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The inspiration for the HBO® Original Documentary, Rock Hudson: All that Heaven Allowed, airing June 28! The definitive biography of the deeply complex and widely misunderstood matinee idol of Hollywood’s Golden Age. “Mark Griffin paints a vivid portrait of a man who lived a double life in order to maintain his status as a movie star. Griffin’s sources are candid but credible, which makes the book a real page-turner. I came away admiring Hudson all the more, and feeling sad for the secret existence that Hollywood demanded of its leading men in the 1950s and 60s.” — Leonard Maltin, author of Hooked on Hollywood: Discoveries from a Lifetime of Film Fandom Devastatingly handsome, broad-shouldered and clean-cut, Rock Hudson was the ultimate movie star. The embodiment of romantic masculinity in American film throughout the ‘50s and ‘60s, he reigned supreme as the king of Hollywood. As an Oscar-nominated leading man, Hudson won acclaim for his performances in glossy melodramas (Magnificent Obsession), western epics (Giant) and blockbuster bedroom farces (Pillow Talk). In the ‘70s and ‘80s, Hudson successfully transitioned to television; his long-running series McMillan & Wife and a recurring role on Dynasty introduced him to a whole new generation of fans. The icon worshipped by moviegoers and beloved by his colleagues appeared to have it all. Yet beneath the suave and commanding star persona, there was an insecure, deeply conflicted, and all too vulnerable human being. Growing up poor in Winnetka, Illinois, Hudson was abandoned by his biological father, abused by an alcoholic stepfather, and controlled by his domineering mother. Despite seemingly insurmountable obstacles, Hudson was determined to become an actor at all costs. After signing with the powerful but predatory agent Henry Willson, the young hopeful was transformed from a clumsy, tongue-tied truck driver into Universal Studio’s resident Adonis. In a more conservative era, Hudson’s wholesome, straight arrow screen image was at odds with his closeted homosexuality. As a result of his gay relationships and clandestine affairs, Hudson was continually threatened with public exposure, not only by scandal sheets like Confidential but by a number of his own partners. For years, Hudson dodged questions concerning his private life, but in 1985 the public learned that the actor was battling AIDS. The disclosure that such a revered public figure had contracted the illness focused worldwide attention on the epidemic. Drawing on more than 100 interviews with co-stars, family members and former companions, All That Heaven Allows delivers a complete and nuanced portrait of one of the most fascinating stars in cinema history. Griffin provides new details concerning Hudson’s troubled relationships with wife Phyllis Gates and boyfriend Marc Christian. And here, for the first time, is an in-depth exploration of Hudson’s classic films, including Written on the Wind, A Farewell to Arms, and the cult favorite Seconds. With unprecedented access to private journals, personal correspondence, and production files, Griffin pays homage to the idol whose life and death had a lasting impact on American culture.
From the trenches of independent American film of the 1990s, Todd Haynes has emerged in the 21st century as one of the world's most audacious filmmakers. In a series of smart, informative essays, this book traces his career from its roots in New Queer Cinema to the Oscar-nomainated 'Far From Heaven.
Austin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films—old and new, mainstream, classic, and cult—at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael. This anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film studies as a discipline.
Best known for powerful 1950s melodramas like All That Heaven Allows, Written on the Wind, The Tarnished Angels, and Imitation of Life, Douglas Sirk (1897–1987) brought to all his work a distinctive style that led to his reputation as one of twentieth-century film’s great directors. Sirk worked in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s. The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions provides an overview of his entire career, including Sirk’s work on musicals, comedies, thrillers, war movies, and westerns. One of the great ironists of the cinema, Sirk believed rules were there to be broken. Whether defying the decrees of Nazi authorities trying to turn film into propaganda or arguing with studios that insisted characters’ problems should always be solved and that endings should always restore order, what Sirk called “emergency exits” for audiences, Sirk always fought for his vision. Offering fresh insights into all of the director’s films and situating them in the culture of their times, critic Tom Ryan also incorporates extensive interview material drawn from a variety of sources, including his own conversations with the director. Furthermore, his enlightening study undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical survey of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s up to the present day.
American Smart Cinema examines a contemporary type of US filmmaking that exists at the intersection of mainstream, art and independent cinema and often gives rise to absurd, darkly comic and nihilistic effects.
Seventeen years ago, Sepha Stephanos fled the Ethiopian Revolution for a new start in the United States. Now he finds himself running a failing grocery store in a poor African-American section of Washington, D.C., his only companions two fellow African immigrants who share his bitter nostalgia and longing for his home continent. Years ago and worlds away Sepha could never have imagined a life of such isolation. As his environment begins to change, hope comes in the form of a friendship with new neighbors Judith and Naomi, a white woman and her biracial daughter. But when a series of racial incidents disturbs the community, Sepha may lose everything all over again. Watch a QuickTime interview with Dinaw Mengestu about this book.
Douglas Sirk (Claus Detler Sierck) was born in Hamburg, Germany, in 1900. He made nine films before fleeing Nazi Germany, eventually coming to America. His best-known films, made during the 1950s--all of them melodramas--were Magnificent Obsession, All That Heaven Allows, The Tarnished Angels, Written on the Wind, and Imitation of Life (made in 1958, released in 1959). This volume includes the complete continuity script of the film, critical commentary and published reviews, interviews with the director, and a filmography and bibliography. It also includes an excellent introduction by Lucy Fischer.
This is a concise evaluation of film genre, discussing genre theory and sample analyses of the western, science fiction, the musical, horror, comedy, and the thriller. It introduces the topic in an accessible way and includes sections on the principles of studying and understanding "the idea of genre"; genre and popular culture; the narrative and stylistic conventions of specific genres; the relations of genres to culture and history, race, gender, sexuality, class and national identity; and the complex relations between genre and authorship. Case studies include: 42nd Street, Pennies from Heaven, Red River, All That Heaven Allows, Night of the Living Dead, Die Hard, Little Big Man, Blue Steel, and Posse.
A reprint of the 1933 classic novel, the basis for two film versions, with a new introduciton.