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The third film in a celebrated trilogy of socio-political dramas directed by Frank Capra in the late 1930s and early 1940s, "Meet John Doe" is arguably his most ambitious and disturbing work. An introductory essay reconstructs and analyzes the history of production, promotion and reception of "Meet John Doe". A complete transcript of the finished film, extensive annotations concerning original script material and previously unpublished alternate endings are included in this volume, as well as a section of recollections about the film's production, personal correspondance, an excerpt from Capra's autobiography, and a sampling of reviews and contemporary commentaries.
Screenwriter Robert Riskin (1897-1955) was a towering figure even among the giants of Hollywood's Golden Age. Known for his unique blend of humor and romance, wisecracking and idealism, Riskin teamed with director Frank Capra to produce some of his most memorable films. Pat McGilligan has collected six of the best Riskin scripts: Platinum Blonde (1931), American Madness (1932), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), and Meet John Doe (1941). All of them were directed by Capra, and although Capra's work has been amply chronicled and celebrated, Riskin's share in the collaboration has been overlooked since his death. McGilligan provides the "backstory" for the forgotten half of the team, indispensable counterpoint to the director's self-mythologizing autobiography--and incidentally the missing link in any study of Capra's career. Riskin's own career, although interrupted by patriotic duty and cut short by personal tragedy, produced as consistent, entertaining, thoughtful, and enduring a body of work as any Hollywood writer's. Those who know and love these vintage films will treasure these scripts. McGilligan's introduction offers new information and insights for fans, scholars, and general readers.
Finalist for the Los Angeles Times Book Prize (Biography) A Hollywood love story, a Hollywood memoir, a dual biography of two of Hollywood’s most famous figures, whose golden lives were lived at the center of Hollywood’s golden age, written by their daughter, an acclaimed writer and producer. Fay Wray was most famous as the woman—the blonde in a diaphanous gown—who captured the heart of the mighty King Kong, the twenty-five-foot, sixty-ton gorilla, as he placed her, nestled in his eight-foot hand, on the ledge of the 102-story Empire State Building, putting Wray at the height of New York’s skyline and cinematic immortality. Wray starred in more than 120 pictures opposite Hollywood's biggest stars—Spencer Tracy, Gary Cooper (The Legion of the Condemned, The First Kiss, The Texan, One Sunday Afternoon), Clark Gable, William Powell, and Charles Boyer; from cowboy stars Hoot Gibson and Art Accord to Ronald Colman (The Unholy Garden), Claude Rains, Ralph Richardson, and Melvyn Douglas. She was directed by the masters of the age, from Fred Niblo, Erich von Stroheim (The Wedding March), and Mauritz Stiller (The Street of Sin) to Leo McCarey, William Wyler, Gregory La Cava, “Wild Bill” William Wellman, Merian C. Cooper (The Four Feathers, King Kong), Josef von Sternberg (Thunderbolt), Dorothy Arzner (Behind the Make-Up), Frank Capra (Dirigible), Michael Curtiz (Doctor X), Raoul Walsh (The Bowery), and Vincente Minnelli. The book’s—and Wray’s—counterpart: Robert Riskin, considered one of the greatest screenwriters of all time. Academy Award–winning writer (nominated for five), producer, ten-year-long collaborator with Frank Capra on such pictures as American Madness, It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon, and Meet John Doe, hailed by many, among them F. Scott Fitzgerald, as “among the best screenwriters in the business.” Riskin wrote women characters who were smart, ornery, sexy, always resilient, as he perfected what took full shape in It Happened One Night, the Riskin character, male or female—breezy, self-made, streetwise, optimistic, with a sense of humor that is subtle and sure. Fay Wray and Robert Riskin lived large lives, finding each other after establishing their artistic selves and after each had had many romantic attachments—Wray, an eleven-year-long difficult marriage and a fraught affair with Clifford Odets, and Riskin, a series of romances with, among others, Carole Lombard, Glenda Farrell, and Loretta Young. Here are Wray’s and Riskin’s lives, their work, their fairy-tale marriage that ended so tragically. Here are their dual, quintessential American lives, ultimately and blissfully intertwined.
Moviegoers often assume Frank Capra's life resembled his beloved films (such as Mr. Smith Goes to Washington and It's a Wonderful Life). A man of the people faces tremendous odds and, by doing the right thing, triumphs! But as Joseph McBride reveals in this meticulously researched, definitive biography, the reality was far more complex, a true American tragedy. Using newly declassified U.S. government documents about Capra's response to being considered a possible “subversive” during the post-World War II Red Scare, McBride adds a final chapter to his unforgettable portrait of the man who gave us It Happened One Night, Mr. Deeds Goes to Town, and Meet John Doe.
In this book, Paul Matzko tells the story of the emergence of ultra-conservative radio in the 1960s, and reveals the Kennedy administration's involvement in a censorship campaign against conservative broadcasters. The Radio Right provides the essential pre-history for the last four decades of conservative activism, as well as the historical context for current issues of political bias and censorship in the media.
“860 glittering pages” (Janet Maslin, The New York Times): The first volume of the full-scale astonishing life of one of our greatest screen actresses—her work, her world, her Hollywood through an American century. Frank Capra called her, “The greatest emotional actress the screen has yet known.” Now Victoria Wilson gives us the first volume of the rich, complex life of Barbara Stanwyck, an actress whose career in pictures spanned four decades beginning with the coming of sound (eighty-eight motion pictures) and lasted in television from its infancy in the 1950s through the 1980s. Here is Stanwyck, revealed as the quintessential Brooklyn girl whose family was in fact of old New England stock; her years in New York as a dancer and Broadway star; her fraught marriage to Frank Fay, Broadway genius; the adoption of a son, embattled from the outset; her partnership with Zeppo Marx (the “unfunny Marx brother”) who altered the course of Stanwyck’s movie career and with her created one of the finest horse breeding farms in the west; and her fairytale romance and marriage to the younger Robert Taylor, America’s most sought-after male star. Here is the shaping of her career through 1940 with many of Hollywood's most important directors, among them Frank Capra, “Wild Bill” William Wellman, George Stevens, John Ford, King Vidor, Cecil B. Demille, Preston Sturges, set against the times—the Depression, the New Deal, the rise of the unions, the advent of World War II, and a fast-changing, coming-of-age motion picture industry. And at the heart of the book, Stanwyck herself—her strengths, her fears, her frailties, losses, and desires—how she made use of the darkness in her soul, transforming herself from shunned outsider into one of Hollywood’s most revered screen actresses. Fifteen years in the making—and written with full access to Stanwyck’s family, friends, colleagues and never-before-seen letters, journals, and photographs. Wilson’s one-of-a-kind biography—“large, thrilling, and sensitive” (Michael Lindsay-Hogg, Town & Country)—is an “epic Hollywood narrative” (USA TODAY), “so readable, and as direct as its subject” (The New York Times). With 274 photographs, many published for the first time.
"After his girlfriend commits suicide, a teenage history buff looks back at their relationship and tries to understand what lead to the tragedy"--
Introducing Wyoming’s Sheriff Walt Longmire in this riveting novel from the New York Times bestselling author of Hell Is Empty and As the Crow Flies, the first in the Longmire Mystery Series, the basis for LONGMIRE, the hit Netflix original drama series. Fans of Ace Atkins, Nevada Barr and Robert B. Parker will love this outstanding first novel, in which New York Times bestselling author Craig Johnson introduces Sheriff Walt Longmire of Wyoming’s Absaroka County. Johnson draws on his deep attachment to the American West to produce a literary mystery of stunning authenticity, and full of memorable characters. After twenty-five years as sheriff of Absaroka County, Walt Longmire’s hopes of finishing out his tenure in peace are dashed when Cody Pritchard is found dead near the Northern Cheyenne Reservation. Two years earlier, Cody has been one of four high school boys given suspended sentences for raping a local Cheyenne girl. Somebody, it would seem, is seeking vengeance, and Longmire might be the only thing standing between the three remaining boys and a Sharps .45-70 rifle. With lifelong friend Henry Standing Bear, Deputy Victoria Moretti, and a cast of characters both tragic and humorous enough to fill in the vast emptiness of the high plains, Walt Longmire attempts to see that revenge, a dish best served cold, is never served at all.
An Eclectic Collection of Fiction That Inspired Film Memento, All About Eve, Rear Window, Rashomon, and 2001: A Space Odyssey are all well-known and much-loved movies, but what is perhaps a lesser-known fact is that all of them began their lives as short stories. Adaptations gathers together 35 pieces that have been the basis for films, many from giants of American literature (Hemingway, Fitzgerald) and many that have not been in print for decades (the stories that inspired Bringing Up Baby, Meet John Doe, and All About Eve). Categorized by genre, and featuring movies by master directors such as Steven Spielberg, Stanley Kubrick, Robert Altman, Frank Capra, and John Ford, as well as relative newcomers such as Chris Eyre and Christopher Nolan, Adaptations offers insight into the process of turning a short story into a screenplay, one that, when successful, doesn’t take drastic liberties with the text upon which it is based, but doesn’t mirror its source material too closely either. The stories and movies featured in Adaptations include: •Philip K. Dick’s “The Minority Report,” which became the 2002 blockbuster directed by Steven Spielberg and starring Tom Cruise •“The Harvey Pekar Name Story” by reclusive graphic artist Harvey Pekar, whose life was the inspiration for American Splendor, winner of the 2003 Sundance Grand Jury Prize •Hagar Wilde’s “Bringing Up Baby,” the basis of the classic film Bringing Up Baby, anthologized here for the first time ever •“The Swimmer” by John Cheever, an example of a highly regarded story that many feared might prove unadaptable •The predecessor to the beloved holiday classic A Christmas Story, “Red Ryder Nails the Hammond Kid” by Jean Shepherd Whether you’re a fiction reader or a film buff, Adaptations is your behind-the-scenes look at the sometimes difficult, sometimes brilliantly successful process from the printed page to the big screen. From the Trade Paperback edition.
Few Hollywood directors had a higher profile in the 1930s than Frank Capra (1897-1991). He served as president of the Academy of Motion Picture Arts and Sciences and of the Screen Directors Guild. He won three Academy Awards as best director and was widely acclaimed as the man most responsible for making Columbia Pictures a success. This popularity was established and sustained by films that spoke to and for the times--It Happened One Night, Mr. Deeds Goes to Town, Meet John Doe, and Mr. Smith Goes to Washington. These replicated the nation's hopes and dreams for a national community. He worked with some of the brightest stars in Hollywood--James Stewart, Clark Gable, Jean Arthur, Gary Cooper, Barbara Stanwyck, Claudette Colbert, Bette Davis, Donna Reed, and Ann-Margret. Capra's interviews express his connection to the national audience and explore his own story. He was a Sicilian immigrant boy who survived rough-and-tumble beginnings to become Hollywood's most bankable director. In reflecting on his life, almost every one of his films was a parable of acclaim verging on disaster. He spent much of the 1940s in uniform while making films for the War Department. Although Capra was an optimist, World War II and his series of Why We Fight films called his legendary optimism into question. His postwar film It's a Wonderful Life (1946) gave an answer to those questions with an astonishing directness Capra never equaled again. In 1971 he published his autobiography, The Name Above the Title. Many of the interviews collected here come from this period when, as an elder statesman of motion picture art and history, he reflected on his long career. The interviews portray the Capra legend vividly and demonstrate why the warm relations between Capra and his audiences continue to inspire acclaim and admiration.