Performing Arts Books

As a voracious reader of books on stars, I was wonderfully entertained by Edwin Howard's new book, Seeing Stars. The book is written in an easy reading style, full of interesting facts and insights about some of the movie stars who have dominated the screen for the past 50 years. What is most amazing is how Mr. Howard became friends with many of the stars that he covered. This is obviously a testament to his own personality and his ability to connect with stars as people and not just as Hollywood names. This is a must read for anyone who wants an inside glimpse of celebrities as diverse as Cary Grant, Elvis Presley, Jack Nicholson, Ingrid Bergman or John Wayne. I even got several copies to give as gifts to friends who love the movies!

Edwin Howard's "Seeing Stars" enables one to pick a favorite star celebrity and to discover what it's really like to have a one-on-one conversation with them. From the silent stars (Lillian Gish) to Martin Sheen (West Wing) and all the others in between, Edwin gets us up close to the star.

For example, I learned how John Grisham deals with unexpected celebrity; John Wayne's political views and his thoughts on ballet (yes, ballet!) Howard doesn't mince words, he tells of his interviews with the stars in a "what you see is what you get" kind of manner. He has learned how to get close to famous people and earn their trust but as veteran newspaperman his writing rings true.

I read Mr. Howard's wonderful book, and was struck by the feeling of being there personally for each interview. Make no mistake, you are there as each star is warmly and artfully brought to life. A must read for fans of the biggest stars of our time and the best writers too.

Edwin Howard's Seeing Stars is a celebration of a professional celebrity seeker, beautifully written with passionate insight for his abundance of subject matter - such as calling "John Wayne the Grand Canyon of movie stars" and Lucille Ball "the Niagara Falls." Throughout the book, Howard has seasoned his original interviews of some of Hollywood's most famous stars with personal observations and evaluations of their films and careers. This reader learned so much and was inspired to want to see again films in which the stars appeared. This reader-friendly book, with candid photographs of many of the stars, is a must for the cinema loving public as well as for theater/cinema libraries - and the personal book shelves of students studying these disciplines.

Seeing Stars' introduction is a perfect tune-up for what is to come - by first defining what an interview actually is: "biography in a hurry"... and very informative about where the word interview comes from: "to see each other" from old French. The book's opening chapter on Mae West, who invited the author up to her apartment, whets the appetite to read on. In subsequent chapters, one is introduced to sharp, witty and appropriately catchy chaper titles - salt and peppering the interviews to follow. With Howard's flare for words, his interviews are absolutely delicious! The chapter on Patricia Neal will bring a tear to the eye. Wait until you read the final words Howard writes about Elvis Presley!

Let's hope Edwin Howard doesn't stop seeing more stars in the future. This 260-page book seeks a celebratory sequel.

Why are so many of the best American writers Southerners? Edwin Howard is a Southerner and a brilliant novelist and his gifts show through also in the intimacy and warmth of these extended interviews with his fellow Southerners William Faulkner, John Grisham, Patricia Neal, Dixie Carter and Joanne Woodward. In spite of the catchy sub-title, don't mistake Howard for your usual "celebrity seeker". He is a serious writer, and even his short pieces are remarkable for their depth and penetration. And for their frankness and raw humour, because the death of many of his subjects has allowed Howard to print things they said that couldn't be printed in their lifetime (at least not in his Memphis paper). Mae West is even earthier and John Wayne tougher than you imagined - though her main interest is a healthy diet and he loves ballet and considers himself a liberal. Others like Sophia Loren, Ingrid Bergman and Cary Grant are as we know them but more so. I skipped some of the interviews at first because they were with actors who didn't interest me (I won't mention names - they may be your favorites) but when I finally read them I found that in Howard's hands they had become interesting. My personal favourite, though, is Lucille Ball; I particularly like her answer to Howard's question, "You don't mind being considered a legend, then?" This is a wonderful book; read it and find out what she says.

Most for-sale screenplays are just that -- screenplays. Emma Thompson, who wrote the screenplay for the delightful Jane Austen film "Sense and Sensibility," chose to include journal entries throughout the filming of the movie as well, in addition to the winning entry of a contest to see who could write the best letter from Fanny to Elinor.

There is wit in the descriptions and the photos, all well-captured. The journal entries are entertaining and a good look into the making of a movie. Although be forewarned -- because they dress like the characters of S&S, they do not talk like them. There is definitely some verbal crudeness in the book, men and women alike, but if you can overlook that (or are used to it) then this book will be a delightful read for any Jane Austen fan.

There are three separate parts to this fine volume; introduction, script and diaries. The producer of the film, Lindsay Doran, opens the door for us with her wonderful introduction. At age 13, she was determined that not only was "Jane Austen a very stupid writer," but also she would "never, never read one of her stupid books again."

Fortunately for the rest of the world, Ms. Doran changed her mind, and some twenty-five years after that first erroneous conclusion, has brought us this wonderfully witty, and extremely faithful film version of this first novel by Austen. As producer of the Kenneth Branagh/Emma Thompson film, DEAD AGAIN, she became acquainted with the woman who was not only a phenomenal actress, but also a gifted writer-one with a sense of humor and a strong romantic bent. These two qualities had proven to be the stumbling block over nearly ten years of searching for the right scriptwriter for Sense and Sensibility.

It took nearly seven years to come up with something close to a shooting script, sandwiched as it had to be between Thompson's many award-winning acting chores. Serendipity was obviously at work, however, and eventually, a budget was established, and casting accomplished.

Many of the actors Emma had envisioned in various roles had participated in a read-through the year prior to the filming; they were all in the film, in those same roles.

While the Dashwood ladies are all suitable beautiful, it is the men who are truly gorgeous. ("Repellently so," writes Ms. Thompson in the diary portion, referring to Hugh Grant. "He's much prettier than I am.") With his look-alike Richard Lumsden, they are the brothers Ferrar, Edward and Richard, with Greg Wise as the fickle Willoughby. Alan Rickman (be still my heart!) brings maturity and virility to the role of Colonel Brandon. The sets and costumes are sumptuous.

Interspersed with the actual shooting script and the diaries are some 50 photographs, 36 of them in luscious color. One script looks pretty much like another, but this one allows Ms. Thompson's wry wit to shine, especially in some of the non-spoken words. Of course, not every scene from the book could be included; the movie would have been more than six hours had they been. But the essentials are here, along with all the major characters. Providing testimony to just how perspicacious was the choice of writer is the number of awards garnered by Thompson for this, her first film script.

The diaries portion begin with a production meeting on January 15, 1995 and continue through July 9 of that year. A very small mention is made of Hugh Grant's visit to California, where he'd gone for his next film project after the completion of filming his scenes in England. A final two pages describes the 'location' houses chosen to represent those lived in by the families in the novel.

It may come as somewhat of a surprise to some readers to discover rather explicit language in the diaries. In addition to an apparent fascination with the alimentary process, our Emma has a bit of a potty-mouth, as do some of the gentleman involved, and their words are recorded, one presumes unhappily, all too accurately. They seem curiously jarring and out of place in a book otherwise devoted to the pristine words of Jane Austen.

Nevertheless, this is a lovely, hefty book; one which will bring the reader back to it time and again. There is always a new and enjoyable nugget to be mined from its various depths.

If you read Jane Austen's "Sense and Sensibility" before or after seeing the 1996 film version then I think it is pretty easy to conclude that Emma Thompson's Oscar for Best Screenplay adaptation was richly deserved. After writing and performing a series of short skits for British television, Thompson was approached by producer Lindsay Doran to write the screenplay. Thompson began by dramatizing every scene in the novel, which resulted in 300 hand written pages to be followed by 14 drafts as the 1811 novel was crafted into the final script. The result was a script that manages to be not only romantic and funny, but also romantic and funny in the best Austen sense of both words.

Be aware that this is the Original Script, not to be confused with the Shooting Script. This should be clear as soon as you beginning reading, because originally Thompson had the scene shifting back and forth between Mrs. Dashwood and Elinor/John and Fanny Dashwood (credit for this revision must go, I believe, to Film Editor Tim Squyres, who recut the scene so that we get all of one side and then the other instead of alternating back and forth as in the original script). Overall the strengths of Thompson's script are in two main directions. First, she manages to convey the scope of the novel in a two-hour screenplay, no mean task. Second, the little details she adds to Austen's story are simply marvelous. For example, her use of Shakespeare's Sonnet 116 ("Let me not the marriage of true minds"), which Marianne and Willoughby share to their great mutual delight and which Marianne repeats standing in the rain looking at Willoughby's new estate. In fact, Thompson revised the first scene to make it even better, having Willoughby misquote a key word in an elegant bit of foreshadowing. Thompson also makes one nice little change at the end. While Austen has Elinor bolt from the room to cry outside during the happy ending. Thompson creates a wonderful moment by having her stay in the room and having the rest of her family flee. There are not too many scenes where you are crying and laughing at the same time, but Thompson certainly created one (and has the added virtue of relying on herself as an actress to nail the performance as well). All of these are marvelous examples of playing to the strength of the cinema to bring Austen's novel to the screen.

But we get much more than just the screenplay in this volume, because Thompson includes excerpts from her diaries kept during both the writing of the screenplay and the actual production of the film. It would be nice if there was more insight into what she was thinking when writing the screenplay as I am always interested in how decisions were made and where inspiration comes from, but Thompson makes up for that with her little tales of working with director Ang Lee and the rest of the cast in making the film. Finally, in the Appendices, there is a very choice little treat, namely Imogen Stubbs' Prize-Winning Letter, written to Elinor from Lucy. Do not worry; by the time you read it you will understand why it is so hysterical. There is also a list of the fine homes and estates where "Sense and Sensibility" was filmed if you happen to be roaming around England and are interested in looking for such things.

I truly enjoyed this work by Emma Thompson. Not only is the screenplay included, with pictures, but also there are diary entries by Thompson that give insights into the making of the movie. If you loved this movie, you should read this book. I really enjoyed it.

The screenplay itself is a must-read for anyone wanting an education in bringing a well-loved story to life. Emma Thompson does an ingenius job of crafting scenes that are faithful to Austen's original while inventing more that add character development and plot intrigue. I especially like her diary, though. For those who wonder what to include in a memoir of an experience, this journal is a rich model of self-disclosure and humor. I heartily recommend it!

This book is amazing to read and an informative joy to view the many photos. Jerry Maren has done so many endeavors and diversified ones in his life as recorded in this book. I have the privilege to know Jerry and his wife for many years. They are both very wonderful people. I think you will enjoy this book very much.

Jerry Maren has had the most incredible career. I had no idea he went on to do so many things after appearing in The Wizard of Oz. "Short And Sweet" is primarily a picture book. It is like a scrapbook of his life. There are photos on almost every page showing the author working with everyone from Groucho Marx to Barry Manilow. And who knew that he was one of the aliens in the original Star Trek?

He tells his story in a gentle fashion. It is not a catty tell-all book. He is very respectful of everyone he worked with. Well, ok, he mentions a couple of people who drank a bit too much, but that is as gossipy as it gets. He comes across as a man who genuinely loves his work, enjoys himself, and enjoyed his years of working in Hollywood.

It was fun learning a bit more about the other Munchkins, too. I enjoyed this book a lot.

Jerry Maren represented the Lollipop Guild in the Wizard of Oz, as a Munchkin on the most popular movie of all time. Here Maren reveals his life and career in Hollywood, examining evolving facets of 20th century culture and life, sharing experiences working among big stars from Lucille Ball to the Marx Brothers, and pairing color and black and white photos with fun memories in SHORT AND SWEET: THE LIFE AND TIMES OF THE LOLLIPOP MUNCHKIN. Any movie, Hollywood or general-interest lending library holding will find this a bright, popular lend.

Diane C. Donovan
California Bookwatch

"Short and Sweet" is just that. Jerry Maren's book covers his 60+ year career in and out of Hollywood, and is loaded with rare photos. Who knew Maren was in Star Trek the original TV series, Lidsville, Bewitched, Battle for the Planet of the Apes, New Zoo Revue, and many others, in addition to well known roles such as a Munchkin in Oz. Edited by Stephen Cox, author of some of the best TV and movie books ever written.

Very enjoyable! What a great career Jaren Maren has had -- so much more than the Lollipop Munchkin that I never knew. His story is told in a very down-to-earth manner, with lots of great behind-the-scenes photos and anecdotes. I'm glad that I've had the chance to meet this Hollywood Legend in person, and now know his history a lot better!

I ENJOYED THIS BOOK VERY MUCH AND THE AUTHOR FOUND SOME NEAT SILENT FILM PERSONALITIES TO TALK WITH. GOOD INSIGHT INTO WHAT THOSE EARLY YEARS WERE LIKE BUT FOR WHAT I PAID FOR IT I FEEL THE BOOK SHOULD AT LEAST BE RELEASED IN HARDCOVER. STILL, IT WAS ENJOYABLE.

I have been a cinema fan quite while, silent films more recently as I research. Finally, I see a book on the market where the author actually sought out former stars and interviewed them!
We get a sense of their personalities and the whole era through this book;
I recently bought SILENT PLAYERS, thinking it a similiar book but many of the subjects were dead before the author wrote it and those who are quoted have little or nothing to say. The chapters are one page at most.
I hope for more good reading. It is sad now but I imagine all the silent players are gone. Are there any still alive? If so, who are they and have they been interviewed?
Another good read is the new bio of Valentino. He must have been quite the loverboy!

Mr. Villecco interviews 12 former silent film players and a director Andrew Stone. We learn about the early scandals and first Academy Awards and early working conditions. It is fascinating. These pioneers really worked, often under undesirable conditions. As far as sex, drugs and rock and roll, the 1920's were no different. Read the chapters on Baby Peggy, Anita Page and Pauline Curley! It's also amazing that Villecco was able to even locate living silent stars. Are there any left?
I rate this book 5 stars-the photos and filmogs are also wonderful.

"Silent Stars Speak" is a superb book! This is a treasure chest of information about Hollywood's roots. Tony Villeco's interviews with the 12 stars are facinating. He's done a marvelous job, giving us a glimpse into the past. Since many of these stars have now passed on, he's captured wonderful memories and a bit of history as well. It was a joy to read, as well as informative and insightful. The book is full of beautiful, vintage pictures that truly take the reader back to the magical era of silent films. Tony Villeco has created a work of art, in this wonderful book. One can only hope to read more from him future! Bravo!

Tony Villecco writes articles on silent and sound films for CLASSIC IMAGES magazine and he has assembled twelve of his articles for this book. Subjects range from clild actors Baby Peggy Montgomery and Jean Darling to major stars like Douglas Fairbanks, Jr. and even a director, Andrew Stone. The book has very detailed filmographies of each person profiled, except for director Stone. This book is a fast read, and it would be a great introduction to someone who is new to silent films. Many of the people profiled in the book had long careers in sound films also. The best parts of the book are when he interviews some little know people like director Stone, actress Pauline Curley, and actress Priscilla Bonner and they actually talk about their careers and filmmaking. Sometimes the subjects just give us a list of the many people that they worked with and don't give us much detail about their experiences. In fairness to the author, his subjects were all very old at the time and may not have been able to remember that many details. If you are really interested in interviews with silent film stars, Kevin Brownlow's THE PARADE'S GONE BY and William Drew's AT THE CENTER OF THE FRAME are much better. Baby Peggy's story is told much better in hour autobiography, HOLLYWOOD' CHILDREN.

A very nice throughly researched book on the early days of live televised science fiction. Throughout the book the author compares Space Patrol with Star Trek although the series has much more in comon with Irwin Allen's Lost In Space tv series of the mid 1960s since Star Trek served little more than a political platform for Gene Roddenberry's extreme radical liberal views.

Some might think it's a waste of time to read a book about a television show that one never saw. But, although I never saw an episode of "Space Patrol" (it had gone off the air before I was five years old), this is one of the best books I've read in years. A 20-year labor-of-love, it clearly reflects the author's interest and dedication to the subject. She managed to interview virtually all of the surviving cast and production crew members, and their anecdotes bring the story of this live-action television series from the early 1950s to life. It's packed with details about the characters, the performers, the production challenges, the sets, the special effects and the marketing of spin-off toys. Even better, it examines the positive effects that "Space Patrol" had on children of the time, some of whom, inspired by the show, grew up to be NASA engineers, "rocket scientists" and astronauts. Back in the days of clear-cut moral values and before political correctness reared its ugly head, the "Space Patrol" crew served as excellent role models for the first of the baby-boomers. Reading this book will transport anyone who grew up in that era back to a simpler time when the world was a more pleasant place to live and when there were well-defined good guys and bad guys. It's a great read about a fascinating subject--highly recommended.

This is a very nice book for those of us who grew up watching Space Patrol. Well written - information on the show, its production, the cast as well as the products that you could get by sending in 'box tops', etc.

Wonderful photos of the cast, as well as models of the sets/rockets and props. A chronological listing of the TV shows as well as the Radio ones. Very nice addition to a collection of information on Science Fiction on the airwaves.

Bassior's book is an intimate slice of history. On the surface, it may seem trivial to examine the story of a hit TV show from half a century ago, but in her two decades of unrelenting research, the result of Jean-Noel Bassior's dilligence (while maintaining her career as a top-level journalist) is a book that set out to document an ephemeral pop culture phenomenon, and became a supremely positive inspiration to a generation who went on to live lives by a sincere code of ethics, and some of whom made Neil Armstrong's "small step" possible. Inside the story, the star of the show, Commander Corry turns out to be actor Ed Kemmer, a bona fide World War Two hero.

In short, this book is a unique, intimate look at a pop culture phenomenon, and the remarkable people who made it happen.

At first I thought that the price of the book was excessive, however, upon deciding to spend the money I feel it was well spent. If you, like me, grew up with early television this book will take you back to a time when the world was simplier and TV was a miracle.

The author of "Space Patrol: Missions of Daring in the Name of Early Television" has taken a long and loving look at one of the best Sci Fi programs of the 1950's. The information gathered is informative, refresing, and above all (to my knowledge) never before put in print. The interviews with former cast members is a delight, and the behind the scenes look gives you and idea of how the then infact television industry operated.

I recommend spending the $49.00 and take a trip back in time and re-live your youth with Buzz Corey, Cadet Happy, Carol Carlyle, Major Robinson, and Tonga... its worth it.

If you are serious about becoming a screenwriter, this book will be a valuable addition to your professional library. Lucy goes into depth on subjects other authors ignore or treat lightly. Usually if you can learn one or two things from a screenwriting book, it's worth reading. This book clarifies subjects other authors fail to explain. Lucy not only explains all the loose ends, but ties them together. There are a lot of good books on screenwriting, and this is one of them. Cynthia Whitcomb has a couple of books on screenwriting that you might also want to read.

This book should be a mandatory read for writers of all types and all levels. Story Sense offers the tools to develop an entertaining, clever plot with emotionally and psychologically dimensional characters. It takes you step by step through idea, plot, and character formulation, as well as explains how to develop structure, dramatization, and everything else you need to write the perfect screenplay or fictional story. You will find yourself highlighting passages and constantly refering back to this "bible" throughout your writing journey. Keep this book close by, it has all the answers you need as a writer.

This should be required reading for any type of writer--novelist, screenwriter, playwright. The sections on plot and character development are worth double what this book costs.

Too many "how-to" books on writing perpetrate the image of a writer as a conduit for mysterious creative forces. While I'm not entirely discounting that image, there needs to be a balance between writing as an art and writing as a craft. This book falls firmly in the craft column. It demands you cast aside any artistic pretensions and get down to the plumbing of creating a story. And it doesn't stop with the obligatory pep talk--Lucey shows you how it's done. And he shows it better than any other writing how-to out there.

If I could give this ten stars I would. Highly recommended.

When ordering several books on screenwriting this book caught my eye because of the high ratings afforded it by others. After reading it I fully concur with what others had to say. I went out and purchased DVDs of the four main example films (The Verdict, Terminator, Sleepless in Seattle, and Witness) that Mr. Lucey focuses on and they allowed me to pick up the fine points described in the text. His vast experience in script writing shows through in each of the topics discussed. I cannot recommend this book highly enough. For a detail-oriented individual such as myself, this book met all my expectations. If you are interested in this topic, this book is a "must have" by all means.

I have read many screenwriting books and this is the most complete. It takes you by the hand through each step of the process. I would recommend it to anyone interested in screenwriting. The book even states that if you follow the steps in the 12 chapters it should take you 120 hours and would be equivelent to a college course. No need for any other training. This book is it!

Jackie Curtis was a close friend of the guy who ran the James Dean Gallery. It was through him and my interest in James Dean and the link to Jackie Curtis through the line in 'Walk On The Wild Side, that I decided to find out more about him and the lifestyle of those around him, Andy Warhol and the era. I wasn't disappointed. The five stars rating is based on me getting what I wanted. It is an easy read. A series of short anecdotal interviews with those who knew this person well. It is open and honest. The accompanying DVD is well-produced and brings to life the book itself. Fascinating.

Jackie Curtis was great - this book and DVD are a rich history of one of Warhols' Drag superstars - the smartest one of them all

I finished: Superstar in a Housedress, as well as watching the DVD. Thank you Mr. Highberger for providing a most interesting and sincere look into Jackie Curtis.


The format was so nice, to hear from so many people who were close to this incredible person really gave me a better idea of who Jackie was and how she lived. I have had the opportunity, as a transsexual entertainer, to travel the country and meet many transgendered performers. They obviously do not get the press or opportunity they deserve. This book is a fitting tribute to a person who helped shape todays theater and bring attention to gender expression.

Jackie was obviously a genius who in many ways helped to shape the character of what we know Broadway play to be, and from the off off Broadway level. He/she lived the street life and was a very real person, on a real level facing the challenges life on that level brings regardless of the day to day persona she would take on.

The book/CD focuses on commentary from her friends and aqauintences and whether from a gay/trans or straight perspective, Jackie Curtis was the epitome of living life as one's own self and creating from the most sincere inner feelings in the face of great odds. Many exerpts of her plays, notes and writings are included to give the reader a more intimate view of Jackie and the person within the personna, whether that be Jackie, James Dean or some other form of self expression.

Obviously she can be an inspiration to those who strive for individuality and to leave a positive mark through their works regardless of her tragic finality.
I would highly recommend viewing this documentary and reading the book as well for anyone interested in life, humor, love, tragedy and the very real Star that Jackie Curtis was.

If, like me, you ran across the book 'Superstar in a Housedress' while looking for the documentary of the same name, it may have taken you a few minutes to figure out that buying the book is, apparently, the only way to get the DVD.

Yes, this is the full, ninety-plus minute release of the DVD available for rent from Netflix and other rental venues. How the choice was made to market the film as a "companion piece" to the book, without (as far as I can tell) releasing it as a stand-alone purchase, I dunno. I hope it will be released separately in the future, since the current marketing format, I'd think, would tend to lessen its circulation to a wider audience.

Not that there's anything wrong with the book: it's a compendium of reminiscences by people who were close to Jackie. Some of the material repeats what's in the film, and some fills in gaps in backstory that 90 minutes can't provide, such as details on the life and death of the remarkable (and remarkably messed-up) Andrea Feldman. Still, a nice chunky paperback book of commentary in a boxed DVD set might have been a better way to sell the package, which is truly a good one. It's just that the DVD overrides the book in its excellence. There's no good reason why the book needed to be published in hardcover; it's really liner notes for the DVD.

And then there's the strange, spooky, *sealed* envelope that the DVD itself comes in. Glued furtively into the back of the book, there's a lengthy disclaimer proclaiming in no uncertain terms that you MUST NOT OPEN THE PACKAGE ("Simply return the sealed package.") if you think that the DVD might in any number of (enumerated) ways ruin your life. Talk about user-friendly!

But the good news is -- once you get over the fear, and open the potentially-deadly "package", you find that after all it's just an ordinary DVD, and a great one, at that. Densely packed with interviews, historical stills, film clips, and even a fair amount of very early videotape, this documentary is a detailed and very loving portrait of one of the most defiant gender-bending artists in the history of gender-bending and the stage itself.

The past several years have seen the release of the Paul Morrisey/Andy Warhol films on DVD, and that's brought these previously hard-to-get-at movies to a new audience. This in turn has increased curiosity about the Warhol scene in the 60's, 70's, and later; and that period is increasingly interesting, as civilization lurches inexorably (or so it seems) toward a dessicated, triple-filtered, don't-drink, don't-smoke cultural puritanism.

What was going on in New York in the 50's, 60's, and 70's transformed the American culture. A whole lot of the sexual freedom that we have today, whether it's embraced or bemoaned by whatever faction, comes from the crazy explosion that was the 60's and 70's. There's no shortage of information on the cultural revolution that happened then, but there's also no end to what can be added to it. This story about Jackie Curtis is no small addition.

As a smart kid escaping the wilds of Connecticut who started hustling the streets in NY at 16, I knew a number of the people in this film peripherally, and for the most part they were the people who informed my perception of what life was all about. There was a communality, and a total lack of hierarchy (but for a few bitchfests) and everyone was welcome; I think, in retrospect, that this was what the hippieness of the 60's led to: a kind of a hybrid of the rejection of popular culture with the co-opting of it. At the time, the most visible manifestation of pre-packaged pop culture that could be harvested was the Hollywood star system of the 30's and 40's. Jackie Curtis was hip to this, but also added a Dada-style twist to it. Warhol became the catalyst, but what 'Superstar in a Housedress' demonstrates is that he couldn't have done the things that he (or rather, Paul Morrisey, working under his aegis) did without girls like Jackie, Candy Darling, or Holly Woodlawn (whom, I have to say, is looking absolutely GREAT in this doc, and QUITE the polished lady.)

This is an absolutely essential documentary for those interested in the period, its quirks, and its consequences. But moreso, it's a great tribute to the unbridled, mad creativity of Jackie Curtis, who should never be forgotten. Hopefully, this DVD (and its companion piece, the book) will help assure that.

Also -- at the time of this writing, the book and DVD are pretty consistently available from housing_works_bookstore @ Amazon at a cheap price. Housing Works supports homeless people affected by HIV/AIDS in New York City, so purchasing from them is a win-win thing. They got my order to me very quickly and in perfect condition, so what could I do? I ordered another one from them right away. Somebody's getting it for Christmas. Don't know who yet. Somebody who will have been REAL good this year!

Seriously, though -- if you're interested in the history of the NY art scene in the period, this is very much worth buying.

That's a quote used in the movie. And now one of my top 3 favorite quotes to be used forever after.

There was so much to like about this person and movie. Jackie was a phenomenal character. She/he was iconic in the strongest sense of the word. Total belief in herself and her plan (mad though it was at times) and such charisma that all around her believed in her and themselves as much as she did. She altered paradigms.

This particular subculture fascinates me to no end and it is covered well in this DVD. It's classic David and Goliath except David's gotta push it by wearing a dress. I couldn't respect that in-your-faceness more if I tried. I wish I could better convey what I mean. And it's not a movie about sexual preferences. No agenda is forced on you in any way. It's just completely unique.

The fact that this is a documentary and these things really happened and these people really did exist as they did, simply adds to the magic of this movie. Of course, many of those people are still with us and told their tales within. And most of them are extremely interesting as well. It covers more than just Jackie. The world Jackie became famous in is explored in depth as well.

Just as a comparison, it is like the Grateful Dead shows. Nothing like this will ever happen in this way ever again - nothing this new, different, odd, and perfect just for what it was, and it's tragic if you think you may have wanted to be part of it in some way, witness it, but didn't. And if you did, you're breathing the rare air.

About 20 years ago, I gave myself a gift while I was in a Protestant seminary: during my last semester, I took a course entitled "Celluloid Theology" which was offered at a nearby Roman Catholic seminary which brought me to new understandings of faith and cinematic arts. Since then, I have dabbled in movies and theology, offering a movie discussion here and there in my ministry setting. Since that time long ago, I have kept in mind the lens of theology as I view movies even if I wasn't actively using the lessons I learned during that time with Father Tom Kane.

This book, though, has brought a whole new perspective to that journey. Jeffrey Overstreet has written a very readable, and often times moving, book about the intersection of Christianity (our culture's most apparent religious expression) and film (our most noticeable artistic expression these days). I especially appreciated the way that he modeled the use of movies in discussing how they reflect faith and sometimes expose us to divine truths.

I realize that the author and I probably come from somewhat different theological perspectives and I have to let go of my only frustration with the book. I feel that he spent too much of his writing explaining away why he appreciates and endorses movies that may be too over the edge for some Christians. I do understand and appreciate the fact that he gets way too much email criticizing him for pointing out the good of a particular movie that has too much violence/sex/foul language/you-name-it for the email writer. But I did grow a little tired of the repeated justifications that began to sound like apologies.

I especially commend the second chapter, "Viewer Discretion Advised," for the best essay I have ever read about the intersection of faith and the arts, and not just cinematic arts. His viewpoint is clearly written and can be applied to how we might look at any art form as a window into a bit of understanding about God.

I am rejuvenated in my interest in movies by this book and highly recommend it.

This book has a huge amount of films that Overstreet basically reviews and ties into each chapter. It is amazing how he connects so many seemingly secular films to Christian values. I'd recommend this book to anyone who thinks that every film not coming from Christian makers is garbage, because Overstreet has definitely found deeply religious themes in some very offensive films.

[...]

keen insight and well written. going to go back to movies thinking a little differently going forward.

What books were to previous generations, movies are to the present one; their ability to teach and shape our view of reality is unparalled by any other medium. Christians can't afford to be ignorant of the content and power here, and "Through a Screen Darkly" provides an excellent guide.

As a filmmaker and a Christian I am always striving to find an articulate voice able to handle the spiritual as well as the cinematic. With Jeffery Overstreet's Through a Screen Darkly I have found a strong one. The book traces Overstreet's own experience with cinema as an artist, a Christian and a human being. The book serves to open readers' eyes not only to their own experiences, but to the larger questions of artistic as well as moral excellence. Highly recommended.

Alex McNeill's "Total Television" is one of those reference works which is useful both for settling trivia arguments at parties and for helping those engaged in serious scholarly study of television programs and their impact upon popular culture. As of this review, "Total Television" is in its fourth edition.

The book is basically an alphabetical encyclopedia of thousands of television programs in every possible genre: dramas, sitcoms, game shows, cartoons, and more. Each entry lists the series' air dates, principal performers, and other relevant data.

In addition to the main body of encyclopedic entries, the book includes a wealth of supplemental features: lists of Emmy winners, a chronological gathering of one-shot specials, and more. Particularly interesting are the programming grids, which show the nightly lineups on each network for each night of the week. You can turn to a season (say, 1951-52) and see what choices the American TV viewer had each night! This feature is great for historians.

Although most of the entries on each series are brief, McNeill spends more time and space on certain series of outstanding impact. These extended articles on "All in the Family," "CBS Evening News," "Dallas," "The Ed Sullivan Show," and more are truly fascinating.

TV has been derided by many with such epithets as "the Boob Tube" and "The Idiot Box." On the other hand, it was praised in an episode of "The Simpsons" as "teacher, mother. . . secret lover." McNeill captures TV in all of its facets: from the depths of inanity to the heights of cultural significance. This book is a great achievement whose reputation, I believe, will increase with future editions.

This reference is superb in it's completeness. Anything you want to know about any program broadcast from 1948-1996 is in this 1251 page book. The 88 page index of names of performers appearing during those years is unbelievable. It includes specials, miniseries and the top 20 rated shows for each of those years. I use this reference at least 2 to 3 times a week.

Where this book is not as easy to use as Brooks and Marsh's "Complete Directory to Prime Time Network and Cable TV Shows"(see my review for this one), it offers more-as far as the addition of daytime shows and more explanation of the entries. I like the other guide mainly because it's a good quick reference for prime time. However, if I'm really interested in detail or, again, a daytime program-like some Saturday morning cartoon of my childhood-then this is the one to get. I have both books, actually-for reasons specified here.

First, we might note that "... To the Present," in the book's title, means through late 1995. So nothing in the last ten years is included. For years, I have enjoyed "The Complete Directory to Prime Time Network and Cable TV Shows, 1946-Present" by Brooks and Marsh. I prefer the format of the Brooks and Marsh book to that of the NcNeil book--e.g., the cast is in list form, which makes for easier and quicker reading; the showing time is also included. The chief advantage of the McNeil book is that it includes daytime TV, which the Brooks and Marsh book does not.

Alex McNeil's "Total Television" is the Mother of all TV reference volumes. If you can't find it here, it ain't worth knowin' about. How he was able to compile all this information covering 50+ years of TV is beyond me. Crack open this book at any page and you will be reading for hours, probably days.

I feel like I am in a Master Class and teacher's pet! Ellen Sandler provides a friendly and in-the-know work guide in how to write TV scripts. She offers exercises that had me laughing hysterically at my OWN details/specifics that will be used for my characters. The 7 deadly sins became that evening's "dinner topic" with a group of journalists that not only livened up the night but provided MORE embarrassing, sensitive and humiliating inspiration. I have more to read and to study but I knew I was in wise and experienced hands from the first few pages. HIGHLY RECOMMENDED!

This book was in excellent condition and arrived quickly. What more is there to say.

I rarely make a recommendation, but this book is the most helpful I have ever read on TV writing. It offers a very practical process that is like a key opening a door to your own creativity.

This is by far the BEST TV writing book I've ever read and I have nearly all of them. Sandler doesn't just tell you the steps necessary to write a fantastic spec script, like all these kinds of books do, she guides you through the creative process of mining story material for it. And she tells you how to fashion subject matter that has the most emotional meaning for you, the author--which is the benchmark of great writing. It was a concept that until now, that no matter how many books I read, or how many harsh notes from execs I received on all my previous specs (or so I thought, now I FULLY understand their notes!) that I didn't grasp until now. TV Writer's Workbook, has provided the creative lightbulb I needed to get me out of my sucky spec script darkness. Highly recommended!

I've been using Ellen Sandler's book as a guide for the last few weeks, and I feel I've done much better work in that short time than I did all last year. The book is mainly geared towards sitcom writers, and for those interested in writing a comedy spec, this book is the one to get!