From the trolley scene in Meet Me in St. Louis (1944) to Fred Astaire and Ginger Rogers's last dance on the silver screen ( The Barkleys of Broadway, 1949) to Judy Garland's timeless, tuxedo-clad performance of "Get Happy" ( Summer Stock, 1950), Charles Walters staged the iconic musical sequences of Hollywood's golden age. During his career, this Academy Award--nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, Debbie Reynolds, and Frank Sinatra. However, despite his many critical and commercial triumphs, Walters's name often goes unrecognized today. In the first full-length biography of Walters, Brent Phillips chronicles the artist's career, from his days as a featured Broadway performer and protégé of theater legend Robert Alton to his successes at Metro-Goldwyn-Mayer. He takes readers behind the scenes of many of the studio's most beloved musicals, including Easter Parade (1948), Lili (1953), High Society (1956), and T he Unsinkable Molly Brown (1964). In addition, Phillips recounts Walters's associations with Lucille Ball, Joan Crawford, and Gloria Swanson, examines the director's uncredited work on several films, including the blockbuster Gigi (1958), and discusses his contributions to musical theater and American popular culture. This revealing book also considers Walters's personal life and explores how he navigated the industry as an openly gay man. Drawing on unpublished oral histories, correspondence, and new interviews, this biography offers an entertaining and important new look at an exciting era in Hollywood history.
L. M. Montgomery's Heroines and the Pursuit of Romance
Author: Elizabeth R. Epperly
Pubpsher: University of Toronto Press
Category: Literary Criticism
Anne Shirley is the best known of a memorable group of heroines created by Lucy Maud Montgomery, a group that includes Emily Byrd Starr, Valancy Stirling, and Pat Gardiner. These characters are at the centre of Epperly's book, the first full-length critical study of all L.M. Montgomery's fiction. Epperly contends that Montgomery was a master of the romance genre, and through her use of literary allusions, repetitions, irony, and comic inversions she deftly manipulated the normal conventions of romance novels. By studying the fictional biographies of the heroines and their pursuit of romance, Epperly questions the ways romance shapes what we consider valuable in our imaginings and experience.