Hollywood's Classic Comedies featuring Slapstick, Romance, Music, Glamour or Screwball Fun! (Hollywood Classics)
HOLLYWOOD’S CLASSIC COMEDIES, is a treat for movie lovers and collectors. It features slapstick, romance, music, glamour and screwball fun with a massive 200 entries. Wonderful cover as well with a full color lobby card reproduction of HOLD THAT GHOST. The reviews read like a who’s who in the field of comedy films. In addition, there’s a listing of 50 Must-See Highlights of Movie Comedy. Some of the films covered include Adam’s Rib, And Baby Makes Three, Belles of St Trinian’s, Bringing Up Baby, Designing Woman, The Egg and I, The Paleface, The Philadelphia Story. Raffles (all three versions), Slightly Dangerous, The Titfield Thunderbold, Woman of the Year, and many, many more to delight the reader. Series films include Abbott and Costello, Bulldog Drummond, Blondie, Charlie Chaplin and Dad Rudd. As is usual in John Howard Reid’s books, the author goes into much detail about the cast, the technicians, and release dates in America, England and Australia. And his own comments are always balanced with the views of other critics. This must-have book is nicely presented and will provide the movie enthusiast with a wealth of information that cannot be found in any other publication. [Reviewed by Ross Adams in "Dress Circle", the Movie Enthusiasts and Collectors' Magazine].
The first volume of the second-most requested strip collection reprint in Fantagraphics’ history. Walt Kelly started his career at age 13 in Connecticut as a cartoonist and reporter for the Bridgeport Post. In 1935, he moved to Los Angeles and joined the Walt Disney Studio, where he worked on classic animated films, including Pinocchio, Dumbo, and Fantasia. Rather than take sides in a bitter labor strike, he moved back east in 1941 and began drawing comic books. It was during this time that Kelly created Pogo Possum. The character first appeared in Animal Comics as a secondary player in the “Albert the Alligator” feature. It didn’t take long until Pogo became the comic’s leading character. After WWII, Kelly became artistic director at the New York Star, where he turned Pogo into a daily strip. By late 1949, Pogo appeared in hundreds of newspapers. Until his death in 1973, Kelly produced a feature that has become widely cherished among casual readers and aficionados alike. Kelly blended nonsense language, poetry, and political and social satire to make Pogo an essential contribution to American “intellectual” comics. As the strip progressed, it became a hilarious platform for Kelly’s scathing political views in which he skewered national bogeymen like J. Edgar Hoover, Joseph McCarthy, George Wallace, and Richard Nixon. Walt Kelly started when newspaper strips shied away from politics ― Pogo was ahead of its time and ahead of later strips (such as Doonesbury and The Boondocks) that tackled political issues. Our first (of 12) volume reprints approximately the first two years of Pogo ― dailies and (for the first time) full-color Sundays. This first volume also introduces such enduring supporting characters as Porkypine, Churchy LaFemme, Beauregard Bugleboy, Seminole Sam, Howland Owl, and many others. And for Christmas, 1949, Kelly started his tradition of regaling his readers with his infamously and gloriously mangled Christmas carols. Special features in this sumptuous premiere volume, which is produced with the full cooperation of Kelly’s heirs, include a biographical introduction by Kelly biographer Steve Thompson, an extensive section by comics historian R. C. Harvey explaining some of the more obscure current references of the time, a foreword by legendary columnist Jimmy Breslin, and more. 32 pages of full-color and 320 pages of black-and-white comics
Emma, first published in 1816, was written when Jane Austen was at the height of her powers. In a novel remarkable for its sparkling wit and modernity, Austen presents readers with two of literature’s greatest comic creations—the eccentric Mr. Woodhouse and that quintessential bore, Miss Bates. Here, too, we have what may well be Jane Austen’s most profound characterization: the witty, imaginative, self-deluded Emma, a heroine the author declared “no one but myself will much like,” but who has been much loved by generations of readers. Delightfully funny, full of rich irony, Emma is regarded as one of Jane Austen’s finest achievements.