American Cinematographer - July 1989 - 14

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by George L. George
The
dex

publication of an all-encompassing in¬
completes the 11-volume set of Vari¬
ety's Obituaries 1905-1986. This au¬
thoritative source of biographical material
on entertainment industry personalities as¬
sembles 90,000 facsimile reproductions of
necrological notices that originally appeared
in weekly Variety. Each entry includes veri¬
fied vital statistics, credits and a critical

biography, providing a clear picture of career
reputation at the time of death (Gar¬
land, NYC, $1250/set).
In a year when the artistic mer¬
its of the Academy Awards TV show hit a
conspicuously low mark, the publication of
and

Robert Osborne's 60 Years of the Oscar

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portends a phoenix-like renaissance. This
historic retrospective, a superb volume, pro¬
fusely illustrated, lists winners and nomi¬
nees, recounts the Academy's founding and
the highlights of each yearly event (Ab¬
beville, NYC, $45.)
A. Scott Berg's definitive biogra¬
phy, Goldwyn, written with full access to
family and business archives, is a riveting
story that casts a searching light on a
complicated and contradictory personality,
his dedication to quality films, and his
impact on Hollywood during its grandest
era. Meticulously researched and compellingly written, this book explains Hollywood
through the life of one of its legendary
giants (Knopf, NYC, $24.95).
In Citizen Kane, Frank Brady
combines an uncommonly perceptive image
of Orson Welles with a sweeping behindthe-scenes account of his private life and
creative endeavors. Welles's mesmerizing
personality, his revolutionary artistic con¬
cepts and his memorable accomplishments
are narrated in this engrossing chronicle
with loving candor and literary polish
(Scribners, NYC, $24.95).
The bitter

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partisanship inside

the Screen Actors Guild is documented by
David F. Prindle in The Politics of Glam¬
our.

Prindle traces with

rigor and objectivity

SAG's historic involvement in the labor
movement and in politics, and analyzes the

July 1989

emergence of factions and warns of the
danger of ideological warfare (U. of Wiscon¬
sin Press, Madison, $24.50).
Peter Cowie's International
Film Guide 1989 covers production activ¬

ities in 56 countries with its customary

thoroughness and reliability. Featured is a
substantial study of filmmaking in the USSR,
followed by a world survey of leading direc¬
tors, outstanding films and sections on ani¬
mation, festivals, awards, archives,
publications, schools and related activities

(NY Zoetrope, NYC, $15.95).
An attractive and well-docu¬
mented British reference volume edited by
James Park, Film Yearbook 1989, re¬
views films released last year in the UK.
Included are credits and synopses, notable
film flops, new faces, awards, quotable

quotes, book reviews, obits and other perti¬
nent facts (St. Martins, NYC, $16.95).
A

new

edition of Science Fic¬

tion, Horror and Fantasy Film and TV
Credits by Harris M. Lentz III updates
through 1987 its exhaustive reference data.
It includes all creative personnel of such
productions, a complete index of film and TV
series, and an alternative title directory
(McFarland, Jefferson, NC, $65).
Paul Skenazy, in James M.
Cain, examines the successful develop¬
ment of Cain's screenwriting career. The

characteristic "blend of dreamlike eroticism
and violence" of his scripts for such pictures
as The Postman Always Pings Twice and
Double Indemnity ranks them as prime

examples of the film noir genre (Continuum,
NYC, $18.95).
ner,

In Fiction, Film, and Faulk¬
Gene D. Phillips discusses the screen

adaptations of the novelist's books, a pro¬
cess Faulkner found both fascinating and
repelling. Phillips assesses their faithfulness
original and notes their distinctive¬
ness of character, action and underlying
theme (U. of Tennessee Press, Knoxville,
to the

$24.95).

Anthony Davies, in Filming
Shakespeare's Plays, examines these
American Cinematographer - July 1989

Table of Contents for the Digital Edition of American Cinematographer - July 1989
