent--this is a labor of love that took 15 years to complete. If you have any interest at all in New York City or in film, do yourself a favor and buy this book. It made me want to go out and rent at least 60 of the films discussed in it, and it reminded me of many great films set in NYC that I've enjoyed in the past and will want to see again to note some of the characters, themes, landmarks, or stage sets that Sanders describes.

If there was ever a book that really needed to be written, and was then executed nearly flawlessly, this is it. Documenting the multi-threaded releationship of New York City and Hollywood (the movie biz began in NYC, and the studios' financial offices remained there; much of the writing/directing/acting talent came to Hollywood from NYC; Hollywood's backlot NYC was the setting of thousands of films; the ideas of the Hollywood versions eventually changed the real thing; etc.), this is a heckuva fun and interesting read.

Among its most fascinating parts are information on the techniques used to create believable NYC settings by the studios (e.g., the most detail I've ever seen on Hitchcock's enormous Rear Window set), examples of the vast amount of architectural and local-color detail contained in the studio's art department photographic files (more than in some of NYC's museums!), and its general architectural analysis of NYC's major iconic structures: skyscrapers, rowhouses, tenements, train stations, nightclubs, etc.

But of even greater interest are the detailed treatments of how NYC was SHOWN in films (both well-known classics and obscure titles) of different genres and eras, and how the IDEA of NYC affected the world audience, and eventually changed the city itself as new generations flocked to their city of dreams... A flip through the photographs alone is a total pleasure.

This is a great book for film buffs, fans of NYC, architecture students, and those interested in 20th century social history. (I'm all of those things, and I LOVED it!)

If you have an interest in films, architecture or New York City then the purchase of this film is a no-brainer. The book is packed with photographs of movies and film sets that feature the buildings of New York. Another reviewer mentioned the Alfred Hitchcock set shot from the film Rope. I would add the shots from Fountainhead and Week-end at the Waldorf as being special and stunning.

James Sanders said that he spent 15 years writing and researching this book and it shows. His points are well written and quite informative.

I would strongly suggest the hardcover edition for its slightly larger size and the quality of the Knopf binding.

First editions can be purchased used at a very attractive price. Like I said, no-brainer.

This fascinating exploration of the interrelationship between the city of New York as an urban center and its portrayal throughout the history of moviemaking is filled with perceptive insight and thoughtful analysis. Highly recommended.

How New York is seen (figuratively and literally) by the rest of the world has been influenced more by Hollywood than anything else. James Sanders brilliant "Celluloid Skyline: New York and the Movies" explores the relationship among Gotham, Hollywood, and the rest of the planet. There's a lot here, and a lot of material that has never been presented before.

Each section offers specific insights into the cinematic image of New York: its icons, its myths, its realities. What is also intriguing is how Hollywood's directors manipulated actual city locations to make it look "more like New York". One of my favorite essays has to do with the "domestic" look of New York: its mansions, row houses, and tenements. Also fascinating is the section called "Nighttown"--Hollywood loves the dangerous flavor of New York's streetlife.

This is a marvelous book with a marvelous look. Take one of the other reviewers' advice, however, and get the hardcover. The size makes a big difference.

it came in good condition.havent had a chance 2 read it but i'm sure its good like the least of the books.

I love the show, love the book, love 'em all!!
I loved the detail of the book, made me feel like i was there.
for sure I'm ordering more books from charmed. love this!!!!!!

Leo can't find the Charned ones, he has Wyatt and newborn Chris. I read slow.

GREAT READ - IN TRADITION OF THE AWSOME SERIES THAT SADLY ENDED IN 2006. THIS IS A GREAT ADVENTURE AND KEEPS YOU INTERESTED. I DEFINATELY RECOMMEND TO ALL PIPER AND LEO FANS. WOULD HAVE LOVED TO SEE THIS AS ONE OF THE EPISODES IN SEASON 7 OF CHARMED.

I've read my fair share of spin-off novels in order to get an extra taste of a favorite movie or TV series. You take them with a grain of salt, knowing that they won't exactly be Shakespeare or even up to par with the original work. So, imagine my delight when I picked up this book (the first I've read of the Charmed series), and discovered a very well-written novel that is incredibly faithful to the canon (most delicate of all being the characters and the Charmed universe). Leo (my favorite character) is newly mortal and dealing with Piper's over-protection, when the sisters are kidnapped by a mad scientist. Leo summons his adult sons from the future to help him unravel the mystery and rescue the Charmed Ones. It's a story with enough character and mystery that it could easily have been a strong episode of the series. It could have used more drama and play between Leo, his sons, and Piper. But still, an excellent spin-off. Grade: A-

Growing up in Chicago in the late 70's I missed Bishop's Sven. I started out with the Ghoul and was hooked forever when Rich Koz opened his coffin on Ch 32. Since that time I've lost precious brain cells to the permanent memories of those classic parodies and skits. Mr. Robbers, 50 Ways to Blow Your Cover, and more.

So, I had to get this book. It is a quick read (nearly half is just a list of b-grade movies) and tells the tale of how Svengoolie came to be and where the whole thing started. If you are a fan of Svengoolie you owe it to yourself to take this fun trip down memory lane, or elm street...whichever.

I bought this book on a whim for my boyfriend who grew up watching Svengoolie on Saturday nights. He absolutely loved learning more about the show he adored as a child.

I grew up in Detroit, so I missed out on most of the programs covered here, except for the maniacal Ghoul (Ron Sweed, a Motor City favorite) and the wacky and still active Svengoolie, played by the talented Rich Koz. In spite of this, however, I loved reading this book because it captures the fun and the essence of what every monster movie fan of my generation experienced, from the happily demented horror hosts to staying up late to watch those glorious (sometimes gloriously awful) films we cherished so much. Remember, this was mostly before home video came along. The book is loaded with nostalgic advertisements for these movies, the kind of ads that made you drool in anticipation.

Some folks might question why there's an entire appendix devoted to a "100 Monster Movies" rating guide, but to me it's one of the most enjoyable sections of the book because it goes hand-in-hand with the overall history of this subject. How can you discuss monster movie programming without discussing the monster movies themselves? If anything, I wish they'd gone a step further and covered even MORE titles. A few of my favorite films were overlooked. Am I the only one who has fond memories of CREATION OF THE HUMANOIDS? (Maybe I am.)

The book is well researched, fun to read, and has lots of wonderful photos and graphics. It makes me sorry that I missed out on all the fun. But then again, I didn't. No matter where you grew up, watching monster movies on television was a universal experience. This book captures that experience beautifully.

Let me start by saying I am from Chicago and I am a Chicago History buff.

As a child and into my teens watching Creature Features on Channel Nine (the opening as a six year old terrified me), and then the Son of Svengoolie on WFLD, I loved local tv. Why do I say this? Simply put - I had high expectations for this book. The good news is that Ted Okuda and Mark Yurkiw exceeded them.

Looking for Elvira - you won't find her - but "Dear" clearly was a feast for the eyes. Now I finally know what my dad was talking about.

"From Shock Theatre to Svengoolie" is a needed part of the history of Chicago TV and Lake Claremont Press respectfully published a book others might take a pass on and remains a respected leader in local publishing of Chicago history. Well edited, designed and expanded in part by a solid and varied reference section which includes a solid list of films shown (and reviews), a heartfelt "Collector's Corner" with additional reviews, and a resource guide on where to find your horror needs - that alone would stand to qualify the book as a great resource; but yes - there's more.

The book is factual and warm about the subjects themselves - with wonderful chapters on characters such as Marvin and the curvacious and faceless "Dear" of Shock Theatre to Jerry Bishops "Svengoolie" concluding with the story of how Rich Koz's "Son of Svengoolie" became "Svengoolie" in his own right.

The book doesnt mince words. The Ghoul from Cleveland gets a chapter - and in that chapters lies the great story of the loyality of Chicago to it's city and to its broadcasters. That chapter alone made me smile - unfortuantely at an outsiders expense.

The book covers some obscure local attempts to compete against established programs as well - which goes to the detail the authors provided.

And then there was Sven.

While you can watch Jerry Bishop and Rich Koz on YouTube as Sven as a resource; the chapters on Svengoolie are detailed and worth the read.

I grew up and continue to watch Rich Koz as Svengoolie now in Chicago - and through this book you realize Sven's program not only entertains through horror but is also the last of the real local efforts to fight to keep local television creative, relevant and accessible. Koz is an important throwback to Garaway and other early Chicago broadcasters and deserves the praise and critical rsearch the book compiled.

In this book you can see why Koz is important as a local celebrity - and is up there with dare I say Studs Terkel and Oprah as important local personalities - even though Koz would likely deny this endorsement. WCIU should be credited for keeping a great program such as Sven on the air when others might just put an episode of "Night Court" on instead...yeech.

I particularly enjoyed the attention to detail; with photos of the old newspaper and TV Guide advertisements of the programs. If you loved those programs as a child - before there were so many options on cable; those ads were critical in promoting the programs and the movies we grew to love.

The book is lavishly illustrated and well written and referenced, footnoted and resourced. Time, effort and true affection for the material went into this tome.

In a book like this - there is room to be melancholy - and the authors avoid that trap. Lamenting on the fact local television is in most cases just the news; and all of TV's creativity is left to the networks would be an easy place to go - but the book is upbeat and most importantly a joy to read.

You want Creature Features? The book has it. Marvin and Dear - yep; its here too. Screaming Yellow Theatre and all of Sven? Yep - that too.

Clearly highly recommended.

I would write more - but my family is ready, the popcorn is popped and Svengoolie awaits .....

I bought this book at a book signing at "Horrorbles". The authors are really nice guys. The book is a must for anyone even remotely interested in horror, it discusses in detail the various TV horror hosts broadcast from the Chicago area. Its covers the inception of TV horror hosts to the present. It also does a good job of showing the evolution of the TV horror show. The book is well written and offers so much insight, there is a not only a wealth of information but resources for any fan of horror. There are plenty of photos that will surely evoke pleasant memories of sitting in the dark watching "scary movies". Makes a good gift.

I LOVE THIS BOOK! IT'S COOL HOW THEY PUT THE SCRIPT IN THE BOOK.
I've seen the movie 5 times, and I can't wait until August 19th when it comes out! I'll be sure to be it.

It took 10 days for it to arrive, but it was worth the wait! I ordered used. But it was in perfect condition.

I've seen this movie 8 times, so it's just natural that I bought this book. The book cover was damaged, so I told amazon, and they sent me a new one, free of charge, within days! I love the pictures, they are amazing, and I love how the lyrics and script is included. This book tells the story of the movie with pictures. I also loved the behind the scenes information they had. This is a must-have for any die-hard Chicago fan.

If i could i would give this book more stars. This really captures the movie well. You need to buy, The Soundtrack & of course The Movie if you are a fan of the movie! Im only on page 37 and i just LOVE this book! To anyone who has not seen Chicago yet i say this to you "what the heck are you doing on your computer you chould be out going to see it"

I've been dying for this book to come out! Finally, I get it. I love it. I have to express my feelings for this great film, play and book. First of all...this is probably one of the most lavish musicals ever made. Second of all...if you have never seen the film, Do! Third of all...buy this book! It includes the complete screenplay (with some cuts from it) and an in-depth behind the scenes section with picutures of the 1975 Broadway play, the making of the film and real life "murderer's row."
If you love Chicago, buy this book! It rocks!

If you liked the movie (and, didn't we all?) you'll love this lavish, razzle-dazzle book. Some 183 eye-popping full color photos and illustrations are reminders of what a treat for the eyes this film is. It's hard to believe that pages can contain those glamorous larger than life screen figures - Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah - but, they do with photographs that sizzle.

In his intriguing introduction Director Rob Marshall relates his fascination with Chicago: "I was fifteen when I first saw Chicago on the New York stage. After seeing the performance, I listened to the album over and over and loved this musical more than words can convey. For me, Chicago was Broadway. So it's a dream come true for me that I've come full circle, going from that little kid, the 15-year-old at the stage door, to directing this movie. Please forgive me for believing it's destiny."

Marshall goes on to explain both the difficulties and joys of adapting Chicago from stage to film.

An especially absorbing section of this volume is devoted to the genesis of Chicago which was originally based on a real murder which took place in the city of Chicago in the 1920s. A man was found shot to death in a car owned by Mrs. Belva Gaertner, a cabaret singer with two ex-husbands. At first the woman denied any knowledge of the crime but later admitted that the gun found in the auto was hers. To every question asked of her she replied, "I don't know. I was drunk."

It comes as no surprise that she was acquitted. Following this announcement she laughed, hugged her attorneys, and thanked the jury. You know what they say about truth being stranger than fiction!

Remember Ginger Rogers? She came on screen as Roxie Hart in 1942.

The book Chicago is filled with little known facts, such as for the film's closing number when Roxie and Velma shoot out lights to spell their names over 10,000 light bulbs were used to create the 20 by 30 foot wall of bulbs. And, find out how and where Rob Marshall auditioned Renee Zellweger.

There's no place like Chicago that toddlin' town, and there's no book like Chicago!

- Gail Cooke

What Else can be said. The book is awesome, you get to see not only the clay puppets but parts of the scenery, stroyboards, concept boards. I havent seen the movie yet, but cant wait to do so. For my students it has been a very interesting approach to Claynimation, now I just have to find the Wallace and Groomit videos to add it to my library.

Anyone who has the slightest interest in knowing how an animated movie is created will love "Chicken Run - Hatching the Movie." by Brian Sibley. Even the design of the book is whimsical in style and lush with color illustrations from the new movie as well as from other films from this animation house.

A lighthearted introduction written by Mel Gibson (who is the voice for Rocky in the movie) sets the overall tone for the book. In this overview there is a brief history of the animation process with some really slick photos of the British Aardman Studios that both Nick Parks and Peter Lord, the directors of "Chicken Run," help to put on the map with several Academy Award nominations for their past films.

Animation and story development is not just fun and games as one might think but envelops serious thinking and work. The book is sprinkled throughout with wonderful idea sketches, watercolor paintings, storyboards and outlines showing how script and plot ideas for "Chicken Run" were developed.

A wonderful chapter on the actual making of the physical characters gives an inside look into the art studio itself where molds, paint, and artists bring these figures made of a clay-like substance called plasticine into existence. In a chapter called "Making the Right Moves" Sibley details the various problems that animators had during production. Trying to give the human characteristics of anger, hate, love, fear, and happiness in front of the camera is a major feat in itself. The difficult task of lighting a scene along with making the miniscule movement of each figure to create the animated move almost sounds like torture. And when one realizes that the largest film shoot in one work way was a mere 26 seconds you wonder if it is. The animators say their work normally floats along on inspiration but at other times when they are tired, getting the job done becomes a matter of will. They are so involved with their work that it is only when the camera isn't running that they realize that they are only working with a lump of plasticine.

This book is definitely written for the connoisseur of animated films and filmmaking but children could also enjoy the "fun" illustrations from the movie, which are a large part of this publication.

The seriousness of this studio's filmmaking makes for some very interesting reading. A quote by one of the directors, Peter Lord, not only sums up the animation process but could be the kernel theme of this book. "We make films and by the way, they happen to be animated."

Ron Harmon rohar@msn.com

*

How did they do that?

"Chicken Run: Hatching the Movie" provides an engaging, behind the scenes examination of the workings at Aardman Studios, offering insight into the personalities and technologies that brought us Wallace and Grommit, as they work towards the completion of their first feature-length animated film.

There are plenty of photos from the final movie, but more importantly, the book is stuffed with the artifacts of the animation process- the sketches and drawings, storyboards and photographs that record the way the film was developed from idea to story to finished storyboard and characters.

The book stops short of offering specific timelines, technical details or recipes for plasticine, but the aspiring animator is given ample opportunity to read between the lines. There is a wealth of information and inspiration to be had; something to learn on every page.

Sibley's narrative follows Nick Park, Peter Lord and others as they discuss, revise, and rethink their ideas, meet with Hollywood moguls for the first time, hire and then change writers, and work their way through the transition from commercials and short films to producing a two-hour, animated movie.

The writing is open and lively, describing the time involved and the twists and turns in production as the storyline is developed and revised, characters and ideas introduced and then axed. This frank discussion of the creative process at work is perhaps the book's most valuable asset.

"Chicken Run - Hatching the Movie" is an ideal companion to Aardman's earlier book "Creating 3-D Animation".

One book gives a superb, do-it-yourself introduction the techniques and process of model animation, while the other provides an in depth study of the creative process in action during the production of a single feature.

Together, these books provide the most useful resources on claymation and model animation to date.

If you haven't seen Chicken Run you should go see it. It is a family movie in which their are chickens who try to escape from the farm where the live. They try to learn to fly, but they keep failing. If they don't escape soon they will become chicken pie. Can they learn how to fly or find a way to escape soon enough, or will they become chicken pie? Watch the movie and find out.

This is the most delightful book about the making of a movie I have ever read! The text is full of funny stories and interesting details about the process that went into hatching this chick flick!Being a published cartoonist myself, I found reading about the process the Ardman folks went through to be fascinating.Also good were the photos showing the different animators at work making the models of chickens and other assorted poultry items.This is a must for any fan of Ardman! Viva Wallace and Grommet! Viva Rocky the Rhode Island Red and his favorite chick, Ginger!You will not regret buying this book! Myke Feinman, publisher and cartoonist for Ink and Feathers Comics

As a Southern historian I liked the book very much. However, I was and am confused about the hospital where the book began. It seemed to be Chimborazzo in Richmond as he was wounded at Petersburg. However, I thought later that it may have been in central North Carolina as he was traveling west toward the mountains. That was never explained and the map inside the cover helped very little. I felt the book dragged somewhat at times, but overall was excellent.

I also saw the movie and was pleasantly surprised that it was very good and stayed close to the book. I always have problems with movies and found two glaring errors and one significant omission. Nicole Kidman was dressed as a cross between a Gibson Girl of the 1890's and Miss Kitty of Gunsmoke. I never understand why they can't do the ladies' clothing correctly for the 1860's. Renee' Zelwiger was miscast as Ruby. She needed to be much bigger, fatter, and more country. Renee' comes off as a city girl trying to pass for a country woman. They should have had Jude Law go back and kill the guy with the women after he got loose from the chain gang, as happened in the book. Finally, the band was playing "Sittin' On Top Of The World". That song was not written until 1930. So much for historical research.

Avid fans of Charles Frazier's classic novel "Cold Mountain" novel who have followed its translation from book to film now have a keepsake coffee table edition celebrating the move, which is much more than a collection of movie photos. The novel "Cold Mountain" is the story of a pilgrimage, and in the same tone compliments Cold Mountain: The Journey From Book To Film, tracing the odyssey of the movie created by an English directory and his international team of filmmakers: a six-year odyssey. Yes, there are over 185 photos by a number of photographers - but there are also extensive references on pre-production, post-production, and analyses of how the film was created, adding a depth and dimension which elevates Cold Mountain: The Journey From Book To Film far beyond the status of mere coffee table embellishment.

I am a Cold MOuntain fan! I love the book! When I saw the movie, I was somewhat disappointed. Don't get me wrong; it is a great film, but it is so different from the book. When I rated the screenplay, I gave it three stars (out of five), because I felt it "violated" the book in so many ways. This book (Journey from Book to Film), however "redeems" the screenplay, because it explains and illustrates the process of adapting a book to film, and helps the reader understand why the movie "must" be different from the book. This is an absolutely beautiful and essential book for anyone who cares aqbout how the book became a film, and the end result. It is a lovely and well-done book. Highly recommended. By the way, you will want to read the novel again after seeing the movie and reading this book!

This is a beatiful book on the making of my second favorite film of the year, the first being The Return of the King. The book expolres the novel's journey fromm book to srcipt to screen and has over 180 lavish pictures and illstrations. I have not bought any other of these books from Newsmarket becasuse it did not really not what to expect. What i got was a grand expolarartion of what it takes to make a grand film like this. The Music was great in the movie and there is extenisve pages on the making of the soundtrack as well as 32 pages of beatuiful black and white photos taken on the set. If you love movies buy this book, it doesn't even really matter if you have seen the movie or not the book well just make you want to see it a lot more.

Anthony Minghella has become today's poet of images. His films are lyrical and very emotional. They are beautiful, always thoughtful and very touching. That's why I counted my lucky stars when I learned that Minghella would next adapt one of the best and most beautiful books I've ever read, Charles Frazier's Cold Mountain.

Could Mountain: The Journey from Book to Film takes you on the road that everyone involved with this film walked down. First, we meet Minghella and Frazier, as they both discuss the writing of the book and of the script. Then, we meet the producers, the set desingers, the cinematographer, the costume desingers, the actors, the editor... Everyone who played a major role in the making of this film is presented in this book.

I haven't yet see the film and cannot say if the greatness of the book translated well when it was taken to the silver screen. But judging from the interviews and the pictures in this film, I have to say that I don't think I'll be disappointed. The pictures in this book are beautiful and very attractive; you can already tell that this will be one heck of a film to look at (the pictures alone are the kind of visual candy you can't pry yourself away from). And then, the book also reprinted parts of Minghella's screenplay. And like we saw in his other films, The English Patient and The Talented Mr Ripley, Minghella really has a knack for writing engaging and touching dialogue.

Reading this book only made me want to see the film even more. It's rare that you are allowed to partake in this kind of journey, following a film's progress from point A to point Z. But this book brings you right into the heart of the film's production, discussing all the problems the crew faced, and telling us little annecdotes about the making of this film. Cold Mountain might not end up being the greatest film ever made (although I do wish it is), but I can tell, judging by this book, that it will be a great and very important film.

Lauri Maerov went straight to work writing the novel Copycat. Any suspense fan with a strong stomach will love this book. With as many twists and turns as an amusement park ride, this book will entertain any reader. With a beautifully described San Francisco background, in depth character descriptions and haunting images paint the picture of Maerov's adaptation of the movie.
Agoraphobic criminologists, tough cops and deranged serial killers are only a sample of the characters of Copycat. Helen Hudson is an intriguing character, balancing her fear and depression with solitude and prescription drugs. Stalking Helen are two relentless psychopathic killers, Daryll Lee and Peter Foley, who will stop at nothing to take her life. Rueben and M.J. are the two cops assigned to catch the murderers. In this game of cat and mouse, Helen, Rueben and M.J. follow a trail of clues, followed by Helen's obsessed fan.
Beginning and ending at Berkeley University, Copycat takes readers throughout the streets of San Francisco, into Helen's apartment and at the Festival of Love. "Once in the stairwell, M.J. knew something didn't feel right (Maerov, 270)" thought M.J., following her cop instincts, which probably had kept her alive. Throughout the book, the messages of knowing who to trust and watching your back are stressed.
Up until the final showdown on the roof of Berkeley University, Copycat keeps the reader's attention glued to the pages. A bit graphic at some points, the book still manages to provide a vivid scene it the reader's mind. Never the less, this novel is a page turner that must be on any suspense fan's "to read" list.

Lauri Maerov went straight to work writing the novel Copycat. Any suspense fan with a strong stomach will love this book. With as many twists and turns as an amusement park ride, this book will entertain any reader. With a beautifully described San Francisco background, in depth character descriptions and haunting images paint the picture of Maerov's adaptation of the movie.
Agoraphobic criminologists, tough cops and deranged serial killers are only a sample of the characters of Copycat. Helen Hudson is an intriguing character, balancing her fear and depression with solitude and prescription drugs. Stalking Helen are two relentless psychopathic killers, Daryll Lee and Peter Foley, who will stop at nothing to take her life. Rueben and M.J. are the two cops assigned to catch the murderers. In this game of cat and mouse, Helen, Rueben and M.J. follow a trail of clues, followed by Helen's obsessed fan.
Beginning and ending at Berkeley University, Copycat takes readers throughout the streets of San Francisco, into Helen's apartment and at the Festival of Love. "Once in the stairwell, M.J. knew something didn't feel right (Maerov, 270)" thought M.J., following her cop instincts, which probably had kept her alive. Throughout the book, the messages of knowing who to trust and watching your back are stressed.
Up until the final showdown on the roof of Berkeley University, Copycat keeps the reader's attention glued to the pages. A bit graphic at some points, the book still manages to provide a vivid scene it the reader's mind. Never the less, this novel is a page turner that must be on any suspense fan's "to read" list.

I have read many adaptations for movies but this one was REALLY EXCELLENT!! If you haven't seen the movie? Not a Problem, this book will keep you on the edge of your seat. the discripitions used to show Dr. Hudsons Agoraphobia is right on, and I should know...Having been housebound for 18 months myself. This is REALLY a great story and a great read. This story will do to Public Bathrooms what Psycho did to Showers!

I thought Copycat was a well written book, full of suspense and imaginitive characters...I enjoyed this book to the max, and I recommend it to anyone who enjoys reading high intense thrillers!

I loved it! That's all I can say! It was gory! But then my book got wet and I never really got to know if the killer died! I hate the way the killer did the stuff he did. The killer from SCREAM is cooler! It's a good book...But has a bad killer! I wanted to kill the killer for being so BAD

CRIMSON TIDE is an exciting story that takes place during a possible nuclear war with Russia. A nuclear submarine captain and his second in command dispute an unconcluded radio transmission that could have said, "Fire your missiles on Russia" or "Come back to base, Russia has surrendered". As each of them tries to do what he thinks is right, you wait for the suspenseful conclusion. This book was worthy of becoming a blockbuster movie. If you like militaristic and exciting books, put CRIMSON TIDE on your book list.

This story is still the king of the techno-thrillers. Finally got around to reading CRIMSON TIDE's book version, and just like the film, it's simply amazing the amount of action that's contained within these pages. I liked the detailed character analysis of the Russian enemy, something the movie was lacking, and the nuclear launch protocol is right there to read over and over. Is a sequel in the works?

CRIMSON TIDE was one of the best submarine warfare books that I have ever read. With it's non-stop action from beginning to end I would recomend this book to anyone. I was expecting a good book but I finished it in 2 days. I got more than I expected to get and I will read more of Henrick's books in the near future!

I loved the movie version, and was surprised to find that the novel had an incredible amount of new story material. The book helped clear up the motivation of the Russians responsible for the coup. Because of the complexity of the plot, this book is a must, and I find myself reading it over and over, learning new details w/ each study. I rank this story right up there w/ the great classics, and applaud Mr. Henrick on another job well done.

This book (and movie) is talking about leadership, decision making, conflicts of role, conflicts of policy. Ramsey (the captain) and Hunter (the executive officer) were all good soldiers, they both executed what they thought were correct. But different leadership style, different belief and grey area of policy made them confronted each other.

A good book (and movie), an interesting story that can make you think a lot. A lecturer of an university in Hong Kong even suggested his students to use this movie for leadership & organizational behavior analysis.

I grew up near Detroit in the 1940's when those dazzling movie theatres exerted a magical allure on the streets, and inside were often a better show than what was on their screens. Authors Hauser and Weldon have done a wonderful job bringing it all back and I truly got lost in this book. Many thanks for this labor of love.

For some of Downtown Detroit's old theatres, thunderous applause is just a memory. For others, the ones which have been restored, it is still a reality. Also a reality is my applause for this book, and no, not just because I know co-author Mike Hauser personally. It is a thickly illustrated delightful read, a fun and informative way to spend an evening, and invites repeated referring-to. Having visited a number of these theatres myself in 1995, I may have an advantage, but even if you're not from Detroit or have never visited, here is a tasty introduction to one of the finest locations for surviving classic theatres anywhere.

When I reflect back on my years as a child growing up in marvelous Detroit, some of the strongest images are of the movie houses I used to frequent downtowm. This book evokes many of those sweet memories as it is loeaded with pictures, and written histories of those fabulous palaces. When it came to grandiouse movie houses Detroit was second to none. This book helps you trace the history of each theater from its building to - in some cases - it deomltion. Some of these grandious auditoriums were actually built by motion picture companies such as the Fox (Twentieth Century Fox) and the Untied Artist (United Artists), Many were not merely theaters but also were part of large office building housing industry related businesses such as booking agents and the likes. Many were build as vaudeville houses and later converted to movie theaters. Some have survived and hosts different venues today. Few are still showing first run movies as the characterless multi screen matchboxes of suburbia have taken over that venue.

This book is a joy. Before the '67 riot Detroit was always a big movie town. In the 40s there were more than 50 theatres in the city. A few of the neighbourhood theatres were quite extrodinary such as the Rivera or the Algiers but the downtown theatres were wonderful places to be. Back in the 40s, 50s & 60s just to go downtown was exciting with Hudson's & all the wonderful stores & restaurants & to top off the trip with a movie in one of the downtown theatres was, indeed, a treat. If the movie didn't please the theatre always did. The Fox, State, Music Hall, United Artist & Opera House (formerly Broadway Capitol/Grand Circus among other names) still stand. Some just barely. So it's wonderful to see photos of those that are gone. Photos which show just how lovely & unique they were. Each theatre had it's own character & aptmosphere. Most of all it's wonderful to see the Michigan Theatre in all its glory. She was the undisputed queen of the downtown movie theatres. She was the only place in Detroit where you could sit & actually feel you were in a real palace. It's lovely to have this book.

This book reviews the history of the movie palaces that have graced downtown Detroit since the late nineteenth century. I found it hard to put this book down once I started to read it. The photographs are wonderful and are often one of a kind dating back over a century. The narration ties together the history of films, architecture and the story of formal entertainment in Detroit for over one hundred years. Although it is of particular interest to people interested in Detroit's past, it is equally significant for non-Detroiters who will find that Detroit's story parallels that of most other cities in North America. I thoroughly enjoyed reading this book and often find myself browsing through it.

Discovering The Maltese Falcon And Sam Spade is a tribute to the novel by Dashiell Hammett featuring the hardboiled detective Sam Spade and his involvement in the doomed quest for a mysterious artifact, as well as the three film noir movies based from it including the classic that made Humphrey Bogart a star. Chapters tell of Hammett's days as a detective, his publication in pulps, the making of the classic novel, critical views of the movies, the reverberations of The Maltese Falcon in popular culture, and much more. Illustrated with black-and-white photographs, selections of Hammett's pre-publication material, copies of news articles and other primary sources, and much more, Discovering The Maltese Falcon And Sam Spade is a "must-read" for mystery movie trivia buffs and anyone else curious about the history behind a legendary 'hard boiled PI" adventure story.

DISCOVERING THE MALTESE FALCON AND SAM SPADE is the complete book for the fan of Sam Spade in both film and fiction. Fortunately, a very detailed index is provided which allows the reader to choose from among an array of tantalizing topics.The latter includes an account of Dashiell Hammett's days as a Pinkerton detective as well as his work for BLACK MASK. The author also gives us much information about THE MALTESE FALCON in the movies and on stage and radio.The book represents an admirable effort by Layman and it will be enjoyed by anyone captivated by the lure of this enduring tale.

I love the story of THE MALTESE FALCON, not only as it is told in Hammett's novel but also as it is portrayed in John Huston's movie. I can never read enough about Dashiell Hammett, Joseph Shaw, Humphrey Bogart, Peter Lorre, Gladys George, Sydney Greenstreet, Elisha Cook Jr., Mary Astor, Barton MacLane, Robert and William Pinkerton, John Huston, Lillian Hellman, the Knights of Malta, BLACK MASK, San Francisco after World War I and Raymond Chandler.

This book has enough anecdotes and background material to satisfy even the most ardent enthusiast. My own favorite piece is an account by Mary Astor of her experiences while filming for her role as Brigid O'Shaughnessy in the 1941 version of THE MALTESE FALCON.

Dashiel Hammett is one of my favorite authors, I have all of his stories, including a couple of biographies. I'm also a fan of Noir stories and movies. This is a great book to add to my collection.

"Discovering the Maltese Falcon and Sam Spade" is an amazing collection of materials related to Dashiell Hammett, his greatest novel "The Maltese Falcon", the film adaptations of the book, and other spin-offs assembled by Hammett biographer Richard Layman. Layman states in his introduction, "The purpose of this volume is to provide researchers basic materials useful in studying 'The Maltese Falcon'." Not everything ever written about "The Maltese Falcon" is here, but the contents of this book are remarkably varied. The collection is probably too dense for casual fans of "The Maltese Falcon", but it's indispensable for Hammett scholars and aficionados. The only fault I find is that reproductions of newspaper and other type-written materials are sometimes poor and would have benefited from enhancement.

The book is organized into five parts. The first part, "Detective Days", provides biographical information on Dashiell Hammett, a history of the Pinkerton National Detective Agency, an interview with a colleague of Hammett's at Pinkerton, excerpts from books on criminal investigation that Hammett studied, and some non-fiction pieces that Hammett wrote about his detective days. The second section, "The Pulps and the Making of the Novel", includes a history of "Black Mask" magazine, the historical basis for the Maltese Falcon statuette, comments by "Black Mask" editor Joseph T. Shaw, some reviews of Hammett's mystery fiction, and many excerpts from Hammett's stories that later inspired characters and events in "The Maltese Falcon".

"Magazine and Book Publication" begins with a copy of Hammett's book contract with Knopf and correspondence with publisher Harry Block. There are covers of "Black Mask" issues that serialized "The Maltese Falcon", examples of text that was revised between magazine publication and book publication, early book jackets, many favorable reviews of the book, Dorothy Parker's tepid review of "The Glass Key", articles about Cecil Henderson's plagiarism, and sales data for the novel. The forth section, "Critical Views of 'The Maltese Falcon'", is seven pieces of relatively recent literary criticism that explore American individualism, Sam Spade's vernacular, the novel as introverted romance, as allegory of international politics between the wars, and the pursuit of tangible wealth, among other themes.

The last section, "Movies, Stage, and Radio: Hammett's Novel in Popular Culture", follows Hammett's life after the publication of the novel, followed by discussions of the script, budget, and reviews for the first film adaptation at Warner Brothers in 1931. More letters from Warner Brothers, title suggestions, correspondence with the Breen Office, and reviews of the second movie adaptation, "Satan Met a Lady", in 1936. For John Huston's 1941 adaptation, there is a letter from Joseph Breen citing Production Code violations in the script, a budget, letters about filming, Mary Astor's recollections of the film, 3 movie reviews, and 4 critical analyses. There is a bit about an abortive stage play and the legal challenges over "The Adventures of Sam Spade" radio show. There is a list of selected publications of "The Maltese Falcon" in the back of the book as well as an index.