HOLLYWOOD HIGH: A Totally Epic, Way Opinionated History of TEEN MOVIES

HOLLYWOOD HIGH: A Totally Epic, Way Opinionated History of TEEN MOVIES. Bruce Handy. Avid Reader Press/Simon and Schuster; 2025.  

Be forewarned if you're looking for a book that critiques dozens and dozens of movies about teens that came out in the fifties and sixties, this is not that book. What it is is an amusing and informative look at Hollywood's attitudes towards teenagers -- and vice versa -- from decades ago until recent days. He has a section on Andy Hardy but doesn't really analyze the various entries in that series, then quickly moves on to an in-depth analysis of Rebel Without a Cause, the Beach Party movies, and then mostly focuses on other select films such as American Graffiti, Fast Times at Ridgemont High, Boyz in the Hood and more. With the exception of Graffiti, which I never especially cared for, I haven't seen or wanted to see most of the movies Handy covers. He has a whole loooong chapter on John Hughes, a filmmaker I have never had the slightest interest in. But here's the rub: Handy is such a good and entertaining writer, that he kept me turning the pages as much as if he were writing about subjects more to my liking -- he's that good. No, Handy hasn't convinced me to rush out and pick up a slew of Hughes' movies, but he does a good job of informing the reader about his subject while keeping us engaged and amused. 

Verdict: The great teen movie book has yet to be written, but this highly interesting tome is worth perusing until it is. ***. 

SADDLE ACES OF THE CINEMA

SADDLE ACES OF THE CINEMA. Buck Rainey. A. S. Barnes; 1980.

In this very interesting volume, Rainey looks back at the cowboy heroes of yesteryear, from the silent era to the mid-fifties when television took over from the B movie westerns that proliferated before the "boob tube" became ascendant. The book is much more interesting than I first imagined, because Rainey's prose is quite good and he unearths a lot of interesting information on these mostly forgotten movie stars. The names of Tom Mix and Gene Autry [The Phantom Empire]  and a couple of others may be familiar to the casual reader, and we've also got the likes of Ken Maynard, Hoot Gibson, Rex Bell, Harry Carey [The Vanishing Legion], Buck Jones, Jack Holt [Holt of the Secret Service] and others. Many of these gentlemen went on to successful careers as character actors in westerns, serials and other genres. The book is packed with black and white illustrations, a complete list of each actor's film credits, as well as lots of biographical information. If nothing else the book makes it clear how fleeting fame can be, but each man had many, many devoted fans in their day.

Verdict: For western fans and film enthusiasts. ***. 

BOND VS. BOND: THE MANY FACES OF 007

BOND VS. BOND: The Many Faces of 007. Paul Simpson. Race Point Publishing; 2015.

This huge coffee table book is divided into several informative sections. First we meet James Bond creator, Ian Fleming, and look into his background and his various 007 novels. Simpson also examines other authors who have written James Bond adventures, including John Gardner and Raymond Benson, as well as writers, such as Jeffery Deaver, who contributed only one novel. Then each actor who played Bond in the major movies -- from Sean Connery of Dr. No to Daniel Craig of Casino Royale -- gets his own chapter, and there is an additional section of other Bond portrayals, such as Barry Nelson on Climax!. There are sidebars on cars, gadgets, villains and "Bond girls." Aside from a comment here and there, the book offers no critical analysis of the books or films, but it does offer a wealth of behind-the-scenes details and is generously illustrated throughout. Major Bond fans will enjoy this enormously. 

Verdict: Beautiful tome on the most famous film series of all and then some! ***. 

WHAT EVER HAPPENED TO ORSON WELLES? Joseph McBride

WHAT EVER HAPPENED TO ORSON WELLES? A Portrait of an Independent Career. Joseph McBride. University Press of Kentucky. 

What Ever Happened to Orson Welles? is not a biography of the famous actor and director, but rather a study of his career and an attempt to correct misconceptions about the man that have proliferated both before and after his death. McBride is often successful at this, and sometimes not, and the book -- while well-written and well-researched -- occasionally has a petulant "fan-boy" tone to it. Film buff McBride became acquainted with Welles and was even cast in The Other Side of the Wind as a nerdy film geek (a talented writer, the less said about his acting the better), and spoke and dealt with him on and off over the years. McBride argues against some of the assertions made against Welles, but at other times makes clear that these assertions are often true. Welles clearly was a narcissist, and clearly expected those under his spell to do what he wanted, come hell or highwater. However, McBride argues that Welles was not some corpulent figure of fun but an artist who not only made some successful and brilliant films, but, like a true artist, kept on working right up to the very last minute of his life. McBride dissects many of Welles's lesser-known film projects, and does make it clear that Welles's career did not begin and end with Citizen Kane. One suspects he's just too close to The Other Side of the Wind to see how really bad it is. To his credit, McBride doesn't shy away from examining Welles's flaws, and even goes into the man's ambivalent feelings about his sexuality. 

Verdict: Whatever you think of Welles, this is an interesting and thought-provoking read. ***. 

HITCHCOCK AND THE CENSORS

HITCHCOCK AND THE CENSORS. John Billheimer. University Press of Kentucky; 2019. 

This fascinating volume looks at the work of the brilliant Alfred Hitchcock, and focuses on how his films -- and the episodes of his TV shows that he directed -- fared with the censors. The book is divided into sections on his British films; his films with Selznick; the films he did after he ended his association with the producer; his golden period, which included such as Vertigo and North By Northwest; the TV years; and the final period when he regained some lost ground with the critics with Frenzy (but who also did such interesting works as Marnie and Torn Curtain). 

After going into the formation of the production code, the book relates the censors' initial reaction to scripts that Hitch submitted and the changes they recommended, as well as the often clever way that Hitch would get around those changes. Censors were especially worried by the lengthy kisses of Notorious, the depiction of a toilet flushing in Psycho, possible lesbianism in Rebecca, the too-efficient Nazi of Lifeboat, the gay murderers of Rope, a potentially suicidal priest in I Confess, and much more. While examining the censorship of Hitch's films and both its positive and negative effects on the movies, Billheimer takes a fresh and interesting look at the Master's films in general. 

Verdict: Excellent tome for the serious Hitchcock admirer and film enthusiasts in general. ***1/2.  

MUSIC BY MAX STEINER

MUSIC BY MAX STEINER: The Epic Life of Hollywood's Most Influential Composer. Steven C. Smith. Oxford University Press; 2020. 

Gone with the Wind, Now Voyager, King Kong, Of Human Bondage, Charge of the Light Brigade, White Heat, The Fountainhead, Johnny Belinda, The Treasure of the Sierra Madre, Mildred Pierce, Since You Went Away, Casablanca, The Letter, Dark Victory, Jezebel, Angels with Dirty Faces, A Star is Born (1937) -- this barely scratches the list of the 241 scores composed by the great Austrian-born Max Steiner. This excellent, well-researched, and very thorough biography examines Steiner's family and early life in Vienna, his early years working on Broadway, the first pictures that he began scoring, up to his triumphs on such as Gone With the Wind (for which he did not win an Oscar and should have) and scores that did win Academy Awards, such as Since You Went Away, Now, Voyager and The Informer. Steiner clearly understood the importance of underscoring to bring out the emotional sub-text in motion pictures, a style that was later implemented by many other composers in Hollywood. At first, some people thought it was strange to hear, say, a symphonic orchestra in the middle of the desert, but eventually audiences came to appreciate the music blaring from the speakers while the actors did their thing onscreen. Music By Max Steiner looks at his various, often troubled, marriages, his problems with the studios and producers such as Selznick, his gambling and profligate spending which left him deeply in debt until, lo and behold, he actually composed a hit song with his theme from A Summer Place. The book also looks at the sad, tragic and all-too-brief life of his handsome only son, Ronald, who committed suicide at 21 (and was possibly gay). Steiner's music has complemented many great movies and enriched movies that even Steiner wished he hadn't had to work on, but although he occasionally wrote a less-than-compelling score, that didn't happen very often. My favorite Steiner theme: the sensitive and lovely waltz that signifies the relationship between Olivia de Havilland and George Brent in In This Our Life. (Author Smith doesn't comment on this, but with so very many movies to choose from it's inevitable that some of your favorites will be overlooked.) The book gets rather technical at times but that shouldn't blunt your enjoyment even if you're not a musicologist. 

Verdict: Excellent biography of a gifted composer whose life and work richly deserves to be re-examined. ****.                                                                                                                                                                                                         

ROBERT WISE: THE MOTION PICTURES

ROBERT WISE: THE MOTION PICTURES. J. R. Jordan. Newly Revised and Updated. BearManor; 2020.

Although Hitchcock, John Ford, Billy Wilder and William Wyler, among others, may get the lion's share of the attention and critical kudos, the fact remains that Robert Wise was not only a solid and highly-skilled director who worked in many genres, but the architect of many successful and famous motion pictures. Beginning as an editor -- Wise worked on Welles' Citizen Kane and Magnificent Ambersons, among others -- his first professional directorial credit was for producer Val Lewton's Curse of the Cat People. (He returned to the horror genre with The Body Snatchers and the marvelous Haunting). Although today Wise is probably best remembered for directing the box office blockbusters The Sound of Music and West Side Story, in his younger days he helmed such gritty film noir-type pictures as Born to Kill, Odds Against Tomorrow and The Set-Up. Wise also did two major science fiction films, The Day the Earth Stood Still and The Andromeda Strain. He also helmed Star Trek: The Motion Picture and the unfortunate Star!, among others. Some of his other notable films include Three Secrets and Tribute to a Bad Man, and there was the very occasional stinker, such as Executive Suite.

J. R. Jordan's well-written tome finally gives Wise his due with an illustrated book that covers all of his motion pictures. Each essay gives a background to the film, why Wise chose the project, his working methods on the set, synopses, important highlights of each picture, and lengthy quotes from people, including crew and cast members, who worked with Wise. Aside from one man who claims Wise was unsympathetic when he was injured on the set, everyone's recollections are positive. Wise was no martinet, a la Otto Preminger, but a reasonable and well-adjusted craftsman and artist who didn't need to scream at or belittle people to get what he wanted from them. Like Hitchcock, he was always fully prepared for each scene, choose his actors with great care, and only gave them direction when it was required. Wise left behind an impressive body of work and this well-researched tome will remind readers of the director's long and distinguished career. This is by no means a gossipy book, but Janette Scott's comments on Rossana Podesta when they were working together on Helen of Troy are amusing.

 Verdict: For Wise fans and film enthusiasts in general. ***1/2.

Addendum
The book is dedicated to the author's father. Joseph C. Jordan Jr. suddenly passed a short time following the publication of this article. In Robert Wise: The Motion Pictures the author wrote, "Those I interviewed for this book generally described Robert Wise as noble, patient, validating, and a class act. Such words, in short, apply to Dad."

Mr. Jordan's wife, Rosetta, preceded him in death by 37 years (see photo). He missed her terribly and never remarried. The author was fortunately afforded the opportunity to be at his father's bedside on the day of the passing. Prior to the moment of death, the author faced his father and said, "This is a special day. You're going to be with Mom again." Mr. Jordan's face lit up, as his excitement was clearly apparent. He passed a short time later.

THE SAINT: A COMPLETE HISTORY

THE SAINT: A COMPLETE HISTORY IN PRINT, RADIO, FILM AND TELEVISION, 1928 - 1992. Burl Barer. McFarland; 1993.

The threat of a brand-new Saint film probably ignited the publication of this look at the venerable character down through the decades. Barer's exhaustive tome looks at the origins of the character, created by Leslie Charteris, along with a complete publication history of the Saint novels, stories, and reprints, as well as a rundown of each Saint film, the radio series (Vincent Price was one of the actors to portray the Saint), the TV series with Roger Moore and later Ian Ogilvy and others, not to mention The Saint comic books! Throughout the book it is made abundantly clear that Charteris' strangely moral if slightly shady character pretty much made the mold from which other, similar adventurers -- The Falcon, the Lone Wolf,  and many others -- were birthed. The Saint may not pre-date certain pulp characters of the 1920's, but these heroes were nothing like him in any case. The amazing thing about this very informative and entertaining book is that I'm, frankly, not the biggest Saint fan and have never read any of the novels, but I still found the volume very readable and interesting. There are lots of behind-the-scenes details, and Charteris' often acerbic estimations of the movie and TV scripts are amusing. Like all books of this nature written by enthusiastic and knowledgeable fans, it makes you anxious to hunt down the old novels and watch the Roger Moore TV series on Hulu. Alas, the new film version that was in the making when this book was published, finally came out four years later with Val Kilmer playing the part. It was a mediocre movie that didn't make much of a splash.

Verdict: Good show! ***1/2.

EDGAR G. ULMER: A FILMMAKER AT THE MARGINS

EDGAR G. ULMER: A FILMMAKER AT THE MARGINS. Noah Isenberg. University of California Press; 2014.

This excellent biography of a well-known low-budget filmmaker posits the theory that Ulmer would have been one of the giants of the film industry if he had only had a chance with major studios, bigger budgets and stars, and been a more entrenched part of the Hollywood "scene" he had little use for. Born in the Czech Republic, Ulmer was raised in Vienna and had a much more cultural background than the average studio director. Ulmer was taken under the wing of Universal studio head Carl Laemmle, but was quickly thrown out of favor when he fell for the wife, Shirley, of Laemmle's nephew; Shirley and Ulmer were later married. Umer found himself persona non gratis in Hollywood. Instead of working for the more prestigious Universal or another major studio, Ulmer instead toiled for PRC, where he eventually directed the minor classic Detour, along with other less distinguished pictures. Ulmer did get to direct fading stars such as Hedy Lamarr in The Strange Woman and Victor Mature in Hannibal for other studios. Ulmer also helmed foreign productions, Jewish films, "race" (or all-Black) films, and the famous VD movie Damaged Lives as well as such notable pictures as The Black Cat, Ruthless, The Man from Planet X, Bluebeard, and others. A Filmmaker at the Margins is well-researched and well-written. Although it may not convince everyone of Ulmer's genius, it is a first-class biography.

Verdict: Does right by Ulmer. ***1/2.

THE THREE STOOGES

THE THREE STOOGES: From Amalgamated Morons to American Icons. Michael Fleming. Foreword by Mel Gibson. Official and Authorized. Doubleday; 1999.

This illustrated coffee table book takes an exhaustive look at the careers and lives of the Three Stooges, which actually consisted of several men over the years. Originally they were three brothers, but Larry Fine was not related, and took over for Shemp Howard (who later came back into the fold). The trio started out as stooges for comic Ted Healy and there are chapters detailing Healy's career both before and after his association with the Stooges, who outgrew him. The Stooges originally made comedy shorts that played in theaters, many of which were quite funny (while others were stinkers). When these played on television, there was a literal and figurative Stooge revival -- the fellows wound up being put in big-screen movies such as Snow White and the Three Stooges and Have Rocket, Will Travel, with mixed results. In any case they had a whole new audience of kids of all ages. The author argues that the Stooges are almost exclusively a male phenomenon, that women just don't dig the Stooges, but I think that's a generalization that might not hold water (no matter what Mel Gibson, who wrote the introduction, may think). Fully half the book is devoted to synopses of all of the Stooges shorts -- and there were many -- but it's more fun to watch (some of) them than to read about them. Still, this is a must-have for serious Stooge fans.

Verdict: Nyuk, nyuk, nyuk -- For all things Stooge. ***.

THE HAMMER VAULT

THE HAMMER VAULT: Treasures from the Archives of Hammer Films. Marcus Hearn. Titan; 2011. Revised and Updated Edition.

This beautiful over-sized coffee table book is a compendium of photos and memorabilia relating to the famous -- some might say infamous -- Hammer studios, who chiefly made horror films but branched out to other genres from time to time as well. Hammer studios made a name for itself with its new, bloodier versions of Dracula and Frankenstein, and made stars of such as Peter Cushing and Christopher Lee. Some of the filmmakers most associated with the studio include Val Guest, Terence Fisher, and Jimmy Sangster, among others. The book is chock full of production stills, behind-the-scenes shots, annotated shooting scripts, posters, drawings, press books, letters, publicity kits, and all manner of esoterica relating to the studio. The book covers all of the output of the studio from the very early days (The Quatermass Xperiment) to more recent films such as The Woman in Black, providing a fairly complete history of Hammer. You can also read about Hammer projects that were announced or conceived but never came to fruition.

Verdict: A must for the obsessive Hammer enthusiast. ***.

MOVIE COMICS: PAGE TO SCREEN; SCREEN TO PAGE

MOVIE COMICS: Page to Screen; Screen to Page. Blair Davis. Rutgers University Press; 2017.

This is one of a number of books on the subject of film adaptations of comic strips and comic books since the 1990 publication of my Comic Book Heroes of the Screen. Movie Comics is an intelligent and well-researched look at even older strips (my book concentrated on super-heroes) including Mickey Mouse and other Disney cartoon characters. Davis looks, in turn, into comic books that were inspired by individual films, or just by The Movies themselves. Davis examines such strip-into-films as Skippy, Li'l Abner, Dick Tracy, Joe Palooka, and Prince Valiant, and comic book-into-films (and TV shows)  such as the Superman TV series with George Reeves and The Adventures of Captain Marvel serial, among many others. Davis can occasionally be accused of being painfully obvious in his assertions -- typical of academic books -- but unlike many academic books Movie Comics is readable and accessible as well as informative.

Verdict: Engaging and pretty thorough look at its subject if not necessarily the last word. ***.

TARZAN ON FILM

TARZAN ON FILM. Scott Tracy Griffin. Foreword by Casper Van Dien. Titan; 2016.

Griffin, who previously authored Tarzan: The Centennial Celebration, is back with a new coffee table tome that focuses on the Tarzan motion pictures and the various actors (supporting cast as well as stars) who appeared in them. There is no actual film criticism in the book, although there are loads of pictures and background notes on each production. Tarzan On Film looks at the silent Tarzan movies, the serials such as Tarzan the Fearless and The New Adventures of Tarzan, and all of the films starring everyone from Johnny Weissmuller to Mike Henry and beyond, as well as chapters on the various TV series starring the Ape Man (as well as cartoon series and animated features). You'll learn that Acquanetta of Tarzan and the Leopard Woman was born Mildred Davenport and was black passing for white, and that Woody Strode was dubbed by a British actor for Tarzan's Three Challenges, among other tidbits.

Verdict: No critical analysis, but Tarzan movie fans will love the info and photos. ***.

AS TIME GOES BY : THE LIFE OF INGRID BERGMAN

AS TIME GOES BY: THE LIFE OF INGRID BERGMAN. Laurence Leamer. Harper and Row; 1986.

"Ingrid had learned to use people without appearing to use them."

"In my whole life I never had a woman so much in love with me as Ingrid was. The day after the picture ended, I couldn't get her on the phone." -- Gary Cooper

Ingrid Bergman was a mother (to four children) and a wife (with three different husbands) but her chief role was as movie star. She lived primarily if not exclusively for her work, and everything was subordinate to it. Her talent was indisputable, however, which perhaps made her feelings more acceptable. With a passionate and somewhat neurotic temperament, she often made bad choices. Her decisions in later years to make changes to some of the scripts she signed up for were not always wise. Bolstered with many interviews, this bio examines Bergman's early years in Sweden and in Hollywood, her romantic involvements (many of which she did not mention in her memoirs), and her difficult relationships with her children and husbands over the decades. As Time Goes By is a balanced portrait of the great movie star  -- the book is neither nasty nor full of sycophantic fawning -- analyzing her many film roles and detailing both her strengths and weaknesses as an actress, especially when she attempted parts she was not really suited for; Leamer gives the actress her due, but he does not love every movie nor does he think Bergman can do no wrong as an artist. This is an absorbing, well-written bio.

Verdict: Highly readable and interesting look at the life and career of Ingrid Bergman. ***1/2.

HOLMES OF THE MOVIES

HOLMES OF THE MOVIES: The Screen Career of Sherlock Holmes. David Stuart Davis. Bramhall House; 1978. Foreword by Peter Cushing.

This entertaining book on movies featuring the famous character Sherlock Holmes has chapters on silent films such as The Murder On Baker Street;  the stage adaptation Sherlock Holmes starring William Gillette; early interpretations of Holmes played by Clive Brook, Reginald Owen, and even Raymond Massey; Arthur Wontner, considered one of the best of the early Holmesian thespians; and, of course, the most famous of actors to play Holmes, Basil Rathbone. Rathbone's many Holmes films are covered, and there are additional chapters on TV series starring Ronald Howard and Peter Cushing; the Hammer film The Hound of the Baskervilles, also starring Cushing; sixties films such as Sherlock Holmes and the Deadly Necklace and A Study in Terror; Billy Wilder's The Private Life of Sherlock Holmes; and more recent films that have had anything to do with the character, such as The Adventures of Sherlock Holmes' Smarter Brother. Knowledgeable and engaging, Holmes of the Movies is loaded with great photographs.

Verdict: All you could want to know about Sherlock Holmes on film, on stage, and on TV. ***.

ALFRED HITCHCOCK: THE MAN WHO KNEW TOO MUCH Michael Wood

ALFRED HITCHCOCK: The Man Who Knew Too Much. Michael Wood. New Harvest/Houghton Mifflin; 2015.

This slender volume from the ICONS series is not a biography, but more of a rumination on Alfred Hitchcock and his career. There isn't much new to say about the director, but Wood says it well enough, although some of his opinions are surprising, such as that Family Plot -- admittedly a good film -- "is almost in the same league as North By Northwest." He doesn't think much of
Foreign Correspondent or Marnie -- two excellent films -- but argues for others that he admires. Wood is a good enough writer to keep the Hitchcock fan intrigued, and much of what he has to say is interesting -- albeit often over-familiar to the true Hitchcock enthusiast. He recycles reports about Tippi Hedren and Hitchcock without further research.

Verdict: Not essential reading by any means, but a pleasant enough hour or so with the Master. ***.

CHARLIE CHAN AT THE MOVIES

CHARLIE CHAN AT THE MOVIES: History, Filmography and Criticism. Ken Hanke. McFarland; 1989.

This exhaustive, well-detailed book looks at the 44 films (1931 - 1949) that make up the Charlie Chan series, films that came from two studios (Fox and Monogram) and employed three actors -- Warner Oland, Sidney Toler, and Roland Winters -- in the lead role. Hanke subjects the movies to scrupulous analyses that include plot summaries, critical assessment, background details, and other points of interest. There are also sections on each of the three Chans and the differences between their interpretations. Hanke also notes which of the screenwriters and directors showed the most familiarity with the character and came out with the most memorable entries. Hank agrees with many that Charlie Chan at Treasure Island was one of the best, if not the best, of the Chan pictures, and that City in Darkness was the absolute worst. I like Treasure Island but I think it gets serious competition from Charlie Chan's Murder Cruise, Charlie Chan at the Opera, The Scarlet Clue, and others. Unlike Hanke, I've never cared for The Black Camel, but to each his own.

Verdict: Solid study of a film series that lasted nearly twenty years. ***.

TARZAN OF THE MOVIES

TARZAN OF THE MOVIES: A Pictorial History of More than Fifty Years of Edgar Rice Burroughs' Legendary Hero. Gabe Essoe. Cadillac Publishing; 1968.

In this heavily illustrated book packed with movie stills and behind-the-scenes shots, Essoe covers dozens of Tarzan features from the silent period up to the Tarzan TV show with Ron Ely. As well, Essoe relates the careers, private lives and subsequent fates of the various actors who played the "Ape Man:" Elmo Lincoln; Johnny Weissmuller; Herman Brix (Bruce Bennett); Buster Crabbe; Gordon Scott; Mike Henry; Lex Barker; Jock Mahoney; and others. There are details on the sound serial The New Adventures of Tarzan; the disastrous Tarzan of the Apes remake with Denny Miller; the color features that were actually filmed in Africa and other exotic locations; and the terrible truth about Cheetah and the various, rather nasty chimps who played him. You'll also learn how Tarzan Escapes was deemed too gruesome and re-shot, with a sequence involving big bat monsters being excised, not to mention the Tarzan/big-crocodile fight that was used over and over and over again in Tarzan and probably other jungle movies.

Verdict: Good, informative read with great pictures. ***.

EIJI TSUBURAYA: MASTER OF MONSTERS

EIJI TSUBURAYA: MASTER OF MONSTERS. August Ragone. Chronicle; 2007.

From the outset and in full disclosure I must say that with one or two exceptions, I'm not a big fan of Japanese monster movies/science fiction. I also wouldn't compare Japanese FX man Eiji Tsuburaya to the great stop-motion specialist Ray Harryhausen, especially when it comes to monsters. Harryhausen brought his creatures to life with painstaking stop-motion animation, while Tsuburaya used "suit-mation" -- a guy in, say, a Godzilla costume -- and some models. I have seen most of the films discussed in this book and have to say there is absolutely nothing to compare to the fight with the skeletons at the end of Jason and the Argonauts. To be fair, Tsuburaya did more than just work on monsters, and the book details his contributions to Japanese cinema while also examining some aspects of his private life. Master of Monsters is well-researched, and packed with loads of behind-the-scenes black and white and color photographs. An over-sized trade paperback, it is printed on thick paper stock. If you're interested in Japanese sci fi and how the films were made, this is definitely the book to get.

Verdict: For fans of Japanese monster movies -- all others beware. ***.

CREATURE FEATURES REDUX

Now in [trade] paperback!

CREATURE FEATURES: NATURE TURNED NASTY IN THE MOVIES. William Schoell. McFarland.

Shameless plug:

McFarland has just issued an inexpensive trade paperback edition of my book Creature Features: Nature Turned Nasty in the Movies. It can be ordered on their website and from amazon. 

The hardcover edition of Creature Features got some interesting reviews. One gal apparently thought the book was too cerebral, while another fellow thought it wasn't cerebral enough. These were two diametrically-opposed critiques, with one basically saying that there's no point in subjecting these kinds of movies to serious analysis, and the other going on pretentiously about the lack of "sub-texts." [I see nothing wrong in looking at the performances in say, giant bug movies, but nothing will get me to say that The Giant Behemoth is actually a study of post-Freudian separation anxiety or something like that.] What can you do with reviewers like those but laugh?

On the other hand, Monster Memories magazine called it "A must read ... Schoell knows his stuff ... Schoell has done a superb job in offering a fresh slant on a genre we thought we knew everything about." American Reference Books Annual listed it as a "critical, informative review."

While published by a scholarly press, Creature Features is written in an accessible, popular and not stereotypically "academic" style.

In other words, it's informative but fun.

End of shameless plug.