As a boy I listened avidly to all those romantic yarns of the elephant hunters and of the daring and prowess of the hunters on the ivory trail (stories like mine) with hairbreadth escapes. In dreams I saw myself in deserts and jungles... on the ivory trail... after the solitary buffalo.... dreaming of incredible adventures. Had I but known how true all my dreams would one day become...

In the 1950s, the gangster movie and film noir crisscrossed to create gangster noir. Robert Miklitsch takes readers into this fascinating subgenre of films focused on crime syndicates, crooked cops, and capers. With the Senate's organized crime hearings and the brighter-than-bright myth of the American Dream as a backdrop, Miklitsch examines the style and history, and the production and cultural politics, of classic pictures from The Big Heat and The Asphalt Jungle to lesser-known gems like 711 Ocean Drive and post-Fifties movies like Ocean’s Eleven. Miklitsch pays particular attention to trademark leitmotifs including the individual versus the collective, the family as a locus of dissension and rapport, the real-world roots of the heist picture, and the syndicate as an octopus with its tentacles deep into law enforcement, corporate America, and government. If the memes of gangster noir remain prototypically dark, the look of the films becomes lighter and flatter, reflecting the influence of television and the realization that, under the cover of respectability, crime had moved from the underworld into the mainstream of contemporary everyday life.

The easy riders, the raging bulls, the divas of the silver screen; the premieres, the hot affairs, and the Hollywood Dream.

Like Tom, the hyena could be seen, soon lapping up the traces of the morning's spoils, ingesting the sweet carrion through its lulling glands, along the track it follows. Tom absorbed the air of the explorers -- Sucked it down, ingested it. Until he was but a fractured remnant of the Western world -- Still part Africa, not yet civil, holy. He had no real home, not any more, yet he followed a dream, that will of an apparition; dream of a man with a raised and pointed spear. ""That other life is not for you, Tom. "" ""Here you might breathe. . . ."" the warm alcohol releases fears and dreams. "" . . .If you must breathe at all"" . . .

As a boy I listened avidly to all those romantic yarns of the elephant hunters and of the daring and prowess of the hunters on the ivory trail (stories like mine) with hairbreadth escapes. In dreams I saw myself in deserts and jungles... on the ivory trail... after the solitary buffalo.... dreaming of incredible adventures. Had I but known how true all my dreams would one day become...

The headline of the Variety extra on October 27, 1926, proclaimed "Vitaphone1 Thrills L.A.!" Vitaphone, a subsidiary of Warner Bros. formed in association with Western Electric, was one of the major producers of talkies, even though its sound-on-disc technology barely lasted four years. The Vitaphone features and shorts that have survived intact, or that have been so carefully restored, preserve much of the show business history that might otherwise have been lost with the industry's fast-paced advances in movie making. This book is a catalogue of Vitaphone features and shorts. The first section lists the features and shorts by release number. The New York productions (1926-1940) are listed first, followed by the West Coast productions (1927-1970). For shorts, the following particulars, if known and if applicable, are given: title, alternate title(s), instrumental and vocal selections performed on screen, composer(s) and performers of instrumental and vocal selections, release date and synopsis of the film, names of major cast members and directors, set information if two or fewer sets were used, and the amount paid to early performers. For features, entries list release dates, genre, and major cast members. The section on performers includes only those who appeared in shorts, listing dates and places of birth when known.