Fans pick 100 books like The Movie Musical!

We believe you can learn more from failure than success. Misfires don’t come much bigger than the 1990 adaptation of Tom Wolfe’s blockbuster novel The Bonfire of the Vanities. The movie busted nary a block, which only makes director Brian De Palma’s willingness to open up the process to reporter/critic Salamon more remarkable.

This visits every department—including our favorite, costume design—and underscores that no one knows if a movie will be a smash or a flop while they’re making it, so cast and crew work just as hard on both. We love the story of second-unit director Eric Schwab seizing the opportunity to prove himself.

McClintick makes the Hollywood boardroom scandal that began with David Begelman’s forgery of Cliff Robertson’s name on a $10,000 check, into a compulsively readable account of power run amok amongst  Hollywood-Wall Street executives. An expose of theft, cover-up, and blackmail, it is also a beautifully written, incisive portrait of men and women seduced by the glamor and power of Hollywood fame.

Film Historian Eyman eschews the tired caricature of Mayer as a cigar-chomping Hollywood mogul, instead delving into his immigrant roots and love of America, all of it informing Mayer’s tyrannical approach to running MGM, an approach that, unlike today’s dealmakers, was always leavened by a genuine love of movies. In the process, Eyman delivers a sweeping history of Hollywood’s outsized impact upon 20th century American life, filtered through the life story of a studio head who greenlit Ninotchka, The Wizard of Oz, Meet Me in St. Louis, and An American in Paris.

When a Hollywood legend’s child writes a biography of his or her parent, the result usually ends up as either a hatchet job (Mommie Dearest) or candy-coated alternative history. But here, Marlene Dietrich’s daughter Maria Riva delivers a loving but warts and all portrait of her complicated, fascinating mother. Dietrich’s career combined sex, allure, and world-weary refinement to revolutionize our very concept of femininity, in the process fascinating audiences around the world. The only biography of Dietrich to draw upon the star’s own letters and diaries, Riva delivers the ultimate insider’s portrait of both the warmth and suffocating shadow cast by a legend upon her own child. 

Rejection is a big part of the writer’s life (less so now that self-publishing has taken off, but it still rears its ugly head more times than you might expect).

Actors know all about rejection and the late Charles Grodin had more than his share. While this is technically a memoir, it’s also a handbook on how to deal with and process all the forms of rejection you might encounter on your journey. As an additional incentive to read it, please know that Charles Grodin is a terrific writer and a funny, funny man. You’ll learn while you laugh.

There are quite a few books out there on movie musicals, many of them full of holes and poorly researched.

Griffin’s is one of the most comprehensive, focusing not just on the famous MGM musicals like Singin’ in the Rain that get the most attention these days, but also on the lesser-known musicals that were hugely popular in their time. In this book you’ll learn about largely forgotten stars like Alice Faye and Jane Powell, and see how they fit into the history of the genre.

Griffith closely examines the whole history of movie musicals from the earliest days of sound film up to the present, without the value judgments that often obscure the history.

Full disclosure, Darcie was a producer on Legally Blonde and was president of MGM On Stage. Darcie was a real character, and she also dripped with worship for the theater.

This book is a meticulously researched love letter to the fusion of film and theater, filled with phenomenal photos and teeming with love. Chronicling West Side Story, Gypsy, Chicago, and beyond, it’s a great coffee table book you’ll actually want to read.

Audrey filmed seven movies in Paris, three of which were directed by the multi-talented Stanley Donen. When they first worked on Funny Face, Audrey was twenty-seven, and Donen was thirty-two.

Their five-year age gap allowed for an ease between the two colleagues, which would manifest into a friendship spanning over 30 years. In fact, Audrey wrote a touching introduction to Dancing on the Ceiling. Silverman wonderfully chronicles Donen’s life in films during the golden age of Hollywood at a time when movie musicals were still box office hits. Best of all, the book covers all three of Audrey and Donen’s collaborations: Funny Face, Charade, and Two for the Road.  

I adored Fred Astaire so much that during a trip to Los Angeles, I made a special little pilgrimage to the RKO studios on the corner of Melrose Ave and Gower Street to see where he shot those famous 1930s movies, Top Hat, Follow the Fleet, and Flying Down to Rio.

From his debut in vaudeville as a kid to his remarkable career as the star of many of the most popular Hollywood musicals ever captured on celluloid, Fred tells his own compelling story.

Mekas was a Lithuanian émigré who became an impresario of experimental cinema. He lived a long and eventful life, and this eccentric book is a fascinating account of it.