From Publishers Weekly
This rare glimpse into the photo archives of one of Hollywoods most formidable and enduring movie studios contains a compendium of images notable for what they reveal about the art of filmmaking. A picture of Gene Tierney on horseback waiting to shoot the scene where she scatters her fathers ashes in Leave Her to Heaven, for example, offers a voyeuristic view of Tierney "in character." "If you study her face," observes director Martin Scorsese, "you can see that her mood uncannily reflects the mood of the scene." The backstage, off-camera moments like this one illuminate this collection and set it apart from other movie-related, coffee-table tomes. Foxs photo archives date from 1917 and include such memorable movie images as Marilyn Monroe posing, her back to the camera, in Gentlemen Prefer Blondes and Orson Welles and Tyrone Power taking a coffee break on the set of The Black Rose. The organization is haphazard, with old photos facing new ones and different images from the same movie scattered throughout. Sadly, the book is light on text, and those unfamiliar with the Golden Age of filmmaking will wish it contained more in-depth caption information to give some of the obscure images historical context. Ultimately, however, this collection is a heady mix of the old and new, of the classic and the "forgotten," and movie lovers who have a particular interest in films from the 30s, 40s and 50s will find it a visual feast.
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There are only two pages of prose in this album of movie stills, so it had better not be just another bunch of glamour-puss mug shots. And it isn't. Oh, sure, several intentionally flattering portraits do appear, but most of these pictures seem to be "candids," taken when their subjects weren't posing or were absorbed in the immediate task, whether a wardrobe check (Shelley Winters, in her
Poseidon Adventure duds, holds the ladies' wardrobe board in one hand, and what's that in the other--a brownie? a Chunky?) or a break (Jayne Mansfield rises from a bubble bath in a remarkably subtle one-piece). Cables, lights, mikes, and cameras are often visible, and often the particular movie's sets aren't; perhaps the best Taylor-Burton
Cleopatra shot shows a lithe young man airborne in a trampoline-boosted back flip. Among the loveliest images are those of forgotten early-1930s players Boots Mallory and Joyzelle Joyner; among the most intriguing and amusing shots is one of an ecstatic Ava Gardner being crushed by a canvas behemoth. Great stuff!
Ray OlsonCopyright © American Library Association. All rights reserved