These twenty heroines portrayed imperiled women in science fiction, horror, film noir and mystery movies from the 1930s to the 1960s. Some--like Sandy Descher, who confronted the giant ants of Them!--were only girls when they faced their screen perils. Others--such as Mary Murphy, who played opposite Marlon Brando in The Wild One--were leading ladies in other film genres. Yet others--such as June Wilkinson, considered by many as Playboy's greatest model--came from outside the acting world. Each interview is preceded by an introduction. Besides the three above, the interviewees are Ramsay Ames, Claudia Barrett, Jean Byron, Linda Christian, Faith Domergue, Amanda Duff, Evangelina Elizondo, Margaret Field, Mimi Gibson, Marilyn Harris, Kitty de Hoyos, Donna Martel, Joyce Meadows, Noreen Nash, Cynthia Patrick, Paula Raymond and Joan Taylor. Among the films they starred in are The Mummy's Ghost, Robot Monster, Tarzan and the Mermaids, This Island Earth, It Came from Beneath the Sea, Where Danger Lives, The Man from Planet X, The Monster That Challenged the World, Frankenstein, The Brain from Planet Arous, Phantom from Space, The Mole People, The Beast from 20,000 Fathoms and Earth Vs. the Flying Saucers. Some interviews were previously published in a different form in fan magazines.

The Devil has been represented in many film genres, including horror, comedy, the musical, fantasy, satire, drama, and the religious epic, and in these works has assumed many shapes and forms. This book begins with a discussion of how the devil has been portrayed on stage, how that portrayal carried over to the big screen, and what are the standard elements of a satanic plot. Each entry in the filmography includes year of production, running time, writer, editor, cinematographer, producer, and director, evaluative rating, annotated cast list, plot synopsis, overall appraisal, and a spotlight on the actor playing Satan.

Bill Warren's Keep Watching the Skies! was originally published in two volumes, in 1982 and 1986. It was then greatly expanded in what we called the 21st Century Edition, with new entries on several films and revisions and expansions of the commentary on every film. In addition to a detailed plot synopsis, full cast and credit listings, and an overview of the critical reception of each film, Warren delivers richly informative assessments of the films and a wealth of insights and anecdotes about their making. The book contains 273 photographs (many rare, 35 in color), has seven useful appendices, and concludes with an enormous index. This book is also available in hardcover format (ISBN 978-0-7864-4230-0).

Rock ‘n’ Roll. Hell. Two great tastes that taste great together. Long before Elvis gyrated on the Sullivan Show or the Beatles toiled the smoky red-light bars of Hamburg, music has been sowing the seeds of liberation. Or damnation. With each new generation the edge of rebellion pushed farther. Rhythms quickened. Volume increased. Lyrics coarsened. The rules continued to be broken, until it seemed that there were no rules at all. And as waves of teens cranked it up and poured it on, parents built walls of accusation to explain their offspring’s seeming corruption. Sex and drugs, demon worship and violence are the effects. Music is the cause. Or so the self-styled guardians of morality would have us believe. Meet The Scream. Just your average everyday mega-cult band. Their music is otherworldly. Their words are disturbing. Their message is unholy. Their fans are legion. And they’re not kidding. They’re killing. Themselves. Each other. Everyone. Their gospel screams from the lips of babes. Their backbeat has a body count. And their encore is just the warm-up act to madness beyond belief. It emerged from a war-torn jungle, where insanity was just another word for survival. It arrived in America with an insatiable lust for power and the means to fulfill it. In the amplified roar of arena applause there beats the heart of absolute darkness.

Miriam Hopkins (1902--1972) first captured moviegoers' attention in daring precode films such as Dr. Jekyll and Mr. Hyde (1931), The Story of Temple Drake (1933), and Ernst Lubitsch's Trouble in Paradise (1932). Though she enjoyed popular and critical acclaim in her long career -- receiving an Academy Award nomination for Becky Sharp (1935) and a Golden Globe nomination for The Heiress (1949) -- she is most often remembered for being one of the most difficult actresses of Hollywood's golden age. Whether she was fighting with studio moguls over her roles or feuding with her avowed archrival, Bette Davis, her reputation for temperamental behavior is legendary. In the first comprehensive biography of this colorful performer, Allan R. Ellenberger illuminates Hopkins's fascinating life and legacy. Her freewheeling film career was exceptional in studio-era Hollywood, and she managed to establish herself as a top star at Paramount, RKO, Goldwyn, and Warner Bros. Over the course of five decades, Hopkins appeared in thirty-six films, forty stage plays, and countless radio programs. Later, she emerged as a pioneer of TV drama. Ellenberger also explores Hopkins's private life, including her relationships with such intellectuals as Theodore Dreiser, Dorothy Parker, Gertrude Stein, and Tennessee Williams. Although she was never blacklisted for her suspected Communist leanings, her association with these freethinkers and her involvement with certain political organizations led the FBI to keep a file on her for nearly forty years. This skillful biography treats readers to the intriguing stories and controversies surrounding Hopkins and her career, but also looks beyond her Hollywood persona to explore the star as an uncompromising artist. The result is an entertaining portrait of a brilliant yet underappreciated performer.

Iowa-born Jock Mahoney was an elite athlete and U.S. Marines fighter pilot prior to falling into a film career. He is widely considered to be one of the greatest stuntmen in movie history, having taken leaps and bounds for Errol Flynn, John Wayne, Randolph Scott, and Gregory Peck. One of the first stuntmen to successfully move into acting, he was the popular star of the 1950s television westerns Range Rider and Yancy Derringer and twice played Tarzan on the big screen, presenting a memorable portrayal of an educated, articulate and mature jungle lord true to author Edgar Rice Burroughs' original vision. Filming in real jungles around the world took a physical toll on Mahoney that transformed him from leading man to burly character actor. He had to overcome the effects of a stroke but true to his tough guy nature rose above it to resume his life's many adventures. Mahoney was beloved by fans at conventions and appearances until his untimely demise in 1989 from a stroke-caused motor vehicle accident.

From the time his Nazi regime launched World War II to the present, Adolf Hitler has frequently been depicted on film. He was largely ridiculed at first, since laughter was a powerful weapon and morale booster for nations at war. Later representations were more somber and realistic, yet Hitler's image never escaped the undertone of scorn. This book concentrates exclusively on portrayals of Hitler in feature films and television miniseries. The filmography covers films with a factual historical storyline, fictional stories, alternate histories, parodies and films where actors playing Hitler have a cameo. Each entry provides production credits, an annotated cast list, an analysis and synopsis of the film, an evaluation of the actor playing Hitler in terms of the strengths and weaknesses of his portrayal, and representative quotations from the film.