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A new range of Bob storybooks aimed at a younger audience - 18 months to 3 years. The stories, based on the new Bob TV series - Project Build It (set in Sunflower Valley), will be simple with big pictures. There is a gatefold on the back cover that has press-out characters.Dizzy's Talkie Talkie: "Scrambler to Dizzy, let's scram!" Dizzy and Scrambler have fun using the new Talkie Talkie system in Sunflower Valley.
This is a new range of Bob storybooks, based on the new Bob TV series - "Project Build It". Dizzy and Scrambler have fun using the new Talkie Talkie system in Sunflower Valley. With gatefold on the back cover that has press-out characters. 2 yrs+
Welcome to Sunflower Valley, where Bob and the team are busy with their eco-friendly development, Project: Build It! in these brand-new adventures! Join Roley the steamroller on a woodland walk. Read about Benny the robo digger's important job. Follow Muck the bulldozer's exciting convoy and find out what happens when Sumsy the forklift truck has an accident.
Charley Chase began his film career in early 1913 working as a comedian, writer, and director at the Al Christie studios under his real name, Charles Parrott. Chase then joined Mack Sennett's Keystone studio in 1914, costarring in early films of Charlie Chaplin and Roscoe “Fatty” Arbuckle, as well as directing the frenetic Keystone Cops. By 1924 he was starring in a series of one-reel comedies at Hal Roach studios, graduating to two-reel films the following year. In 1929, he made the transition to sound films. Along with the continuing popularity of his own short comedies, Chase often directed the films of others, including several popular Three Stooges efforts. In The Charley Chase Talkies: 1929-1940, James L. Neibaur examines, film-by-film, the comedian's seventy-nine short subjects at Roach and Columbia studios. The first book to examine any portion of Chase’s filmography, this volume discusses the various methods Chase employed in his earliest sound films, his variations on common themes, his use of music, and the modification of his character as he reached the age of forty. Neibaur also acknowledges the handful of feature film appearances Chase made during this period. A filmmaker whom Time magazine once declared was receiving the most fan mail of any comedian in movies, Charley Chase remains quite popular among classic film buffs, as well as historians and scholars. A detailed look into the work of an artist whose career straddled the silent and sound eras, The Charley Chase Talkies will be appreciated by those interested in film comedy of the 1920s and 30s.
Tookey’s Talkies celebrates 144 great movies of the last 25 years. Christopher Tookey has seen at least 10,000 films. For eight years, he was TV and then film critic for theSunday Telegraph. For twenty years, he was sole film critic for the Daily Mail and the world’s most popular internet newspaper, Mail Online. In 2013, he won the award Arts Reviewer of the Year from the London Press Club. Tookey’s Talkies is a book celebrating 144 of the great movies of the last 25 years. They range from movies that are generally accepted (from The Artist to Toy Story) through to films Christopher liked much more than his colleagues. These include a very wide variety of films, from the memorably horrific Japanese film Audition to the courageous Chinese drama To Live, via Denmark’s fine political thriller,King’s Game. He also tries to explain why he loved Ed Wood and Isn’t She Great? – both commercial flops – along with such critically underrated movies as Cheri, Separate Lies and The Tourist. The films collected in this volume are welcome evidence that quality has not yet been drowned out by quantity, and creativity has not been entirely destroyed by commerce. For Christopher, film remains the most exciting and uplifting art form of our times. Tookey’s Talkies will appeal greatly to the general reader and in particular to all film fans, including those who have followed Christopher’s reviews over the years. In a companion volume, Tookey’s Turkeys, Christopher has written about the 144 films that annoyed or angered him most over the same period.
Writer Brad Chambers begins researching the death of silent film comedian Dizzy Berkley over fifty years in the past. As he digs deeper into the mystery, it appears that there was more to the story than an accidental drowning. And it also appears that there are some who will stop at nothing to keep the truth buried in the past.
LIKE DIZZY GILLESPIE'S CHEEKS, is a humorous glimpse into the life of an unmotivated, Chicago Jazz Pianist who is stuck playing dingy bars, museum benefits and Nordstrom's half-yearly sales. As a matter of fact, he'll play at just about any establishment that will hire him. Typically, he can count on his longtime mentor, jazz great Ben Webster, to join him for a late night set on the piano. Irritable and not just because he's in his seventies, Ben leaves the club before playing a single note. The next day, Sam is devastated to learn that his best friend is dead. As a result, Sam's perspective on life takes an abrupt change. He notices how pathetically insignificant ones life can truly be. Stumbling through some interesting yet awkward situations, both funny and sad, including being conflicted about whether he should allow himself to fall in love with Kate Buckley, the reporter trying to get a story about his friend Ben for ESQUIRE, or continue his unhealthy relationship with Liz Brightwater of the Brightwater Marble fortune,Sam realizes that life is happening now. It's admirable to respect the past, but he must also learn to trust his future.
The most memorable Hollywood musicals of 1930s showcased the talents of stars like Fred Astaire, Jeanette MacDonald, Bing Crosby and Alice Faye. The less memorable ones didn't. This book takes a look at the unsung songfests of the '30s--secondary or forgotten features with short-lived or unlikely stars from major studios and Poverty Row. Through analysis of films such as Lord Byron of Broadway (1930), Shoot the Works (1934), Bottoms Up (1934), Moonlight and Pretzels (1933) and The Music Goes 'Round (1936), the author profiles such performers as Dorothy Dell, Lee Dixon, Peggy Fears, Lawrence Gray, Joe Morrison and the mother-daughter team of Myrt and Marge. Behind-the-scenes figures are discussed, like the infamously profligate producer Lou Brock, whose flops Down to Their Last Yacht (1934) and Top of the Town (1937) cost him his career. Filmographies and production information are included, with background on key participants.