Lindsay Anderson was the most original British filmmaker and theatrical director of his generation. His films "If . . ., O Lucky Man!, and "Britannia Hospital created a Human Comedy of life in Britain during the second half of the twentieth century and were witty, daring, and often prophetic. "This Sporting Life and "O Lucky Man! made Richard Harris and Malcolm McDowell international stars; "The Whales of August provided Lillian Gish, Bette Davis, and Ann Sothern the opportunity to give extraordinary farewell performances. He also directed notable documentaries in several countries: in Britain, the Academy Award-winning "Thursday's Children, about a school for deaf-mute children; in Poland, "The Singing Lesson, a personal impression of a group of students at a drama school. In China, he recorded the 1985 concert tour by George Michael and Andrew Ridgeley of WHAM! As a theatre director he collaborated with playwright David Storey on a series of successes ("The Contractor, The Changing Room, In Celebration, Home), and he worked with such actors as John Gielgud, Ralph Richardson, Alan Bates, Albert Finney, Helen Mirren, Peter O'Toole, Joan Plowright, and Rachel Roberts. Anderson was, as well, an outspoken and sometimes ferocious critic of British films--and of Britain itself. He was the author of the most important and acclaimed book on John Ford. And he was one of Gavin Lambert's closest friends for more than fifty years. Lambert's book begins with his and Anderson's days as movie-struck schoolboys, becoming fast friends, growing up in the shadow of World War II. He shows us their postwar creation of and collaboration on the influential magazine "Sequence--a magazine thatwas produced on love and a shoestring, and which shook up the British film world with its admiration for both Hollywood noir and MGM musicals (at the time unfashionable genres) and its celebration of such directors as Ford, Bunuel, Cocteau, Vigo, and Sturges. He describes how both men rebelled in opposite directions--Anderson remaining in England, Lambert leaving in 1958 for Los Angeles--and traces their unorthodox paths through the film industry. An illuminating, multifaceted portrait--of a friendship, of postwar moviemaking on both sides of the Atlantic, and, mainly, of the remarkable Lindsay Anderson.

This book is about the British film-maker Lindsay Anderson. Anderson was a highly influential personality within British cinema, mostly famous for landmark films like This Sporting Life (1963) and If....(1968). Lindsay Anderson Revisited deals primarily with hitherto unexplored aspects of his career: his biographical background in the British upper class, his devoted film criticism, and his angry relationship to contemporary society in general. Thus, the book contains chapters about his childhood in India, his writings about John Ford, his relationship to French star Serge Reggiani, his work on TV in the 1950s, his troubles with the British film establishment, and his gradually emerging preoccupation with being Scottish, not English. Also featured are chapters written by close friends of Anderson, who died in 1994, dwelling on his penchant for controversy and quarrel, but also on his remarkable artistic talent and commitment.

As a director, critic, writer and actor, Lindsay Anderson established a reputation as one of the most innovative, impassioned and fiercely independent British artists of the twentieth century.

In a long and varied career, Lindsay Anderson made training films, documentaries, searing family dramas and blistering satires, including This Sporting Life, O Lucky Man! and Britannia Hospital. Students of British cinema and television from the 1950s to 1990s will find this book a valuable source of information about a director whose work came to public attention with Free Cinema but who, unlike many of his peers in that movement did not take the Hollywood route to success. What emerges is a strong feeling for the character of the man as well as for a remarkable career in British cinema. The book will appeal to admirers, researchers and students alike. Making use of hitherto unseen original materials from Anderson’s extensive personal and professional records, it is most valuable as a study of how the films came about: the production problems involved, the collaborative input of others, as well as the completed films’ promotion and reception. It also offers a finely argued take on the whole issue of film authorship, and achieves the rare feat of being academically authoritative whilst also being completely accessible. It prompts renewed respect for the man and the artist and a desire to watch the films all over again.

She spent her life in the movies. Her childhood is still there to see in Miracle on 34th Street. Her adolescence in Rebel Without a Cause. Her coming of age? Still playing in Splendor in the Grass and West Side Story and countless other hit movies. From the moment Natalie Wood made her debut in 1946, playing Claudette Colbert and Orson Welles’s ward in Tomorrow Is Forever at the age of seven, to her shocking, untimely death in 1981, the decades of her life are marked by movies that–for their moments–summed up America’s dreams. Now the acclaimed novelist, biographer, critic and screenwriter Gavin Lambert, whose twenty-year friendship with Natalie Wood began when she wanted to star in the movie adaptation of his novel Inside Daisy Clover, tells her extraordinary story. He writes about her parents, uncovering secrets that Natalie either didn’t know or kept hidden from those closest to her. Here is the young Natalie, from her years as a child actress at the mercy of a driven, controlling stage mother (“Make Mr. Pichel love you,” she whispered to the five-year-old Natalie before depositing her unexpectedly on the director’s lap), to her awkward adolescence when, suddenly too old for kiddie roles, she was shunted aside, just another freshman at Van Nuys High. Lambert shows us the glamorous movie star in her twenties—All the Fine Young Cannibals, Gypsy and Love with the Proper Stranger. He writes about her marriages, her divorces, her love affairs, her suicide attempt at twenty-six, the birth of her children, her friendships, her struggles as an actress and her tragic death by drowning (she was always terrified of water) at forty-three. For the first time, everyone who knew Natalie Wood speaks freely–including her husbands Robert Wagner and Richard Gregson, famously private people like Warren Beatty, intimate friends such as playwright Mart Crowley, directors Robert Mulligan and Paul Mazursky, and Leslie Caron, each of whom told the author stories about this remarkable woman who was both life-loving and filled with despair. What we couldn’t know–have never been told before–Lambert perceptively uncovers. His book provides the richest portrait we have had of Natalie Wood.

Lindsey’s golden anniversary 50th novel! #1 New York Times bestselling author Johanna Lindsey presents a passionate novel of hidden identities, family secrets, and love that transcends a fifty-year feud set in the majestic ranchland of 1880s Montana Territory. Some young ladies marry for money and social standing, a few lucky ones marry for love, but Tiffany Warren is marrying to end a feud. Honoring her mother’s wishes, Tiffany reluctantly travels west to meet her estranged father and his enemy’s eldest son, rancher Hunter Callahan. Once the Warrens and the Callahans are united by marriage, both clans will stop squabbling over a disputed strip of land. But in the chaos of a train robbery Tiffany seizes a golden opportunity: By assuming the identity of her father’s new housekeeper she can live with the father she never knew while assessing the character of the neighboring cowboy to whom she is betrothed. But the moment she steps off the train, the Callahans steal the “housekeeper” from their rivals, the Warrens! Now Tiffany, masquerading as Jennifer Fleming, finds herself living in the enemy camp, under the same roof as her fiancé, a handsome, sweettalking charmer whom she has to fight off because he can’t keep his eyes— or his hands—off Jennifer. After Tiffany’s charade is exposed, she refuses to marry Hunter. How can she wed a man who is in love with another woman? As Hunter goes about claiming his rightful bride-to-be, he knows he loves two women—proper, elegant Tiffany as well as spunky, passionate Jennifer—but he has only one heart to win.

The extraordinary and revealing diaries of the revolutionary British film and theatre director who became one of the major cultural figures of his time As a director, critic, writer and actor, Lindsay Anderson established a reputation as one of the most innovative, impassioned and fiercely independent British artists of the twentieth century. In directing films such as If, This Sporting Life and O Lucky Man he championed a new wave of social responsiveness in British cinema, while as director at the Royal Court he was responsible for establishing the reputation of a number of groundbreaking plays. Throughout his life Anderson stood in opposition to the establishment of his day. Published for the first time, his diaries provide a uniquely personal document of his artistic integrity and vision, his work, and his personal and public struggles. Peopled by a myriad of artists and stars - Malcolm McDowell, Richard Harris, Albert Finney, Anthony Hopkins Brian Cox, Karel Reisz, Arthur Miller, George Michael - the Diaries provide a fascinating account of one of the most creative periods of British cultural life. Gripping Daily Express "Vicious and velvety in roughly equal measure ... Demands reading at a single sitting" Daily Telegraph "the reader of this book is richly rewarded" Daily Mail