Television Books

This book is very interesting and I recommend that you read it. You should read Dude Ranch because it keeps your mind thinking what is going to happen next. The Camden family is trying to plan a family vacation and Lucy hears about this dude ranch that has been around for a really long time. So they think about this, and Lucy asks her dad. He says that she needs to get her family interested in it. So she goes upstairs and talks to her brother and sister about this, and then she goes and talks to her mom about the dude. Her mom asks who will watch the twins? Mary and Matt volunteer to stay home and watch the twins and then the family goes to the ranch. When they get there they go upstairs and put their things away. Then they come downstairs and they eat dinner. Now that they are there they have to work until they leave, but they are working for a good cause. They are there because they are trying to clean up the ranch, so they can open it up to visitors. I recommend this book to anyone who enjoys working for a good cause.

bmwgymnist

The Camden family goes to a ranch and the ranch has a few secrets, and the boy has a lost hand will lucy get to the botton of this? read to find out. I Love this book because I love 7th Heaven but also because Licy is a great person and I love the way she handels al the sichuations.

This story has a romantic twist to it. If you like the tv series 7th Heaven like me you will love it! It is the best one !

Dude Ranch is like the best book I've ever read. It has a lot of exciting parts in it. You just can't stop reading it. It's way too good. I couldn't keep my eyes off of it. There is also some romantic parts to it too. If you like 7th Heaven like me I know you'll enjoy it very much!! Dude Ranch is the best one out of like all of them.

Dude Ranch is an awsome book! If you like 7th heaven you should read it! There are new characters in it and it also isnt one of the episodes on tv! I read it in two days and I didn't want to put it down! I would give this book more then 5 stars! I cant wait till more new ones come out that are't from the tv episodes! 7TH HEAVEN ROCKS!!!!

Earl Hamner is genious, intelligent, heartfelt, honest man. He created the best show on t.v., "The Waltons." This books opens a lot of interesting history of his career and family. The author spends too much time indulging other writers works, and trying to compare them to Earl Hamner. I wish Earl was the author of his bio. You will discover his works from Charlotte's Web, Falcon Crest, Snowy River, Spencer's Mountain, The Homecoming,and of course, The Waltons.
Sections of the book gets very boring, and turns away from Earl's life. The rest of the book is well written. We need more writers & producers like Earl Hamner.
God Bless The Waltons!

Earl Hamner,Jr. is as familiar to some of us as our own father, or grandfather.He has been a part of our lives for as much as the last thirty or so years,since his book "The Homecoming" aired as a made for tv Christmas movie,and the long running series,"The Waltons" took over our living rooms every Thursday night.
The series was based on Mr. Hamner's life growing up in the Blue Ridge Mountains during the depression,and the stories related to many of us,having touched on our families and their histories,stories that were told to us by our parents and grandparents,and some that lived through those times themselves.
Earl had a special gift in his ability to tie that world in with ours,reminding us even still today the meaning of family.He could even make those without a family feel like they were part of one.
Mr. Person's book not only presents a great tribute to a great man, but his writing also has the ability to make the reader feel as though they are reading about one of thier own family,but with some surprises along the way.If I had only one comment about the book it would be that I only wish there were more pages to read in it! Great job,Mr.Person!

Jim Person, who has written three books and over one hundred articles, has a gift when it comes to analyzing, comparing, and critiquing works of literature. In this book he is also gifted with his subject, Earl Hamner. Largely because he is such a humble man, most people do not know much about Earl's career or the extent of his works. If his name sounds familiar, it is because it appears in the opening credits of one of the most beloved series ever on television, The Waltons. Not only was Earl the creator and one of the principal writers of the show based on his life growing up in the Blue Ridge Mountains during the Great Depression, it was his distinctive voice that opened and closed the show. But The Waltons was a mid-career project; you will be surprised to learn in this book how much Earl has done before and after it, across genres. After keeping a journal while he was growing up, he started his career writing radio scripts, has penned nine books, wrote eight Twilight Zone scripts, was the creator of another long-running series Falcon Crest, and was the screenwriter for the animated film Charlotte's Web. In addition, Earl produced or, according to Person, was the "guiding hand" for a number of other series and specials including Brewster Place, Snowy River: The McGregor Saga, and a PBS presentation called The Ponder Heart.

As Person describes in this critical biography, much of Earl's work is influenced by his upbringing. Throughout Earl Hamner's award-winning career, he has maintained his personal integrity, an air of gentility, and even that distinctive Virginia Scotch-Irish accent. But despite his conservative roots, he embraces all aspects of life. He has spent most of his life on the west coast, has traveled extensively, and clearly loves people. He is a sensitive writer who is not afraid to write heartwarming and inspiring stories from which, although he maintains that it has never been his intent to instill lessons, you will learn none-the-less.

Throughout the writing of this biography, Jim Person and Earl Hamner apparently became fast friends, and it's easy to see why. Earl was amazed that Jim was able to capture the essence of him so easily but, in my opinion, it's because the two men are so much alike. At this point I must confess that I am friends with both of them and it's easy to see why they "get" each other. Both are great writers but, more than that, they are great guys: fun-loving, hard-working, principled, and above all, humble.

Cumberland House did an outstanding job putting the book together with photos of Earl, his childhood home, and his beloved mountains on the cover, and many never-before-seen photos sprinkled throughout the book. This is a great read. If you are not already familiar with Earl's works, Earl Hamner: From Walton's Mountain to Tomorrow will make you want to investigate them, and to check out more of Jim Person's writings as well.

This book provides excellant insight on Earl Hamner. My wife and I belong to the International Walton's Fan Club and have meet Earl several times at Walton Reunions. Mr. Hamner is a talented writter and a wonderful person.

Mention 'Earl Hamner' and savvy book readers will instantly recognize his name as the creator of the beloved Waltons, which became a hit TV show - but there's more to his life than Walton's Mountain, as Earl Hamner: From Walton's Mountain To Tomorrow reveals. Hamner was raised in small town Virginia and discovered writing at a young age, becoming a published writer at the age of six. He did much more than just The Waltons: he produced eight scripts for The Twilight Zone, did the screenplay for Charlotte's Web, and was loved and respected for his talents. A fine account of his lively career and many literary contributions evolves.

Writing this book has been, obviously, a labor of love for William Mann, whose earlier books convinced me that henceforward, everything he writes is to be treated as the work of an immensely serious, politically committed and ethical scholar. And yet when all is said and done, and a hell of a lot gets said in this book, I remained singularly unconvinced. Unconvinced as to Schlesinger's talent--sure, he made some great movies, but he'd have to have made CITIZEN KANE for the scales of justice to swing back to normal in light of MADAME SOUZATCHKA or THE BELIEVERS. Unconvinced about the frame story, for it seems so pathetic to dwell and dwell and dwell on the miseries of Schlesinger's life after his debilitating stroke when he could hardly speak and seemed miserable in every encounter. Unconvinced even about the title, which seems to have been chosen to echo Schelsinger's greatest success, MIDNIGHT COWBOY, but in that acse why not just call it MIDNIGHT COWBOY? And then in the long run he seemed like a miserable man in every respect of life, looking back, he was never very happy nor does he seem capable of radiating either good will or basic charity. Added to this the contemptible misogyny which, in a Balzacian scene, Mann summons up by asking Schlesinger for his final, considered opinion of the late Penelope Gilliatt. It's unprintable here, and unpleasant even in context of whatever crime she was supposed to have committed.

Are authorized biographies ever a good thing? What's the point of advertising them in that way?

And yet taken as a whole the book is a splendid piece of work, and in giving us the extremely varied picture of a lot of filmmaking atmospheres, from the Angry Young Men scene of the late 1950s in England, to the New American Cinema that MIDNIGHT COWBOY may be fairly said to have begun, to a later day when stars and producers and test audiences made movie making difficult for directors, Mann excels. It's panoramic in sweep, extremely detailed. And maybe the "authorized" label encouraged many in Schlesinger's circle to speak with Mann, including--well, it seems just about everyone. A great story about Madonna's affectations begins the book, which I won't spoil here but it involves her belief that she had a shot in securing the lead role in MEMOIRS OF A GEISHA. Enough said, go for it!

Two lapses in sense made me doubt my hero Mann for a moment. In discussing the Austin Powers phenomenon, he pronounces that "We've come so far that rebels now go BACK in time rather than forward, when the youth culture borrows relics of the past and jumbles them together into a pastiche of expression and attitude." Surely this has been an attribute of youth culture at least since WWII? Blue jeans weren't invented in the 1960s, they were retrieved from a workingman's past in the 19th century.

And look at this sentence, which touches on the critical reception of MIDNIGHT COWBOY. "Stanley Kauffman in THE NEW REPUBLIC adored the film, using adjectives like 'dexterity,' 'intelligence' and 'perception' to describe John's direction." Okay, maybe I'm missing the forest for the trees, but on the other hand maybe "adjective" has a new definition: "noun"?

Edge Of Midnight: The Life Of John Schlesinger is the authorized biography of the filmmaker whose most famous works include "Midnight Cowboy", "Bloody Sunday", "Marathon Man", and "Day of the Locust". Written with the full cooperation of Schlesinger, his family, and his companion of 36 years Michael Childers, as well as with complete access to tapes, diaries, production notes, and correspondence, not to mention interviews with the actors, crew members, friends and colleagues who knew Schlesinger, Edge Of Midnight accurately traces the singularly amazing career of a dedicated and visionary man. Highly recommended for professional cinema researchers and intrigued lay readers alike.

Poor John Schlesinger. This gifted filmmaker never seemed happy, gave off more than a whiff of bitterness, and even seemed jealous of some of the people with whom he worked.

Most especially, the late Penelope Gilliatt, who authored his finest work, "Sunday Blody Sunday." There has been much misinformation regarding this film. Gilliatt was a brilliant film and theatre critic and a writer of fiction. She was orginally part of the greatly influential team of Kenneth Tynan and Gilliatt at the Observer (London). Schlesinger asked Gilliatt to write the sceenplay of Sunday Bloody Sunday. He thought she was the "right writer." Subsequently, the film was made and received rapturous reviews; it stands today as Schlesinger's finest work, along with his T.V. film, "An Englishman Abroad." The trouble started when Gilliatt received the vast majority of the praise for the film, back in 1971 -- I remember. Pauline Kael went so far as to say that Schlesinger had been inspired by the "delicate substance" of Gilliatt's script, which led him to do his finest work. (And Kael and Gilliatt were NOT friends.)
Perhaps, in addition to Gilliatt's brilliance as a fiction writer, Schlesinger chose the heterosexual Gilliatt to write the script because she had been a champion of civil rights for gays and lesbians in Great Britain in the 1950s, when she was only in her 20s, long before, say, Stonewall in the U.S.A., and fought so that GLBTs could have a place at the theatre and film tables of England under the repressive and homophobic Lord Chamberlain. At any rate, her much-honored script is what the film is remembered for. (Also, Sunday Bloody Sunday didn't get a Best Picture Oscar nod, whatever that silly thing is worth, not because of the subject matter, but because a major English studio was about to go bankrupt owing to the dreadful and dreadfully expensive movie bomb "Nicholas and Alexanda," so the Academy members rushed in to help, or at least tried to, with a Best Picture nomination for it to get the studio afloat.) On its release, SBS was not a commerical success.
Anyway, SBS was a major criticial success. The attention focused immediately on Gilliatt and her original screenplay. Schlesinger charged in one interview that Gilliatt had wanted him to film the scene in which Peter Finch and Murray Head kiss, in long-shot, with the two of them running toward each other in slo-mo and shot side-on. Gilliatt was a film critic of what has been described as sky-rocketing intelligence (at the Observer and at The New Yorker), who received threats for her theatre criticism in support of breakthrough playrights in England. I cannot believe that she ever, even once, suggested, as Schlesinger claimed, that she wanted Finch and Head to run toward each other in slow-mo longshot for their kiss. Read her dazzling reviews of Ingmar Bergman's The Passion of Anna and Face to Face to know that she was simply incapable of that sort of sentimentality. To my knowledge, Schlesinger never offered any proof of the charge, either. The problem was, as I remember the events, he and Gilliatt didn't get along and he simply seemed terribly jealous of the acclaim heaped on her. He called her an intellectual snob, apparently because she was largely self-educated and a genius. She had, according to her friends, a near-photographic memory, was the youngest person ever to pass the entrance exams to Oxford, spoke six or so languages, was a serious writer of fiction and criticism, and had a colossal knowledge of theatre and film. Schlesinger must have felt deeply intimidated. How could he hold his own with her?
The playwright Joe Orton, also gay, apparently had no problem with her erudition, as they were beloved friends, and Gilliatt had many, many loyal and faithful friends in the GLBT community. Anybody who has read her fiction will know the script is hers in its entirety, and she made changes only to repair some structural problems and to accomodate the line readings of the actors, with whom she worked closely throughout the film, especially Glenda Jackson. Peter Finch said her script was the most beautiful he had ever read. How all this must have galled Schlesinger, already a sometimes trying presence to those who knew him. At the end, he made one dreadful film after another, often blaming the result on the actors' interference, etc. In truth, Hollywood had become so infantilized that the work of serious filmmakers was largely abandoned long before Schlesinger's death. All the same, he made two magnificent works, Sunday Bloody Sunday and An Englishman Abroad, and one deeply flawed but beautifully acted film Midnight Cowboy. It's doubtful the rest of his work will survive. As for Gilliatt, her vast body of criticism (film and theatre) is used in university film and theatre classes around the world, many of her short stories will survive as masterworks of the form, her brilliant profiles of Bunuel, Godard, Renoir, etc., are among the best of their kind and will be read long after all of us are gone. And Schlesinger, apparently jealous to the end, will forever be indebted to Penelope Gilliatt for her contributions, and she made many, many more contributions to the film than her screenplay, for as long as he or his film is remembered.

I am lying in the sun in Hollywood and I have just devoured this splendid John Schlesinger biography. I recommend it to every movie fan the world over. It is a lovely book and worthy of its subject.

Being north of forty, it would be impossible to underestimate the importance of John Schlesinger's influence on my life as a gay man. Midnight Cowboy and Sunday Bloody Sunday were seismic movie going moments for me. Truly great movies in their own right, both have fully-dimensional gay characters as well as homo-erotic moments that lodged in my young brain and stayed. Jon Voight is a luscious Ken Doll in Midnight Cowboy. And Murray Head could be the poster boy for sexy 70's male in Sunday Bloody Sunday. Glenda Jackson watching Murray's perfect physique as he showered was thunderous for me because every day in Catholic high school I stood next to beautiful boys in showers and I couldn't stop staring and also could not forget none of them would ever be mine.

And thank you John Schlesinger for Julie Christie! The movie-going public will be forever in John's gratitude for giving us Julie.

They say that the music one listens to in our teenage years becomes "our" passion music-wise for our entire lives. Certainly, my life-long allegiance to Joni Mitchell and Aretha Franklin attests to that.

I feel the same way about Julie Christie. I was too young for Billy Liar and Darling when they came out. But both movies mean a great deal to me now. As do McCabe & Mrs. Miller and Shampoo and Return of the Soldier and Afterglow. I love watching this creature on screen. Julie is sexy to me even though I have no desire for her. And I am as much a fan now as I ever was when I first laid eyes on her. More of a fan probably.

Bravo to William J. Mann for painting a vivid portrait of one of our greatest film directors. And bravo John for your illustrious career!

William J Mann is interviewing famed movie director John Schlesinger at his home in Palm Springs. John has just had triple bypass operation followed by a stroke which has left him paralyzed on one side, confined to a wheelchair, and almost voiceless. Although his brain is far from crippled and he can nod, shake his head, and sometimes answer questions in a brief, unexpectedly pointed whisper.

They spend their days together looking out at the mountains which edge the city, and William sometimes talks with Michael Childers, John's lover and partner for many years. Friends of John's occasionally pop in for a visit - Julie Christie, and Brenda Vaccaro, all tearful and upset at John's seemingly hopeless condition.

Mann uses this sense of immediacy to great effect in Edge of Midnight: The Life of John Schlesinger. Each chapter begins with a sense of how John is declining and how the author is racing against time to find out as much as he can. By interweaving the present with the past, Mann traces richly varied accounts of John's early struggles and glory days.

The end result is of man who has led a creative, and artistically fuelled life, with Mann offering a poignant contrast between the figure who sits staring at the mountains beyond the window, adrift in silent internal exile, with the sound of his laughter on recorded tapes. John's creative energy and intuition, his penchant for mischievousness and naughtiness, and his willingness to take risks and really push the cinematic envelope for more than twenty years, are highlighted with a candid and sincere accuracy.

And John Schlesinger also gave us Julie Christie, whom Schlesinger chose for the character of Liz in Billy Liar. The world of cinema would indeed by dull without the gorgeous Julie. Much of the narrative talks about the tremendous international success of Darling, and how the movie, not only cemented Christie's stardom, but also allowed John to go on to make even riskier movies.

Mann talks about why Darling was so historically significant and the part it played in the cinematic sexual revolution, which in turn greatly affected the changing sexual habits and attitudes in much of the West. John was determined to raise the bar with onscreen frankness, and he often found himself stymied by the Hollywood old guard who were determined to promise their audiences "real stars looking glamorous in beautiful gowns in beautiful sets, no kitchen sinks, no violence, no messages."

But it was Midnight Cowboy and Sunday Bloody Sunday that really pushed the cinematic envelope: Sunday Bloody Sunday, with film's first same sex kiss, boldly rejects "moral" judgment in its account of the middle-class London doctor and the professional woman's feelings and presents both kinds of love as equally natural.

In Midnight Cowboy, Jon Voight's naive hustler from Texas foresees a future for himself in New York as a stud for affluent lonely ladies, but failure plummets him to the city's harsh and seamy underside instead. Midnight Cowboy proved that films, which overthrew convention, that dared embrace radical form and content, could also make money.

Schlesinger admits that he wanted to tell stories that dealt with the human condition, human difficulties, and even the illusions of love. His films were all about adult themes - the difficulties of maintaining relationships, abortion, extramarital affairs, and homosexuality. He wanted to make films about "people pushed on to an edge," and also people who were regarded as the underdog, the outsider in society.

He believed that films needed to be relevant, and that they needed to reflect the changing society. He also wanted his audiences to think, but more importantly, he wanted them to "feel," be it terror or revulsion or compassion or pity. In later years when he couldn't set up the films he wanted to make, Schlesinger damaged his reputation, then his heart and his arteries, by accepting too many potboilers in the desperate, unfulfilled hope of a box-office success that would enable him to work on his own terms again.

Glenda Jackson had a filthy sense of humor. John played a terrible joke on Julie Christie, which involved a feminine sex aid during the making of Far From the Madding Crowd. Sean Penn, although enormously talented, was a nightmare to work with. At the last minute, Brenda Vaccaro refused to show her nipples when doing the love scene in Midnight Cowboy.

The Hollywood brass turned their back on John after the colossal failure of Honky Tonk Freeway, Rupert Everett and Madonna gave the poor man hell on his final disastrous movie, The Next Best Thing - Madonna begging him to do for her what he had done for Julie Christie, while Everett was more concerned with rewriting the script as they were shooting.

William J. Mann has indeed written a formidable account of one director's life, a wonderful patchwork of tidbits including interviews with the people he helped make famous - Alan Bates, Julie Christie, Glenda Jackson. Martin Sheen, Ian McKellan, and Dustin Hoffman.

What evolves is a fascinating biography of a man who desired success, and ambition, and even lots of money. It's a portrait of a tormented man who had a quirky pessimism not withstanding and lived a life relatively free of personal demons. Comfortable with his homosexuality, and totally committed to making movies, "his art came not from discontentment with life, but rather from a love of it." Mike Leonard October 05.

Mary Jane Alexander, I am a New York film critic and enthusiast.

Film historian and authority James Robert Parish has done it again! "The Encyclopedia of Ethnic Groups in Hollywood," like all of Mr. Parish's well-regarded books, is comprehensive, thoroughly accurate and immensely readable. The sheer research is astounding and Mr. Parish uncovers the many fascinating tidbits that enliven film history. This is a book that is a must not only for every film and media library, but also for the general reader and film fan who wants is interested in the careers, lives and place in film history of the many ethnic stars who have thrilled us on screen. Bravo.

Also recommended: The Hollywood Songsters; Hollywood Divaas; and Hollywood Bad Boys

This is a wonderfully concise, detailed, and helpful general reference source for anyone researching ethnicity in the major films, television shows and performers of the past century. The Encyclopedia of Ethnic Groups in Hollywood is easy to read, gives only the important highlights of each title and personality, and is well-indexed. The photographs in the book are nostalgic and illustrative. It's all in here -- the breakthroughs, the award winners, the important firsts, as well as other contributions that make Hollywood history and today's Hollywood unique.

The movies have always help guide and shape moviegoers into an an understanding of who they are, where they're from, and where they're going. But much of the vast American public has been virtually invisible on the screen -- which is why this book is so valuable. Our overlooked ethnic groups -- African Americans, Asian Americans, Hispanic Americans, Jewish Americans, and Native Americans -- now have a wonderful reference source to help them understand who they are, where they're from, where they're going. This encyclopedia may be a bit pricey for average bookbuyers (where's the cheaper paperback edition?), but it will be criminal if every library in the country doesn't make it readily available.

Jim Parish has outdone himself with this voluminous, impeccably researched work which is a concept long overdue in the publishing world. With the fine work of Allan Taylor, he has created a wonderful tome and a reference book which will be quite useful as well as enjoyable to read. Well worth the money! Cough up! You'll be happy you did.

By Hollywood, I expected the author to concentrate his efforts on films, which would have been fine in and of itself. But I was surprised (pleasantly) to see the detail into which he looks at the presentation of ethnic groups on television as well. This is the book that should be required reference material on every course in pop culture and in film studies as well. But don't let that scare you away from reading it. The book is written in a style that everyone can enjoy. It's one of those books once you pick up and start flipping through, you spend hours going through.

This book sticks to the music, and what music it was, or should I say, what music *made* - sometimes from situational film material. But this work sticks mainly to A-list, non-soundtrack recordings.
Whether he stuck closely to the demo, or reference disc, or completely reworked the tune, he made it at least interesting and listenable, and those that didn't make that cut (like "Hey Jude") are given a fair chance.
Since '68, I still can't believe what he did with "You'll Never Walk Alone"; discovering years later it was he on piano working out a "head" arrangement on the spot, made it seem even greater. This book will remind you why you liked a particular track in the first place or why you should have. At age 17, I didn't appreciate the depth of this performance, which in this book is described with masterful strokes. Another revelation for me was in reading about "Crying In The Chapel". I've always enjoyed Elvis' record of it, but thought he could have put more *voice* on it. Roy and Aspell evaluated the number as a whole and brought out nuances which have caused me to realize that it, too, is A-list.
I would have been happy to find reviews of movie fluff entries like "Sand Castles" or "Shake That Tambourine", but let's hope we get an "alternate take edition" of this fine manuscript.

THIS NOVEL SHOULD GO DOWN IN HISTORY AS ONE OF THE GREATEST BOOKS TO EVER BE WRITTEN ABOUT THE KING OF ROCK -N- ROLL . IT'S REALLY GOOD . IT TELL'S THE STORY BEHIND 112 OF THE KINGS GREATEST AND NOT SO GREATEST SONGS .IT FOCUSES ON WHAT REALLY IS GREAT ABOUT ELVIS' LIFE HIS MUSIC !

"The Essential Elvis" is a thoughtful exploration of the King's music from 1954 until his death in 1977. It's an important and much-needed work that concentrates solely on Presley's artistry. Authors Samuel Roy and Tom Aspell break free from the ill-informed mythology of most Elvis publications by re-examining Presley's work in provocative, exciting ways. You may not agree with all of the writers' criticisms, but it encourages you to track down the 112 Elvis recordings listed in their book.

There have been 4,567 books written about Elvis, mostly by people who have never known him, but whose third cousin's sixth-removed niece might have once dated Elvis' former schoolteacher's third wife. Then there's "The Essential Elvis." What makes this book so different is that Samuel Roy and Tom Aspell trace Elvis' life and legacy through personal history as well as 112 of his most significant songs. The book doesn't proclaim to be an expose or definitive history (it's neither); what it is is a clear portrait of the Man Who Would Be King, told through behind-the-scenes knowledge that uncovers and pieces
together the story of a man, his times, talent and cultural influences. And the 20 photographs -- many of which have never been published --- add a nice touch.

This excellent book is about what was most important to Elvis and his fans: his songs and music. One of the most significant things the authors said about Elvis is the following words: «The first and best thing that can be done for Elvis Presley is to lessen the emphasis that has been placed on his later years and focus on the talent and genius that define the King.....one of the reasons for his demise was because he cared and felt too much...it got to the point that being Elvis Presley was one of the hardest jobs in the world». I agree completely with the authors and, as a fan, my only wish is that this book will make the people, who don't respect Elvis, see the light...

This was a great seiries to read. One of the best, but the truth is that this is the final conclusion to the series. That is all I can say because it is so good, you just cant stop reading it!!

I love this book it's so good. I can't wait to see SW2. Also I wonder if Jude Waston will come up with the young Obi-wan and Anni series. Hope so. That will be so cool if she does. Well back to the book. The book was exciting, it held you in suspence. The sith and everything. But it's so sad no more Obi-wna and Qui-gon books, I love them. Sob. Well sorry it's just a depressing thought.

While not the best in the series, this one was definitely "worthy". A different sort of plot than the usual, which was refreshing, and while the character developments were less than usual, I didn't really feel that this detracted from the story at all. This book begins with an eighteen (or thereabouts) year old Obi-Wan still apprenticed to Qui-Gon several years before Episode 1. The Jedi Council has recieved disturbing rumers of a possible Sith Holocron, floating around somewhere, and they immediately dispatch Qui-Gon and Obi-Wan to find it at all costs. To avoid spoiling the story, I'll just say that almost nothing goes as planned, and the story abrubtly skips forward ten years; when a much older Obi-Wan now trains his own apprentice, thirteen year old Anakin Skywalker. To be honest, this was the first book I've read so far where I found myself liking and relating to Anakin's character at all. Most of the other books have portrayed him either as a whiny baby, or just your basic budding darksider. In this book, however, I could finally see him as a real person, much, much cooler as a teenager than a little kid. Anyway, if you've been following the series than this one is a must. Here's to the new Jedi Quest series being as good as Jedi Apprentice was!

W-O-W!! This book rocks!! Jude...being Jude...has created yet another incredibly written story.
Two generations of master and apprentice struggle for one of the most evil creations in the galaxy.
(And seeing obi-wan dependent on a madman for help is something else)
I never put it down. (Wait...untrue.I put it down once, to chase my cat away from trouble) Reading was acompanied by shreiks of pleasure as a new angle revealed itself (I kidd you not).
The entire jedi apprentice series has a vast legion of followers, of all different ages. But we all share one common trait. WE LOVE THIS SERIES!!!
Jude has walked us through the trials of Obi-Wan's life with a skill most of us can only dream of.
We have watched him grow from an impatient boy ruled by his emotions,to a steady young master destined for a life of greatness.
We have watched his relationship with Qui-Gon transformed from something small and fragile,into something vast and unbreakable. Even death couldn't truely seperate that perfect pair.
But,eventually,everything must someday come to an end...to make room for another new begining.
The Followers is the final book in this great series.
NOOOOOOOOOOOOOOOOOOOOO!!!!!
But all is not lost. Obviously to prevent mass riotts in the streets =) , another series is on its way. One that can rival and perhaps even surpass Jedi Apprentice. Jedi Quest.
And so, we bid a very fond farwell to our beloved series, and a warm welcome to its successor.
Jude, thank you. Thank you for the years of pleasure you have given us. And for the years yet to come.
*APPLAUSE*

Obi-Wan and his Master, Qui-Gon, tackle a mysterious mission that revolves around the followers of the Sith -- and a search for the Holocron, a mystical object that enables its user to have great powers. The Holocron has been hidden under a planet's dangerous ocean for many years, and all who have gone after it failed. When Obi-Wan and Qui-Gon are sent to retrieve it so that it doesn't fall into the wrong hands, the mission is still left unsolved. Ten years later, when Qui-Gon has been killed and Obi-Wan has Anakin for his apprentice, once again the threat of the Dark Side arises. The followers of the Sith are apparently still waiting for the chance when they will have their hands on the Holocron. Obi-Wan and Anakin have to stop the Dark Side from winning. The future of all darkness in the galaxy rests in their mission now. Jedi Apprentice: Special Edition #2: The Followers is Jude Watson's final chapter in the Jedi Apprentice series, but thankfully the story continues into the new Jedi Quest books. It's a stunning and thrilling conclusion, and most memorable of all is the haunting last paragraph on the final page of this, the end of the Jedi Apprentice series.

This was probably one of the best Sabrina books I've read. I liked it a lot. If you can't figure out what to read, read this book!

This book is a good book,Because it's funny at times and it's a kind of book that you can just sit down and readwithout having to worry about what'sgoing to happen next!It has so much creativity in it thats why you don't have to worry.This book is about a teenage witch that is living with her two aunts,Zelda and Hilda.She is having a hard time these days especially being a teenager and a witch at the same time.it's hard for her to just get through the day without anyone figuring out that shes a witch.If i had to rate this book eith a 1to10 i would give it a 8.

A bucket on fruit punch in her head? An avalanche of Popcorn, in her locker? A cold banana pudding on her bed? A TOOTHPASTE ON A TOILET SEAT? Now that's a definite "eww!". All this happened to Sabrina the day the new exchange student from China named Mei Hua came in Westbridge. She, with her Mona Lisa smile looked like a nice shy girl but... yeah right! She has a big crush on Harvey Kinkle and she has Libby Chessler and her family as family guest in Westbridge. Doesn't mean she's mean like Libby, but she's a mischievious fox according to Grandmother Chu. Sabrina is on the pursuit to get the fox from Chinatown, New York City to the Great Wall of China. Two thumbs up great book filled with magic and laughter. Also recommend: Harvest Moon, I'll Zap Manatthan and Eight Spells A Week (Super Edition)

The best! I don't blame Sabrina for being jealous- Harvey's a HUNK!

This book is yet again another fabulous Sabrina. In this book Sabrina is hit by some bad luck and this all happened when a new exchange student comes to Westbridge. Mei seems pretty nice and she has an effect on Harvey. Sabrina knows something is up and she's going to find out!

This book is a perfect mechanism for catching up on the early years of Frasier or to relive those wonderful moments. I started watching Frasier in season 6 and this book has been a constant companion to fill the gaps and relive the moments I loved from the episodes I have caught up on. Having this book WILL lift your IQ!!

This book is great because it is an original! You have the original storylines and no additions from other authors. You learn how such a series is made and how important the actors are to bring the action to live.

Frasier was long one of my favorite television shows, and purely from a writing standpoint, I enjoy reading screenplays and scripts to see just how different writers structure their stories. This book collects 15 scripts from the show's first six seasons, and having seen most of the episodes, I can concur that they have chosen 15 of the best episodes.

From a storytelling standpoint, these are just great tales. The pilot episode, in which Frasier and his father try to adjust to living together, is touching and funny in all the right proportions. Stories like The Matchmaker and Ham Radio lose almost nothing in their pure script form, and The Ski Lodge is just as funny as it was on television. Even moments of pure slapstick, like the classic "silent movie" opening scene from Three Valentines, is delivered very well here.

From a writer's standpoint, the book is also entertaining. We can see how the many wonderful writers crafted their stories. Those segments that don't work as well in the script fall a little flat only because the performances on the program were so wonderful. For that, the actors and writers both deserve credit -- the actors for having that talent and the writers for knowing how to use it. There are a lot of things that don't quite work if you don't know how it was delivered, and the fact that it made it into the show proves that the the writers knew what they had and how to use it. If you aren't familiar with the episodes presented here, some of the scripts may not read as well, but if you're a fan of the show, this really is a wonderful collection.

This book was a lot of fun reading. The Fraiser Scripts is a great book. A must have for the die hard Fraiser fan.

Since losing David Angell in the September 11th tragedy, I am so happy to have a copy of this book. Dave was a great guy, and I miss him.

Vishnevskaya's reputation for forthrightness AND the sub-title she chooses here --A Russian Story-- indicate strong intentions for this book. Not 'MY Russian Story', but 'A Russian Story', because Galina Vishnevskaya tells an epic Russian story, honoring with a severe truth the Russia of sorrows of which her story forms but a unique part. This is no prima donna's idle tableau of a curtained career. Vishnevskaya's art comes of suffering, & she doesn't head down that road. She divulges her art generously, but her attitude never self serves. Her aim is always higher - she's interested to say not only what HAPPENED in Soviet life, but what WAS. and WHO!--- Vishnevskaya regularly excoriates with galvinizing abandon the soviet lackeys with whom she had to deal! She names names and motives, because it's the damned truth! The West in general and artists in particular owe a huge debt to Rostropovich and Vishnevskaya for the willing sacrifice of themselves in exile for the simple truth. Rostropovich garners the commentary in the West with the cello & conducting, but Galina is the heart of genius, and THAT seems the telling component in this book. Her depiction of Solzhenitsyn is heartrending, and stands as the book's axis; everything leads to it, and derives from it. Her friendship with Shostakovich, her brilliant feelings toward him-- an almost daughterly reverence informed by the highest artistic aesthetic. It's also through the part Shostakovich played in her life that we meet a musically learned Galina as well. She was a musician FIRST, singer second. How rare and wonderful - no wonder Slava fell in love! Galina dances with the shadows of Shostakovich throughout, & it's one of the book's endearing aspects. There are wonderful stories too of Britten and his music, & a surprisingly frank exposition of Furtseva, soviet Minister of Culture, whose enigmatic machinations both helped and ill-served Galina more than once. Vishnevskaya can sing AND write! The book ends when you don't want it to, leaving Russia... it's ultimately a love story -- Galina and Russia. Maybe she'll yet write her American story.

"...We were actors in real life and human beings on the stage."

Thus spake Galina Vishnevskaya, in interviews she and her husband, Mstislav ("Slava") Rostropovich, gave in Paris in 1983, captured in a companion book ("Russia, Music, and Liberty: Conversations with Claude Samuel.") to this one. The quotation barely begins to suggest the Kafkaesque world in which they lived, when they were musical artists of the highest order in the Soviet Union.

Vishnevskaya was a "prima donna assoluta" at the Bolshoi Opera during her prime, arguably the finest Russian soprano of all time. And, as her prime overlapped those of Maria Callas and Renata Tebaldi, one can only wonder what her international reputation might have been had her career been entirely in the west; the first two-thirds (and best) part of it was largely away from the gaze of the international music community.

This is, as she subtitles it, her "Russian story" covering her life up to the final hours in 1976 when she left the Soviet Union, eventually (two years later) as an exile. And it almost ended before it ever started.

Born in poverty to parents who abandoned her to her grandmother, she possessed an incredible voice as a child. Largely self-taught, and then - at age sixteen - improperly taught - she didn't learn proper voice technique until after she had established a beginning career in operetta. Then she contracted TB, and the doctor caring for her offered that the only cure - which she refused - was to collapse the infected lung. It was only by mortgaging her future singing fees for black-market purchase of scarce antibiotics that she recovered.

In 1952, in her mid-twenties, she auditioned for the youth group of the Bolshoi Opera Theater, was instantly accepted, underwent a meteoric rise through the Bolshoi ranks on her voice and talent, and soon became the prima diva of the troupe. In 1955, she met Rostropovich, whose courting of her is one of the few lighthearted sections of an otherwise chilling tale of intrigue, deception and lies in the intelligentsia circles in which the pair of them existed and performed.

The next two decades (1955 - 1975) of this journal focus largely on one person, and the special relationship that they had with him: Dmitri Shostakovich. As artists, it was only natural that their paths would cross and thereafter, for the rest of Shostakovich's life, intertwine. But this was more than acquaintanceship; it was friendship based on trust during Shostakovich's years when it was virtually impossible for him to trust anyone. And Vishnevskaya defended that trust with the ferocity of a tiger. One anecdote of her ferocity will suffice as an example.

In the early 1960's, the poet Yevgeny Yevtushenko was well-published in "accepted" Soviet literature journals despite his "rebelliousness." His famous poem, "Babi Yar" (1961) about the German slaughter of Ukranian Jews during WW II, gained overnight success, and Shostakovich, moved by the poem's message, placed it at the core of his Thirteenth Symphony with Yevtushenko's warm agreement. The work received its Russian premiere "as is" on December 18, 1962, and was tumultuously received by the audience but not by officials of the state, who read into it a message of Russian complicity in the matter of anti-Semitism, a subtext of Yevtushenko's that was undoubtedly accurate, as he revised the text shortly after the premiere without consulting Shostakovich. Some years later, in London where Vishnevskaya and Rostropovich met up with Yevtushenko, Vishnevskaya gave Yevtushenko a tongue-lashing over his "revisionism" that runs several pages.

In an act of supreme political courage involving another Russian writer, Rostropovich provided refuge, for four years in the early '70's, to Alexander Solzhenitsyn, whose writings on conditions in the Soviet Union were officially banned. Solzhenitsyn subsequently went into political exile, but this act of courage was to have its effect on the careers of Vishnevskaya and Rostropovich, particularly the latter, who for all intents and purposes had his abilities to perform and conduct stripped away from him. Only by "pulling in markers" were the two of them able to secure permission from Brezhnev to go abroad on a two-year "artistic leave."

"Galina" ends on a note of uncertainty and apprehension, as Vishnevskaya, in 1976, boards a plane with her two daughters to join Rostropovich in the West, eventually (1978) in exile when their citizenship was revoked for the Solzhenitsyn matter. But this is merely the end of her "first" Russian life and the beginning of another, more international, one. Her own career as a diva continued for nearly another decade; Rostropovich went on to become an internationally-known conductor while continuing his career as a preeminent cellist; with "perestroika," they made an historic return to Moscow in 1990 (after Gorbachev restored their citizenship), at which Rostropovich conducted what is to me the finest performance of Tchaikovsky's "Pathetique" Symphony (immortalized on a Sony CD that also included Sousa's "Stars and Stripes Forever" and William Schuman's orchestral arrangement of Charles Ives's "Variations on America").

Nowadays Vishnevskaya loves to brag about her six thoroughly-Americanized grandchildren. They oversee the Rostropovich-Vishnevskaya Foundation, a charity for immunizing Russian children against disease. She recently founded the Galina Vishnevskaya School of Opera in Moscow, for providing master classes to promising young artists. All in all, a rather remarkable "follow-up" for this peripatetic pair of seemingly perpetually-young 75-year-olds.

But the clock cannot be turned back. "Galina" serves as a gripping reminder of how things were over the fifty years that the two of them spent in the Soviet Union. And, at least as important for me, it serves as one of the most honest and accurate appraisals of Dmitri Shostakovich the person as one is likely to find, from one who knew and loved him as a true friend.

Even in a totalitarian society, supreme artistry can sometimes carry clout. For Vishnevskaya (and Rostropovich), there was enough clout - barely - to get out and "live to tell about it." Thankfully.

Bob Zeidler

[Taken from my review of the hardcover edition - same comments nevertheless apply.]

As one reads this book, where Gospozhá (Mme.) Vishñévskaja is throughout blunt about everything she turns her pen to, one really gets not only great entertainment generally (it is most excellently written!!); it is a superb window into the Russian soul at its best in addition to being an outstanding analysis of the conditions of artistry, artistic life and life generally under the Soviets!! It also serves as an excellent guide into the great composer Dmítriy Dmitrjévich Shostakóvich's life and artistry as well as that of her husband Mstíslav Ljeopóljdovich Rostropóvich; furthermore, its recounting some of the scandals forced by the Communist leadership when they couldn't accept the fame and worthiness of such books as "Doktor Zhivágo", "The First Circle" and "The GULag Archipelago" as well as such pieces of music as "Lady Macbeth of Mcjénsk District", the 13th Symphony and enough other works of Shostakóvich is positively juicy even in the midst of the disgust and revolt caused by reading how intolerant Communism really is!!!

An ABSOLUTE MUST for any intelligent person to read and have in his library - especially if he is into the arts and/or politics in any way whatsoever!!!! This is one of those relatively rare books which both entertains AND edifies - and does it all superbly (what a life experience on her part!)!!!!

[POSTSCRIPT: This very book (which I've enjoyed rereading MANY, many times!!!) also was critically influential in preparing me to go hear - and fall in love with!!!! - Shostakóvich's operatic 'magnum opus' "Lady Macbeth of Mcjénsk District" when it was given its Canadian première by the Canadian Opera Company in Toronto in 1988.]

Of all the singer's biographies I've read (which is plenty!) this remains at the top of the heap. It is a journey that could have only come from the pen of Vishnevskaya and, unlike so many autobiographies which eventually turn into a "And then I sang _____, and then I sang at the White House, and then I . . . " Galina reads almost like a novel. Her description of the Soviet Union during the war years is positively chilling. The road she took to success, punctuated by hardships followed by tragedies is never less than enthralling. How many biographies can truly be called "page turners?" Well, this is one!

The insights she gives into the Soviet system, the role and treatment of artists by the government, her personal views on politicians, singers, composers all come off with rare candor that almost caused me to blush.

Feeling mezzo soprano Elena Obratzsova had been been a betrayer, she humiliated the young singer in public shouting out "Judas" writing of Obratzsova's exit, "Like a snake with a broken spine, she crawled past the amazed Americans, who stood aside to let her pass." Ouch!

My favorite passage from the book succinctly, and pointedly paints the most vivid picture of the Soviet system:


In this vast, monstrous theater, with our faces twisted by
underground jargon, we Soviets wriggle and squirm for one
another. We are actors by compulsion, not by calling, in an
amateur theater run by no one. And all our lives we perform our
endless, pathetic comedy. There are no spectators, only
participants. Nor is there a script, only improvisation. And
knowing neither plot nor denoument, we act.

I cannot recommend this book highly enough. Whether or not one is a fan of opera, this will prove to be an enlightening, fascinating read.

Galina, né Pavlova, has many interesting stories to tell about her remarkable life: as a baby abandoned by her parents, an army officier and a polish/gypsy mother, she was raised by her paternal grandmother. Galina overcame so many difficulties in her life, surviving the blockade of Leningrad during the war and so many hardships such as tuberculosis and starvation. Unlike so many singers' biographies, this intelligent artist shares more than anecdotes about the opera world and her many successes in the theatre. She speaks of her personal friendships with people such as composer Shostakovich her neighbor, scientist Andrei Sakarov, also a neighbor, and writer Alexander Solzhenitsyn, a live-in guest in her dacha. There is much commentary written with not a little bitterness about the Soviet authorities who so often thwarted her career and blocked free expression in the arts within the Soviet country and in other countries where she was invited to perform. She writes very well and with much insight into philosophy, human relations, personalities, etc. I found the book very absorbing and hard to put down. Her close friendship with British composer Benjamin Britten also yields many stories of their memorable times together both at Aldeburgh and on vacation in Armenia and Russia. Her remarkable and at times stormy marriage to cellist/conductor Mstislav Rostropovich, her third husband, brought about big changes in her life, and their mutual courage and boldness to stand up for freedom against the Soviet regime cost them their citizenship.

While a major Hollywood luminary of the late 1920s and early 1930s, British-born stage/film star George Arliss (who won an Oscar for 1929's Disraeli) is too little known by modern generations. This detailed biography provides a rich study of Arliss's long life--both on and off camera--bringing the unusual (by Tinseltown standards) leading man into sharp focus.

A book well worth buying and reading!

Once famous as "The First Gentleman of the Talking Screen" and winner of the Best Actor Oscar (1929/30) for "Disraeli", George Arliss returns to the limelight thanks to the (almost) single-handed efforts of Mr. Fells (Turner Classic Movies also occasionally shows Arliss films). More than a biography, this book places Arliss' personal story of defying conventional wisdom to become successful on stage and screen (silent and sound) in the larger context of Hollywood in the 1920s-30s. Thoroughly researched and elegantly written - in the Arliss tradition!

"George Arliss: The Man Who Played God" was not only an interesting portrait of the man, but also a snapshot of the entertainment industry in general during the 50 years Arliss appeared on stage and film. Although Arliss' career may be obscure to contemporary moviegoers, after reading Mr. Fells' well-researched biography, Arliss' legacy was apparent - both on and off screen - through both his artistic and financial successes. In my choice of reading material, I enjoy being entertained while I'm being educated, and this book certainly met that criteria - I highly recommend it!

George Arliss, in his day a top star, is today the least-remembered of any, which makes this book especially welcome. Too bad its style is a bit pedestrian, but it does whet the appetite for Arliss's largely-unavailable output (Amazon has, through its contract supliers, his Oscar-winning "Disrael" and "The Iron Duke" and "Dr. Syn", and Movies Unlimited has "The Guv'ner" and "East Meets West", but his reputed two best, "The House of Rothschild" and "The Man Who Played God" don't seem available anywhere). The book points out Arliss's dedication (he insisted on two weeks's reheasal before shooting, even if he had to pay the Cast himself), sterling character (never a hint of scandal, no marital infidelity, etc), and modesty (he had full charge of all films and often wrote or rewrote screenplays, but insisted on being billed solely as an actor). For further info, see his two autobiographies, "Up the Years from Bloomsbury" and "George Arliss".

Full Disclosure compels me to say that I am the author so you know already that you won't be getting an exactly impartial viewpoint. My purpose here is two fold: first, to thank the individuals who have taken the time and effort to comment on my Arliss biography/critique. Researching and writing the book was a labor of love and, besides, there's nothing worse than being ignored.

My second reason is to merely add a point of information. As has been stated, very few of George Arliss's films are available on video, either VHS or DVD. But thank heaven for cable stations Turner Classic Movies and the Fox Movie Channel. With a little bit of patience, you can see all 13 of Mr. Arliss's American films on these two stations. Fox has gotten quite generous by running The House of Rothschild (1934) and Cardinal Richelieu (1935) every month, although Fox seems to be stingy about running the finale scene in "Rothschild" in its original Technicolor brilliance. It did show it in color back in 2001, but in the last year or so, Black & White seems to be the rule. Perhaps if we all email Fox, they might change its corporate mind. And while we're at it, let's urge FMC to run Arliss's comedy, The Last Gentleman (1934).

Turner schedules the Warners films, The Man Who Played God, The Working Man, and Voltaire, a couple of times a year. Perhaps with a bit of encouragement, TCM will program Disraeli, Old English, The Green Goddess, The Millionaire, Alexander Hamilton, A Successful Calamity, and The King's Vacation more often than once every few years. Is it possible that George Arliss could be a TCM Star of the Month? We'll never know if we don't ask!