100 books like The Last Tycoon

In my book club I’m known as Second Carl, since Carl Gottlieb has been a member far longer than I. In fact, I was still a lawyer in Washington, D.C. secretly dreaming about Hollywood but never suspecting I’d someday myself work on a Spielberg TV series, when I read this short, fast, now revered account of the filming of Spielberg’s breakout film. It proved to be a deeply accurate and comprehensive description – and warning – about what life and work on location and in Hollywood itself would be like. It’s also so engagingly readable and relevant, a Broadway musical based on the book is in tryouts as I write these words.

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

Elmore Leonard knew the vagaries of the movie business back to front, and he serves them up on a platter of delicious satire in this story about an East Coast loan shark, Chili Palmer, who comes to Los Angeles chasing a deadbeat debtor and winds up in his own fractured fairy tale version of the Hollywood dream.

Chili’s an endearing character, street smart with a unique blend of humility and self-confidence. When his collection job throws him into company with a group of movie people, he sees them and their milieu with clear-eyed objectivity.

Talking to an underworld associate, he says, “The movie business, you can do anything you want because there’s nobody in charge.” Leonard’s mastery of dialogue and character, along with his wit and sly affection for the industry he’s skewering combine to make this book a complete delight. 

I’ve read this book a few times, and I honestly can’t tell if it’s a praise or a damning critique of Los Angeles. I think that West–like myself and so many others–is addicted to Los Angeles and is still a bit critical of it.

Tod Hackett is a trained artist who comes to Hollywood to work in set and costume design. Like most outsiders, he sees the city as a projection of all his dreams and nightmares. Set in the 1930s, this book is a moving carnival of outsized stereotypes and winning caricatures. The entire thing feels like a carnival. Read this if you love the Golden Age of Hollywood.

Sidney Lumet directed Twelve Angry Men and The Verdict, among many others, and the beauty of this short book is just how practical he is about his craft. In the magazine interviews and hagiographies about directors, we seldom get a true sense of the working day on a movie set, or what happens long before shooting begins and months after it finishes. But here Lumet reveals why he always tried to schedule a very simple shot for the first set-up on day 1 of production, the value of a rehearsal period (if he was granted one) and that he took a lunchtime nap. From first being offered a script to the final sound mix, this is what a movie director really does.

Some Like It Hot, The Apartment, Double Indemnity, Sunset Boulevard… Billy Wilder is my favourite filmmaker. I like the elegance of his storytelling and his bittersweet wit. In Wilder’s final years, Cameron Crowe conducted a series of interviews with the writer-director. From fleeing Nazi Germany to his admiration for Ernest Lubitsch, from the trials of working with Marilyn Monroe or Raymond Chandler to the joys of collaborating with Barbara Stanwyck, Jack Lemmon, and Charles Laughton, from his successes to his failures and on to the secret of what makes a good writing partner, Wilder needs little prodding to tell movie-making tales from Berlin to Paris to Hollywood.

Carrie Fischer became an icon after playing Princess Leia in the original Star Wars trilogy, but there’s a whole subpopulation of women who idolize Carrie and still mourn her death for an entirely different reason. We love her writing, and also who she was – honest, vulnerable, subversive, and hilarious. In my 20s, I read three Carrie Fischer novels in a row. Sometimes you have that youthful moment when you connect with the voice of a writer so strongly, that you become forever devoted to them. For me, this author was Carrie Fischer. The novel is about an actress who goes to rehab, so, like the others mentioned here, there’s an autobiographical thread running through it. I love Carrie’s honest writing, her wicked insights into the human condition, and her heroic sense of humor in the face of being a woman in Hollywood and on the planet. 

In contrast to Hollywood, Krzysztof Kieslowski worked under Polish Communism for the first 20 years of his career, before he became better known in the West with the Three Colours Trilogy. In Poland, it wasn’t the box office that determined a filmmaker’s fate but what the state censors thought. His film Blind Chance wasn’t released for six years because it suggested that a person’s political affiliation – whether they become a dissident or party member – was up to, well, blind chance. This is a wonderfully thoughtful book not only about film-making, but working under Communism, what it is to be a creative artist, and, if I may, life.

This is the third book in the Trip Callaway Gig mystery series written by Phil Swann. While I’ve enjoyed all the Trip Callaway books, I especially like this one because it takes place in 1966 Hollywood. In this story, musician and undercover agent Trip Callaway takes us into the world of Los Angeles studio musicians, who played on all those memorable recordings and variety shows of the time. On top of spending some quality time in great, but sadly long gone, Hollywood hotspots like Shelly’s Manne Hole, The Palomino, and Martoni’s – places I went growing up in Los Angeles – Tinseltown Tango is also a ripping good yarn. If you enjoy a good murder mystery with a dash of music and no shortage of laughs, check out this book. You won’t be disappointed. 

Despite wars, plagues, and technological revolutions, the psychology of Hollywood endures and Schulberg’s novel about screenwriters in pre-World War Two Hollywood remains an obligatory read for anyone contemplating a life in showbusiness or wanting, as a member of the audience, to have a deeper understanding of the business. The book still so accurately describes the challenges of a writer’s life and work, that when I served on the Writers Guild of America West’s board, I’d sometimes read passages from the book to the rest of the board members during our discussions of potential strike issues or matters affecting Guild unity. Schulberg’s eloquent yet plain-spoken insights were simply still that valuable, convincing – and entertaining.