100 books like Movie-Made America

Gabler offers a detailed and persuasive history of Hollywood’s first producers, all immigrant Jewish Americans seeking to achieve the American dream.

This handful of men started in New York as peddlers or small business owners and then moved west to build their own film empires. No one saw motion pictures as more than a superficial pastime, but it seemed a good business opportunity. Unfortunately, Thomas Edison owned the rights and patents that kept Jewish entrepreneurs from accessing New York, so the immigrants went west.

MGM, Warner Brothers, Paramount, 20th Century Fox, and Universal: these were their kingdoms and are still the names we know today as the major Hollywood studios. Meet the remarkable (and sometimes horrible) men who built this world and learn about their lives and ambitions in Gabler’s engaging book.

I should first point out that Tom Doherty has been a mentor of mine for nearly a decade.

Before I met him, however, his book on Pre-Code Hollywood and censorship was pivotal for me understanding the machinations and implications of censorship. Hollywood and Hitler woke me up to the significant influence the film colony has had in both fighting fascism as well as others who turned a blind eye to it. It was Tom who sparked my interest in the relationship between Hollywood and antisemitism.

In fact, it was also Tom who first suggested I write a book on the 1941 Senate Investigation into Hollywood’s anti-Nazi films. Long story short, Hollywood and Hitler is a great book and Tom is a great scholar and even better mentor. Read all his work. 

No list of important books on Hollywood is complete without a reference to Kevin Brownlow.

Kevin was there in the 1960s and 1970s, when many of the silent-era Hollywood stars were still alive. He met and interviewed them all. His book brings that era to life in a way that no other book or film has been able to accomplish. Kevin is also a major supporter of other authors.

He was kind enough to blurb two of my books. He also read drafts of my Warner Brothers book – twice! Each time with increasingly helpful, thoughtful, and supportive feedback. Kevin is the one historian that every film historian is in debt to. I don’t think Kevin knows how important he is, but he certainly deserves a spot on my list. 

Wasson and Basinger are two other authors where you simply want to read everything they’ve written.

The reason I picked Hollywood: The Oral History for this list is that you have several hundred pages of Hollywood players telling their own stories. What could be better?? We get the scoop from stars, grips, screenwriters, carpenters, producers, directors, publicists, and everything in between.

What was it like to work in Hollywood in 1949? This book has your answer. What was the transition from Old Hollywood to New Hollywood like, this book has the goods. 

I once played Henry Higgins' mother in a local theatrical production of My Fair Lady. I delighted in the music and in portraying (in a white wig and wrinkled make-up) the stern, wise Mrs. Higgins, even as I also wondered whether Higgins and Pickering were perhaps secretly a couple and if Eliza was asexual.

This made me want to read the play on which My Fair Lady is based, George Bernard Shaw’s Pygmalion. I did not get answers to my somewhat whimsical questions about sexuality, but I did see in even greater relief the turning of women into objects that ambitious, selfish men may do.

Isenberg has explored all the Hollywood archives and has produced a delightful and fascinating story of the actors, the director and producer, the writers, and all the technicians who created the film. A splendid guide to Casablanca and a great example of an in-depth, how-it-was-made history of a single film. 

Katharine Hepburn, who worked with George Cukor in a whopping ten films, was known for her strength. She was a strong actor with strong opinions and a strong presence. She went through phases from atypical ingénue to box office poison to megastar.

Learning about her life through Hepburn’s own perspectives in her own words is riveting. She is prickly and poignant, biting and benevolent.

I love film noir and have written and published on it. I’ve also read numerous academic books on noir. But for those who want all the information and less of the jargon, no one does it better than Eddie Muller, author and host of Turner Movie Classics’ Noir Alley and president of the Film Noir Foundation, which hosts annual noir screening events in multiple US cities and publishes a wonderful magazine for members.

Dark City is full of amazing, restored photos alongside informative texts, great for reading and rereading. I keep mine on a coffee table.

Though not a book, the film starring Will Ferrell and Emma Thompson borrowed heavily from "Niebla" by Miguel de Unamuno, a Spanish novel about a character who becomes aware he is being narrated by a writer and goes to visit the writer. This film lives rent-free in my heart because the style of self-awareness that Ferrell’s character experiences in this film is close to the way I conceived of the meta-awareness of the characters Forsyth and Kintyre in The Untold Tale. I love the idea of someone learning they are being puppeteered and breaking free of the expected, the prescribed, and the narrative laid out for them. Maybe that’s why I like the film The Truman Show so much, too.

Bordwell is an academic who is encyclopedic on Hollywood.

He has written several definitive works on Hollywood and despite their depth and learnedness, they are very readable and enjoyable to absorb. So when he turned his attention to ‘classical’ Hollywood story telling, I knew it would be a good one, and I was not disappointed. 

Most story theorists have an approach that they are arguing for. Bordwell is analysing from a pure perspective, without ‘skin in the game’, so the result is balanced, critical, and highly enlightening for the aspiring writer.