|About the Book|
This book presents a wide-ranging, general introduction to the wonderful world of classic movies that thrilled audiences from 1925 through 1965. The authors original plan to review year by year. To represent 1925, he chose The Eagle whichMoreThis book presents a wide-ranging, general introduction to the wonderful world of classic movies that thrilled audiences from 1925 through 1965. The authors original plan to review year by year. To represent 1925, he chose The Eagle which showcases Rudolph Valentino at his most ingratiating. For 1965, he envisaged the Agatha Christie adaptation, The Alphabet Murders. For 1928, Our Daring Daughters (starring the entrancing Joan Crawford) was a natural. For 1931, it was impossible to go past Jean Harlows Platinum Blonde- and for 1933, who could refuse admittance to either King Kong or The Invisible Man? It soon became apparent, however, that a year-by-year breakdown was not going to work, because there were too many years in which Hollywood produced a bumper crop of movie treasures. Take 1944, for instance: The Conspirators (a delightful extravaganza, intended as a box-office follow-up to Casablanca), with Hedy Lamarr, Paul Henreid, Sydney Greenstreet and Peter Lorre- Cover Girl, one of the all-time favorite musicals, starring Rita Hayworth and Gene Kelly, directed by Charles Vidor- The Curse of the Cat People, starring that quintessential object of fantasy, Simone Simon- In Society, one of Abbott and Costello funniest outings- The Man in Half-Moon Street, Paramounts elaborately atmospheric answer to The Picture of Dorian Gray- two entries in Universals justly famous Mummy series, both starring Lon Chaney- and Standing Room Only, a side-splitting comedy of manners that rates as one of the Ten Best ever made. What do all these marvelous movies have in common? They were all simply Hollywoods miracles of entertainment. Here then are 120 of the best vintage, brought together with full credits, background information and up-to-date reviews in this well-produced, large-format, 248-page book that also includes a monograph on director Charles Vidor (Cover Girl, Gilda, Rhapsody, Love Me Or Leave Me, etc.).