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“Sometimes you gotta show muthafuckas that you’re a muthafucka, too.” Since he was old enough to dream, all Antoine Grimm had ever wanted was to be a soldier like his grandfather, Big Ben Grimm. Coming from a military family, he had always been taught that there was no greater honor for a man than to serve his country. This is what motivated him to steal his older brother’s identity at the age of sixteen and sneak off to enroll in the United States Army. He left in search of the glorious stories he’d heard his grandfather tell, but what he found was the bitter truth that came with war. When Grimm left, he had been a doe-eyed kid with dreams, but upon his return to U.S. soil, the kid he’d left as became a battle-hardened soldier trying to cope with post-traumatic nightmares. When Grimm returns to his home, he finds that not only has he changed, but so has his neighborhood. The drug epidemic has ravaged the streets he grew up playing in and decimated everything in its path, including his family. Unable to sit idle while the community he grew up in crumbles under the weight of pushers, pimps, and addicts, Grimm decides to take a stand. Reuniting with members from his old army ranger unit, Grimm trades his war one war for another, turning his fury from enemies foreign to those domestic.
"The first and only full biography on legendary Harlem gangster, Bumpy Johnson who was depicted in the movies Cotton Club, Hoodlum, and American Gansgster. ... Bumpy was a man whose contradictions are still the root of many an argument in Harlem. But there is one thing on which both his supporters and detractors agree in his lifetime, Bumpy was the man in Harlem." --p. [4] of cover.
Celebrating the 50th anniversary of The Godfather, this authorized, annotated and illustrated edition of the complete, unedited screenplay includes all the little-known facts, behind-the-scenes intrigue, and first-person reflections from cast and crew members on the making of this landmark film. From its ingenious cinematic innovations and memorable, oft-quoted script to its iconic cast, including Marlon Brando, Al Pacino, Robert Duvall, James Caan, The Godfather is considered by many to be the greatest movie ever made. And yet, the history of its making is so colorful, so chaotic, that one cannot help but marvel at the seemingly insurmountable odds it overcame to become a true cinematic masterpiece, and a film that continues to captivate its audience decades after its release. In this authorized, annotated, and illustrated edition of the complete screenplay, nearly every scene is examined and dissected, including: Fascinating commentary on technical details about the filming and shooting locations Tales from the set, including arguments, accidents, anecdotes and practical jokes Profiles of the actors and stories of how they were cast Deleted scenes that never made the final cut, and the goofs and gaffes that did And much more! Interviews with former Paramount executives, cast and crew members, and director Francis Ford Coppola, round out the commentary and shed new light on everything you thought you knew about this most influential film. With more than 200 photographs, this a truly unique, collectable keepsake for every Godfather fan.
Never-before-seen photos of Coppola's masterpiece Selections from photographer Steve Schapiro's archives provide an insider's view of the making of the legendary trilogy.This edition is limited to 1,000 copies, each numbered and signed by Steve Schapiro. Imagine the experience of witnessing renowned actors as they made their most memorable performances. Steve Schapiro has had such a privilege as special photographer on some of American cinema's most beloved movies. For Francis Ford Coppola's Godfather trilogy, he immortalized actors such as Marlon Brando, Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton. Brought together in a book for the first time is a vast selection of images from all three Godfather films, selected from Schaprio's archives. This lavish, limited edition book allows fans a privileged peek behind the scenes in the world of making film history.
In the wake of the Kennedy era, a new kind of ethnic hero emerged within African-American popular culture. Uniquely suited to the times, burgeoning pop icons projected the values and beliefs of the Civil Rights and Black Power movements, and reflected both the possibility and the actuality of a rapidly changing American landscape. In Black Camelot, William Van Deburg examines the dynamic rise of these new black champions, the social and historical contexts in which they flourished, and their powerful impact on the African-American community. "Van Deburg manages the enviable feat of writing with flair within a standardized academic framework, covering politics, social issues and entertainment with equal aplomb."—Jonathan Pearl, Jazz Times "[A] fascinating, thorough account of how African-American icons of the 1960s and '70s have changed the course of American history. . . . An in-depth, even-tempered analysis. . . . Van Deburg's witty, lively and always grounded style entertains while it instructs."—Publishers Weekly
"Some people love animals. Some people eat animals. Most people say they love animals and eat them anyway. Welcome to America folks. Land of the free. Home of the brave. Land of opportunity. Home of opportunists. And the rest of us? Well, we just hang on for dear life till the train comes to a complete stop. So far away from home, so close to what might have been " excerpt from Fear of a Black *****
THE PUBLISHING SENSATION OF THE YEAR FOR EVERY FILM FAN The never-before-published edition of Francis Ford Coppola’s notes and annotations on The Godfather novel by Mario Puzo reveals the story behind one of the world’s most iconic films. The most important unpublished work on one of the greatest films of all time, The Godfather, written before filming, by the man who wrote and directed it—Francis Ford Coppola, then only thirty-two years old—reveals the intense creative process that went into making this seminal film. With his meticulous notes and impressions of Mario Puzo’s novel, the notebook was referred to by Coppola daily on set while he directed the movie. The Godfather Notebook pulls back the curtain on the legendary filmmaker and the film that launched his illustrious career. Complete with an introduction by Francis Ford Coppola and exclusive photographs from on and off the set, this is a unique, beautiful, and faithful reproduction of Coppola’s original notebook. This publication will change the way the world views the iconic film—and the process of filmmaking at large. A must-have book of the season. Nothing like it has ever been published before
Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks. Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community. In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces. Reid's innovative critical approach, which transcends the "black-image" language of earlier studies—and at the same time redefines black film—makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.