By Mark Griffin
Drawing on greater than a hundred interviews with such icons as Kirk Douglas, Angela Lansbury, Lauren Bacall, Tony Curtis, and George Hamilton, Griffin turns the highlight at the enigmatic “elegant director,” revealing long-kept secrets and techniques on the middle of Minnelli’s genius.
Read Online or Download A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli PDF
Similar arts & literature books
This portrait of a distinct partnership can be the tale of a pivotal time and position in Australian artwork and politics. Judith and Clifton Pugh met in September 1970. He was once an artist with a global popularity; she was 20 years more youthful than him and had simply joined the Australian hard work celebration. Their decade jointly was once a heady mixture of portray, coverage, and delight the place the limits among political, social, and paintings worlds have been blurred, reflecting the swiftly altering face of Australian society.
A kid's booklet approximately Bongo.
For greater than fifteen years, Edward Weston saved a diary during which he recorded his fight to appreciate himself, his society, and his medium. Seldom has an artist written approximately his lifestyles as vividly, in detail, or sensitively. His magazine has turn into a vintage of photographic literature. A towering determine in twentieth-century images, Weston sought to rouse human imaginative and prescient.
Gervais exhibits additionally how Bergman's paintings resonates in a wider sphere than the private. His motion pictures, that are the ultimate within the background of cinema in caliber, consistency, and relevance, are the most important moments in an ongoing dialog with western tradition in its frenetic evolution due to the fact that international struggle II.
- Paul Bowles on music
- Basic Concepts of Probability and Statistics in the Law
- Jean Renoir
- Glenn Ford: A Life
Extra resources for A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli
The detail-obsessed director had overlooked his sibling in his autobiography. Why? Another person I talked to was curious to know what I had discovered about that terrible tragedy involving Vincente’s adored Uncle Frank. The terrible tragedy. Yes, of course. What terrible tragedy? Early on, a fellow biographer had advised me to play dumb when talking to people, but it quickly became clear that no playing would be necessary. Just because I had seen The Sandpiper more times than was psychologically advisable didn’t mean that I really knew anything about the man who had created it.
If Minnelli’s movies are indeed autobiographies in code (and many can certainly be “read” that way), his achievement is all the more extraordinary when one considers the fact that all but three of his pictures were made during his twenty-six-year association with Metro-Goldwyn-Mayer, Hollywood’s preeminent “Dream Factory”—but a factory nonetheless. I was intrigued. Just how had Vincente managed to produce such self-reflexive and personal work while toiling away at the most conservative and lockstep of the major studios?
C. Minnelli. It was anything but love at first sight, as almost immediately, the star and her musical director clashed over her accompaniment. Eventually the smoke cleared and the leading lady found herself attracted to this ambitious, obstinate Italian American, who knew his way around a tune and how to charm everyone into doing things his way. C. and Mina were married in Chicago. To those who followed her career as a high-spirited soubrette, Mina seemed to be sacrificing a bright future on the Broadway stage in favor of marriage.