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A History of Horrors: The Rise and Fall of the House of by Denis Meikle

By Denis Meikle

No corporation within the historical past of cinema did extra to legitimize the horror movie than Hammer Films_the small British self reliant, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic splendor of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fanatics and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a new release of movies enthusiasts because the time period 'Hammer Horror' grew to become part of the language. This revised and up to date variation of A historical past of Horrors strains the lifestyles and 'spirit' of Hammer, from its fledgling days within the past due Nineteen Forties via its successes of the Fifties and '60s to its decline and eventual liquidation within the past due Nineteen Seventies. With the particular participation of all the team of workers who have been key to Hammer's good fortune, Denis Meikle paints a bright and engaging photograph of the increase and fall of a movie empire, supplying new and revealing insights into 'the fact at the back of the legend.' a lot has been written approximately Hammer's movies, yet this is often the single ebook to inform the tale of the corporate itself from the point of view of these who ran it in its heyday and who helped to show it right into a common byword for terror at the display. This definitive heritage additionally comprises forged and credit listings for the 'Hammer Horrors' and an entire filmography of all of Hammer's characteristic productions.

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In the meantime, he pursued his writing career, slowly building a reputation and becoming a client of well-known agent Audrey Wood. Hollywood Calls No one was more surprised than Williams himself when Hollywood suddenly beckoned in the spring of 1943. Wood sent him a telegram that changed his life: “Come at once to New York. ”⁴⁵ Williams was less than enthusiastic about this opportunity, even though it meant steady employment. ”⁴⁶ But he did not refuse the offer, and that summer began working for mgm at the standard rate of $250 a week.

No worthy Hollywood production was made in the fifties from either of Miller’s two spectacular stage successes—Death of a Salesman and The Crucible—mainly because of the playwright’s indifference. Williams, in contrast, sought from the very beginning the popular reputation and the considerable financial rewards that the fi lming of his plays would provide. Tennessee Williams was twenty-seven when he first visited Hollywood, and it was only some eleven years later that he began to play a substantial role in the fi lm industry centered there, when he helped director Irving Rapper and producer Jerry Wald adapt The Glass Menagerie for the screen.

At that time it was more common for properties thought promising, generally published works, to be purchased by the studio, often after competitive bidding. Producers then determined on a proper approach to this “presold” material, and their judgment about how to proceed would usually be based on short treatments prepared by contract writers. Once the project had reached this stage, it could be handed over to still another writer (or writers) for development, who worked under the always-watchful eye of the producer.

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