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Index
Cover Title Copyright Contents Introduction 1942–1947
With Camera and Gun Three’s a Crowd The Little Fellow Gabin in Hollywood Blaboteur The Naked Truth Not by the Book War Horses Hollywood Blues Saccharine Symphony The Grapes, Alas True and False Gehrig to Cooper to Chance Twice Over Heavily A British Movie Biography Real War The Logic of Lunacy Memorandum for Hollywood Black Tails and White Lies Fiction and Fact The Movie Art Between Two Worlds The Journey, Cont. Witches’ Brew The Warner Boys in Africa Preston Sturges: Satirist Movie of the Year Children’s War Mystery Movie Our Town History and Hollywood Hitchcock in Stride Wartime Documentaries The Heroes of the Mary Ann To What Base Uses Native Fascist, MGM Style The Too Beautiful People Young Mr. Pitt “The Hard Way” Zanuck at the Front One for the Ages The Trouble with Movies Writers as Producers The Nazis Again Mishmash Let Us Now Praise Movies Less Talk and More Mail Education for War The Trouble with Movies: II The Sea Without Salt The Expendables Columbia Cooler The Great White Way Between Two Words Tinkle When the Pie Was Opened The Production Line Method in Its Badness Tessa’s Last Stand? Seeing Zero Not So Sound as Furious Parting Is Such Sweet Sorrow Short and Happy Love in the Foxholes Exterior Decorating Russian Victory The Hero The Perils of Tartu Whimsy Gets the Whammy The Cardboard Star Two Shorts and a Wrongo Newsreel Heaven, American Style “The Cross of Lorraine” Movies in Wartime Earth on Heaven Among the Missing: Hitchcock Pow, Bam and Sock Theatrical Movies The Happiness Boys The Great Cardboard Event Two Phantoms B Plus Hate for Sale Men in Battle The Lady and the Belle Up from Slavery The Great Brain Robbery Fathers and Songs Personnel Department Creep House Boys in the Back Room Quick Dissolve Andersen’s Fairy Tale The Unholy Three Three New Ones Warners’ Boys in the Balkans Home Sweet Home Hard-as-Nails Dept. The Water’s Fine It Comes Up Corn For He’s a Jolly, Good Fellow To Be and Not to Be Independents’ Day The Straight and Narrow Against the Grain More Notes on Newsreels Marie the Magician Murdered Movie The Red and the Black The Miracle of Morton B-Plus Rich Creamy Lather Flesh and Enamel To Have and Have Not The Case of the Hidden Camera Day of Reckoning Just Plain Folks Crazy Over Horses Fact and Application The Gold Rush Crime Does Pay Close Shave in Burma The Brooklyn Dodger Petrified Youth Through Thin and Thick Returning Soldiers Sweet and Low Four Flats Dream Furlough Skin Deep Signs of the Double-Cross Seven Who Were Harangued Plenty of Nothin’ War Without Glamour Gag Rule The Hard Way Postwar Movies Coat of Navy Goo The Hour of Charm Renoir on Tenant Farmers Dark Victory Psychological Melodrama Suburban Badlands Drooping Spirits Dream Manors Liquor Flicker Hamburger Hell Make Mine Muzak Crime Without Passion French Primitive Olivier’s “Henry V” “Open City” At Home Abroad Hellman’s Movietone News Iverstown Slaughter Hollywood Barnum Journey into the Night Caper of the Week Middle-Aged Fling Maya Deren’s Films “The Well-Digger’s Daughter” Very Sweet Sixteen Twisted Terry Paranoia Unlimited Nervous from the Service Never Sharp Portrait of the Artist Dixie Corn Stranglers and Toreadors Mugging Main Street
1949–1954
Fight Films Home of the Brave John Huston The Third Man Frank Capra Ugly Spotting Val Lewton Detective Story “Best Films” of 1951 The Gimp Parade Floats Blame the Audience Preston Sturges: Success in the Movies
1957–1977
Hard-Sell Cinema Underground Films Nearer My Agee to Thee Bathroom Mirror Sinceratease Hollywood’s New Peepshow Naturalism “That’s It, Boy. I Mean, That’s It.” Three Art-y Films Home Screen Jabberwocky Underground Magic, Eccentric Vitality and Artful Direction Salvage Banal Stories Big-Studio ‘Supers’—Monumental Art Baked in a Pittsburgh Blast Furnace Getting Inside ‘Inside Humor’ Hollywood’s Plot Against the Plot Compromise in a Closed Medium Wild ‘Wild Strawberries’ Corny Anti-Philistinism Culture With a Price Tag A Director’s Skill With Terror, Geography and Truth White Elephant Art vs. Termite Art The Decline of the Actor Nearer My Agee to Thee The Wizard of Gauze Pish-Tush The Cold That Came Into the Spy Day of the Lesteroid Lambs Without Mary / Lumet Looms Again The Subverters Rain in the Face, Dry Gulch, and Squalling Mouth New York Film Festival: 1967 Cartooned Hip Acting How I Won the War Experimental Films One-to-One Clutter La Chinoise and Belle de Jour Carbonated Dyspepsia Jean-Luc Godard New York Film Festival: 1968 New York Film Festival 1968, Afterthoughts Canadian Underground Films at Canadian Artists’ 68 Shame Howard Hawks Luis Buñuel Samuel Fuller New York Film Festival: 1969 Don Siegel Michael Snow Introduction to Negative Space Raoul Walsh The Venice Film Festival Werner Herzog The New Breed of Filmmakers: A Multiplication of Myths Rainer Werner Fassbinder Nashville: Good Ole Country Porn Nicolas Roeg Badlands, Mean Streets, and The Wind and the Lion New York Film Festival: 1975 The Power and the Gory Kitchen Without Kitsch Munich Films, 1967–1977: Ten Years That Shook the Film World
APPENDIX
Mrs. Parsons, etc. The Hidden and the Plain
Timeline Sources and Acknowledgments Notes Index
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