Video Books

Retro Stud is a great collection of color poster art from the era of the Italian peplum/sword and sandal movies. It is a book that will please fans of the genre, artists, and bodybuilders. Printed on quality paper in hardbound format, Retro Stud is a great addition to any coffee table.

As a collector of every Hercules and Gladiator movie i can find,i was thrilled to find out there were actual posters to go with the movies.This book really delivers the goods with hundreds of posters.this being said the book could have been so much better.there are posters overlapping destroying the total artwork when they didn't have to.ALso on foreign posters he gives the foreign translation in english but not what the movie was know as in America.i'd like to know what movies i am missing.Despite these big flaws it is the best Hercules-gladiator poster book available.

Compiled by David Chapman, Retro Stud: Muscle Movie Posters From Around The World is an impressive full-color showcase of "Gladiator" era movie posters from 1959 to 1965, a cinematic trend that was initiated by the American debut of the 1959 movie "Hercules" starring bodybuilder and physical hunk Steve Reeves. The eroticism, muscular posing, and sexual symbols of these international posters are discussed in thoughtful detail. Retro Stud is a thoroughly enjoyable reference and a highly recommended presentation for all classic movie fans and bodybuilding enthusiasts.

Who could ask for more? This book is a stunning achievement and a must for any collector or fan of Gladiator movie posters that were produced during the period of 1959-1965. Chapman had his work cut out for him in gathering this comprehensive collection, and he did a terrific job. These color posters are from around the world and feature complete descriptions and author's commentary about each poster that is quite fascinating. Who can forget "Hercules" Steve Reeves, the first to debut in a gladiator movie, in his skimpy loincloth, his muscles rippling, and the frail beautiful women he had to save from the evil tyrants. People all over the world couldn't wait for the next Gladiator movie to be released to their theaters; they were new, sexy, dramatic, erotic, and filled with many different musclemen who followed in Steve Reeve's shoes. This was an era that was fresh and new to everyone who wanted something different and exciting to watch at the movies. They were our heroes, and our fantasy. Take a look at this collection of posters, and re-live history, and remember when Gladiators ruled the earth! Enjoy this collection, I know I did!

Joe Hanssen

I was pleased when I heard this volume was being released... I have loved the old Italian Muscle Movies and the posters were part of the mystique of those films. I was delighted because I did not expect the book to be so beautifully designed. It has a hard cover, slip cover, and thick coated paper, all finished in full colour throughout. An impressive opus on a the lost art of bodybuilding art from the classic gladiator film genre! Not only was I was thrilled at the great quality of the book, but also David Chapman's insightful and thoughtful writing, which is a joy to read. This is clearly one coffee table book that will delight my guests for quite a while.... I enjoy it over and over and see things in it that I did not see on previous viewings... a real treasure!

My personal hero of the aforementioned European art-movie genre -- Robert Bresson -- is the subject of a new book edited by James Quandt. Robert Bresson includes interviews with the director by fellow filmmakers Jean-Luc Godard and Paul Schrader and French film critics Michael Delahaye and Michel Ciment. There are also homages from directors like Martin Scorsese and Rainier Werner Fassbinder, as well as essays by Roland Barthes and Alberto Moravia. One might wonder why such famous and accomplished people took the time to write about a French filmmaker whose movies are not known to the general moviegoing public. The answer is that the late Bresson actually was one of the great figures in cinema. His austere directing style relied on slow and beautiful imagery and much suffering on the part of his main characters, resulting in films that, once experienced, is never forgotten. One can describe Quandt's book the same way

Imagine a young film director making a somewhat controversial first film, with a script by someone on the order of Saul Bellow, followed by a more successful film with recognizable stars and a labyrinthine script by someone like Harold Pinter. Have him drop out of sight for four years, only to emerge from obscurity with a movie about a country priest, filmed (spectacularly) in rural (RURAL!) Massachusetts. Etcetera. There is really no way to imagine Robert Bresson otherwise. We owe it to the French film industry (if something so UNconsolidated could be called an industry) that Bresson was permitted to flourish at all. It wasn't simply as if he was waiting around, all his life, for a financier (14 films in forty years of activity). But where else on earth could this austerely Catholic artist have found work but in France, the most religiously cynical country in Europe? His films are a rebuke to anyone stupid enough to expect anything conventional. Bresson questioned everything in film - even the central point of the medium. His films deny the viewer the usual crutches en route to an idea. Bresson leads us silently, without promptings, toward a disbelief we had long since suspended but never seriously questioned. He makes the word 'genius' clean again.

Imagine a young film director making a somewhat controversial first film, with a script by someone on the order of Saul Bellow, followed by a more successful film with recognizable stars and a labyrinthine script by someone like Harold Pinter. Have him drop out of sight for four years, only to emerge from obscurity with a movie about a country priest, filmed (spectacularly) in rural (RURAL!) Massachusetts. Etcetera. There is really no way to imagine Robert Bresson otherwise. We owe it to the French film industry (if something so UNconsolidated could be called an industry) that Bresson was permitted to flourish at all. It wasn't simply as if he was waiting around, all his life, for a financier (14 films in forty years of activity). But where else on earth could this austerely Catholic artist have found work but in France, the most religiously cynical country in Europe? His films are a rebuke to anyone stupid enough to expect anything conventional. Bresson questioned everything in film - even the central point of the medium. His films deny the viewer the usual crutches en route to an idea. Bresson leads us silently, without promptings, toward a disbelief we had long since suspended but never seriously questioned. He makes the word 'master' clean again.

last year i recieved one of the best christmas presents i could ask for: this book. while i wouldnt recommend it to anyone that isnt a bresson fan it holds plenty to mull over for those that are. while a few of the articles are dull and/or pretentious more often than not they are highly illuminating as to the director's methods. there are one or two articles devoted to each of his films and a few that are just about his films in general. this first section of the book ends with bresson's cinematographer for "diary," through to "joan of arc" writing about his love/hate relationship with bresson and an interview with the young man who played the lead in "the devil, probably." the second part of the book contains three interviews with bresson: the paul schrader, which is fidgety and odd; the godard, which is exhaustive, rambling and very enlightening; and the final one whose author slips my mind which is great but unfortunately short (conducted after the completion of what would be bresson's last film, "l'argent"). the final section of the book is basically several directors talking about why they like bresson. this section ranges from short, humorous stories (the fassbinder and aki kaurismaki) to long essays on bresson's style(malle, etc.). other directors quoted in this final section include tarkovsky, bertollucci, wenders, hal hartley, and atom egoyan.

Editor James Quandt, an esteemed film curator at the Cinematheque Ontario, has assembled the best writings on Robert Bresson, intelligently balancing scholarly analysis (including that of Barthes and Moravia), filmmakers' homages (from Scorsese to Fassbinder, Cocteau to Duras), and accessible primers on the French director's work (by Susan Sontag and Andre Bazin, among others). Particularly noteworthy are the interviews Bresson conducted with Jean-Luc Godard, Paul Schrader, and the French critics Michael Delahaye and Michel Ciment. A MUST for anyone interested in film history and in one of the few directors worthy of the appellation "genius."

You're watching an old black and white B picture and about to change the channel to something less cheesy and low budget. You notice a lanky, whiny, oatmeal-faced guy with beady eyes, who looks menacing, especially when there is an attractive female nearby. This guy is trouble. He's no good. But you can't turn away. You're hooked.

He's wearing a bad costume: a 1950's leisure suit, a safari jacket, or more happily, a trench coat or a uniform. He looks awkward, slouching like he's embarrassed to be so tall.

He's ruggedly handsome. Energy flashes from his eyes, his tense almost hysterical voice, his powerful physique. He's like coiled steel, a simmering cauldron, a smouldering oil well. A valve that's about to blow sky high.

The ladies go to pieces around him. They do stuff they shouldn't do, things they'll regret in the morning.

You notice he contributes a lot to good and not so good films even when he's got everything going against him. He doesn't need to be a likeable character, or have good lines, or a good costume, or anything. He infuses engergy and raw power into the movie, he makes it personal. Maybe they used him sparingly because they didn't know what they were dealing with.

The Wild Bunch: Ryan turns up sporadically but his role is central to the plot. Best scenes: He and fellow outlaw William Holden are entertaining two scarlet women in their hotel room. Ryan, in a fancy waistcoat, is worrying that the law is in pursuit so he's not even paying attention to his female companion. Is that fair to the girl? Later, he is shown being flogged in prison -unfortunate, but an opportunity to see him with no shirt on.

On Dangerous Ground: as a tough cop, he questions a hooker. She practically begs him to mistreat her: 'are you gonna squeeze it out of me with those big, strong arms?' You betcha. In another scene, he tries to flirt with a girl, is rejected for being a cop, and the frozen pain of rejection on his face is raw, as if he got sucker punched with an ice berg.

Caught: he is a narcissistic neurotic millionaire who mentally torments a silly golddigger played lovably by Barbara Bel Geddes. Best line: 'What's wrong, don't you think I like you?' As usual he's in comically silly, Thurston Howell the Third type outfits, and as usual he rises above it all.

Crossfire: preachy stuff about the evils of bigotry but worth enduring for Ryan as the least laid back guy ever in a Hawaiian shirt.

The Naked Spur: not to be confused with The Naked Gun, in this Western he's an outlaw with a price on his head and cute little Janet Leigh as his girlfriend. Jimmy Stewart is taking him in for the reward money, and to get the girl as well. He puts Ryan on a burro, not only to hinder his escape but probably also to emasculate him in Leigh's eyes. Ryan is a rotten, dishonorable character, but Leigh seems mighty reluctant to part company with him. I wouldn't wonder...

The Set-up: Ryan is a has-been boxer who- don't sweat the plot, you see him in boxing trunks, that's all you need to know.

Beware My Lovely: Ryan is compellingly creepy but beware, my lovely, the plot is el bizarro.

Clash by Night: Ryan mixes it up with bad-girl Babs Stanwyck while also flirting around the edges with young Marilyn Monroe. The fact that you get to see him in a sleeveless undershirt has nothing to do with my endorsement of this movie.

About Mrs. Leslie: Shirley Booth in a dreary tale enlivened by brief glimpses of Ryan in flashbacks, including a romantic scene on the beach, he's either wearing a white robe or white swim trunks or I just added that detail out of wishful thinking.

Odds Against Tomorrow: silly heist movie overburdened with heavyhanded antiracism theme. Just watch for the scenes between Ryan and the irresistible Gloria Graham - talk about sadomastochistic overtones!

Bad Day at Black Rock: a good message movie starring Spencer Tracy, with Ryan as (of course) the detestable townie wearing an idiotic red baseball cap as the character's pathetic phallic symbol -still, Ryan almost steals the movie from Tracy.

City Beneath the Sea: watch for the scene where he is really an s.o.b. to a dance hall girl, but somehow in a very provocative way. Hokum plot, awful outfits, such as a striped shirt, bandana and skipper's hat. The wardrobe mistress was surely hoping he'd get mad, storm the costume department, grab her in his arms, and...oh, sorry, I was daydreaming there.

There's one movie where he's a mob boss guy who, in the middle of buying off judges or having people bumped off or whatever mob bosses do, nags his younger brother about doing well in college, and chomps on an apple!

The Dirty Dozen: He's not one of the dozen, nor is he the lovable leader played by Lee Marvin. He's a martinet that no one likes, and he eats it up in the few scenes he has.

Fire and Ice! Two great, elusive movies featuring Ryan.

Inferno: Shows up on cable occasionally, he's a pain in the duff heir who has to survive on his own in the desert, it's just a great movie. He actually gets a good costume for once, he looks terrific in dusty white, loose-fitting khakis

The Iceman Cometh: One of Ryan's last performances, unavailable for years but came out on DVD not long ago. Depressing tale about barflies but powerful acting with Lee Marvin, Ryan, and a very young Jeff Bridges all making the most of their choice lines.

Comparing him with other great actors Ryan holds his own. His characters were multi-layered, intense, real, and somehow always likable - even the "bad guys". They were oddballs - harsh yet anxious, uncomfortable in their own skin.

I don't think Robert Ryan ever got an Oscar nod. Many wonderful actors and actresses never get nominated for an Oscar. After all, what really lasts are good performances.

Offscreen, Ryan was kind, reserved, quiet, and bookish. He wasn't into making the Hollywood party scene, preferring privacy for himself and his family. The most dramatic thing he seems to have done was when he and his wife, an unforgivably perfect partner for him since she was tall, gorgeous, and brainy - helped start a local grade school so their kids could get the best possible education. The school is still in existence today.

Nevertheless, he made quite an impression in person.

Somewhere in the book there is a description of him meeting a friend for lunch. When he enters the crowded restaurant, despite his unassuming demeanor, he draws awestruck stares from every woman in the room. Whether due to his height and rugged good looks - or also the hint of untold depths of passion that seemed to emanate from him?

You watch his B movie to the bitter end. The character Ryan created on screen had an inner life, something that reaches out to you. A man of passion, of mystery, wearing an ugly knit cap. Tormented by inner demons, he haunts a seedy waterfront bar where one foggy night you just happen to walk in wearing nothing but high heels and a trenchcoat, looking for trouble...

Robert Ryan, one of the most brilliant and versatile actors of his time, created a gallery of unforgettable characters during his thirty year career, yet never received the recognition he deserved. Franklin Jarlett's Robert Ryan: A Biography and Critical Filmography goes a long way towards filling this void; it is a fitting tribute to a great performer, who by all accounts was as good a man as he was an actor.

Jarlett's fascination with Robert Ryan began in childhood, as he watched Ryan's films on TV, and his "obsession" continued as he matured. Jarlett was especially mesmerized by Ryan's portrayal of Claggart, in Billy Budd, seeing it as "a chapter to an elusive text of which I did not know the title." Through college and graduate school, Jarlett continued his "quest" for the mysterious qualities which made Ryan so extraordinary. This book is the result, and the author's three years of extensive research, interviews with Ryan's children and many friends, and his in-depth study of the 77 film Ryan made during his prolific film career make this a fascinating and readable must for any Ryan fan's library. Written with an eloquence of which the very literate Ryan would surely approve, the book is loaded with photos as well; stills from nearly all of Ryan's films illustrate the book.

By an ironic twist of fate, Robert Ryan, a quiet, self-effacing man, who often graciously accepted second billing to far less talented co-stars, is suddenly "Hot," thanks to cable television, and to the proliferation of VCR and DVD players, which make older movies new again.. Turner Classic Movies' recent "Star of the Month" tribute to Ryan certainly had legions of his blissed-out fans manning their VCR's, and won him many new fans as well. Ryan's Westerns and his war films play endlessly on TV, and he is such a film noir icon that many of the excellent books on the subject devote entire sections to discussions of his artistry.

Jarlett's book is a perfect source for anyone who wants to know more about this complex and very private man who was such a compelling presence on screen. Ryan was a man of paradoxes. He graduated from Dartmouth with a degree in English Literature, but reigned as the undefeated heavyweight boxing champion throughout his four year college career. Though the product of a relatively prosperous family, Ryan sought out tough and demanding jobs: he worked as an engine room janitor on an African- bound freighter for two years, and as a cow puncher on a ranch in Montana, among other jobs, before finally finding his niche in acting. Ryan's World War II stint in the Marine Corps, though honorably served at Camp Pendleton where he was a drill instructor, sent him back into civilian life with distinctly pacifist leanings. Though Ryan could portray vicious, ignorant bigots with an almost frightening intensity, he himself was a tolerant, compassionate man, so dedicated to liberal causes that he was sometimes targeted and threatened by Right-wing fanatics. And unlike many in an ego-driven industry, Robert Ryan was a modest man. He was thrilled beyond words when he had an opportunity to work with such greats as Spencer Tracy and Frederic March, and never suspected how much younger actors, like Lee Marvin and Ernest Borgnine, valued the experience of working with him.

The biographical section of the book is arranged chronologically, with each section corresponding to an important period in Ryan's life. Jarlett's meticulous research uncovered many hitherto unknown or forgotten facts, and they make fascinating reading. He discusses the founding of the Oakwood School, a progressive educational establishment started by Ryan and his wife Jessica when their own children were small, and still flourishing today. In the l960's, Ryan spent some time in England, and with the support and encouragement of actors John Neville and Paul Rogers, his co-stars in Billy Budd, he appeared on provincial and London stages in works by Shakespeare and Eugene O'Neill. After moving his family to New York, Ryan appeared in many television dramas,and did a number of narrations and voice-overs for various projects. He played the lead in The Front Page and other plays, both on and off Broadway, co-starring with Katherine Hepburn, Helen Hayes, and other renowned leading ladies, to great critical acclaim. But films continued to be the primary outlet for his talent, and he worked steadily in them until his death.

The second half of Jarlett's book is a complete filmography covering all of Ryan's work, from his earliest "walk-on" days at Paramount through his last three movies in l973, the year of his death: The Iceman Cometh, Executive Action, and The Outfit. Jarlett reviews each film, and supplies a complete cast list, as well as notes on critical and audience reception and other pertinent data. The book also contains notes on Ryan's stage performances, television appearances, narrations and recordings, an essay on Ryan as a film noir figure, and a listing of his films available on videocassette. Chapter notes, an extensive bibliography and an index complete this terrific volume. Though this book was originally written as a library reference guide, it has been reincarnated in a very portable paper back form, complete with a fabulous cover photo of Ryan as Montgomery in Crossfire.

Jarlett's book is clearly a labor of love, and perhaps this is the dominant impression. Far from being undervalued or unappreciated, Robert Ryan seems to have been revered and deeply loved by most of the people he came in contact with, and his talents have always been held in high esteem by those who value excellent acting. And those of us who know him only through the many films made unforgettable by his presence, can only be glad that the man himself was as fine as we have always imagined him to be.

Although most Ryan devotees focus on his more famous "film noir" vehicles as evidence of his skill, Jarlett illuminates his performances in scores of less known films. In Horizons West, Ryan's interpretation of a disgruntled ex-Confederate major achieves more in his portrait than the sum of the film's parts.
Return of the Badmen also featured Ryan's grim portrait of a cold-blooded bank robber that elevates an otherwise pedestrian horse opera to something nearly sublime. Other choice Ryan vignettes can be found in such early Ryan enterprises like Marine Raiders. Made in 1944 when America was fighting the Japanese, Ryan gives a stout performance that achieves real range, again raising a programmer to cult status. The author provides detailed film critiques from major publications (Time, The New York Times, Variety, etc.), providing readers with a glimpse at what critics of those time periods said about Ryan. I was pleased to note upon reading critical reviews of Ryan's character in Marine Raiders that film critic Manny Farber of Nation magazine compared Ryan with Gary Cooper, though in all honesty, Ryan easily outclassed Cooper as an actor. Perhaps Farber was referring to Ryan's quiet magnetism.
Jarlett addresses the question of Ryan's status as the cinema's epitome of the "noir" protagonist, noting his contributions in such "noir" gems as The Racket, Act of Violence, The Woman on the Beach, Beware, My Lovely, Caught, On Dangerous Ground (John Houseman lauded his portrayal of a disillusioned cop as a "disturbing mixture of anger and sadness"). I cannot think of another actor who deserved a book devoted to his life and works besides Ryan. Kudos to Franklin Jarlett for giving us his gift.
Jarlett illuminates the off-screen actor's life, noting that the actor and his wife founded the Oakwood School in California, which stills remains viable today as a solid, academically oriented institution of higher learning.
Besides the fifty or so movie stills, Jarlett's book features interviews with those closest to Ryan, and a glowing preface by John Houseman, who worked closely with Ryan on various stage productions before they became a fad.

When I saw this book at a local book store, I was ecstatic. I had long hoped that someone would write a biography on Ryan, and wondered why this amazingly talented actor never was recognized for his range, versatility, and talent. The picture on the book's cover grabbed my attention immediately: it was none other than Ryan's psychopathic Montgomery from the film noir gem, Crossfire. Oh great!!! I thought; someone finally decided to take on the task of researching material for a book about Ryan.

After purchasing the book, I rushed home to read it, along the way quickly perusing the scores of stills the author included. I was in my glory, since Ryan was my favorite actor growing up. The book is a fully researched tome that seems to have gotten to the heart of the matter. Yes, the book depicts a man whose performances seemed to exemplify the "art" of film-making, rather than the glitz of fame. Herein one can find definitive examples of Ryan's "art". Read Jarlett's reviews of early Ryan gem performances to understand just how great he was: Act of Violence, The Woman On The Beach, Caught, Beware, My Lovely were just a few examples of film as art, and the author seems to understand the ethos that drove Ryan.

I marveled at the author's ability to write with the same sort of artistic merit that Ryan endorsed: the book contains reviews culled from scores of cinema retrospectives on Ryan's films, including Cahiers Du Cinema, Films in Review, and so on. Jarlett's sources of information were first-rate. Who can deny the opinion of John Houseman, whose preface lauds Jarlett's acumen in discerning Ryan's talents?

I agree with one amazon reviewer who noticed Ryan's subtle touches of brilliance in The Racket, a film which portrayed him as a ruthless racketeer who nevertheless garners a degree of pity. The scene where Ryan's Nick Scanlon jauntily munches on an apple while trading words with Robert Mitchum's stalwart cop was a sublime melding of actor and prop.

But The Racket is just one of countless films in which Ryan lent his talents to make good films better. I wondered why Ryan never went after the blockbuster roles that contemporaries landed. Jarlett clarifies this point: Ryan simply didn't care about them, instead searching for artistic expression. The book discusses the great Hollywood directors with whom he worked, in classics such as House of Bamboo, The Naked Spur, On Dangerous Ground, Lonelyhearts, Odds Against Tomorrow, Billy Budd, The Wild Bunch, and his last most trenchant portrait in The Iceman Cometh. Who else but Ryan could have been better as Eugene O'Neill's anarchist Larry Slade?

The book is a one-of-a-kind, definitive exposition of Ryan's life and films, and I applaud Jarlett's commitment to finally bring the actor's life to the forefront. My only regret is that Ryan was not alive to have placed his imprimatur on Jarlett's superb biography.

Having seen most of Ryan's films when I was a child, I was again drawn to seeing them after purchasing Franklin Jarlett's authorized biography. I saw the book at a local book store, attracted by the book cover featuring the familiar scowling features of Ryan from 1947's "Crossfire", which earned him an Oscar nomination as Best Supporting Actor that year. Before purchasing the book, I perused the fifty or so stills from his films, and the detailed filmography, which convinced me that I had made a smart buy. I can happily report that the book is an inspired piece of writing: Jarlett's literary skills make one want to read more. He obviously has gotten to the quick of the man, drawing from scores of film critiques from Cahiers Du Cinema and other esteemed cinema circles.
I read Jarlett's book with fascination after many years of waiting for someone to write a book about Ryan, who was one of the most undervalued talents in Hollywood. I always found it curious that although Ryan came up through the ranks at RKO as one of its contract players from the forties, along with Kirk Douglas, Burt Lancaster and Robert Mitchum, he never garnered the stardom that they achieved, as least with mainstream audiences. Jarlett amply elucidated the reasons for this phenomenon: Ryan simply didn't care that much about fame; he would rather appear in a film for artistic merit instead of for box office success. I only needed to look at Ryan's films from the forties, which Jarlett reviews in detail, to see what an amazing list of films there were. He obviously spent long hours researching the book, which contains behind-the-scenes stories that Jarlett elicited from Ryan's close circle of friends (John Houseman, John Frankenheimer, Lamont Johnson, Robert Wallsten, Arvin Brown and Millard Lampell).
I noted one Amazon reviewer to remark that the author captured the actor's essence in such performances as the racketeer in The Racket. I was likewise mesmerized by Ryan's quirky interpretation of the psychopathic ex-G.I. in Crossfire. I especially liked Jarlett's analyses of Ryan's other unsung gems, such as in House of Bamboo when Ryan says to his friend after killing him, "Why did you tip the cops, Griff?", or Beware, My Lovely, Act of Violence, The Naked Spur, to name a few. Another interesting fact that Jarlett brought out was that Ryan was the "film noir" king, with fourteen trenchant portraits in that genre over the years. I highly recommend this book to anyone who wants to delve underneath the surface of Ryan's screen presence since in real life he was the opposite of what he portrayed on the screen.

This book represents the pinnacle in terms of a blend of behind-the-scenes insights and anecdotes combined with basic reference data. The multitude of interviews that went into the text give the material a depth that the more common coverage of sci-fi shows rarely attains. Like other books by McFarland, it's pricey, but I can think of none that give the reader better value for their dollar.

What makes this guide especially fascinating are the numerous candid in-depth interviews with the producers and writers of these shows, giving much insight into the creative process and the trials and tribulations of creating innovative television shows. There are countless behind-the-scenes anecdotes that have, I am sure, never seen print before. I thought I knew a lot about certain shows, but this book contained info that was new to me; and even reading the articles about shows I never watched (and the entries on each show are long and detailed) I could scarcely put the book down. This book serves as a reference, but it is more than that; it has a wealth of fascinating insights into the television industry itself.

One of the most fascinating 'episode guides ' that has come on the market , a must have for any one associated or fan of the SF genre. An upto date episode guide / summary with an added bonus of interviews , with key actors directors of many favourite sf shows.

From my own column (ex of Mania Magazine), Andy Mangels' Hollywood Heroes:

If you're a fan of science fiction television history, there is one indispensable book you must have in your collection. Science Fiction Television Series is subtitled "Episode Guides, Histories, and Cast and Credits for 62 Prime Time Shows, 1959 through 1989." It's written by Mark Phillips and Frank Garcia, both well-known writers for magazines like Starlog and Cinefantastique. Kenneth Johnson, producer/creator of V, The Incredible Hulk, Six Million Dollar Man, The Bionic Woman, Alien Nation, and more, contributed the introduction.

The hardcover book is a whopping 691 pages (!), and has photos throughout. Each series is given a historical overview, with interviews for the writers, producers, actors, cameramen, and more! Plus, you get an episode guide with correct titles, guest star information, and trivia. I've had this book on my shelf for a few months, and besides using it for research, I'm immensely entertained browsing through its pages.

What are some of the shows covered? Alien Nation, Auto Man, Captain Power, Cliffhangers, Greatest American Hero, Kolchak the Night Stalker, Logan's Run, Man From Atlantis, Misfits Of Science, Planet of the Apes, Quantum Leap, Spiderman, Starman, Star Trek, Superboy, Twilight Zone (all three series), V, Voyager, and Wonder Woman. And that's just to name a few! Plus, appendixes cover unsold SF pilots, and Emmy Award nominees and winners.

It's unlikely you'll find Science Fiction Television Series in your stores, as it's a specialty book largely aimed at researchers and libraries. It's well worth the price!

Once again, this gets my highest recommendation.

It's past time that someone put some thought and effort into a book of this nature. We've had "Science Fiction TV" guides before, and they've uniformly been written by authors whose axes could be heard grinding away throughout as they slagged shows they disliked and drooled over shows they (often unaccountably) were fans of. Mark Phillips and Frank Garcia have done a good job of research and writing here, with few and minor mistakes. The chapter on "Battlestar Galactica," which is accurate and contains a good deal of information, much of it from new interviews done especially for this book, is worth the price of admission alone. If you're a fan of science fiction on TV, this book, in spite of its price, should be on your bookshelf. Very highly recommended.

That's the eye catching sub-head for Mr. Cohen's very candid essay on the making of the movie "Bounce." It is not even a movie I saw and yet, I couldn't get myself to put down the book (and get back to work) until I finished this painfully insightful memoir by writer/director Don Roos.

In fact, the entire book is a little tough to put down because each story gets your foot inside the door of what writers had to endure to get their stories on the big screen. In some cases, you get the impression that the stories glided between the cracks. But in most cases, you wonder how anyone could ever have the tenacity to see a script to the end. And in many cases they don't. A recurring theme in these pages is how often the script changes hands, as old writers are fired, new one's hired, and the first one re-hired. Ugh. Makes me glad that I'm a Graphic Designer...something I thought I'd never say.

Surprisingly, the best story is found right smack dab at the beginning from Mr. Cohen himself. I'm talking about the Introduction, which most people skip. Don't do that. Read the introduction. All of it. It's honest. It's brave. And it's even more tell-all than the stories that come after it. Oh, and it's so funny at times that I embarrassed myself when laughing at the bookstore. I wrote the author an email, giving him a little wink about his story. He wrote back. That was enough for me to buy the book.

One more great thing about this book. I've always felt that writers are the last vestige of the world's wisemen. They have an insight about people, places and situations that when I read books like these I begin to wonder if I'm really reading a psychological self-help book. I've underlined quite a few snippets, as so much of what is shared resonated with my own experiences as a creative person. It's very difficult to stand by and watch someone "bend" your idea until it breaks (that's me paraphrasing Mr. Cohen in his Introduction).

So the point is, Get this book. If misery indeed loves company, you'll have plenty of it.

I've been a working writer for 30 years, so David Cohen's book is deliciously like listening in on the personal conversations of compatriots in the craft--but the more I read, the more relieved I was that I'd never been attracted to screenwriting. Cohen's fresh, entertaining and whip-smart insights help to lace these in-depth interviews with meaning and pathos, even when the writers themselves border on the vapid--and those with the most to say shine through, thanks to the author's careful balance between commentary and reportage. We may cringe when we read of a writer's summary dismissal from the movie script he's slaved over for years, but there are enough delightful stories in this book to make the chilling ones a bit more bearable. One way or another, we've all been there.

We get to know the inner Cohen as well, from his own foray into writing for Star Trek to his early naivete at the junket buffet table. Overall, this book is a great read.

Cohen's genius is giving us the real story of how things happen, by letting us drop in (sometimes mercifully briefly) on the minds and tormented, heartbroken lives of actual screenwriters and their actual screenplays. I work with book authors who often want to make the leap to screen, so I bought this to see what they might be up against. Normally I have to force myself to read writerly books like this (parceling out a chapter every few days, dutifully, 'cause it's so much a part of my day job), but I took this one to bed and read it like a novel. The stories are so wonderfully f$%!d up... you find yourself overwhelmed with pity, schadenfreude, horror, amusement you name it. It must have been hell to make some of these movies.

The most interesting surprises for me were the backstories on two directors whose films normally do little for me personally: Todd Solondz and John Waters. I've always considered them overrated in a hipster-annoying kind of way (ditto the Cohens and the Sedarises, zzzz), but both men came off as brilliant personally, and so much more in control of what happens with their films. They make you wonder why anyone would want to get involved with the studio system at all... both seem so sane by comparison to some of the studio writers in the other stories.

The best thing this book did for me is make screenwriting seem do-able, by actual humans, rather than something demigods accomplish for little reconition and erratic pay. It's a job, like plumbing, and people have this job and make it work for them. I'm going to buy several copies and give them out to would-be screenwriter clients. Great work: author, author!

Have you ever loved a book and then been devastated by how it was butchered in the movie? Or, thought a book was nothing more than a movie script, and then be enchanted at how it came alive on screen?

This fascinating book traces the stories of how 25 movies made that transition, and I enjoyed every step of the way. Cohen interviews the "writer and explores the sometimes torturous path from idea to finished film from its very root the transformations.

Writers are sometimes blamed for the failures. But Cohen credits the complaint that changes in the scripts by directors, actors, and studio executives sometimes ruined the movie. On the other hand, Alan Ball believes changes to American Beauty he had strongly resisted significantly improved the film.

I found several of the interviews especially instructive: Charlie Kaufman (Eternal Sunshine Of The Spotless Mind), Sofia Coppola (Lost in Translation), Alan Ball (American Beauty), and John Logan (The Aviator).

Don Roos (Bounce) argues that writers ought to direct their own work. Readers and buyers want everything spelled out in the dialog but Roos feels few of them really grasp the power of film. "There are very few film enthusiasts in Hollywood, really, at those levels. Very few people who have favorite films, who are moved by films or understand remotely what film does. It's difficult talking to idiots, it really is."

Cohen's quotes from his intereview with Michael Cunningham, who wrote The Hours and has written for the screen, taught me something fundamental about movies (and novels and short stories for that matter):

"A novel can include a sort of panorama of characters, a little like the Breughel painting with Icarus going down in the lower right-hand corner of the canvas. That's one of the reasons there are novels. That's one of the reasons we need novels and we need movies. A novel can account for randomness and can include a wide range of people whose fates just barely impinge on one another. I can't think of a way to tell a story like that in a movie that I would want to see.

"I think movies are more closely related to short stories than to novels. A short story actually involves the compression you need for a movie, whereas a novel is another category of thing entirely. Was it Henry James who called a novel a big, baggy monster? That's what it is. That's why we love them. I think a short story, very much like a movie, has no room in it for extra baggage. It needs to move, it doesn't need to move directly, but it needs to move swiftly. It needs to be lithe and light and nimble, and though that forty-page digression to the Crimean War and how it resembles what's happening at the family dinner may be interesting, there's no room in a short story for it. Nor is there room in a screenplay for it."

I'm sure that aspiring screenwriters would learn a great deal by reading about the successes and failures described in this book. It will certainly inform and enrich my own movie viewing in the future.

Robert C. Ross, 2008

David S. Cohen gives us the back story on 25 movies (from the sublime, like The Hours, to the incredibly bad, like Random Hearts): how they evolved from screenplay to screen.
Although it's not a how-to book, I suspect budding and aspiring screenwriters everywhere will receive Screen Plays like a man stranded in the desert welcomes water.

Following these films from the birth of the idea until the films came into the theaters and left as classics, embarrassing flops, or somewhere in between, Cohen is smart enough not to offer glib answers about why the result was what it was. Writing, for example, about the very talented people who were behind Random Hearts (which I suspect will always be in the list of worst movies I've seen in my life), he ends quoting Harrison Ford, who instead of trying to explain the process of making the film, simply said: "You sort of had to be there." Regular film lovers can't be there for the journey, but Cohen does a really good job showing you photos of the trip.

That's the eye catching sub-head for Mr. Cohen's very candid essay on the making of the movie "Bounce." It is not even a movie I saw and yet, I couldn't get myself to put down the book (and get back to work) until I finished this painfully insightful memoir by writer/director Don Roos.

In fact, the entire book is a little tough to put down because each story gets your foot inside the door of what writers had to endure to get their stories on the big screen. In some cases, you get the impression that the stories glided between the cracks. But in most cases, you wonder how anyone could ever have the tenacity to see a script to the end. And in many cases they don't. A recurring theme in these pages is how often the script changes hands, as old writers are fired, new one's hired, and the first one re-hired. Ugh. Makes me glad that I'm a Graphic Designer...something I thought I'd never say.

Surprisingly, the best story is found right smack dab at the beginning from Mr. Cohen himself. I'm talking about the Introduction, which most people skip. Don't do that. Read the introduction. All of it. It's honest. It's brave. And it's even more tell-all than the stories that come after it. Oh, and it's so funny at times that I embarrassed myself when laughing at the bookstore. I wrote the author an email, giving him a little wink about his story. He wrote back. That was enough for me to buy the book.

One more great thing about this book. I've always felt that writers are the last vestige of the world's wisemen. They have an insight about people, places and situations that when I read books like these I begin to wonder if I'm really reading a psychological self-help book. I've underlined quite a few snippets, as so much of what is shared resonated with my own experiences as a creative person. It's very difficult to stand by and watch someone "bend" your idea until it breaks (that's me paraphrasing Mr. Cohen in his Introduction).

So the point is, Get this book. If misery indeed loves company, you'll have plenty of it.

I've been a working writer for 30 years, so David Cohen's book is deliciously like listening in on the personal conversations of compatriots in the craft--but the more I read, the more relieved I was that I'd never been attracted to screenwriting. Cohen's fresh, entertaining and whip-smart insights help to lace these in-depth interviews with meaning and pathos, even when the writers themselves border on the vapid--and those with the most to say shine through, thanks to the author's careful balance between commentary and reportage. We may cringe when we read of a writer's summary dismissal from the movie script he's slaved over for years, but there are enough delightful stories in this book to make the chilling ones a bit more bearable. One way or another, we've all been there.

We get to know the inner Cohen as well, from his own foray into writing for Star Trek to his early naivete at the junket buffet table. Overall, this book is a great read.

Cohen's genius is giving us the real story of how things happen, by letting us drop in (sometimes mercifully briefly) on the minds and tormented, heartbroken lives of actual screenwriters and their actual screenplays. I work with book authors who often want to make the leap to screen, so I bought this to see what they might be up against. Normally I have to force myself to read writerly books like this (parceling out a chapter every few days, dutifully, 'cause it's so much a part of my day job), but I took this one to bed and read it like a novel. The stories are so wonderfully f$%!d up... you find yourself overwhelmed with pity, schadenfreude, horror, amusement you name it. It must have been hell to make some of these movies.

The most interesting surprises for me were the backstories on two directors whose films normally do little for me personally: Todd Solondz and John Waters. I've always considered them overrated in a hipster-annoying kind of way (ditto the Cohens and the Sedarises, zzzz), but both men came off as brilliant personally, and so much more in control of what happens with their films. They make you wonder why anyone would want to get involved with the studio system at all... both seem so sane by comparison to some of the studio writers in the other stories.

The best thing this book did for me is make screenwriting seem do-able, by actual humans, rather than something demigods accomplish for little reconition and erratic pay. It's a job, like plumbing, and people have this job and make it work for them. I'm going to buy several copies and give them out to would-be screenwriter clients. Great work: author, author!

Have you ever loved a book and then been devastated by how it was butchered in the movie? Or, thought a book was nothing more than a movie script, and then be enchanted at how it came alive on screen?

This fascinating book traces the stories of how 25 movies made that transition, and I enjoyed every step of the way. Cohen interviews the "writer and explores the sometimes torturous path from idea to finished film from its very root the transformations.

Writers are sometimes blamed for the failures. But Cohen credits the complaint that changes in the scripts by directors, actors, and studio executives sometimes ruined the movie. On the other hand, Alan Ball believes changes to American Beauty he had strongly resisted significantly improved the film.

I found several of the interviews especially instructive: Charlie Kaufman (Eternal Sunshine Of The Spotless Mind), Sofia Coppola (Lost in Translation), Alan Ball (American Beauty), and John Logan (The Aviator).

Don Roos (Bounce) argues that writers ought to direct their own work. Readers and buyers want everything spelled out in the dialog but Roos feels few of them really grasp the power of film. "There are very few film enthusiasts in Hollywood, really, at those levels. Very few people who have favorite films, who are moved by films or understand remotely what film does. It's difficult talking to idiots, it really is."

Cohen's quotes from his intereview with Michael Cunningham, who wrote The Hours and has written for the screen, taught me something fundamental about movies (and novels and short stories for that matter):

"A novel can include a sort of panorama of characters, a little like the Breughel painting with Icarus going down in the lower right-hand corner of the canvas. That's one of the reasons there are novels. That's one of the reasons we need novels and we need movies. A novel can account for randomness and can include a wide range of people whose fates just barely impinge on one another. I can't think of a way to tell a story like that in a movie that I would want to see.

"I think movies are more closely related to short stories than to novels. A short story actually involves the compression you need for a movie, whereas a novel is another category of thing entirely. Was it Henry James who called a novel a big, baggy monster? That's what it is. That's why we love them. I think a short story, very much like a movie, has no room in it for extra baggage. It needs to move, it doesn't need to move directly, but it needs to move swiftly. It needs to be lithe and light and nimble, and though that forty-page digression to the Crimean War and how it resembles what's happening at the family dinner may be interesting, there's no room in a short story for it. Nor is there room in a screenplay for it."

I'm sure that aspiring screenwriters would learn a great deal by reading about the successes and failures described in this book. It will certainly inform and enrich my own movie viewing in the future.

Robert C. Ross, 2008

David S. Cohen gives us the back story on 25 movies (from the sublime, like The Hours, to the incredibly bad, like Random Hearts): how they evolved from screenplay to screen.
Although it's not a how-to book, I suspect budding and aspiring screenwriters everywhere will receive Screen Plays like a man stranded in the desert welcomes water.

Following these films from the birth of the idea until the films came into the theaters and left as classics, embarrassing flops, or somewhere in between, Cohen is smart enough not to offer glib answers about why the result was what it was. Writing, for example, about the very talented people who were behind Random Hearts (which I suspect will always be in the list of worst movies I've seen in my life), he ends quoting Harrison Ford, who instead of trying to explain the process of making the film, simply said: "You sort of had to be there." Regular film lovers can't be there for the journey, but Cohen does a really good job showing you photos of the trip.

Rich Whiteside is a fellow UCLA family member so I do hold some bais. He is a rare talent and a quiet professional who focuses on results rather than ego. He is a man of character. "The Screenwriting Life" is an unflinching look into the reality of what it is like to trade daydreams for dollars. Being a working screenwriter in Hollywood I thought I had a little bit of insight. This book cleared up the fog and sharpened my approach. If you ever get a chance to meet the author, first thank him for serving our fine United States in his former career as one of our country's elite. Secondly, thank him for making you a better screenwriter through awarness and truth. I surely will.

I haven't had a chance to read it, but I met the guy when he did a presentation at our school. I want to be a screenwriter, so I found him very interesting. I can't wait to read this book.

I met Rich Whiteside (and Paul Castro and Lew Hunder) when I was in the Screenwriting program at UCLA. Since I knew Rich, I bought the book as soon as it hit the shelves. Then life got hectic, I put it on my bookshelf and forgot about it. I recently took it down and started reading it and it's completely blown me away! It's the most honest book about the industry I have ever read. I wish I had read this book when I first bought it, as it would have made my life as a screenwriter a heck of a lot easier! It's brilliant and I highly recommend you not only buy a copy, but READ it from cover to cover. And keep it around to re-read later. Rich, this is brilliant work, my friend. Kudos to you!

This book doesn't get bogged down in the authors own ideas about careers. Instead, he offers insightful interviews with many people in the different screenwriting fields. Sitcoms, longform, and feature writing interviews convey the life and experiences of their respective areas and helps the reader decide if that is truly an area they want to enter. All the interviews suggests what avenues may give new writers the best start into that area.

"The Screenwriting Life" is an excellent, well-organized primer that dispels many romantic notions of what it takes to achieve success as a screenwriter in Hollywood today. Rich's insightful interviews with some of the leading creative forces in the entertainment industry reinforce the point that good writing alone is not enough. "The Screenwriting Life" is an indispensable guide to the political realities of Hollywood.

The author of this book has shown us so much about how to use the taking and sharing of digital photos to express yourself that I feel really grateful to him for having written it. The ideas in the book are wonderfully creative, and it's a beautiful book to boot. I intend to give this book as a gift to my daughter for her birthday to accompany the new digital camera her dad and I bought her.

I was able to get an advance copy of Dane's book and am so glad that I did. There are so many books out there on digital photography, mostly how-to's that are basic. What Dane does in this book is attack the issue from a completley different point of view - how to use the images to tell a story.

I especially appreciate his very tactical advice on how to start the process - what picture to use first, how to setup a sequence that conveys a mood and character to the story line.

I really liked how he used real examples (his daughter) which helped take this practical book out of the theoretical and into the real world of dealing with images.

My girlfriends father relies on me for technical support for his camera (which we got him for Christmas). So for Fathers Day we bought him his own copy of Dane's book - and a copy of Microsoft's Digital Image Suite software.

He is loving both!

mark sylvester

This is a really amazing book that goes beyond the technical aspects of digital photography (those books are a dime a dozen) and explores the issues of organizing, archiving, and ultimately telling stories with your digital photographs.

I believe this book will have a lasting impact on the world of photography because it helps the reader capture better pictures, streamline the tedious parts of digital photography, and how to tell effective digital stories with photos. Stories and memories, isn't that's why we take photos anyway?

It's also a beautifully designed book that I'll keep just for the design even after I've absorbed all the content.

I just book the Italian version of this book which has just been published here.

This simple and lovely book is not about how to use my new sophisticated digital camera (I will have to study the manual) but has encouraged me to free my amateur photographer mind from concepts carved there like "don't shoot until you are pretty sure the scene is good enough and that film is not wasted". It didn't teach me either how to download the photos to my Mac but certainly has broaden my world and taught me creative ways of sharing my good memories with my Spanish family.

The photos are really nice and support very well all the concepts. The language is clear and so are the explanations even if I doubt I will use the Microsoft products mentioned in the book. I am sure I will be able to "replicate" them with my Mac. To cut a long story short: as the proverb says "it hasn't give me the fish but has given me the knowledge to catch fish by myself".

This book is about capturing experiences, not just photos. It is an excellent read for any beginner (or digital camera buff) interested in learning not just how to take digital images, but how to take and create photos that tell a story. I was originally looking for a book to help me expand the way I use my digital camera when I came across "Sharing Digital Photos". What an unexpected surprise. As soon as I went through it, I knew it was a great find and was amazed at the breadth of possibilities that exist.

Dane covers a multitude of options available for the digital photographer, and covers various methods, programs, and techniques for sharing, managing, and tweaking images. The clarity and simplicity with which the book delivers this information is refreshing. He delivers clear descriptions of the mythology and uses personal family experiences as examples. These personal stories form the heart of the book and make the concepts easy to understand. Each chapter continuously serves up an honest and straightforward delivery that helps create a solid perspective on the different techniques.

Access to website links allow you to experience the solutions and further demonstrate the possibilities. He uses "easy to follow" language, plenty of photo examples, and well laid out graphics in various combinations to effectively communicate the essential message in each lesson while encouraging you to dive in along the way. This book has changed my paradigm concerning digital images where they no longer sit idly in my hard disk! Happy story telling...

I feel the addition of a CD with examples and demos of the software programs would have made the experience even more enjoyable.

From LONDON FIELDS [1989] by Martin Amis: "Features include fool-the-eye dent-marks, a removable toupee of rust on the hood, and adhesive key-scratches all over the paintwork. An English strategy: envy-preemption."

From SHOW AND TELL [2001] by John Lahr: "In fact, [Wallace] Shawn, who admits he's actually 'a very arrogant and vain person', preempts envy by constantly spoiling any picture of his own distinction."

As a lifelong subscriber to The New Yorker, I have especially enjoyed reading Lahr's various "Profiles." Fifteen of his best are anthologized in this volume. The subjects are Woody Allen, David Mamet, Frank Sinatra, Arthur Miller, Liev Screiber, Roseanne, Irving Berlin, Wallace Shawn, Eddie Izzard, Neil Labute, Bob Hope, Ingmar Bergman, Mike Nichols, and the author's parents, Mildred and Bert Lahr. My personal favorites are those which discuss Sinatra, Miller, Roseanne, Hope, Bergman, and Nichols but I was pleased to re-read all of the others also. Lahr has a somewhat specialized form of genius for crafting what are indeed "profiles" rather than portraits, much less in-depth character analyses. Even when fondly discussing his own parents, he seems to have no limiting biases, "baggage" or predilections. It is high praise to note that the reader feels as if she or he is a "fly on the wall" during Lahr's conversations with his subjects...and at other times, as if the reader can hear him thinking aloud while alone and in reflection. Lahr's is a naturally casual style (so sophisticated that it seems effortless), perhaps most evident when discussing Bob Hope. According to Lahr, Hope's wife Dolores and the children were "extras" in his life. "It was hard for anyone in the family to get much of Bob Hope." Lahr shares this without judgment, suggesting implications without manipulating inferences.. With Hope as with each of the 14 others, Lahr's objective is to capture the essence of his subject, the esential qualities and characteristics which are revealed in "defining moments" of inimitable behavior or utterance. Lahr's reader (at least this one) is left to wonder what he would have to say about so many others such as Saul Bellow, Hillary Rodham-Clinton, Joe DiMaggio, Bob Fosse, Jackie Gleason, Sam Peckinpah, Jackson Pollock, Martha Stewart, and Oprah Winfrey.

In these days when performers are celebrated -- and demeaned -- for being famous, every little tidbit of information is up for grabs by the media. I say this as someone who was a journalist for nearly 20 years (and is now an entertainer). What's missing on the market: candid performers' profiles that still convey WHY great performers are GREAT performers and -- sometimes -- great people or great creeps. Show and Tell contains 15 of John Lahr's BEST New Yorker show biz profiles. The zest and verve of these creative folk and Lahr's excitement writing about them is all here. The subjects: Woody Allen, David Mamet, Frank Sinatra, Arthur Miller, Liev Schreiber, Roseanne, Irving Berlin, Wallace Shawn, Eddie Izzard, Neil Labute, Bob Hope, Ingmar Bergman, Mike Nichols, and his parents Bert and Mildred Lahr. You don't have to even know who these celebrities are (you'll enjoy this book if you're in your early 20s) to love these profiles: each chapter tells you how they got from point A (childhood) to point B (becoming great entertainers, playwrights etc) -- and about all the joys and obstacles along the way. Don't expect simplistic tabloid journalism but more detailed interviews. The Bob Hope profile was controversial when it was first published since it not only hinted at adultery but etched a portrait of a man who created a corporate comedy machine -- and even needed cue cards when performing at a private party. But there's tons of info amid these revelations. My other favorite profiles and tidbits include: Woody Allen (his casting method for movies sometimes boils down to him looking at someone for a few seconds), Bert Lahr (his frustration at not having made many movies, unlike some of his vaudeville colleagues), Roseanne (her rage-based comedy; how she wrested control of her t.v. show from what would have been sit-com mediocrity),Irving Berlin (the 20th century's most prolific and perhaps great composer adapting to all kinds of music from the century's beginning UNTIL rock...which finally did him in). There are many others but the point is: these are unlike any other profile's you'll read. They celebrate the joy, creative "juice" flow, toil, and heartbreak of show biz and performing arts creativity -- and you'll want to read them again and again.

Celebrities are fair game it seems for every hack, two bit journalist, and paparazzi. Their names are money and their pictures, weight loss, ageing, personal crises, and habits appear to be of endless fascination to the reading public or a fair proportion of it. What about Sinatra's links to the mob? What about Woody Allen's prediliction for young women? What about Mike Nichol's anger? What about Igmar Bergman's womanizing and tax evasion? Give me a break! There is much tosh, pap and babble written by those not fit enough to sharpen the pencils of the subjects of these profiles by Mr Lahr, but you will not find it in SHOW AND TELL. Mr Lahr is a writer worthy of these legends and that, dear reader, is indeed saying something. Revealing, interesting, incisive, entertaining and gripping, Mr Lahr and his editor at The New Yorker, have done a brilliant job. Perhaps the best short pieces I have ever read on the subjects contained therein. Brilliant.

The New Yorker is famous for its witty prose, "casuals," and most of all---its Profiles of famous and not-so-famous people. The New Yorker is also famous for unbelievably long pieces (sometimes taking up the entire magazine) and occasionally being so "in" that the readers are left "out."

John Lahr has all of the virtues: elegant, thoughtful writing, and he leaves you wishing for more. Mr. Lahr specializes in Entertainment Profiles, a difficult undertaking. He avoids the landmines of sound-bytes, scurrility, fawning and trivia. He delivers fifteen gleaming, sharp-edged Profiles on disparate personalities.

I feel the best are the ones that are not contemporaries and/or friends of the author with the exception of the lovely word portraits of his parents, father Bert, and mother Millie (who might or might not have had an affair with Joseph Cotton!) Mr. Lahr needs a certain amount of distance to do his best work. He is clearly an admirer of Woody Allen, and it shows. I felt we were seeing the brushed up and shiny side of this highly complex entertainer. Bob Hope is given the finest dispassionate treatment; Lahr steps back and allows Mr. Hope produce his own cause and effect. The reader can judge for himself. I was left thinking, as my grandmother would say, "this is NOT a very nice man." To me, Roseanne was frightening with her rage and skewed perspectives. It wasn't what Mr. Lahr said about her; it was Roseanne being herself. The Profile on Frank Sinatra left me with a emotion I would never, ever thought possible in conjunction with Ole Blue Eyes: pity.

I read this book straight through, almost at one sitting. I found it that fascinating. But it can be read at leisure. Just start anywhere; there's not a loser to be found!

There are shooting scripts and there are screenplays. If you want to know more about a movie, if there's a shooting script, that's probably your best bet. If you just want the dialogue to a film, then you probably want to read the screenplay. Miramax doesn't publish shooting scripts as far as I know, so you're stuck with what they do publish. Often times, a screenplay doesn't live up to the film it's words are taken from. Fortunately, that is not the case here. This is an excellent screenplay with all the dialogue from the movie and just a tad bit more. If you've never seen the movie, this is a time when reading the screenplay before hand might be worth your while. There is a lot of great dialogue here and reading it on the page takes nothing away from the action you will see on the screen.

I had the heard the movie was good, but one hears that about lots of movies. I ran into the screenplay at a bookstore. Now, how often does the average person buy screenplays? But I picked it up and began to read, and decided to buy. Within the next few hours the screenplay clinched my decision to see the film. The writing for the film deserved the Oscar and this screenplay deserves to be read on its own.

The film and the screenplay rock! I have never seen a better, darker, and more insightful independant film than "Sling Blade". For all of us film buffs out there, this screenplay is a great investment. It is really neat to read a screenplay because there may be a few scenes that were cut out of the final product, as in "Sling Blade". I recommend this masterpiece to anyone who appreciates good screenwriting and good filmmaking. Thanks, Billy Bob!

Sling Blade is my favorite movie of all time. Even the smallest characters are so unforgettable. I've probably read this script as many times as I've seen the movie. I like that there were a few parts in the script that the movie left out. After reading this repeatedly, I realize that the movie was better off without the scenes, but there is some pretty funny dialogue concerning Doyle's friend, Randy Horsefeathers, who claims to be half-Indian. (If you don't know what I'm talking about, see the movie) There is also a pretty touching part (in the book) where Frank and Karl go to visit the girl who Frank has a crush on. It's a very emotional part of the story, but I'm glad that the scene didn't make it into the film. In the movie, the girl is mentioned and left at that. The filmed version would have thrown the film off balance, but it looks great on paper.

If you loved this movie, do yourself a favor and get the book. It's a must have for any fan and it can be read in a sitting.

This book follows the movie pretty much word for word. I like having things in print--I love this screenplay and if you like the movie, you'll love it too.