- Paperback: 200 pages
- Publisher: McFarland (March 27, 2017)
- Language: English
- ISBN-10: 1476665303
- ISBN-13: 978-1476665306
- Product Dimensions: 6.2 x 0.5 x 9 inches
- Shipping Weight: 9.6 ounces (View shipping rates and policies)
- Average Customer Review: 9 customer reviews
- Amazon Best Sellers Rank: #1,537,236 in Books (See Top 100 in Books)
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The W.C. Fields Films
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"solid, well-researched, enjoyable...a great source to learn more about the unique vintage comedy star, one of the few silent veterans to prosper in the sound era"--Plan 9 Crunch.
About the Author
James L. Neibaur is a film historian and educator with more than a dozen books and articles in Cineaste, Classic Images, Film Quarterly, Films in Review, Filmfax, and Encyclopædia Britannica.
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Since then, the Marx comedies—select titles, at least—are still being revived (though to a lesser extent) but the Fields movies are not as prominent as they once were on television and the film-festival circuit. And even though most Fields films are available on DVD, his recognition factor is, sadly, lower than it once was. Today people under a certain age haven’t a clue who he is or what a vital contribution he made to motion pictures.
Like many of the great movie comedians—and he definitely is one—it took a while for Fields to define and refine his irascible underdog persona. After starring in a series of silent movies (which were very entertaining despite the obvious drawback of not being able to hear his trademark nasally drawl), Fields hit his prime with some of the funniest comedies ever made: IT’S A GIFT, THE MAN ON THE FLYING TRAPEZE, YOU’RE TELLING ME, THE FATAL GLASS OF BEER, THE OLD FASHIONED WAY and THE BANK DICK among them.
As the title indicates, this book chronicles Fields’ entire cinematic output, and does so in an engaging and informative manner, incorporating biographical data and insightful critiques. Hopefully, it will go a long way in serving as a reminder of (or an introduction to) this master comedian and his important body of work.
claiming that if the film were miraculously available for a current screening, it might just be amusing in an absurdist way. With so many films in the Fields canon now available in beautiful prints on DVD (not to mention two soon-to-be-rereleased silent features, It's the Old Army Game and Running Wild), Mr. Neibaur's publication is almost Fieldsian in its timing. Highly recommended.