The syndicated columnist takes a satirical look at many of the more absurd trappings of nouvelle American culture--channeling, fashion, relationships, and diet soda

ODDS AGAINST TOMORROW (1959), which stars Harry Belafonte, Robert Ryan, Ed Begley, and Gloria Graham, is written by blacklisted screenwriter Abraham Polonsky and directed by Robert Wise. The last great film noir of the black & white era, ODDS AGAINST TOMORROW reflects the author's strong social conscience--as racial conflict is portrayed as central to the failure of a bank robbery. This publication of the complete script of ODDS AGAINST TOMORROW blends the shooting script (written before the film was shot) and the continuity script (the elements which are contained in the finished film). The critical analysis draws extensively on specially conducted interviews with Robert Wise, Harry Belafonte, and Abraham Polonsky. Discussed din depth are the significance of a black protagonist within the film noir genre; the film's staus with African-American related cinema; the adaptation from William McGivern's novel; and the critically celebrated jazz score by John Lewis of the Modern Jazz Quartet.

"Cultural Slag is a collection of light verse, prose pieces and black-humor drawings by the creators of Scrap Irony, a collaboration hailed by the New York Times as an "uncommonplace book of bright verse and lively prose." Laughing over the absurdities of our times, Miss Lamport takes us from New York statues to foreign ruins, from Broadway abysses to transportation traps, from musical soup to political nuts. Flagrant indulgence in exotic words (did you know that larks flew not in common flocks but in exhaltations?) is balanced by solid satire of our art forms, our critics and any cultural clinkers that have rolled her way. Mr. Gorey's style has been variously described as macabre, Edwardian, ghoulish, appropriately antic, superb, charming. To embellish this volume he has again created the perfectly right drawings that are treasures in themselves. Felicia Lamport is the author of Mink on Weekdays as well as Scrap Irony. Her work has been published in Harper's, The Saturday Evening Post, the New York Herald Tribune, Show, Life, The New Yorker and other magazines. She lives in Cambridge, Massachusetts. Edward Gorey is well known for his slender and elegant series of illustrated fables, of which The Hapless Child, The Vinegar Works, The Remembered Visit are only a few."

Biblioteka REC I MISAO fototipsko izdanje

Includes the complete screenplay of the John Garfield classic written by Abraham Polonsky and Ira Wolfert. Introduced by Martin Scorsese. Biographical Interview with Mr. Polonsky. Commentary and critical analysis by Dr. John Schultheiss. Complete Filmography.

A collection of funny, ironic essays from one of the great humorists of the twentieth century. Culled from the pages of The New Yorker, Holiday, TV Guide and Venture, these 32 stories span all of Perelman's 1960s work and is his only anthology from the latter half of that decade.

NOTE: -Bagnlgge (locally pronounced Bagnidge) Wells, formerly a popular mineral spring in Islington, London, situated not far from the better remembered Sadler's-Wells. The gardens of Bagnlgge-Wells were at one time much resorted to; but, as a matter of fact, Bagnigge-Wells, unlike Sadler's-Wells, has never possessed a playhouse. Sadler's-Wells Theatre, however, always familiarly known as the "Wells," still exists. It was rebuilt in 1876-77. The costumes and scenic decoration of this little play-should follow, to the closest detail, the mode of the early Sixties, the period, in dress, of crinoline and the peg-top trouser; in furniture, of horsehair and mahogany, and the abominable "walnut -and -rep." No attempt should be made to modify such fashions in illustration, to render them less strange, even less grotesque, to the modern eye. On the contrary, there should be an endeavor to reproduce, perhaps to accentuate, any feature which may now seem particularly quaint and bizarre. Thus, lovely youth should be shown decked uncompromisingly as it was at the time indicated, at the risk (which the author believes to be a slight one) of pointing the chastening moral that, while beauty fades assuredly in its own time, it may appear to succeeding generations not to have been beauty at all.