Books on Duke's Movies

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    Zmiewsky and Ricci. (1970)

    First edition done in 1970, when the True Grit Oscar brought a new interest to JW’s career, next edition (as “The COMPLETE Films of…”) came after his death. Probably the first time somebody took the time to count the films and assemble stills to each and every one of them. Still considered to be the definite list – although in the meantime many silent films in which JW participated, sometimes as a crowd extra – aren’t mentioned here.
    If you are looking for John Wayne films this is the book to have. It tells what the film is about, who also starred in and what year it was made. It also has plenty of photos to help you recognize what movie it is and if it is the one you are looking for. The book has some interesting facts about some of the movies.

    Carolyn McGivern. (2006)

    In a career of more than fifty years—spanning the Golden Era from 1926 to 1976—Hollywood icon John Wayne created a treasure trove of movies. Today, scarcely an hour goes by without one of them appearing on television somewhere in the world. With most of the Wayne films available for his fans today, just a few of them remain unavailable in this era of remastered miracles. Of all the movies he made beyond the 1939 Stagecoach age, only two have been kept from the public: Island in the Sky and The High and the Might.

    These two aerial films were made and released in the mid-1950s when the John Wayne cowboy and war-hero box-office phenomenon was reaching its zenith. His starring performances in both are legendary, even if the films are seldom seen. Both were produced by Wayne-Fellows, Wayne's independent film production company, and directed by William A. Wellman, and both were based on novels by Ernest K. Gann, a veteran pilot of distinction who oversaw the screenplays and was technical adviser on the films. William H. Clothier, the aerial cameraman on both films, as he was on many John Wayne films, was sometimes referred to as "Wayne's Cameraman."

    Many reasons have been suggested for why the two films have been unavailable until the summer of 2005, from the thought that the original films were damaged and the copies were not good enough for additional distribution to the theory that they have been withheld for a future grand release. Some have said that when Wayne commented late in his life that he hoped people remembered perhaps six of his best pictures and forgot the rest, he may have had Island in the Sky and The High and the Might in mind. Whatever the reasons may be, The Lost Films of John Wayne honors his work in both films and serves as a loving portrayal of some of the lesser-known images he left behind.

    Peggy Thompson/ Saeko Usukawa. (1998)
    Great Lines

    (1998/Subgenre) English, Paperback, 22,5x22 cm, 118 pages; 'Tall In The Saddle' salutes the best-loved of American film genres, the Western, with over 350 great lines culled from nearly 150 classic movies. The spirit of the West in all its grit and glory - a rugged world of lawmen, outlaws, homestead wives, floozies, and hired guns - is expertly captured in this chronicle of cinematic life on the frontier. Great illustrated b&w and color pictures. A ammunition for any swaggering gunslinger. Last copies !!! / "Tall In The Saddle" ist eine Hommage and das meistgeliebte amerikanische Filmgenre, den Western. Mit über 350 Zitaten aus 150 klassischen Western. Der Geist des Westens in seiner ganzen Fülle! Großartige s/w und Farbabbildungen. Einige Restexemplare ! "If you can see them, they're not Apaches" Capt.Kirby (John Wayne)

    And it contains 118 pages of lines from Famous Westerns.

    John Wayne Lines include

    Angel & The Badman, The Alamo, The Big Trail, The Dark Command, El Dorado
    Fort Apache,, Hondo, The Man Who Shot Liberty Valance, Red River, Rio Bravo
    The Searchers, She Wore A Yellow Ribbon, Stagecoach, Tall in the Saddle, True Grit, The War Wagon

    So if you want to know in what film the conversation went

    "I say we do it my way - and that's an order."
    "Yes, sir. But if you're wrong don't ever give me another."*

    This is the book for you

    Its Published by Chronicle Books San Francisco
    And it contains 118 pages of lines from Duke's and other Famous Westerns.

    Barry Keith Grant (2002)
    (Cambridge Film Handbooks)

    Stagecoach is one of the classics of Hollywood cinema. Made in 1939,
    it revitalized the Western genre, served as a milestone for John Ford's career, and made John Wayne a star.
    This volume offers a rich overview of the film in essays by six leading film critics.
    Approaching Stagecoach from a variety of critical perspectives, it considers it within
    the contexts of authorship, genre, American history and culture.
    It also examines the film's commentary on race, class, gender and democracy,
    while remaining attentive to the film's artistry.

    So far it's pretty interesting - the kind of stuff I think you'd enjoy reading. It consists mostly of critical essays written by various film scholars/historians. For example, "Stagecoach and Hollywood's A-Western Renaissance," "Powered by a Ford?: Dudley Nichols, Authorship, and Cultural Ethos in Stagecoach," "That Past, This Present: Historicizing John Ford, 1939," "A Little Bit Savage: Stagecoach and Racial Representation," "Be a Proud, Glorified Dreg: Class, Gender, and Frontier Democracy in Stagecoach," & "Stagecoach and the Quest for Selfhood." There are also three contemporary (i.e., 1939) reviews of the film.

    Elizabeth Bowen. (2000)

    York Film Notes published by Longman York Press.
    This is a serious book for anyone studying the film
    with 88 pages first published 2000.

    Discusses Stagecoach from a broad academic and critical perspective, setting plot, themes and techniques in context and exploring the film’s significance. This York Film Note encourages students to appreciate differing interpretations of each film and to develop their own critical thinking.

    Richard J. Anobile. (1975)
    (Film Classic Libraries) Illustrated Screenplay

    This volume contains frame blow-ups and dialogue from the classic 1939 United Artists film STAGECOACH. The film was produced by Walter Wanger and directed by John Ford. John Wayne starred with Claire Trevor.
    John Ford's Stagecoach (Starring John Wayne), 1975 1st Edition, edited by Richard J. Anobile. Book is all about the making of the famous movie and is generously illustrated with pictures from the movie. Hardcover with 256 pages, published by Universe Books.
    The Film Classic Library presents the most accurate and complete reconstruction of a film in book form: over 1,200 frame blow-up photos shown sequentially and coupled with the complete dialogue from the original soundtrack, allow you to recapture this film classic in it's entirety -- at your leisure.

    Before everybody had a VCR this was the book to have – and it’s still wonderful: the whole film in photographs, every scene of it, along with the dialogue, and a text about the making of the classic.

    Edward Buscombe.(1992)
    ( BFI Film classics series)

    Shedding new light on an old favorite, this is an enjoyable account of how "Stagecoach "was made. This book combines a with a careful scene-by-scene analysis, a wealth of illustrations and the most complete credits yet assembled.
    Analyze this! A scene by scene analysis.

    a Film by John Ford and Dudley Nicholls

    (Classic Film Scripts)
    David Newman/ Robert Benton.(1939)

    The complete film script with added information for film scholars.

    Des McHale. (2002)

    Amazingly and astoundingly in-depth. Includes the short story by Maurice Walsh that inspired the film, a complete cast list (including the names of stunt doubles, the names of all the horses, the names of extras, the names of everyone in any way [no matter how insignificant] connected with the film and their entire life story, it would seem), complete & detailed maps of locations in case anyone wants to do a pilgrimage, new photos of all the locations... it's mind-boggling. There are also some great photos taken behind the scenes and lots of behind the scenes anecdotes. Every scene and practically every shot and every word of dialogue is analyzed in depth - from perspectives varying from historical, to symbolic, to Irish folkloric, to technical... the guy makes a big deal about a stupid little fly landing on Maureen O'Hara's cheek, for cryin' out loud.
    But it's a lot of fun if you love this movie, and who doesn't love this movie?

    John Ford's Oscar-winning `The Quiet Man' (1952), based on the story by Maurice Walsh, is one of the best-loved and most popular films of all time, and nowadays one of the best-selling videos also. `The Complete Guide To The Quiet Man' is a celebration of every aspect of the film - the background, the stars, the shooting, the screenplay, the influences, and the many legends and stories that have grown up around it. This book could just as easily have been called "Everything You Ever Wanted To Know About The Quiet Man" - the shooting locations with dozens of detailed maps; a very comprehensive cast and crew list; hundreds of previously unseen photographs taken by both amateurs and professionals; a detailed analysis of every word of the dialogue; video timings of all the scenes; and above all the inside story and a thorough discussion of the whole `Quiet Man' phenomenon, which have all led to one of the greatest cult movies of all time.

    If you are already one of the many millions of "Quiet Maniacs" who already know and love the film then this book is a must for you. If you are not yet a fan, then maybe it is time you learned why John Ford is regarded as one of the greatest film directors the world has ever known; why the electric partnership of Maureen O'Hara and John Wayne was one of the silver screen's most erotic combinations; how the beautiful scenery of the West of Ireland first came to international attention as a result of the Oscar-winning colour cinematography of Hoch and Stout; and why Barry Fitzgerald and Victor McLaglen became two of the cinema's best-loved character actors.

    We can confidently predict that `The Quiet Man' will be around as long as there are moviegoers to watch it, a monument to the genius of John Ford, Maurice Walsh and its many stars. In the case of this western shot in Ireland, we can justly say "This is the West of Ireland - when the fact becomes legend, print the legend!"

    PICTURE THE QUIET MAN: An Illustrated Celebration
    Des McHale. (2005)

    Written by a true fan, this reflection on one of the most loved Irish films of all time collects mementos from John Ford's Oscar winning The Quiet Man. Although made more than 50 years ago, this romance, starring John Wayne and Maureen O'Hara, continues to fire the imaginations of Ireland's visitors, would-be visitors, and lovers of cinema. This collection serves as a photo album, with candid shots from behind the scenes and stills from the film itself, a miscellany of little-known facts about the locations, bit parts, costumes, and directorial commentary, and never-before-published material that will charm film buffs and engage film historians.
    About the Author
    Des MacHale was born in Castlebar County Mayo, not far from where The Quiet Man was filmed. He is a professor of mathematics at University College—Cork and the author of more than 50 books, including The Complete Guide to The Quiet Man.

    Gerry McNee. (1991)

    Turned down by all the major film companies, The Quiet Man brought together John Wayne and Maureen O'Hara for only the second time on screen, won two Oscars and was showered with both critical and popular praise on both sides of the Atlantic. Even today, its worldwide video and DVD sales are quite outstanding. The Quiet Man is rightly hailed as a Hollywood classic. Set in the 1920s and shot in the 1950s, the timeless, fairy-tale character of director John Ford's Ireland is as captivating now as it ever was.Gerry McNee first saw the movie when he was very young and it has intrigued him ever since. In the Footsteps of the Quiet Man is a tribute to the film and all those involved in its making, for the story behind the story, the off-screen drama, is a fascinating tale in itself. McNee has researched his subject thoroughly and conducted countless interviews to produce a stimulating and compulsive homage to what critic and author Andrew Sarris called 'a retreat into the pastoral and horse-driven past [but] very much ahead of its time'. In the Footsteps of the Quiet Man is a revealing and touching account of when Hollywood came to beautiful Connemara in the West of Ireland.

    That’s what you want to call a labour of love. A filmfan who goes and writes a book about everything to know about the making of this classic. You should read it before you visit Ireland – it’ll help you along a great deal. Great photos, sometimes provided by the towns-folk themselves.

    "THE QUIET MAN" Quiz 1000
    Des Byrne. (1992)

    A unique quizbook centred entirely on questions about the John Wayne film, The Quiet Man.
    Kinda different trivia book which you’ll probably get only in Ireland:
    Questions you might be able to answer when you’ve seen the film about a 1000 times
    (and some of us are almost there, no?)

    THE QUIET MAN: Movies Made in Ireland

    Small book you might want to buy just as a souvenir when in Cong, Ireland.

    THE SEARCHERS: The Making of an American Legend
    Glenn Frankel (2013)

    In 1836 in East Texas, nine-year-old Cynthia Ann Parker was kidnapped by Comanches. She was raised by the tribe and eventually became the wife of a warrior. Twenty-four years after her capture, she was reclaimed by the U.S. cavalry and Texas Rangers and restored to her white family, to die in misery and obscurity. Cynthia Ann's story has been told and re-told over generations to become a foundational American tale. The myth gave rise to operas and one-act plays, and in the 1950s to a novel by Alan LeMay, which would be adapted into one of Hollywood's most legendary films, The Searchers, "The Biggest, Roughest, Toughest... and Most Beautiful Picture Ever Made!" directed by John Ford and starring John Wayne. Glenn Frankel, beginning in Hollywood and then returning to the origins of the story, creates a rich and nuanced anatomy of a timeless film and a quintessentially American myth. The dominant story that has emerged departs dramatically from documented history: it is of the inevitable triumph of white civilization, underpinned by anxiety about the sullying of white women by "savages." What makes John Ford's film so powerful, and so important, Frankel argues, is that it both upholds that myth and undermines it, baring the ambiguities surrounding race, sexuality, and violence in the settling of the West and the making of America.

    Editorial Reviews
    "In brilliant pursuit of truth in the territory of American myth, Glenn Frankel has created his own masterpiece of nonfiction storytelling."--David Maraniss, author of When Pride Still Mattered and They Marched Into Sunlight

    "A remarkable journey from Hollywood to Monument Valley and into the past as Frankel digs into American cultural history, unearthing some gold... A thoroughly researched, clearly written account of an obsessive search through the tangled borderland of fact and fiction, legend and myth." - Kirkus Reviews (starred review)

    "[Frankel] dexterously interweaves the testosterone-fueled Hollywood backstory of the film with the bloody turmoil that too often characterized relations between Native Americans and settlers pushing west...Frankel's retelling is a gripping portrayal of a mesmerizing period of American history." - Publishers Weekly (starred review)

    "Glenn Frankel's magisterial work of American history and cultural analysis is so adventurously researched and approached with such passionate engagement that it penetrates deeply into our national psyche. With empathy for both sides in a terrible conflict that tore our land apart and still haunts our conscience. Frankel's splendid book, written in prose so vivid that it thrusts us body and soul into the past of frontier Texas and 1950s Monument Valley, finds in this heartbreaking saga nothing less than the story of America."--Joseph McBride, author of Searching for John Ford

    "Readers who were thrilled by S.C. Gwynne's Empire of the Summer Moon will be equally fascinated by Glenn Frankel's masterful book, which widens the story of Cynthia Ann Parker into the twentieth century and into the colliding currents of history and myth. Frankel is so good - as a historian, film critic, biographer, and riveting storyteller - that he creates in The Searchers a blazing synthesis of dramatic narrative and scholarly insight."--Stephen Harrigan, author of The Gates of the Alamo and Remember Ben Clayton

    The Washington Post Review
    Courtesy of Paula

    Essays and Reflections on John Ford's Classic Western.

    (Contemporary Approaches to Film and Television)
    Arthur M. Eckstien and Peter Lehman. (2004)

    A series of in-depth examinations of the motion picture many consider to be Hollywood’s finest western film.

    Edward Buscombe. (2000)
    ( BFI Film classics series)

    This is a detailed commentary on all aspects of the film, "The Searchers", and makes full use of material in the John Ford archive in Indiana, including Ford's own memos and the original scripts, which differs in vital respects from the film he made.

    Suzanne Liandrat-Guigues. (2001)
    ( BFI Film classics series)

    (each entry of a copy into the British Film Institute is accompanied by such a book), this is in interesting read. Written from the French standpoint of film critics, and from the Cahiers de Cinema as their center stone, the author looks at Red River with Hawks as an "auteur" in mind.
    The BFI series is especially noteworthy because of their use of filmcells instead of still photographs. By using the actual film to illustrate you'll see pictures in these books you haven't seen before.

    This study explores the thematic complexity of "Red River," as well as its historical resonances and its place in film history. The author focuses on the actors' contribution to the movie and on "Red River"'s relationship to other Howard Hawks movie classics.

    Robin Wood. (2003)
    ( BFI Film classics series)

    "Rio Bravo" forms a loose trilogy with "Only Angels Have Wings" (1939) and "To Have and Have Not" (1944), which treats key Hawks themes of self-respect and friendship with exquisite subtlety, comedy and tenderness. "Rio Bravo", however, is the definitive rendition of these themes. For Robin Wood, it may be the greatest American film, the epitome of the collaborative art of the studio system, characterized by marvellous performances from Hollywood legends and relative newcomers alike; and by Hawks's complete understanding of classical filmmaking techniques.

    Wood is one of the critics who fought his whole life to give Rio Bravo
    the status as one of the best films of all times.
    And if this critic is going to write a booklet on the film,
    you're in for some analyzes you didn't think of before.
    He expects his reader to know about the Hawks
    ouvre and makes interesting cross-references to
    Only Angels Have Wings and To Have and Have Not
    with which Rio Bravo really forms a trilogy in the director's body of work
    (Wood doesn't even mention the follow-ups El Dorado and Rio Lobo
    which most consider to be the trilogy).
    Good color pictures as well.

    THE ALAMO: A Visual Celebration of John Wayne's Classic Movie
    Lee Pfeiffer and David Worral. (2009)

    Expensive limited release, individually numbered.
    The making of and behind the scenes

    This is a rare edition of the book THE ALAMO: A VISUAL CELEBRATION OF JOHN WAYNE'S CLASSIC MOVIE. Written and designed by Cinema Retro magazine publishers Lee Pfeiffer and Dave Worrall, the book recounts the dramatic and inspiring story of John Wayne's obsession with making his 1960 film that recounted one of the most famous battles in history. The production was a challenge from day one, as Wayne was not only starring and producing, but also making his directorial debut with one of the largest budgeted American movies ever made. The problems Wayne encountered were seemingly insurmountable and involved political battles, forces of nature and even a murder of a cast member. The book covers all aspects of production including the controversial Oscar campaign that became part of Hollywood lore. Despite these obstacles, Wayne managed to emerge with one of the great epics of American cinema.

    The book was designed as a limited hardback print run of only 1500 copies. The book sold out very quickly, but we have been able to get a very small number of unused copies which are available on a first-come, first-serve basis. The book was never sold in retail chains or through Amazon.

    Each copy is individually numbered and has labels signed on the interior by both authors.

    The book contains over 650 rare color & b&w photos, many of which have never been published before. There are entire sections dedicated to international marketing campaigns and collectibles tied in with the film. This is sure to be a valued collector's item in the years to come.

    The Making of the Epic Film

    Donald Clark/ Christopher P. Andersen. (1995)

    The monumental task of researching every step of the making of the epic, as well as the restoration, along with many beautiful pictures.

    This is a comprehensive and amazing inside look at John Wayne's greatest recreate on film the TRUE story of one of the most inspiring events in US History. The book explains how the Duke spent 14 years preparing for this film and an equal number of years working to pay the expenses this movie cost him PERSONALLY. He believed in this project so much that he risked EVERYTHING putting it on film....sparing NO time, effort and money. The book is packed with glossy color and b&w pictures....interviews, and background information about EVERY aspect of this great motion picture....The Alamo.

    This is one of the greatest books concerning the making of Alamo movies. Full of rare pictures and interesting stories behind the making of the epic film. This is one you won't want to pass up

    Frank Thompson.(1994)

    Everything you ever wanted to know about the Alamo films from the silents to the IMAX-presentation (for example: they used the same coat on Laurence Harvey’s Travis as in the later IMAX film).
    Very good research and real rare photos.

    Russell Birdwell.(1960)

    The infamous News Release Russell Birdwell had sent to the press when the film was promoted. News Releases are generally just a couple of pages long, with poster art and articles to use by the press – but this one was so overblown it became a 186-page-BOOK (one page for every Alamo defender). It will sell at Ebay for more than 100 bucks – hard to find. If you’re thinking of buying one, do it now – prices are going through the roof.

    The Filmgoers' Guide to Great Westerns

    Howard Hughes.(2008)

    The true story of the American West on film, through its shooting stars and the directors who shot them…

    Howard Hughes explores the Western, running from John Ford's 'Stagecoach' to the revisionary 'Tombstone'. Writing with panache and fresh insight, he explores 27 key films, and draws on production notes, cast and crew biographies, and the films' box-office success, to reveal their place in western history. He shows how through reinvention and resurrection, this genre continually postpones the big adios and avoids ending up in Boot Hill…permanently.

    Major films covered include the best from genre giants John Ford, Howard Hawks and John Wayne, plus classics 'High Noon', 'Shane', 'The Magnificent Seven' and 'Butch Cassidy and the Sundance Kid'. 'Stagecoach to Tombstone' makes many more stops along the way, examining well-known blockbusters and lowly B-movie oaters alike. It examines comedy westerns, adventures 'south of the border', singing cowboys and the varied depiction of Native Americans on screen. Hughes also engagingly charts the genre's timely renovation by Sam Peckinpah ('Ride the High Country' and 'The Wild Bunch' ), Sergio Leone ('Once Upon a Time in the West') and Clint Eastwood ('The Outlaw Josey Wales' and 'Unforgiven'). Presented too are the best of western trivia, a filmography of essential films - and ten aficionados and critics, including Alex Cox, Christopher Frayling, Philip French and Ed Buscombe, give their verdict on the best in the west.

    CODE OF HONOR: The Making of Three Great American Westerns
    Michael F. Blake. (2003)

    Code of Honor: The Making of High Noon, Shane and The Searchers is the first book to provide a detailed history of the struggles and triumphs in the production of these three classic American Western films. With access to the collections of directors Fred Zinnemann George Stevens and John Ford, author Michael F. Blake incorporates script drafts, memos, personal notes and daily production reports to explain how each film was made. Rare photos include behind the scenes shots, memorabilia.

    TRUE WEST: An Illustrated Guide to the Heyday of the Western
    Michael Barson/ Robert B. Parker(Foreword).(2008)

    Return with us to yesteryear, when cowboys were cowboys and gunslingers lurked around every corner. Today that colorful period continues to resonate in the collective imagination of red-blooded Americans everywhere--and now we have True West, which illustrates, in hundreds of full-color illustrations, how America's mass media stamped that vision so indelibly on our collective unconscious over the past century, into today.

    Boasting hundreds of rare and colorful movie posters, pulp magazines, comic books, comic strips, television memorabilia, advertisements, paperback books, record album jackets, toys, and clothing, True West covers such hugely popular television series as Gunsmoke, The Lone Ranger, and Bonanza, along with classic western novels, including Shane, The Searchers, Welcome to Hard Times, and that epic of all epics, Lonesome Dove. It also bows to the icons who ruled the silver screen--Tom Mix, Gene Autry, Roy Rogers, John Wayne, and Clint Eastwood, to name a few.

    And what would the Wild West be without an accompanying soundtrack? True West reproduces the sublime album covers and sheet music that served up classic odes like "Streets of Laredo" and "Cool Water," narrative ballads like "El Paso" (with Marty Robbins bedecked in his black gunfighter togs on the cover!), and "High Noon."

    Life Magazine. (1975)

    This 1975 "coffee table" book is just what you'd expect--and that's why I recommend it. The focus is on the famous: Great big photos of silver screen idols from the silent days through the studio era and beyond. There's a bit of history (mostly tangential to the people making the movies), a little scandal, good "behind the scenes" images and facts, and some attention to non-American film, but this is mostly the public face of Hollywood. "Life Goes to the Movies" features an outstanding collection of large format photos, many of them familiar (although many of them will be new to readers). The overriding spirit is a celebration, not of "film," but of what fans know and love as the "movies."

    The best pictures the LIFE-photographers took of JW.
    After this we know why the LIFE photographers were considered the best.

    This 1975 "coffee table" book is just what you'd expect--and that's why I recommend it. The focus is on the famous: Great big photos of silver screen idols from the silent days through the studio era and beyond. There's a bit of history (mostly tangential to the people making the movies), a little scandal, good "behind the scenes" images and facts, and some attention to non-American film, but this is mostly the public face of Hollywood. "Life Goes to the Movies" features an outstanding collection of large format photos, many of them familiar (although many of them will be new to readers). The overriding spirit is a celebration, not of "film," but of what fans know and love as the "movies."


    Continued in the next post....

    Best Wishes
    London- England

    Edited 83 times, last by ethanedwards ().

    Part 2

    THE MAGNIFICENT SHOWMAN:The Epic Films of Samuel Bronston
    Mel Martin.(2007)

    Samuel Bronston produced some of the greatest and most remembered epic films of the sixties. El Cid, King of Kings, Fall of the Roman Empire, John Paul Jones, and Circus World. With a literal 'cast of thousands', and the biggest and most historically accurate sets ever built, the films have become legendary. The Magnificent Showman tells the stories behind the making of these memorable films, and explores the ambitious and quixotic man who brought them into being. This is the story of the film making empire Bronston created in Spain, hiring reknowned Directors like Nicholas Ray and Anthony Mann, and attracting first rate talent like Charlton Heston, Christopher Plummer, Stephen Boyd, Ava Gardner, Sophia Loren, James Mason, Alec Guinness, Rita Hayworth, David Niven, John Wayne and others. In many way, the drama off screen was as exciting as the action in front of the cameras. This book highlights the behind the scenes drama and conflict as Bronston struggled to bring these great stories to the big screen, and documents the extravagance that led to tremendous success, and then colossal failure as the Bronston empire collapsed in a series of legal battles and bankruptcies. Creating an amazing 6 major films in 6 years, Samuel Bronston left a legacy of artistic quality and innovation that are fondly remembered to this day. Films will never again be made in the way Bronston made them. Then, and now, Samuel Bronston remains The Magnificent Showman.
    Many B&W photographs

    Ian Cameron/ Douglas Pye.(1997)

    With chapters on Duke and John Ford.
    Overly complicated book, more concerned with Psychology of the western.
    I gave up after a while.Great photos of Duke and others.
    By ethanedwards

    A collection of essays from contributors to "Movie" magazine, this book concentrates on the period between 1939 to the present. It considers the development of the Western film from its humble origins to its triumphant arrival in the mainstream of the cinema in 1939. Over 150 stills are included.

    Melville Shavelson. (1971)

    The Director of the ill-fated Cast a Giant Shadow reveals what went wrong: Everything! This has to be the funniest book on filmmaking. The only one he doesn’t make fun of is Wayne who helped him produce this thing – and got burned again (Shavelson told him: “Duke, this is like the Alamo in Israel!” to get him interested). Kirk Douglas didn’t like Shavelson’s accounts (sure, he looks like the baddie!) – in his own biography he got some payback when he said a man more Jewish than Shavelson would have made a better picture.

    Jessee L. Lasky Jr. (1975)

    Deals a great length with the authors relationship with Cecil B DeMille
    but includes a chapter on the Making of Reap the Wild Wind and reveals that the squid scene was an afterthought
    virtually made up on the spur of the moment to appease DeMilles anger and provide an ending to the film.

    Richard Schickel. (1975)

    First published in 1975, this is a who's who of great film directors. The book offers interviews with Alfred Hitchcock, Frank Capra, Vincente Minnelli, George Cukor, Howard Hawks, William Wellman, King Vidor, and Raoul Walsh, all of whom were among the Hollywood elite who just about invented what we know as "the movies." Each interview covers numerous subjects and is accompanied by photos. Essential for film collections.

    contains interviews with Hitchcock, Capra, Minnelli, Cukor, Vidor, and,
    of most interest to Wayne aficionado,
    Howard Hawks, Raoul Walsh and William A. Wellman.
    A great interview book. Finally, those giants got enough time to talk
    about what they liked best and did best: direct motion pictures.
    There are no questions printed, just answers, so those long interview
    really sound like those directors would write their biography.
    For instance, Hawks talks about how he would write dialogue
    to make a point without the audience realizing that;
    and how they invented that special camera to film the action in "Hatari".
    Wellman tells how he found the story to "The High and the Mighty"
    and how he got Wayne to buy it even before it was published
    (I like the way he tells the story of how he was talked into doing
    "The Story of G.I.Joe"; Ernie Pyle talked him into it).
    And finally, with Walsh we hear in his own words about that special day he stopped on the Fox lot when he saw that tall young man sweating it out as a prop boy, offering him an actin job on the spot, and how tough it got on location of "The Big Trail".
    All those greats have since then passed (the book was published in the mid seventies)

    One of our most thoughtful film critics here takes on eight of Hollywood’s finest directors in conversation, reminiscing about their working lives which spanned the most intriguing decades of American filmmaking. The directors are Alfred Hitchcock, Frank Capra, Vincente Minnelli, George Cukor, Howard Hawks, William A. Wellman, King Vidor, and Raoul Walsh. Speaking with them, Mr. Schickel found in these men a special quality: “They felt in their bones the character and quality of a vanished America.” There was something valuable to be learned from them, not merely about the cinema but about the conduct of life. Each of these directors created a canon of work that even today sustains critical analysis without sacrificing popular appeal. Each maintained his artistic integrity while working in an atmosphere generally credited with ruining rather than nurturing talent. Their attitudes, Mr. Schickel writes in his introduction, were "composed of a toughness that was never harsh, a pride in achievement that was never boastful, a self-reliance and an acceptance of the difficulties under which they had labored which contained neither self-pity nor a desire to blame others for the things that had gone wrong." Rich in behind-the-scenes stories about such modern classics as It Happened One Night, Dawn Patrol, The Champ, Born Yesterday, Father of the Bride, and Shadow of a Doubt, as well as in anecdotes about the men and women of Hollywood, this book is an enduring tribute to the men who made the movies. With 33 black-and-white photographs. “Immensely readable and richly provides a real education in just how movies are made.... One of the best introductions to the cinema that one could ask for.”—Library Journal.

    Todd Von Hoffmann. (1997)

    It's a good natured read that addresses the epitome of manliness including Guns,
    Games of Chance, Chili Cookoffs, Whiskey, Beer and Bar Bets.
    On the cover is a photo of Capt Nathan Brittles, a jar of tabasco sauce,
    Tequila and Victor McLaglen.
    There's a four page article about Vic,
    a large article about John Ford's Stock Company and a 6 page article about Duke,
    with pictures.
    They also reprint the original stories from Stage to Lordsburg and The Quiet Man.
    One anecdote concerns Duke's disgust with all the blood and makeup planned
    for his demise in The Cowboys.
    Wayne showed up "exceptionally snockered" and all the blood was used up.
    Wayne asked for more blood to be used, but was told that he had drank it all.
    This is obviously not a work solely about the Duke, but he's in it a lot and it's a neat read.
    Special thanks to Gorch, for this addition

    WHO THE DEVIL MADE IT?: Conversations with Legendary Film Directors
    Peter Bogdanovich. (1998)

    Peter Bogdanovich, director, screenwriter, actor and critic, interviews sixteen legendary directors of the first hundred years of film - from Allan Dwan and Raoul Walsh to Leo McCarey, Alfred Hitchcock and Sidney Lumet. The conversations brought together in this book give us a history of the movies. They are the stories of pioneers who came to the picture business from many worlds. Some were adventurers (running away to sea; joining Pancho Villa) before finding their place in the movies. Some were football stars, some electrical engineers, lawyers, auto mechanics, airplane designers. Some were trained in silent movies (Dwan, Walsh, Lang, von Sternberg, Hitchcock). Many of them were men who lived to the hilt and brought to their work the residue of their earlier experiences.

    Bogdanovich, now of course almost as legendary as the legends whom he used to write about in his early days, does every film loving pupil a favor: With this book for the first time he releases the interviews he did many years ago for magazines, now in full length. He chats with men like Hitchcock and Chuck Jones and Don Siegel. And the ones who made films with John Wayne: Otto Preminger, Raoul Walsh. The longest interview in the book is the one with Howard Hawks. Even after the interview-book "Hawks on Hawks", this lenghty interview is like having Howard Hawks talk to you, the reader, 25 years after his death, and revealing many of his ways of filmmaking. They talk about Red River (and the finding of Monty Clift), Rio Bravo (and how Hawks got the singers), Hatari (and how they improvised the hunting stuff) and Rio Lobo (and how the leading lady didn't live up to expectations). Men like Howard Hawks were never given credit in the US for their body of work in American Film until Bogdanovich and others in his time started writing about him.
    All in all, it's a good dozen interviews in one hell of a hefty book.
    Outside France, Bogdanovich, in the times of the Nouvelle Vague, was pretty much the only one who held a torch for directors who had yet to become legends - through these writings. It'll be thrilling to read the soon to be published "Who the Devil Was in it?", holding interviews with JW and Jimmy Stewart.

    WHO THE HELL'S IN IT?: Conversations with Legendary Film Stars
    Peter Bogdanovich. (2005)

    Now released, the companion piece to Bogdanovich's interview book with famous directors, Who the Devil Made It?
    Bogdanovich remembers and re-prints his interviews with icons such as Jerry Lewis, Jimmy Stewart and John Wayne. The Wayne interview is of special interest to us, not only because Waye reveals some secrets, but also because the interview took place in 1975, and he wasn't very happy with his last films - The Shootist was just around the corner then. So Bogdanovich manages to capture the man in this time of his life. A hefty junk of book, but you'll eat it up.

    From Peter Bogdanovich - director, screenwriter, actor, and cinema scholar - 25 fascinating portraits of Hollywood's most acclaimed movie actors and actresses: stars whom he has known, admired, and occasionally worked with. Bogdanovich captures brilliantly - in their own words and his - the personality, the work, the style and the enduring iconic appeal of America's movie greats.

    VOICES FROM THE SET: The Film Heritage Interviews
    Tony Macklin/ Nick Pici (2000)

    Probably the most famous interview JW did in print is the Playboy interview. Yet he doesn't talk about his acting at all. He even leaves it at remarking "I don't have a technique". The one that really got him talking was Macklin, and the resulting interview runs for several pages is in this book. It's one of the very very few times JW talks about his acting and his roles, about his trade. He even stops once, saying that he normally doesn't talk about that, but the interviewer made him feel comfortable. So we learn what he thinks about Ethan, even dreaming up a sequel "Ethan Rides Again", in which he just improvises a plot, how Ethan could have gone on after that famous door closed. He talks about how he had to "find a role for himself" in the ensemble piece "Liberty Valance". He talks about how he stopped shooting a Republic quickie one day at midnight and the next morning was on the set of "Long Voyage Home", and having to learn that Swedish accent. The interview was done in 1975, and after all those years Wayne can recite the dialogue of several of his movies, 30 years and more in the past, without a flaw. He talks about how he helped Hawks on Red River, not taking a chance in the script for "Academy Award stuff", as Hawks suggested, but playing Dunson his way. A great interview. In addition, there's also an interview with Charlton Heston, a man who's especially proud of his profession. He studies his peers - and uses two pages in this book to talk not about himself but about John Wayne's acting technique. And Chuck has a deeper understanding about Wayne's acting than most of his critics ever did.

    In Voices from the Set, Tony Macklin shares with his readers the interviews he conducted during the 1970s with many of Hollywood's greatest stars. Because it was an era where the Old Hollywood was still extant, and the new cinema was burgeoning, he was able to meet the old with the new–actors, directors, producers, writers–and make some of his own memories along the way.
    Interviews with old masters Alfred Hitchcock and Howard Hawks are juxtaposed with the new breed Martin Scorsese and Alan Rudolph and the mavericks Robert Altman and Sam Peckinpah. Icons such as John Wayne and Edith Head are included, as well as relative newcomers Stockard Channing and Richard Baskin.
    Voices from the Set is a unique vignette of Hollywood history, a snapshot in time, ideal for the film buff, film historian, for anyone with an interest in the intriguing personalities that made it what it is today. This book is an opportunity not to be missed.

    Les Krantz. (2001)

    (includes DVD. However John Wayne
    is not on the DVD, he only in book)

    This is a unique package for movie lovers--a handsome 160-page hardcover book with over 300 rare photographs--plus a 60 minute documentary with over 30 rare movie clips on both DVD and VHS video. This book / DVD / video package will excite anyone who loves movies and movie stars.

    By day he was a Memphis truck driver who hated his job and aspired to become an electrical repairman. But young Elvis Presley had another dream, and in 1954 he stepped into the studio at Sun Records to say goodbye to driving trucks forever. Within two years, he was not only a recording star but a film star as well. The King was born.

    When he arrived in Hollywood from his home in Missouri determined to make it, he found work at a Mexican restaurant wearing a chicken costume. But when Brad Pitt landed his first acting gig in Dallas it was in the role of the boyfriend of Priscilla Presley's on-screen daughter.

    The road to stardom is filled with odd detours and some spectacular potholes. Their First Time in the Movies charts that crazy journey and the moment, the very edge of stardom, when some of our best-loved stars began to glimmer. We all know the Marilyn Monroe of Some Like it Hot and the Clark Gable of Gone with the Wind. Everyone remembers Robert DeNiro in Raging Bull, Sharon Stone in Basic Instinct, and Julia Roberts in Pretty Woman. But before they were stars they were hopefuls with talent, determination, and often an uncanny gift for following their illustrious destinies.

    Now, for the first time ever, the first performances—in the movies—of over 30 top stars are collected on one video tape, complemented by a beautifully designed book that tells the stories of these stars, and 70 others, on their way to the top. It is a remarkable showcase of the raw talent that made our top entertainers the enduring stars they are.

    BEST WESTERN MOVIES: Winning Pictures, Favorite Films and Hollywood "B" Entries
    John Howard Reid .(2006)

    This grab-bag of movie westerns ranges from the best to the worst; from lavish, no-expense-spared Cecil B. DeMille epics to Poverty Row double bills; from big-budget John Wayne vehicles like "In Old Oklahoma", "The War Wagon" and "The Fighting Kentuckian" to the sort of bottom-drawer product delivered by Sherman Scott and Monogram; from prestige, star-studded westerns like "My Darling Clementine" and "How the West Was Won" to the depths of "The Toughest Man in Arizona"; from the expertly crafted, super-popular "B" stables of Gene Autry, William Boyd, Roy Rogers, Charles Starrett and company to the fly-by-night efforts of long-forgotten brands like "The Range Busters." All reviews carry detailed credits. The book is rounded out with a Hopalong Cassidy filmography and many reproductions of original film posters.

    SHOOT LOW BOYS: They're Ridin' Shetland Ponies
    Lewis Grizzard. (1987)

    "Imagine Andy Rooney with a Georgia accent." The Houston Post
    John Wayne had it. True Grit, that is. Bestselling humorist and philosopher Lewis Grizzard looked for other Americans with true grit. What he found will make you laugh and perhaps even wipe away a tear. True Grit. The people in this book have it. And so does Lewis Grizzard.

    Ann Lloyd. David Robinson. (1984)

    A team of film critics give a thorough take on the era. 100's of pictures as well. Different than most film books due to the many different writers who participated in this volume.

    Pays tribute to The Searchers

    Ann Lloyd. David Robinson. (1983)

    Pays tribute to JW status in the sixties

    Including Five You've Never Heard Of

    Philip Armour .(2011)

    This unique compendium of short essays about, and evocative photos from, the 100 greatest Western movies of all time is the authoritative new resource on the subject—and the ideal illustrated gift book for all cowboy enthusiasts and cinema fans.

    GOLDEN TURKEY AWARDS: The Worst Achievements in Hollywood History
    Harry and Michael Medved.(1981)

    This book is meant to be fun: it gives awards for the worst films, worst performances in the history of films. One chapter is dedicated to John Wayne's - you guessed it - Ghenghis Khan. But no worries: others have to stick out their necks as well. Cooper gets it for the worst romantic line in "Northwest Mounted Police"

    John Kobal. (1980)

    This is a selection of the finest studio publicity stills from the Fifties.
    Not text, just pictures. In JW's case, two examples,
    both by photographer Ernest Bachrach for RKO.
    The interesting thing is, the one made in 1957 was made for publitiy of Jet Pilot - which could indicate that Wayne (by appearence definitely in 57) had to come back for a sitting for that film.

    The brightest stars of the 1950s live on in this wonderful, black-and-white gallery of publicity shots. Includes 114 major stars in their Hollywood heyday: Marlon Brando, James Dean, Clark Gable, Marilyn Monroe, Marlene Dietrich, Kirk Douglas, William Holden, and dozens more. Also includes stills for A Streetcar Named Desire, The Misfits, and many more.

    (Illustrated History of Movies Through Posters)

    Bruce Hershenson .(2004)

    80 pages of rare Duke Wayne movie posters

    (The Illustrated History of Movies Throught Posters Series Vol. 2)

    Bruce Hershenson. (1994)

    Cowboy Movie Posters. Complied by Bruce Hershenson, Text material by Brian Cook, Paperback. A classic volume of movie posters which offers a rare look across time, at filmmakers' and film studio artists' vivid images of the Cowboy and his Wild West.

    Featuring hundreds of full-color movie posters from silent films to present-day westerns. Some of JW’s beautiful B-movie posters are in it. If you are into the art of movie-posters and especially westerns, that’s the one.

    Volume 21 of the Illustrated History of Movies Through Posters

    Bruce Hershenson.(2003)

    60 full page, full colour images of John Wayne, Buck Jones and Tom Mix.

    (Illustrated History of Movies Through Posters)

    Richard Allen (Compiler, Editor), Bruce Hershenson (Editor).(1998)

    80 Pages of great movie posters, cover shows Duke's Rio Lobo.


    Bruce Hershenson.(2005)

    80 pages including Duke Wayne's The Alamo, Lucky Texan

    HORIZONS WEST:Directing the Western from John Ford to Clint Eastwood
    Jim Kitses.(1969/2008)
    (Film Classics Series)

    "Indispensable guide to the Western." -- Douglas Pye

    "One of the seminal texts in the study of the Western, and indeed of genre in general." -- Robin Wood

    "Still the best piece of sustained criticism on the Western generally" -- Edward Buscombe

    When first published in 1969, Horizons West was immediately recognised as the definitive critical account of the Western film and some of its key directors. This greatly expanded new edition is, like the original, written in a graceful, penetrating and absorbingly readable style.

    Ted Sennett .(1990)

    From "The Great Train Robbery" in 1903 to "High Noon" to "Silverado", this book offers an evaluation of one of the most durable genres in the history of film - the Western. It provides a look at how the Western film has reflected changing trends and attitudes in the country and the world.

    A book so monumental one has to buy a new book-shelf along with the book. Great photographs.

    Movie Making in the Desert : A Moab - Monument Valley Movie History

    Bette L. Stanton.(1994)

    Deals with films made in the Moab, Utah, territory. Can help you find locations.

    "TV you can make on the backlot, but for the big screen, the real dramas, you have to do it where God put the West."---John Wayne

    A fascinating compendium of photographs and memories of the cinematic legends who made movies and advertisements in the Moab-Monument Valley area.


    Continued in the next post....

    Best Wishes
    London- England

    Edited 35 times, last by ethanedwards ().

    Part 3

    William K. Everson.(1969)

    A standard book, published when the western wasn’t dead yet.
    Large format hardcover in a generously title about Western Film.

    Jay Hyams.(1983)


    Norman Richards.(1984)

    For beginners.

    Western Movies, the Story of the West on Screen

    Walter C. Clapham.(1979)

    The story of the west on screen
    Black & White photos
    Takes a look at some that mostly go unnoticed.

    Classic Images of Western Movies

    John Calvin Batchelor (Author), John R. Hamilton (Photographer) (1987)

    The most beautiful photographs taken during the shooting of some JW westerns and others, reveals some movie-making techniques.
    Photographer John Hamilton has worked on western movie sets for thirty years.

    Peter Guttmacher.(1995)

    An in-depth survey of one of filmdom's most popular and enduring genres: shoot-'em-up, knock-'em-down movies; tall-in-the-saddle stars; and squinty-eyed, no-nonsense directors.
    This is fun if you love the western.

    Phil Hardy.(1995)

    400 pages A-Z encyclopedia. Has some good points.

    Michael Parkinson/ Clyde Jeavons.(1972)

    Good choice of pictures.
    A PICTORIAL HISTORY OF WESTERNS by Michael Parkinson and Clyde Jeavons with special picture research by John Kobal was published by Hamlyn Publishing in England in 1972.

    This again is one of the flood of pictorial film histories that made their first appearance in the late sixties/early seventies and that at the time I found pretty much irresistable.

    Despite the fact that this book was published in Great Britan by two Englishmen, I think it is quite good, loaded with facts and information ....especially considering that this book was publishd before the age of home video playback systems so a lot of notes must have been kept and consulted.

    As I have said, although this was one of the early picture filled film history books it is not the first one on the western. The first pictorial wastern movie book that I am aware of would be the one written by William K. Everson published as early as 1962.

    Anyway, who was first aside, A Pictorial History of Westerns is divided into six chapters entitled : The Films; The Stars; The Stalwarts; The Directors; The Spaghetti Westerns and The TV Westerns. Most of these chapter headings are self-explanatory although I should mention that the chapter entitled The Stalwarts concerns the familiar faces presented by character actors, many of whom specialized in westerns.

    A Pictorial History of Westerns is very well written and for me, back in the early 1970s, quite informative. In fact, I believe that the authors did not concentrate much on personal favorites and instead trained their sights on the truly key movies of the several western movie eras as far as it went, into the early seventies.

    But what I have left out and the reason why I give this book such a high rating is the pictorial part. The pictures included in this edition of The Pictorial History of Westerns are extraordinarily good. Especially the color shots, some of them probably look better than the actual films they came from.

    And the "ordinary" black and white pictures are an unusually strong selection,
    chosen I guess not only for their handsomeness but again for their historical significance. Congratulations to picture researcher John Kobal for finding and choosing such interesting photos.

    So I heartily recommend A Pictorial History of Westerns

    Jim Kitses/ Gregg Rickman.(1998)

    Dives deeply. Psychoanalyzes The Searchers, for instance. Interviews with Clint and Anthony Mann.
    An essential guide to the Western film, this lavishly illustrated collection of writings on Western movies covers close to a century of American cinematic achievement and spans almost a half-century of essays, commentary, and interviews. Every aspect that distinguishes the Western is explored, especially its history, mythology and landscape, often from sharply different points of view so that the book becomes a richly diverse collage of impressions and insights. While their subjects range from the development of the genre through the unforgettable masterpieces of Hollywood's Golden Age to the revisionist and post-modern Westerns of our own time, the pieces are all authoritative, perceptive, thoughtful, stimulating, and skilfully written.

    WESTERNS: Aspects of a Movie Genre (Film Books)
    Philip French.(2008)

    "Westerns" is the classic account of the emergence, growth and flowering of one of the most perennially popular film genres. When it was first published thirty years ago it was welcomed by reviewers in Europe and the United States as a major work. In this new edition, fully revised and updated, with a new introduction, both movie buffs and general readers have the opportunity to engage again with one of the sharpest film critics of our time. The book focuses on the political, historical and cultural forces that shaped the western, dealing especially with the thirty years after World War II. It considers the treatment of Indians and Blacks, women and children, the role of violence, landscape and pokerplaying, and it advances the theory that most westerns of those years fit into four principal categories that reflect the styles and ideologies of four leading politicians of the era: John F. Kennedy, Barry Goldwater, Lyndon Johnson and William Buckley. Since the book was first revised in 1977, there has been, as the author predicted there would be, a steady decline in the number of westerns made for TV and the cinema, but the genre remains highly influential and reflects the social and psychological currents in American life. In the 1990s Academy Awards for best movie went to Kevin Costner's "Dances with Wolves" and Clint Eastwood's "Unforgiven", the first time that westerns were so honoured since "Cimarron" won an Oscar in 1930. French takes in these and other films, such as "Heaven's Gate", the costly failure that brought down the studio that produced it, and brings the story of the western into the twenty-first century as the genre that was renewed in "Cold Mountain", "Open Range", "Hidalgo" and "The Alamo".

    THE WESTERNS: A Picture Quiz Book
    John Cocchi.(1976)

    Trivia-Book with 238 stills, in most questions you're asked to identify the players in the scene. The questions about JW aren't too difficult to answer but still, you should get some fun out of it.

    Kim Newman.(1990)

    From his acclaimed study of horror films, "Nightmare Movies", Kim Newman turns his attention to the western. Against the backdrop of American history, popular mythology and the development of the cinema, the book examines the main themes and tensions of the genre. With reference to thousands of films and hundreds of directors and actors Newman brings his entertaining, wide-ranging and authoritative approach to bear on one of the cinema's most popular genres - with illuminating results.

    Edward Buscombe.(1996)

    First edition. 432pp. 22 colour illustrations on plates and many nearly 600 b/w text illustrations. Maps on endpapers. A dictionary and reference guide to the culture and history of the real Wild West, and the films, actors and film-makers who have tried to portray it both in the cinema and on television

    William K. Everson.(1992)

    This book takes a retrospective look at the western film. Stars of yesterday, such as Tom Mix, Buck Jones and Richard Dix are remembered along with personalities such as John Wayne, William Holden, Robert Mitchum and today's heroes like Kevin Costner and Kevin Kline are included. Photographs help illustrate the text with the "formula" movies of the past with their stereotypical heroes and villans explored as well as the newer westerns which offer a more sympathetic look into the human struggles of the West.

    Tony Thomas.(1989)

    Author points to films which should not go unnoticed, among them Wayne’s “Born to the West”
    The bad lost and the good won in the West between 1860-1899, as depicted on the screen

    Those seeking a thorough overview of the history of the American western film will likely be disappointed in this nonetheless quite readable book. This collection of short reviews would better be titled "Tony Thomas's Favorite Western Stars."

    Entertainment journalist Thomas was a prolific creator of books cataloging films by various motion picture performers or dealing with various film themes, but -- at least judging by "The West That Never Was" -- he was mainly a well-informed professional fan and seemed neither interested nor capable of plumbing the more profound meaning of motion pictures to our culture. I'm not fond of the over-intellectualized, jargon-laden mud that passes for academic film criticism today; but a book that presents itself as a history of a genre ought to have more context and thought than this book presents.

    What we get, essentially, is a series of short pieces about western films that Thomas enjoyed as a kid and as an adult, and their stars (many of whom journalist Thomas sought out and interviewed). His list starts with a number of "B" westerns of the 1930s, followed by several selections from the '40s through the early '70s, when the American western film matured and then declined. Essentially, he has chosen one or two films to represent each of his favorite western stars of the era -- so, for example, while he features the 1955 classic "The Man From Laramie," one of a string of early '50s westerns directed by Anthony Mann and starring James Stewart, he describes their other, arguably more significant collaborations -- "Winchester '73" and "The Naked Spur," among them -- only in passing. There are frequent mentions of John Wayne, but no feature reviews of "Stagecoach," "Red River,"The Searchers," "Rio Bravo," "The Man Who Shot Liberty Valance," "True Grit," or any of Wayne's later westerns save his last, "The Shootist." John Ford's contribution to the American western cinema is represented only by "My Darling Clementine" and "Fort Apache" -- two good selections, but hardly indicative of Ford's influence.

    Thomas's concentration on his own movie-going experiences and hero-worship also leaves out large chunks of western film history. None of his featured films are silents, and he has little to say about the few but significant "A" westerns of the 1930s and early '40s ("Cimarron," "Law and Order," "The Plainsman," "The Westerner," "The Dark Command," "They Died with Their Boots On," "The Outlaw," etc.). Similarly, his interest in "B" westerns seems to have ended about 1940, and there's precious little about Roy Rogers, Lash LaRue, or the fulltime movie cowboys whose careers flourished and the then faded in the twilight of the programmers.

    There are some strong points to this book, however. I appreciate that Thomas usually tried to tie all the films he reviewed to a particular era of American history, even if the connection is only Hollywood-superficial. And there are plenty of well-reproduced B&W photographs in each review.

    All in all, this is one informed fan's paean to his movie-going past and some of the western films and stars he admired. Those who've never read up on this aspect of American cinema history might find it a painless introduction (and of course, most of the movies covered, including many of the "Bs," are readily available on video). Someone looking for a more comprehensive history of the American western -- and more insight into the genre's significance in our culture -- is advised to go elsewhere
    By Edison McIntyre


    Relates to the icon of the US cowboy in paintings (such as Olaf Wieghort’s who painted the ones we enjoy in the El Dorado title sequence). John Wayne wrote the foreword to this book.

    Maurice Speed. (c1966)
    Film Review Magazine

    Duke Cover, not available

    (undated) full colour picture John Wayne Lauren Bacall - Blood Alley

    (undated) full colour picture John Wayne and Larraine Day -Tycoon

    The Amalgamated Press. (1950)

    Photo courtesy of dukefan1

    Features Red River, The Big Trail

    The Amalgamated Press. (1956/ 1957)

    Duke Cover not available

    1956- Articles on John Wayne and Stagecoach
    1957- Article on The Conqueror

    The cover shows Rock Hudson & Barbara Rush in "Captain Lightfoot" & inside are all that movie buffs need to know about that vintage year's films including many pages of reproduction signed photos of the stars

    Oldhams Press.(1910-1939)

    Owned and published by Oldhams press. It ran from the early 1910's to mid 1960.
    In 1939 it merged with Film Pictorial. The magazine went through a number of formats.
    The most collectable are from the beginning and end of the series.

    See this link
    Film Pictorial

    Oldhams Press.(1910-1960)

    Photo courtesy of Hawkswill

    Duke featured 1942-twice/1949/1952/1955/1958

    Owned and published by Oldhams press. It ran from the early 1910's to mid 1960.
    In 1939 it merged with Film Pictorial. The magazine went through a number of formats.
    The most collectable are from the beginning and end of the series.

    Here is a link to the dedicated web-site, Duke's page



    was an annual publication in which "The Stars Tell their Own Stories" - or so they were sold. In the 1950 edition, we find a story of John Wayne, telling "in his own words" how he gets up in the morning, says hello to Chata, then drives to the Republic soundstage, where John Ford is already waiting for him to shoot the interior scenes of RIO GRANDE. While there are many details molded into the story that might make one believe Wayne himself delivered the article, it is of course so that clever marketing put out things like these (it becomes clear with his line "Oh-oh, I better hurry, it seems everybody's one set already" which we know didn't happen with JW!). What is of particular interest is that the Wayne story is illustrated by pictures of his upcoming "hit": JET PILOT! There's a story about (or told by, whatever you like) Janet Leigh as well, and there's a JET PILOT photo as well. So that means back in 1950 the PR machines were already oiled to give Jet Pilot a head-start - and then they held it back till 1957.

    Robert Ottaway. Odhams Press Limited. (1957)

    Article on John Wayne titled 'The Star That Never Waynes'
    Despite the fact that the stars relied on their public relations the pictures are good particularly in Picture Show and there are some brilliant ones of John Wayne in the Conqueror, with Larrain Day in Tycoon, Janet Leigh in Jet Pilot and Lauren Bacall in Blood Alley.
    Courtesy of arthurarnell

    F. Maurice Speed(c1950's)

    These books, put together by F. Maurice Speed in the UK, make a wonderful resource. Lots of stills. Interviews (Audie Murphy and Jock Mahoney in this one). Info on the real West.

    Of course, earlier volumes (it first appeared in 1947) don’t include TV. Features covered in this one include Decision At Sundown (1958), The Hired Gun (1957, black and white CinemaScope, with Rory Calhoun and Anne Francis) and Day Of A Bad Man (1958, starring Fred MacMurray and Marie Windsor). I’m dying to see those last two.


    July 1979. Photo courtesy of dukefan1

    Photoplay was one of the first American film fan magazines.
    It was founded in 1911 in Chicago, the same year that J. Stuart Blackton founded a similar magazine
    entitled Motion Picture Story. For most of its life, it was published by Macfadden Publications.

    Photoplay merged with another fan magazine, Movie Mirror, in 1941;
    and with TV-Radio Mirror in 1977, when the name became Photoplay and TV Mirror.
    The magazine ceased publication in 1980 and its staff were moved to Us magazine.

    A British version of Photoplay debuted in 1950, featuring an equal mix of
    American and British films and stars, and ceased publication in 1989.

    Duke was featured

    July 1979, August 1976, August 1975, August 1974
    February 1974, Film Yearbook - 1973, December 1973
    November 1973, May 1973, December 1972
    August 1972, February 1971, July 1970, May 1970
    March 1970

    Continued in the next post

    Best Wishes
    London- England

    Edited 68 times, last by ethanedwards ().

    Part 4

    A Pictorial History of Hollywood and the War Between the States

    John M. Cassidy.(1991)

    Deals with Gone With The Wind, Red Badge of Courage, Horse Soldiers and others
    Books on War

    Lawrence J. Quirk.(1995)

    Handsome pictures, good read.
    Covers a range of film classics in a perenially popular genre. In the course of his research, film historian Lawrence J. Quirk viewed hundreds of movies from the days of silent films to the current epic offerings. The selection in this volume includes "The Big Parade" and "Wings" from the 1920s, through "All Quiet on the Western Front" and "Hell's Angels" in the 1930, to "From Here to Eternity", "The Bridge on the River Kwai", "The Horse Soldiers" and "Platoon".

    From The Green Berets to Aopaclypse Now

    Gilbert Adair.(1981)

    Takes a look at Green Berets.
    This book is left wing, anti-war drivel with NO historical fact behind the author's sarcastic political comments (which he puts in parenthesis during his sentences.) I tired to use it for a paper in a Masters program and could not, it is worthless propaganda.

    How Politics, Profits and Propaganda Shaped World War II Movies

    Clayton R. Koppes/ Gregory D. Black.(1990)

    How Hollywood worked in the war effort
    Conflicting interests and conflicting attitudes toward the war characterized the uneasy relationship between Washington and Hollywood during World War II. There was deep disagreement within the film-making community as to the stance towards the war that should be taken by one of America's most lucrative industries. Hollywood Goes to War reveals the powerful role played by President Franklin D. Roosevelt's Office of War Information--staffed by some of America's most famous intellectuals including Elmer Davis, Robert Sherwood, and Archibald MacLeish--in shaping the films that were released during the war years. Ironically, it was the film industry's own self-censorship system, the Hays Office and the Production Code Administration, that paved the way for government censors to cut and shape movies to portray an idealized image of a harmonious American society united in the fight against a common enemy. Clayton R. Koppes and Gregory D. Black reconstruct the power struggles between the legendary producers, writers, directors, stars and politicians all seeking to project their own visions onto the silver screen and thus to affect public perceptions and opinion.

    Brock Garland.(1987)

    A-Z to the war movie genre

    What promises to be the definitive reference work on a popular genre falls well short of the mark. The author provides an introduction to his subject, followed by detailed entries to over 450 films, including year of release, director, major stars, plot description, and a rating system which awards four stars for the best films. Garland is certainly thorough; everything from All Quiet on the Western Front to Zulu is here, as well as a couple of ringers like Alice's Restaurant. The descriptions, however, aside from an occasional discussion of specific armaments, don't offer much new. And Garland misses an opportunity to be timely: There is no attempt to provide videocassette availability on the entries. Thomas Wiener, formerly with "American Film," Washington, D.C.
    Copyright 1987 Reed Business Information, Inc.

    Hollywood, American Culture and World War II

    (Film and Culture Series)
    Thomas Doherty.(1999)

    Deals with the importance of films as propaganda.

    Thomas Doherty reveals how and why Hollywood marshaled its artistic resources on behalf of the war effort and interprets the cultural meanings and enduring legacies of the motion picture record of the war years. He explains the social, political, and economic forces that created such genre classics as Mrs. Miniver, as well as comedies, musicals, newsreels, documentaries, cartoons, and army training films. He examines the Hollywood Production Code, government propaganda films, the portrayal of women and minorities in films of the period, and Hollywood's role in World War I and Vietnam. This revised edition includes new sections exploring the recent resurgence of interest in World War II films, including Saving Private Ryan and The Thin Red Line.

    Classic Conflict on Film

    Mike Mayo.(1999)

    Describes every war film available. Enjoyable trivia.

    Edited by Mayo (a film reviewer for 99 Lives), the newest book in VideoHound's growing library of film genre paperbacks (Epics, 1998; Horror Show, 1998) reviews and discusses a selection of 201 of the most significant international war movies of all time (available on videotape)--from the silent era through 1998. Arranged chronologically by war and separated geographically, the films each receive a plot-heavy but thought-provoking one-page overview. True, there are some glaring omissions--like Shoah and The Damned--and Mayo lists only one service comedy (Mr. Roberts). But overall, this is a good basic guide to the genre; it should supplant War Movies: A Guide to More Than 500 Films on Videocassette (Cinebooks, 1990). Recommended for all public and academic libraries.
    -Tony Adam, Prairie View A&M Univ. Lib., TX

    Clyde Jeavons.(1974)

    The whole story of the genre.
    Surveys international films depicting wars and conflicts, examining public reaction, cinematic techniques, and the political, social, and historical climate that fostered each motion picture

    Jay Hyams.(1985)

    The whole story of the genre.


    Not original books, but written to help advertise the film.


    Most tie-ins were released in US and UK versions.

    Continued in the next post

    Best Wishes
    London- England

    Edited 28 times, last by ethanedwards ().

    Part 5

    (Books in other languages)

    (The Western)
    Gabrielle Lucci.(2006) (France)

    Book of 351 pages on glossy paper with beautiful pictures
    That traces:
    • The conquest of the West
    • Indians
    • Cowboys
    • The men of the law and the outlaw
    • Here are ours!
    • Women of the West
    • The Gold Rush
    • The coach and horses
    • The cities of the west
    • Lights, Camera!
    • The actors and creators
    • Ten masterpieces by ten filmmakers
    • Movies
    And annexes:
    • The Oscars
    • The websites
    • Museums
    • Orientation bibliographic

    Our "Duke" is omnipresent as usual in this kind of work.
    For this Christmas gift is needed for aficionados.

    This book starts the series of guides on the cinema arts. It attaches to the western, genre rooted in the history of the United States and its geography, where the vast spaces of the American West play a role. This landscape is still wild, which will delight the Technicolor Cinemascope like, would not be complete without the presence of an animal, the horse and his rider, cowboy. Facing him, in a world still lawless enemies are many. Bandits and corrupt men are the actors in the scenes specific to this kind of attack in fights with diligence. saloons, the duel in the streets of a city sprung from nothingness. The western shows a hostile universe where heroism is not without tragedy. The particular figure of the Indian long depreciated over time regain his dignity. Gender, which is located birth in the early twentieth century, is present throughout the history of cinema. It reached its peak between 1945 and 1960, providing masterpieces in cinema, signed John Ford, Howard Hawks and Raoul Walsh. Manichaeism in its infancy, it will be more complex, tracing step by step the conquest of the West, in visions initially widely mythologized. It will reach Europe, which in turn will seize its codes for rework, including spaghetti westerns. The western guide that feeds its images. Plans films, posters, stills, supplemented here by maps, document a hundred films summarized and discussed, and the presentation of those who were shot.
    Information with thanks to lasbugas

    Patrick Brion.(1995) (France)

    Long considered a minor art, western has over the years proved to be one of the major genres of Hollywood production. The greatest directors have discussed, Otto Preminger Nicholas Ray, Griffith DA King Vidor, Fritz Long to Michael Cimino. Some have made their chosen field Budd Boetticher, Raoul Walsh, Howard Hawks, Delmer Daves, Som Peckinpah and John Ford, the master ... The adventure of pioneers set out to discover the gold rubs the saga of the West figures: Buffalo Bill, George Custer, Jesse James, Billy the Kid, Wyatt Earp and "Doc" Holliday. Sheriff, outlaw, renegade Indians or simple farmers arise in these pages where we found Gary Cooper, Errol Flynn, John Wayne, Henry Fonda, James Stewart, Robert Mitchum, Kirk Douglas, Marlene Dietrich as well and Marilyn Monroe, Janet Leigh and Joan Crawford. We discover here that the western is not always as simplistic and Manichaean we are accustomed to think. Witness the history of the United States, it is inseparable from the history of cinema, and every generation of viewers up with the same feverish passion saloons, the landscapes of Monument Valley and the inimitable power of dreams.

    Oui, they don’t come any better than this big French book. Uses original film cells as illustrations. Le French, they really love the cinema, n’pas?

    (80 Great Successes Of Westerns)
    Pierre Tchernia / Jean-Claude Romer .(1993) (France)

    In his series about the different genres, French author Pierre Tchernia selects 80 films from each the Western/adventure film/war movie. Published by casterman. Very nicely illustrated. In "Adventure Films", Wayne is present with "Hatari", in "War Films" with "Green Berets", "Alamo", "Longest Day" (there is a special section for Le Jour Le Plus Long, with color pictures I haven't seen elsewhere).

    Cinema is an art in itself which houses the pantheon of artists and his collection of masterpieces. But neither encyclopedias, or analyzes of films or biographies of authors will never tell everything.

    Pierre and his loyal Tchernia Jean-Claude Romer, both specialists seventh art, chose to shatter film genres and offer each of them a selection of 80 hits. This series of books will guide synthesis has informed all lovers of the small and big screen.

    (John Wayne Freedom Epics)
    Andrea Rennschmid.(1997) (Germany)

    German publication, uses German lobby-cards
    but not too much research here.

    "Linking American pioneer history with film history has succeeded brilliantly. At the same time presents itself, the American historical picture far more plastic than clarify a socio-logical-philosophical treatise could. For entertainment value and power of this documentation provides - as in all his films - the multifaceted personality John Waynes. In a special chapter, all other films on the subject of "Alamo" are discussed. Heavens - a damned good book "D. Kuegler in Magazine of American magazine 4/4.Quartal 1997" a book that can be taken by all the friends of the Western film and the fans of John Wayne liked and with some profit in the hand. "Dr. K.-J. Roth, Studies in the Western, Volume V 1997

    (Illustrated Filmbook)
    Joe Hembus.(C.1960's)(Germany)

    Published in Germany: this is really interesting because it contains souvenir programs of 50 classic westerns. The US never had souvenir programs, except for the real "biggies". In Germany (and some other countries, like Sweden) each film got his souvenir program, mostly a neatly done 4-page-program with pictures and synopsis and interesting artwork. Those were then sold right at the movie-house at an affordable price (during the war years and the shortage on paper, they still produced them but cut down from 4 to 2 pages). Among the ones chosen to represent 50 westerns are Fort Apache, Yellow Ribbon, Rio Bravo, Stagecoach...

    Programm Roloff u. Seesslen ; Geschichte u. Mythologie d. Western-Films

    (Western Cinema: History and Mythology of Western Films)
    Roloff/ Seeßlen. (1979) (Germany)

    German-published, very analytical, uses good illustrations, such as lobby-cards.

    1567 Filme von 1894 bis heute

    (The Western Laexicon: 1567 films from 1894 to today)
    Joe Hembus.(1997)

    Standard encyclopedia, the first ever issued in Germany, covers a lot of ground, and actually more than the US encyclopedia.

    (Film of War)
    Fratelli (Italy)

    Big sized book ,From Italy with beautiful poster reproductions,
    fold outs and rarely seen stills. Wayne's Stryker strikes a pose on the cover.

    Edited and updated by ethanedwards


    Any discussion here:-
    Duke's Book- Discussion
    Itdo's original list and posts are here, and as a tribute
    now forms the basis of our discussion thread

    Please Note:
    The books highlighted in all the book forums, are intended as a guide to the many books released.
    However it also worth noting, that there are also many, that now, may be out of print.
    The JWMB is unable to keep updating availability.So please check with the numerous online booksellers


    Best Wishes
    London- England

    Edited 21 times, last by ethanedwards ().