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A portrait of the trailblazing film producer whose career spanned five decades."Bernstein packs an astonishing amount of solid film history into his lucid chronicle of Wangers whirlwind corporate liaisons. ... A fully realized, A-line biopic of a fascinating life in the movies."Tom Doherty, Film Quarterly.
Walt Disney, David O. Selznick, Mary Pickford, Orson Welles, and an elite group of movie producers secretly formed their own society in an effort to break up the old studio monopolies. The Society of Independent Motion Picture Producers initiated profound changes in Hollywood but today has been forgotten Using original SlMPP documents, this book reveals the story that has waited over 40 years to be told.
Award-winning author Walter Wangerin Jr. gracefully explores the dynamics of prayer. With luminous prose, he surveys the landscape of communication and communion with God--what whole prayer feels like, looks like, and sounds like. If you long for a deeper relationship with God, Whole Prayer is a trustworthy guide.
Rare correspondence from Humphrey Bogart, Audrey Hepburn, Frank Sinatra, Jane Fonda, and other Hollywood luminaries from the silent film era to the 1970s. Letters from Hollywood reproduces in full color scores of entertaining and insightful pieces of correspondence from some of the most notable and talented film industry names of all time—from the silent era to the golden age, and up through the pre-email days of the 1970s. Culled from libraries, archives, and personal collections, the 135 letters, memos, and telegrams are organized chronologically and are annotated by the authors to provide backstories and further context. While each piece reveals a specific moment in time, taken together, the letters convey a bigger picture of Hollywood history. Contributors include celebrities like Greta Garbo, Alfred Hitchcock, Humphrey Bogart, Frank Sinatra, Katharine Hepburn, Marlon Brando, Elia Kazan, Cary Grant, Francis Ford Coppola, Tom Hanks, and Jane Fonda. This is the gift book of the season for fans of classic Hollywood. With a foreword by Peter Bogdanovitch. “This is, quite simply, one of the finest books I’ve ever read about Hollywood.” —Leonard Maltin
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others. With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens. From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.” Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
Barbara Graham might have been a diabolical dame in a hard-boiled detective story—beautiful, sexy, and deadly. Charged alongside two male friends in the murder of an elderly widow during a botched robbery attempt, “Bloody Babs” became the third woman executed in California—after a 1953 trial that played out before standing-room-only crowds captured the imaginations of journalists, filmmakers, and death penalty opponents. Why, Kathleen A. Cairns asks, of all the capital cases in the twentieth century, did Graham’s have such political resonance and staying power? Leaving aside the question of guilt or innocence—debated to this day—Cairns examines how Graham’s case became a touchstone in the ongoing debate over capital punishment. While prosecutors positioned the accused woman as a femme fatale, the media came to offer a counternarrative for Graham’s life highlighting her abusive and lonely beginnings. Cairns shows how Graham’s case became crucial to the abolitionists of the time, who used instances of questionable guilt to raise awareness of the arbitrary and capricious nature of death penalty prosecutions. Critical in keeping capital punishment in the forefront of public consciousness until abolitionists homed in on a winning strategy, Graham's case illustrates the power of individual stories to shape wider perceptions and ultimately public policies.
Explaining the major forces at play behind the making of Hollywood films, this text assesses how changing values have influenced censorship in Hollywood. The text also analyses the major cultural, social, legal and religious changes and their effect on Hollywood.
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
Best known for her appearances in the six Technicolor "Neverland" movies, Maria Montez is a film icon. Growing up as one of ten children in the Dominican Republic, her rise as a film star in the United States seemed unlikely. In 1939, Montez set off on her own to New York City to fulfill her aspirations of movie stardom. Despite having no substantial acting experience, Montez managed to sign with major agent Louis Schurr who helped her secure a contract with Universal Studios before she moved out to Hollywood. Following her arrival in Los Angeles, Montez began cultivating the larger-than-life persona for which she is known. Her beauty, personality, and series of publicity antics, including dramatic restaurant entrances, endeared her to the press. She even created her own fan club—The Montez for Stardom Club. Her ambitious self-promotion bolstered the success she found with her first big lead in Arabian Nights, released in 1943. From then on, the studio referred to her as "The Queen of Technicolor." Author Tom Zimmerman puts Montez's life in historical context, including her role as a cultural icon and a living representation of the United States' Good Neighbor Policy with Latin American countries. With her thick Dominican accent, Montez struggled to make herself intelligible to an American audience. However, unlike some of her Latin contemporaries, she did not present a caricature of her culture or use her accent for comedic purposes, giving her credibility with a Latin American audience. Zimmerman skillfully recounts the story of Montez's fiery ambition and her ascent to Hollywood fame, giving her the opportunity to live on in public memory.
In September 1941, a handful of isolationist senators set out to tarnish Hollywood for warmongering. The United States was largely divided on the possibility of entering the European War, yet the immigrant moguls in Hollywood were acutely aware of the conditions in Europe. After Kristallnacht (the Night of Broken Glass), the gloves came off. Warner Bros. released the first directly anti-Nazi film in 1939 with Confessions of a Nazi Spy. Other studios followed with such films as The Mortal Storm (MGM), Man Hunt (Fox), The Man I Married (Fox), and The Great Dictator (United Artists). While these films represented a small percentage of Hollywood’s output, senators took aim at the Jews in Hollywood who were supposedly “agitating us for war” and launched an investigation that resulted in Senate Resolution 152. The resolution was aimed at both radio and movies that “have been extensively used for propaganda purposes designed to influence the public mind in the direction of participation in the European War.” When the Senate approved a subcommittee to investigate the intentions of these films, studio bosses were ready and willing to stand up against the government to defend their beloved industry. What followed was a complete embarrassment of the United States Senate and a large victory for Hollywood as well as freedom of speech. Many works of American film history only skim the surface of the 1941 investigation of Hollywood. In Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures, author Chris Yogerst examines the years leading up to and through the Senate Investigation into Motion Picture War Propaganda, detailing the isolationist senators’ relationship with the America First movement. Through his use of primary documents and lengthy congressional records, Yogerst paints a picture of the investigation’s daily events both on Capitol Hill and in the national press.