lamdha books -
Catalogue of books on film directors

Click on the small images at right to see a larger picture

Anderer, Paul
Kurosawa's Rashomon A Vanished City, a Lost Brother, and the Voice Inside His Iconic Films
Pegasus Books Ltd., New York NY, 2016.
Octavo; hardcover, quarter-bound in papered boards with metallic red spine titles and endpaper maps; 248pp., with many monochrome illustrations. Dustwrapper. Remainder. New. "Rashomon has become a 'key word of our time,' referring to the impossibility of knowing the truth and instead being confronted with multiple perceptions of what might have happened. Anderer turns that Rashomon effect on the film itself, presenting the inspirations and histories that went into its creation, including the pivotal consequences of the youthful double suicide of Kurosawa's beloved older brother and his lover, writer Ryunosuke Akutagawa's original texts, Japanese film history, Kurosawa's films before and after, important collaborators' reminiscences, and much more." - Library Journal
Click here to order

Anderson, Lindsay
About John Ford
Plexus Publishing Ltd., London, 1981.
Quarto; paperback; 256pp;, with many monochrome illustrations. Mild wear; covers sunned and edgeworn. Very good. The career of John Ford, considered by some to be America's greatest film director, spanned nearly half a century. With masterpieces like Stagecoach, The Informer, The Grapes of Wrath, and The Searchers, he was one of the world's most popular filmmakers and one of the most universally admired. About John Ford is a critical interpretation and a personal tribute. Lindsay Anderson's comprehensive survey of Ford's work has the authority of a writer who was himself a distinguished filmmaker, and the portrait that emerges has the vividness and warmth of friendship. - David Robinson, The Times
Click here to order

Aranda, Francisco (David Robinson, trans.)
Luis Bunuel A Critical Biography
Secker & Warburg, London, 1975.
First edition: octavo hardcover; black boards with silver gilt spine titling; 327pp., monochrome illustrations. Tape marks and small scuffed area on upper front endpaper; some scattered spotting to early pages; toning and spotting to text block. Slightly edgeworn dustwrapper with mild discolouration at the edges; now professionally protected by superior non-adhesive polypropylene film. Very good.
Click here to order

Auiler, Dan (Martin Scorsese, foreword)
Vertigo The Making of a Hitchcock Classic
St Martin's Press, New York, 1998.
Quarto hardcover; black boards with red spine titling; 220pp., monochrome and colour illustrations. Mild spotting on upper text block edges and very slight wear to dustwrapper edges. Near fine otherwise and wrapper now professionally protected by superior non-adhesive polypropylene film. Vertigo has assumed a pre-eminent position in the director's oeuvre. This book explores the evolution of the film, examining early script drafts, through detailed interviews with participants and many archival materials. Illustrated with stills, sketches and storyboards.
Click here to order

Barr, Charles
English Hitchcock A Movie Book
Cameron and Hollis, Moffat, Dumfriesshire, Scotland, UK, 1999.
Second edition. Octavo; paperback; 255pp., with many monochrome illustrations. Text block and page edges faintly toned; small sticker added to half-title page to cover previous sticker stain; wrapper lightly worn at edges. Else very good. In 1925, in a studio in Bavaria, a young Englishman, still in his twenties, directed his first feature film. It was the start of a career that would, fifteen years later, take him to Hollywood, where he became one of the very few directors whose reputation often eclipsed that of his stars. Although Alfred Hitchcock achieved his greatest success and fame in America, he was inescapably English, and the films that he made in his native country before taking up a contract with David O. Selznick are very much more than apprentice work. 'The Lodger', 'Blackmail', 'The Man Who Knew Too Much', 'The 39 Steps' and 'The Lady Vanishes' are films of enormous wit and sophistication - masterworks in their own right. However, Hitchcock's critical reputation has so far been firmly founded on the American films, while his English period has been underestimated and relatively neglected. English Hitchcock rectifies this critical imbalance by providing in an entertaining and elegantly written text a detailed and well-documented reading of the films.
Click here to order

Beattie, Keith
Humphrey Jennings British Film Makers
Manchester University Press, Manchester UK, 2010.
Octavo; hardcover; 171pp. Dustwrapper. New. Remainder. Humphrey Jennings has been described as the only real poet that British cinema has produced. His documentary films are remarkable records of Britain at peace and war, and his range of representational approaches transcended accepted notions of wartime propaganda and revised the strict codes of British documentary film of the 1930s and 1940s. Poet, propagandist, surrealist and documentary filmmaker - Jennings' work embodies an outstanding mix of startling apprehension, personal expression and representational innovation. This book carefully examines and expertly explains the central components of Jennings' most significant films, and considers the relevance of his filmmaking to British cinema and contemporary experience. Films analysed include Spare Time, Words for Battle, Listen to Britain, Fires Were Started, The Silent Village, A Diary for Timothy and Family Portrait.
Click here to order

Bellos, David
Jacques Tati
Harvill Press, London, 1999.
Hardcover, octavo; 382pp., monochrome illustrations. A few faint spots on upper text block edges. Scraping on head of dustwrapper spine and upper rear corner. Minor wear otherwise; very good to near fine and professionally protected by superior non-adhesive polypropylene film. "From now on no celebration, no artistic or acrobatic spectacle can do without this amazing performer, who has invented something quite his own...His act is partly ballet and partly sport, partly satire and partly charade. He has devised a way of being both the player, the ball and the tennis racquet, of being simultaneously the football and the goalkeeper, the boxer and the opponent, the bicycle and the cyclist. Without any props, he conjures up his accessories and his partners. He has suggestive powers of all great artists," wrote Colette in 1936 reviewing a music-hall performance. Bellos charts Tati's career from his first success with "Jour de Fete" and "M. Hulot's Holiday", through the financial disaster of "Playtime" that left him bankrupt, to his swansong in "Trafic" and "Parade".
Click here to order

Bellows, Andy Masaki & Marina McDougall
Science is Fiction The Films of Jean Painleve
MIT Press, Cambridge, 2002.
Paperback, small quarto, 213pp., monochrome illustrations. Remainder. New. One of the first to plunge underwater with a camera to bring the subaquatic world to the screen, maverick scientific documentary filmmaker Jean Painleve captured the throes of a male seahorse giving birth and the mating habits of hermaphrodite mollusks. His lyrical and instructive animal behaviour films set to avant-garde scores were much admired by Surrealist contemporaries such as Artaud, Bunuel and Vigo. This thorough biography covers all aspects of Painleve's remarkable sui generis body of work. Includes many stills from the films.
Click here to order

Benson, Michael
Space Odyssey: Stanley Kubrick, Arthur C. Clarke and the Making of a Masterpiece
Simon & Schuster, New York, 2018.
Octavo hardcover; 497pp., colour plates. Dustwrapper. Remainder. New. Fifty years ago a strikingly original film had its premiere. Still acclaimed as one of the most remarkable and important motion pictures ever made, 2001: A Space Odyssey depicted the first contacts between humanity and extraterrestrial intelligence. The movie was the product of a singular collaboration between Stanley Kubrick and science fiction visionary Arthur C. Clarke. Fresh off the success of his cold war satire Dr. Strangelove, Kubrick wanted to make the first truly first-rate science fiction film. Drawing from Clarke's ideas and with one of the author's short stories as the initial inspiration, their bold vision benefited from pioneering special effects that still look extraordinary today, even in an age of computer-generated images. In Space Odyssey, author, artist, and award-winning filmmaker Michael Benson 'delivers expert inside stuff' (San Francisco Chronicle) from his extensive research of Kubrick's and Clarke's archives. He has had the cooperation of Kubrick's widow, Christiane, and interviewed most of the key people still alive who worked on the film. Drawing also from other previously unpublished interviews, Space Odyssey provides a 360-degree view of the film from its genesis to its legacy, including many previously untold stories. And it features dozens of photos from the making of the film, most never previously published.
Click here to order

Bock, Audie
Japanese Film Directors
Kodansha International, New York NY, 1978.
First edition. Hardcover, octavo; tan cloth boards with white spine titling, illustrated endpapers; 370pp., b/w photographic plates and illustrations. Minor wear; mildly toned text block edges with a few scattered spots; mild wear to dustwrapper edges. Very good to near fine with wrapper now professionally protected by superior non-adhesive polypropylene film. Directors include Mizoguchi, Ozu, Naruse, Kurosawa, Kinoshita, Ichikawa, Kobayashi, Imamura, Oshima and Shinoda.
Click here to order

Bordwell, David
The Films of Carl-Theodor Dreyer
University of California Press, Berkeley, 1981.
Quarto hardcover; black boards with gilt spine titling; 251pp., monochrome illustrations. Mild foxing to page edges throughout; spotting to text block edges; black illustrated dustwrapper with small tear on upper front edge and lower rear panel. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film. Carl Dreyer is recognized as one of the great master stylists of the cinema whose works exhibit his rigorous, austere and powerful cinematography. David Bordwell analyses how Dreyer confronts the viewer with problems of attention, orientation and narrative comprehension. In the early works, flat tableau compositions alternate with intensely active facial close-ups to shift our attention from physical action to psychological states. In the late masterpieces, Dreyer's style achieves its greatest complexity, compelling us to concentrate on nuances of space and time - in Jeanne d'Arc the close-up and a discontinuous space; in Vampyr, uncertain topography and wrenching camera movement; in Ordet, a theatrical use of the long take; and in Gertud an obstinate stasis that verges on boredom. Bordwell shows how Dreyer's style achieves its unique force by violating our expectations and by organizing our film experience in radically new ways. All of Dreyer's woks are discussed.
Click here to order

Brody, Richard
Everything is Cinema The Working Life of Jean-Luc Godard
Metropolitan Books, New York, NY, USA, 2008.
Hardcover, octavo, 701pp., monochrome illustrations. Dustwrapper. Remainder. New. When Jean-Luc Godard, exemplary director of the French New Wave, wed the ideals of film-making to the realities of autobiography and current events, he changed the nature of cinema. In this study, the author has amassed hundreds of interviews with friends, family and collaborators to demystify the elusive director and paint the fullest picture yet of his life and work. He vividly depicts Godard's wealthy, conservative family, his fluid and often disturbing politics, his tumultuous dealings with fellow filmmakers, and his troubled relations with women. A landmark critical biography.
Click here to order

Brownlow, Kevin
David Lean A Biography of the Director of "Doctor Zhivago", "The Bridge on the River Kwai", and "Lawrence of Arabia"
Wyatt Books/St. Martin's Press, New York NY, 1997.
Octavo; paperback; 810pp., with 48pp. of full-colour and monochrome plates and many monochrome photographic illustrations. Minor wear; spine creased. Very good to near fine.
Click here to order

Bunuel, Luis (Abigail Israel, trans.)
My Last Sigh The Autobiography
Borzoi Books/Alfred A. Knopf Inc., New York NY, 1983.
First edition: octavo; hardcover, quarter-bound in papered boards. with metallic blue spine and upper board titling; 256pp., untrimmed. Mild wear; previous owner's bookplate to the front pastedown with light offset; very light spotting to the text block top edge. Dustwrapper is well-rubbed and sunned with some moderate edgewear; now professionally protected by superior non-adhesive polypropylene film. Very good. "In his last years, Mr. Bunuel, Spain's most famous film maker, complains of losing his memory - but he had so much to remember. Besides, it makes his book move from image to image, like his films. It may surprise some readers to discover how intuitive and non-intellectualized many of those films were. In the town of Calandra where he was born, Mr. Bunuel writes, the middle ages lasted until World War I. He remembers a group of boys running through the streets at dawn singing 'The Song of Sunrise' to wake the workers. The constant presence of death and religion, he observes, gave him a strong joie de vivre. In his films, he opposed his positive impulse to 'a climate of insecurity and imminent disaster - an atmosphere we all recognize.' He began his career with two Surrealist films: Un Chien Andalou and L'Age d'Or. When the first achieved a succes d'estime in Paris, Mr. Bunuel was summoned to a Surrealist tribunal headed by the humorless Andre Breton, who demanded to know whether the fact of the film's appeal was not a violation of Surrealist principles. Mr. Bunuel describes Breton as 'forever kissing women's hands' - an unconscious Surrealist act, perhaps - and growing furious at Leon Trotsky because the exiled revolutionary was fond of his dog and contended it had 'a human look.' ...Mr. Bunuel knew just about everyone and gives us his candid assessments of them. Though Federico Garcia Lorca was 'charming and irresistible,' his plays were 'ornate and bombastic.' Picasso was friendly and lively, yet selfish and egocentric. Mr. Bunuel found Picasso's Guernica mural 'grandiloquent.' Salvador Dali is represented as brilliant but narcissistic and unreliable. The philosopher Miguel de Unamuno is 'pedantic and humorless'. Jorge Luis Borges appeared to be 'very pretentious and self-absorbed.' Some of these judgements reflect Mr. Bunuel's surprising simplicity, which was both a virtue and a defect in his work. Many of the symbols in his films, for example, symbols that critics made much of, seem to have been listed for Mr. Bunuel's dreams or his life without passing through a process of conscious evaluation. Judging by his own account, he operated intuitively and often used an image simply because he liked it, or because someone had suggested it. If we were to take this literally, it would imply that his films were composed in a very random fashion. What is more likely is that he trusted and relied on his unconscious more than most artists do. In this, at least, he remained a Surrealist, the sort who, like the poet Paul Eluard, first wrote automatic poems and then edited them. Certainly, Belle de Jour and The Discreet Charm of the Bourgeoisie, two of Mr. Bunuel's later films, showed signs of both improvisation and editing. When he saw his first movies in the early part of this century, Mr. Bunuel says, the form was so new and unusual that 'most spectators had difficulty understanding what was happening.' They had to be helped by an explicador, or narrator, who stood beside the piano. In his own films, the author tried to retain that feeling of unusualness, and in this sense at least he almost always succeeded. Here in My Last Sigh, he is interested in a less ambiguous kind of contact, gathering his remaining friends around him and gladly turning his back on desire. For the moving picture of his own life, he's a grand explicador. - Anatole Broyard
Click here to order

Carlsson, Susanne Chauvel
Charles and Elsa Chauvel: Movie Pioneers
University of Queensland Press, St Lucia, 1989.
Square quarto hardcover; 194pp,. mainly monochrome illustrations. Minor wear; a few faint scattered spots on upper text block edges and mild wear to dustwrapper edges. Otherwise near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Thirty years of Australian film-making. The directors of In the Wake of the Bounty, Forty Thousand Horseman and Jedda, amongst others.
Click here to order

Carney, Ray
American Vision The Films of Frank Capra
Wesleyan University Press of New England, Hanover NH. 1996.
Reprint: octavo; paperback; 512pp., with many monochrome illustrations. Minor wear; covers lightly rubbed; back cover creased; spine sunned; text block edges a little marked with some spotting. Very good. In this study, Professor Carney provides a fresh analysis of the career and work of film director Frank Capra. There are few filmgoers who have not seen or been moved by one of the thirty-six feature films directed by Frank Capra between 1926 and 1961, among them are It's a Wonderful Life, Mr Smith Goes to Washington, Meet John Doe, Lost Horizon, It Happened One Night, Mr Deeds Goes to Town, and Pocketful of Miracles. Critics, however, have often dismissed the director as sentimental, or patronised his populist tendencies. Professor Carney locates the director's oeuvre within a larger tradition of post-Romantic expression, placing him in the company of figures such as Hawthorne, Emerson, James, Winslow, Homer, Sargent and Edward Hopper. His vast knowledge of Capra's biography, the intricacies of the Hollywood studio system, film-making techniques, and the American cultural heritage has produced a study that moves beyond the boundaries of film scholarship. The detailed readings of individual films are presented within a broad cultural context and the context of Capra's own development. Thus, the book is as much an exploration of the American imagination as it is a study of a single director's work.
Click here to order

Chandler, Charlotte
Nobody's Perfect Billy Wilder, A Personal Biography
Applause Books, New York NY, 2002.
Paperback, octavo, 352pp. Remainder. New. Billy Wilder (1906-2002) was one of the legendary figures in 20th-century film. When he died, he left behind an incredible celluloid legacy. Sunset Boulevard, Some Like It Hot, Double Indemnity, The Apartment, The Lost Weekend, Sabrina and other Wilder films have become a part of our shared experience and collective memory. In Nobody's Perfect, Billy Wilder speaks for himself, in what is as close to an autobiography as there ever will be. Charlotte Chandler, author of authorized biographies on Groucho Marx and Federico Fellini, met Wilder in the mid-1970s and began a friendship that continued until his death. Over the course of more than 20 years, she interviewed not only Wilder, but many of the actors and other creative people who worked with him. The result is this remarkable book, a very personal look at one of filmdom's true creative geniuses.
Click here to order

Christie, Ian
Gilliam on Gilliam
Faber and Faber, London, 1999.
First edition. Hardcover, octavo, 294pp, monochrome illustrations. Browned pages; very minor wear to dustwrapper now professionally protected by superior non-adhesive polypropylene film. Near fine. Terry Gilliam is a famously candid commentator on his own work, and in these specially recorded interviews, he reflects on how his Midwestern childhood and early career as an animator - including his work as the only American member of Monty Python - prepared him to undertake his extraordinary adventures in cinema. His films are distinctively dark, fantastic, and strangely hilarious. From the medieval mock-epic Monty Python and the Holy Grail to the mythic, paranoid worlds of The Fisher King, Twelve Monkeys, and Fear and Loathing in Las Vegas, Gilliam has pursued a totally personal, uncompromising vision. This has led to legendary battles with studios and financiers, notably over The Adventures of Baron Munchausen and Brazil, which is now widely considered a classic. The book includes Gilliam's storyboards for the films - a unique glimpse at his creative process - along with his original cartoons and black-and-white photographs throughout.
Click here to order

Conrad, Peter
The Hitchcock Murders
Faber and Faber Ltd., London, 2000.
Octavo; hardcover, with silver-gilt spine-titling; 362pp., with monochrome photographic illustrations. Minor wear; text block and page edges toned; some marks and scuffs to the text block edges. Dustwrapper is lightly worn, with an old security tag on the verso of the rear flap; now professionally protected by superior non-adhesive polypropylene film. Very good. "I cannot recall how my obsession with Hitchcock started; it goes back almost far enough to qualify as an original sin. But there is a specific date that solemnised the affair. One afternoon in 1961, aged all of 13, I lost my virginity at a screening of 'Psycho'. Strictly speaking, it was only my innocence I lost... Your graduation from innocence to experience occurs when the feverish business of imagining begins, and for me, this raid on a forbidden knowledge will always be associated with 'Psycho'. During my first under-age exposure to the film, the images that thrilled me were those of trespass and guilty surveillance. This, surely, was why the cinema existed: to depict what you were not supposed to be looking at. I assumed that I would eventually recover from the obsession, just as I outgrew my adolescent rashes. Now, accepting that I never will, I want to understand why..."
Click here to order

Devlin, Albert J & Marlene J (eds.)
The Selected Letters of Elia Kazan
Alfred Knopf, New York, 2014.
Hardcover, octavo; quarter bound grey papered boards with black spine and silver gilt spine titling; untrimmed page edges; 649pp., monochrome illustrations. Minor wear; red dot on lower text block; a few small bumps on lower board edges and corners; mild wear to dustwrapper edges. Near fine and wrapper now professionally protected by superior non-adhesive polypropylene film.
Click here to order

Durgnat, Raymond
The Strange Case of Alfred Hitchcock or, The Plain Man's Alfred Hitchcock
Faber and Faber Ltd., London, 1975.
Reprint: octavo; hardcover, with gilt spine titles; 419pp., with 24pp. of monochrome plates. Moderate wear; slightly cocked; spine heel softened; some spotting to the text block edges; mild offset to the endpapers. Dustwrapper is mildly rubbed and edgeworn; sunned along the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. Raymond Durgnat delineates the many facets of Alfred Hitchcock's prolific career and the controversies that these have aroused among the critics - critics who have seen Hitchcock as master of the aesthetic "touch" and who prefer his English to his American period, or those for whom Hitchcock is a dark Roman Catholic moralist. Durgnat's Hitchcock is a fascinating mixture of contrarieties. He tends to admire Hitchcock for his ability to tell a story and to control and manipulate order so that he can play his audience with suspense, for his "rare sense of how far dramatic conflicts can be complicated and in which ways," and for the conjunction or layering of elements in films like "Rear Window", "Vertigo", and "Psycho", which constitutes the real Hitchcock "touch." Durgnat reminds us that Hitchcock's ability to capture a feeling of everyday realism, particularly in the background and details of his early films, is something of a feat - "realism in the '30s was a rarer and more difficult achievement... the director couldn't just point a TV camera in the street, but first had to notice [these details], then to love them enough to remember and to re-create them and lastly to slide them deftly into a thriller context."
Click here to order

Eisenstein, Serge
The Film Sense
Faber and Faber Ltd., London, 1955
Reprint. Octavo; hardcover, with gilt spine titles; 228pp., with 10pp. of monochrome plates (some folding) and many other diagrams and illustrations likewise. Mild wear; text block edges lightly toned and top edge dusted; offset to the endpapers; retailer's bookplate to the front pastedown. Price-clipped dustwrapper is mildly rubbed; sunned along the spine panel and panel edges (now professionally protected by superior non-adhesive polypropylene film). Very good.
Click here to order

Eisenstein, Sergei (Herbert Marshall, trans.)
Immoral Memories An Autobiography
Peter Owen, London, 2014.
Paperback, octavo; 292pp., monochrome plates. Remainder. New. Sergei Eisenstein, creator of such masterpieces as Battleship Potemkin and Ivan the Terrible, was one of the greatest film directors. He wrote his autobiography in 1946, two years before his death. Written in a style reminiscent of the brilliant visual effects of montage and dynamic progression that characterize the author's film-making technique, he describes his life in Russia at the time of the Revolution, his travels in the West and his encounters with the amazing medley of people from Garbo through to Joyce. With photographs and drawings.
Click here to order

Eisenstein, Sergei (trans. Herbert Marshall)
Nonindifferent Nature
Cambridge University Press, 1987.
Hardcover, octavo; black cloth boards with silver gilt spine titling; 428pp., monochrome illustrations. Owner's name. Minor wear; some spotting and a few marks on upper text block edges. Very good to near fine in like dustwrapper now professionally protected by superior non-adhesive polypropylene film.
Click here to order

Eisenstein, S.M. (trans. Richard Taylor)
Selected Works, Volume 1: Writings 1922-34
British Film Institute, London, 1988.
Hardcover, octavo; black boards with gilt spine titling; 334pp., monochrome illustrations. Minor wear; faint offsetting to front endpaper with some small marks on side edge; one or two spots on upper text block edge. Very good to near fine otherwise in like dustwrapper now professionally protected by superior non-adhesive polypropylene film.
Click here to order

Freeman, David
The Last Days of Alfred Hitchcock A Memoir by His Last Collaborator & the Final Unproduced Screenplay "The Short Night"
The Overlook Press, Woodstock NY USA, 1999.
Octavo; paperback; 281pp., with 16pp. of monochrome photographic plates. Mild wear to the wrappers; text block and page edges lightly toned. Very good. Freeman collaborated with the director on his last unrealised project, a thriller entitled 'The Short Night'. Hitchcock was in poor health but he nevertheless worked steadily and reminisced about his life, his films, and the people he knew, including Ingrid Bergman, Howard Hughes, Cary Grant, and Kim Novak.
Click here to order

Fujiwara, Chris
The World and Its Double The Life and Work of Otto Preminger
Faber and Faber Inc./Farrar, Straus and Giroux LLC., New YOrk, NY, USA, 2008.
Octavo; hardcover; 479pp., 24pp. of monochrome plates. Dustwrapper. Remainder. New. Otto Preminger was one of Hollywood's first truly independent producer/directors. He sought to address the major social, political, and historical questions of his time in films designed to appeal to a wide public. Blazing a trail in the examination of controversial issues such as drug addiction (The Man with the Golden Arm) and homosexuality (Advise and Consent) and in the frank, sophisticated treatment of adult material (Anatomy of a Murder), Preminger in the process broke the censorship of the Hollywood Production Code and the blacklist. He also made some of Hollywood's most enduring film noir classics, including Laura and Fallen Angel.
Click here to order

Gilliam, Terry & Ben Thompson
Gilliamesque A Pre-posthumous Memoir
Canongate, Edinburgh, 2015.
Quarto hardcover; illustrated boards; 297pp., colour and monochrome illustrations. Remainder, new. No dustwrapper as issued. Terry Gilliam's 'pre-posthumous' memoir, as it is subtitled, is published shortly after an erroneous obituary of Gilliam appeared in the magazine Variety. Gilliam arrived in London in the summer of 1967, abandoning a promising career in advertising and a covetable house in Laurel Canyon to follow his girlfriend, journalist Glenys Roberts, to England. He was the secret weapon of the Monty Python team - giving a visual identity to the show that similar others lacked. In effect, Gilliam found a way to 'brand' the Pythons, by co-opting the distinctive Sixties-era Victoriana seen on the Beatles' Sergeant Pepper cover or in the clothing store I Was Lord Kitchener's Valet. Gilliam's carnivalesque lettering and his animated cut-outs of stomping feet and bathing beauties tied the sketches together. Gilliamesque is beautiful in itself, recalling the two books that he designed for the Pythons in the Seventies. It also helps Gilliam to explain his films and argues that his own films are tethered in observation: 'What I do is all about the messy, weird, unexpected things that only come out of the way reality works.' Gilliam is a true original and it is reassuring to discover that he knows exactly why he is: messy yet realistic and, like the Spanish Inquisition of his Python days, always unexpected. - from Nicholas Blincoe
Click here to order

Gottlieb, Sidney
Alfred Hitchcock Interviews
University Press of Mississippi, Jackson MS USA, 2003.
Octavo; paperback; 219pp. Some minor marks to the text block edges. Near fine. Such films as 'Psycho', 'North by Northwest', 'Spellbound', 'Vertigo', 'Rear Window', 'To Catch a Thief', 'Notorious', and 'The Birds' made the Hitchcock imprint synonymous with both stylish, sophisticated suspense and mordant black comedy. Alfred Hitchcock was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career - as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director. These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and colour, his relationship to the medium of television, and the attractions and perils of realism.
Click here to order

Griffith, Richard
The World of Robert Flaherty
Victor Gollancz, London, 1953.
Hardcover, octavo; blue boards with gilt spine titling; 165pp., monochrome plates. Minor wear; foxing to endpapers, pastedowns and prelims with occasional scattered spotting throughout; lightly toned text block edges; slightly worn and rubbed dustwrapper with tiny missing segments at spine extremities and corners. Good to very good and protected in archival film with white paper backing. Compiled as a tribute to the great director, it mostly comprises extracts from Flaherty's own records and diaries, his wife's letters and books, and Pat Mullen's book about the making of the film on the Aran Islands.
Click here to order

Hammond, Paul
Marvellous Melies
Gordon Fraser, London, 1974.
Octavo; paperback; 159pp., with monochrome illustrations. Mild wear; faint spotting to text block edges; mild rubbing to covers. Very good.
Click here to order

Lax, Eric
Conversations with Woody Allen: His Films, the Movies, and Moviemaking
Alfred Knopf, New York, 2007.
Small quarto hardcover; quarter bound with black papered boards and white spine with black spine titling; 386pp., monochrome illustrations. A few faint spots on upper text block edges and very mild rubbing to dustwrapper. Near fine otherwise.
Click here to order

Le Fanu, Mark
The Cinema of Andrei Tarkovsky
British Film Institute, London, 1987.
Octavo; paperback; 156pp., with monochrome illustrations. Minor wear; a few faint spots to the text block edges; creased spine; mild rubbing and edgewear to covers. Very good.
Click here to order

Leaming, Barbara
Orson Welles A Biography
Viking/Penguin Group Inc., New York NY, 1985.
Hardcover, octavo, xii, 562pp. Illustrated. Owner's book plate on endpaper. Lightly spotted endpapers and text block edges. Illustrated dustwrapper spotted and slightly worn at edges. Very good and professionally protected by superior non-adhesive polypropylene film. While it is a shame that Orson Welles, great filmmaker and master raconteur, never wrote a full account of his life, this book is the next best thing to a Welles autobiography. Barbara Leaming's main sources are the hundreds of hours of interviews she conducted with Welles in the three years before his death. Though clearly biased toward its subject, this book benefits considerably from Welles's wit and charm, which can be felt in Leaming's summaries of the director's experiences and in the generous number of quotations from Welles himself. At Leaming's urging, and to the reader's great pleasure, Welles recounts the whole of his fascinating life, discussing his relationship with his parents and guardians; his early promise as a musical and artistic prodigy; his brilliant successes in the theatre while still a teenager; his foundation - with John Houseman- of the Mercury theatre; the legendary radio broadcast of The War of the Worlds; the triumph of Citizen Kane; the successful efforts of RKO studios to alter and crush the films he made after Kane; his friendship with Franklin Roosevelt; his marriage to Rita Hayworth and countless other affairs (including a rhapsody on Dolores del Rio's custom-made underwear, if that's your cup of tea); his relationship with Oja Kodar; and his later film career in America and Europe. An entertaining read that unfolds like a good novel, Orson Welles offers a perspective on the maestro's life that deserves to be compared to more recent biographies of Welles by Frank Brady, Simon Callow, and David Thomson, all of which have prejudices of their own.
Click here to order

Lumet, Sidney
Making Movies
Alfred Knopf, New York, 1995.
Octavo hardcover; quarter bound black papered boards with blue cloth spine with silver gilt spine titling; 220pp., untrimmed page edges. Faint spotting to text block edges and mild rubbing and edgewear to dustwrapper. Very good.
Click here to order

McBride, Joseph
Searching for John Ford A Life
St Martin's Press, New York NY, 2001.
First edition: octavo; hardcover, with gilt spine titles; 838pp., with a monochrome portrait frontispiece and 32pp. likewise. Moderate wear; slightly shaken; spine extremities softened; remainder mark to the text block top edge. Dustwrapper is lightly rubbed and edgeworn; a small tear along the front upper hinge of wrapper; now professionally protected by superior non-adhesive polypropylene film. Very good. It's become a cliche to say that a biography reflects the spirit of its subject. But in this case it appears to be true. McBride's book has the sweep, passion, complexity and tragic grandeur of a great John Ford film. Thoroughly detailed and researched, the book fills in the gaps and gives us the man in full: sentimental yet cruel, brilliant yet feigning illiteracy, politically liberal at one moment and conservative the next.
Click here to order

McGilligan, Patrick
Nicholas Ray The Glorious Failure of an American Director
HarperCollins, New York NY, 2011.
Hardcover, octavo, 552pp., monochrome illustrations. Dustwrapper. Remainder. New. Nicholas Ray spent the glory years of his career creating films that were dark, emotionally charged, and haunted by social misfits and bruised young people consumed by private anguish - from his career-defining debut, They Live by Night (1948), to his enduring masterwork, Rebel Without a Cause (1955); from the noir thriller In a Lonely Place (1950), pairing his second wife, the blond bombshell Gloria Grahame, with Humphrey Bogart, to cult pictures like Johnny Guitar (1954) and Bigger Than Life (1956). Yet his work on-screen is more than matched by the passions and struggles of his personal story - one of the most dramatic lives of any major Hollywood filmmaker.
Click here to order

Malle, Louis (ed. Philip French)
Malle on Malle
Faber and Faber Ltd., London, 1993.
Octavo hardcover; black boards with white spine titling; 240pp., monochrome illustrations. Lightly browned text block and page edges; rubbing to spine panel extremities and corners of dustwrapper. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film.
Click here to order

Orr, John & Elzbieta Ostrowska (eds.)
The Cinema of Andrzej Wajda: The Art of Irony and Defiance
Wallflower Press, London, 2003.
Paperback, octavo; 205pp., monochrome illustrations. Remainder. New.
Click here to order

Renoir, Jean (Lorraine LoBianco & David Thompson, eds.)
Jean Renoir Letters
Faber and Faber Ltd., London, 1994.
Octavo; hardcover; 605pp., with many monochrome illustrations. Minor wear; text block edges well toned; a mark to the text block fore-edge. Dustwrapper is rubbed with some edgewear; a small tear to the head of the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. A collection of the letters of the celebrated film-maker, Jean Renoir. Jean Renoir was a film director, screenwriter, actor, producer and author. He was the second son of Aline Charigot and the French painter Pierre-Auguste Renoir. He was also the brother of Pierre Renoir, a noted French stage and film actor; the uncle of Claude Renoir, a cinematographer; and the father of Alain Renoir, late professor emeritus of comparative literature at the University of California at Berkeley. As a film director and actor, he made more than forty films from the silent era to the end of the 1960s. As an author, he wrote the definitive biography of his father, "Renoir, My Father" (1962).
Click here to order

Richie, Donald, with Joan Mellen
The Films of Akira Kurosawa Third Edition Expanded and Updated
University of California Press, Berkeley CA, 1996.
Square quarto; paperback; 270pp., with many monochrome illustrations. Mild wear; covers a little rubbed and edgeworn with some creasing. Very good.
Click here to order

Robinson, Andrew
The Apu Trilogy Satyajit Ray and the Making of an Epic
I.B. Tauris, London, 2011.
Hardcover, octavo; black boards with gilt spine titling; 212pp., monochrome illustrations. Minor wear; small mark on side-text block edges. Otherwise fine. No dustwrapper as issued.
Click here to order

Robinson, David
Georges Melies Father of Film Fantasy
The Museum of the Moving Image (MOMI)/British Film Institute (BFI), London, 1993.
Square octavo; paperback; 60pp., with many monochrome illustrations, 1 folding. Moderate wear; covers rubbed with some edgewear. Very good.
Click here to order

Sato, Tadao
Kenji Mizoguchi and the Art of Japanese Cinema
Berg Publishers, Oxford UK, 2008.
Octavo; paperback; 196pp. Remainder. New. One of the three acclaimed masters - together with Ozu and Kurosawa - of Japanese cinema. A definitive guide to his life and work. Born at the end of the nineteenth century into a wealthy family, his apprenticeship in cinema was peculiarly Japanese but the concerns of his maturity - the role of women and the realist representations of Japanese society - were not.
Click here to order

Schickel, Richard
The Men Who Made The Movies Interviews with Alfred Hitchcock; Raoul Walsh; Frank Capra; Vincente Minnelli; George Cukor; Howard Hawks; William A. Wellman; King Vidor
Atheneum, New York, 1975.
Small quarto hardcover; quarter bound blue gray boards with red cloth spine and gilt spine titling, ochre endpapers; 303pp., b&w illustrations. Mild rubbing to board edges; browned text block upper edge and light spotting to other edges; rubbed black illustrated dustwrapper with mild edgewear (now professionally protected by superior non-adhesive polypropylene film). Very good.
Click here to order

Simon, Joan (ed)
Alice Guy Blache: Cinema Pioneer Cinema Pioneer
Whitney Museum of American Art, New York, 2010.
Hardcover, octavo, 148pp. Dustwrapper. Remainder. New. A celebration of the career and achievements of the first woman director. She early created films for Gaumont in Paris, working for them from 1896 to 1907. Subsequently she married and moved to the United States, where she established her own film company and worked as an independent director.
Click here to order

Sinclair, Andrew
John Ford
George Allen & Unwin, London, 1979.
Hardcover, octavo, 305pp., monochrome plates. Lightly toned text block edges with a few spots; dustwrapper spine lightly faded along spine (now professionally protected by superior non-adhesive polypropylene film). Very good otherwise.
Click here to order

Spoto, Donald
The Life of Alfred Hitchcock The Dark Side of Genius
William Collins & Sons, London, 1983.
First edition: octavo; hardcover, quarter-bound in papered boards with gilt spine-titling; 594pp., with many monochrome photographic illustrations. A minor bump to the spine head; text block edges lightly toned; a binding error to the rear endpapers. Dustwrapper is edgeworn with some minor chips and associated creasing; a 5cm tear to the bottom of the upper flap turn; now backed by archival-quality white paper and professionally protected by superior non-adhesive film. Very good. A controversial biography which presents a less than flattering portrait of its subject, but as the author himself concludes: ''He drew so deeply from the human reservoir of imagery and dream and fear and longing that he achieved universal appeal. Had his films been simple incarnations of his own fantasies and dreams, with no wider reference, he would have perhaps won a small and devoted group of admirers. But he expressed those elusive images and half-remembered dreams in terms that moved and astounded and delighted and aroused awe from millions round the world.''
Click here to order

Stirling, Monica
A Screen of Time A Study of Luchino Visconti
Helen and Kurt Wolff Books/Harcourt Brace Jovanovich, New York NY, 1979.
Octavo; hardcover, full cloth with gilt spine titles and decorations; 295pp., with 32pp. of monochrome plates. Mild wear; slightly rolled; spine extremities lightly softened; light spotting to the text block edges; previous owner's ink inscription to the flyleaf. Dustwrapper rubbed and edgeworn; spine panel sunned; now professionally protected by superior non-adhesive polypropylene film. Very good.
Click here to order

Tarkovsky, Andrey A (Hans-Joachim Schlegel & Lothar Schirmer, eds, & intro.)
Tarkovsky: Films, Stills, Polaroids & Writings
Thames & Hudson, London, 2012.
Large quarto hardcover; beige papered boards with black spine titling and upper board stamped publisher's insignia, red endpapers; 320pp., 350 llustrations in colour and monochrome. One or two faint tiny marks on half-title page. Otherwise near fine in like dustwrapper now professionally protected by superior non-adhesive polypropylene film. Tarkovsky's films are characterized by metaphysical themes, extended takes, an absence of conventional dramatic structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel. He directed the first five of his seven films - Ivan's Childhood, Andrei Rublev, Solaris, Mirror and Stalker - in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985. This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky's work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was 'the greatest, the one who invented a new language.' Extracts from Tarkovsky's own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as 'sculpting in time'. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today.
Click here to order

Tasogawa, Hiroshi
All the Emperor's Men Kurosawa's Pearl Harbour
Applause, Milwaukee WI, 2012.
Hardcover; octavo; dustwrapper; 337pp., monochrome illustrations. Remainder. New. "Akira Kurosawa was without a doubt one of the finest directors to work in the Japanese film industry. He was also one of the very few whose oeuvre won worldwide acclaim. His mastery of the medium together with his reputation in Japan for being a demanding perfectionist led to him acquiring the nickname 'the Emperor'. So it is perhaps not surprising that in 1966, when Twentieth Century Fox Film Corporation was contemplating making a film about the notorious 1941 Japanese attack on Pearl Harbor as examined from both American and Japanese perspectives, the producer, Elmo Williams, recommended Kurosawa to direct the Japanese sequences. Kurosawa was suitably courted and set about working with his usual attention to detail. Not only did he work with the writers of the film script, but he also drew his own storyboards showing how each shot in every scene should look. Shooting began in December 1968 but, three weeks later, the celebrated director was summarily dismissed and expelled from the studio. Almost immediately there was a media outcry and rumors were rife. It was said by some that Kurosawa had had a nervous breakdown - there were countless stories of his eccentricities on the set - while others believed it was a plot by his associates who were bent on betraying him, and some even blamed a Hollywood conspiracy. Ironically, the tragic thread that Kurosawa had seen in the story of Pearl Harbor - almost Lear-like in its poignancy - was playing out in real life - his life. This was a classic example of what happens when two cultures clash: miscommunication, unread assumptions, and misunderstood expectations. Hiroshi Tasogawa, the author of 'All the Emperor's Men: Kurosawa's Pearl Harbor,' is singularly well placed to write this definitive book. A seasoned journalist who has reported for NHK and The Associated Press, and who was a professor of media at Tokai University, Tasogawa served as translator, interpreter and researcher to Kurosawa at the time he was engaged with the film. Tasogawa's earlier work, 'Kurosawa vs. Hollywood: The True Story behind Tora! Tora! Tora!' written in Japanese - was widely acclaimed and won no fewer than four prestigious awards. But his current publication is not a translation. It is a completely reworked manuscript that draws on previously unavailable documentation from Twentieth Century Fox and other archives. 'All the Emperor's Men' has the support of the Kurosawa family, who collaborated with the author and thus enabled him to produce a definitive account of what happened on and off the set of what might have been one of Hollywood's greatest films. Chapter by chapter, Tasogawa sets out in meticulous detail the events that led up to the momentous decision to dismiss 'the Emperor'. The reader is let in on internal meetings and exchanges of correspondence at the film studio; invited onto the carefully constructed - and often reconstructed - sound stages in the Kyoto film studios; and catches glimpses of Kurosawa's shooting scripts. Often courting controversy, Kurosawa, on this occasion, dismayed the world of Japan's professional actors by casting non-professionals to play the leading naval characters and invited ridicule by parading them in public in their costumes. But there were other more worrying eccentricities. These the author deals with in a detached but sympathetic way, inviting us to form our own judgment: was Kurosawa mentally unstable or otherwise ill? The expert medical evidence is examined for the first time. This is a compelling piece of investigative reporting that sheds completely new light on the controversy that surrounded the aborted partnership between one of Japanese cinema's leading masters and one of Hollywood's giants. It is written with authority and compassion and will appeal to anyone with an interest in the world of Japanese cinema. Far more reaching than that, however, it will draw the attention of anyone who has an interest in cross-cultural communications and wonders why, sometimes, the best of intentions are simply not enough to achieve a common goal. " - Japan Today
Click here to order

Taylor, John Russell
Hitch The Life and Work of Alfred Hitchcock
Faber and Faber Ltd., London, 1978.
Octavo; hardcover, with silver-gilt spine-titling; 320pp., with 16pp. of monochrome photographic plates plates. Lightly toned and spotted text block edges with a few small marks. Very good to near fine in like dustwrapper. First edition. An authorised biography. The author, a distinguished film critic and friend of Hitchcock's, enjoyed his full cooperation. Based on numerous interviews, with photos from the private family albums, and an in-depth study of the making of his last film.
Click here to order

Toth, Andre de
Fragments: Portraits from the Inside
Faber & Faber, London, 1994.
Octavo hardcover; blue boards with silver gilt spine titling; 466pp., b&w plates. Owner's name. Toned and spotted text block and page edges; mild edgewear to dustwrapper. Very good. Wrapper now professionally protected by superior non-adhesive polypropylene film.
Click here to order

Vertov, Dziga (trans. Kevin O'Brien & ed. Annette Michelson)
Kino-Eye: The Writings of Dziga Vertov
University of California, Berkeley, 1984.
Hardcover, octavo; quarter bound gray paperred boards with red cloth spine and silver gilt spine titling, black endpapers; 344pp., monochrome illustrations. Minor wear; owner's name; spotting to text block edges; mild rubbing to dustwrapper (now professionally protected by superior non-adhesive polypropylene film). Very good.
Click here to order

White, Jerry
Master of Fear The Films of Kiyoshi Kurosawa
Stone Bridge Press, Berkeley CA, 2007.
Quarto; paperback; 224pp., monochrome illustrations. Remainder. New. Here is the first book in English about Japan's modern master of fear and horror. The book traces Kiyoshi Kurosawa's humble beginning in the pink film industry through his evolution into yakuza movie director and the celebrated filmmaker of gripping works like Cure and Pulse. Included are essays on twenty-five films, a filmography, and a sit-down interview.
Click here to order

Willoughby, Bob (foreword Sydney Pollack)
The Star Makers: On Set with Hollywood's Greatest Directors
Merrell, London, 2003.
Quarto hardcover; black boards with silver gilt spine titling; 351pp., colour and monochrome plates and illustrations. Minor wear; slight chipping to spine panel extremities. Near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. This book collects Willoughby's candid photographs from the sets of various great films since the 1950s. Also included are filmographies of the directors with whom he has worked. As the subtitle indicates, he really has collaborated with many of the great cinema luminaries. Beginning with Vincente Minnelli, they include Orson Welles, William Wellman, George Stevens, Mike Nichols, William Wyler, Alfred Hitchcock, and others. The most interesting aspect of this book is indisputably the photos (most of them black and white), many of which were shot in informal settings, showing directors and actors in seemingly unguarded moments. He made himself seem invisible, Willoughby said, by blending in with the movie crew, once he realized they were invisible to the actors. In turn, he revealed 'actors and actresses as themselves, not merely as characters they played,' the Times of London reported in 2003. Willoughby turned his lens on many of the movie legends, including Marilyn Monroe, John Wayne, Humphrey Bogart and Elizabeth Taylor.
Click here to order

Zucker, Carole
The Idea of the Image Josef von Sternberg's Dietrich Films
Associated University Presses Inc., Cranbury NJ, 1988.
Octavo; hardcover, with gilt spine titles; 159pp., with many monochrome illustrations. Mild wear; faint spotting to the text block edges. Dustwrapper is rubbed and edgeworn; sunning along the spine panel; now backed by archival-quality white paper and professionally protected by superior non-adhesive polypropylene film. Very good.
Click here to order