Classic Film

The Horror of It All is a memoir from the front lines of the industry that dissects (and occasionally defends) the hugely popular phenomenon of scary movies. Author Adam Rockoff traces the highs and lows of the horror genre through the lens of his own obsessive fandom, born in the aisles of his local video store and nurtured with a steady diet of cable trash.

The Call of Cthulhu", written in 1926, is probably Lovecraft's best-known work. Discovering notes left by a deceased relative, the narrator pieces together the whole truth and disturbing significance of the Cthulhu cult. This release also contains the shorter tales "The Festival" and "The Hound", in which gravediggers bring home more than they bargained for!

When local newspapers report strange things seen floating in rivers during a historic Vermont flood, Albert Wilmarth becomes embroiled in a controversy about the reality and significance of the sightings. However it isn’t until he receives communication from Henry Wentworth Akeley that he is offered the proof he requires.

Victoria Amador utilizes extensive interviews and 40 years of personal correspondence with de Havilland to present an in-depth look at the life and career of this celebrated actress. Amador begins with de Havilland's early life; she was born in Japan in 1916 to affluent British parents who had aspirations of success and fortune in faraway countries, and her theatrical ambitions began at a young age. The book then follows her career as she skyrocketed to star status, becoming one of the most well-known starlets in Tinseltown.

We'll Always Have Casablanca is celebrated film historian Noah Isenberg's rich account of this most beloved movie's origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca's production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, and the effect of the war's progress on the movie's reception.

Mark Kermode’s compelling study of this horror classic was originally published in 1997, and then extensively updated and expanded in 2003 to incorporate the discovery of new material. This revised edition documents the deletion and reinstatement of key scenes that have now been integrated into the film to create The Exorcist: The Version You’ve Never Seen. Candid interviews with director William Friedkin and writer/producer William Peter Blatty reveal the behind the-scenes battles which took place during the production.

The son of a celebrated Hollywood director emerges from his father's shadow to claim his own place as a visionary force in American culture. George Stevens, Jr. tells an intimate and moving tale of his relationship with his Oscar-winning father and his own distinguished career in Hollywood and Washington.

A high-ranking scientist has been kidnapped. A secret British intelligence agency must find out why. But as the quarry is pursued from grimy Soho to the other side of the world, what seemed a straightforward mission turns into something far more sinister. With its sardonic, cool, working-class hero, Len Deighton's sensational debut The IPCRESS File rewrote the spy thriller and became the defining novel of 1960s London.

Maureen O'Hara is the first book-length biography of the screen legend hailed as the "Queen of Technicolor". Following the star from her childhood in Dublin to the height of fame in Hollywood, film critic Aubrey Malone draws on new information from the Irish Film Institute, production notes from films, and details from historical film journals, newspapers, and fan magazines.

Some Like It Hot occupies a unique place in American culture. This beloved classic showcases five comic geniuses: Tony Curtis, Jack Lemmon, I. A. L. Diamond, Billy Wilder, and Marilyn Monroe. It has been honored by the American Film Institute as the funniest film of all time. It has contributed quotes, styles, and stories to film lore. Yet the full story of its making has never been told - until now.

We are all classicists - we come into touch with the classics on a daily basis: in our culture, politics, medicine, architecture, language, and literature. What are the true roots of these influences, however, and how do our interpretations of these aspects of the classics differ from their original reality?

"Mrs. Robinson, you're trying to seduce me. Aren't you?" These famous lines from The Graduate (1967) would forever link Anne Bancroft (1931-2005) to the groundbreaking film and confirm her status as a movie icon. Along with her portrayal of Annie Sullivan in the stage and film drama The Miracle Worker, this role was a highlight of a career that spanned a half-century and brought Bancroft an Oscar, two Tonys, and two Emmy awards. In the first biography to cover the entire scope of Bancroft's life and career, Douglass K. Daniel reveals how, from a young age, Bancroft was committed to challenging herself and strengthening her craft.

It's one of the greatest movie romances of all time. Yet the friction and controversy surrounding The Way We Were was so enormous, the movie was nearly never made at all. Drawing on Laurents's and Pollack's unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and defined romance ever since.

The movies were flying blind in 1980. “New Hollywood” was over and the era of auteur-driven, personal films that had defined moviemaking since the late ‘60s came to a symbolic end with Heaven’s Gate (1980), replaced by a new world of multiplex blockbusters supported by massive marketing campaigns. But beyond the high-school comedies and hardbody action films came a new wave of cinematic excitement—an era defined by Ferris Bueller's Day Off, Purple Rain, When Harry Met Sally, E.T., and Top Gun, each of which are now classics for a new generation of nostalgic movie lovers.

Casablanca effectively made the case that America was the land of hope and freedom in a world darkened by the forces of Nazi Germany. In the beginning of the film, a map of the world serves as the backdrop for a deep-voiced narrator explaining the flood of refugees out of Europe. This ominous mood shrouds the city of Casablanca, in Vichy North Africa, the final stop between Lisbon and freedom in America. Indeed, corrupt French bureaucrats charge a steep price for exit visas. As a result, refugees become desperate.

A penetrating dive into the cultural phenomenon that changed horror forever. For forty years, Freddy Krueger has stalked not just our dreams but our collective imagination, becoming more than just a villain—he's become a mirror reflecting America's deepest fears. In WHY WE LOVE OUR NIGHTMARES, Dennis Santaniello confronts his own childhood terror of Freddy to uncover why this burned, wisecracking killer continues to endure. This insightful exploration reveals how "A Nightmare on Elm Street" transcended typical slasher fare to tap into profound cultural anxieties: the false security of ...

Two classic filmmaking books in one box set: Fast, Cheap and Under Control: Lessons Learned from the Greatest Low-Budget Movies of All Time--Learn the tricks and pitfalls of low-budget filmmaking from 33 successful independent films and the filmmakers who created them. Fast, Cheap and Written That Way: Top Screenwriters on Writing for Low-Budget Movies--Hollywood's top screenwriters look back at their early low-budget efforts and provide valuable tips, tricks, and advice on how to create a solid screenplay for a low-budget movie.

In "The Dunwich Horror" (1928), Wilbur Whateley, the son of a deformed albino mother and an unknown father, matures at an abnormal rate, reaching manhood within a decade. All the while, his sorcerer grandfather indoctrinates him into certain dark rituals and the study of witchcraft. "The Thing at the Doorstep" was written five years later. Confessing to the killing of his friend Edward Derby, Daniel Upton hopes his account will prove he is not a murderer.

Damn good coffee, cherry pie, and the “big bang of auteur television”―why Twin Peaks deserves to be a pop culture classic In 1990, avant garde filmmaker David Lynch (Eraserhead, The Elephant Man, Dune, Blue Velvet) and acclaimed television writer Mark Frost (Hill Street Blues) teamed up to create a television show that would redefine what the medium could achieve in a one-hour drama.

Professor and cultural historian Michael Keane reveals much in this nostalgia-inducing book packed with original research and interviews. Keane compellingly shows that the ultimate broadcast of the Christmas special—given its incredibly tight five-month production schedule and the decidedly unfavorable reception it received by the skeptical network executives who first screened it—was nothing short of a miracle. Keane explains why the show, despite its technical shortcomings, has become an uplifting and enduring triumph embraced by millions of families every Christmas season.