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DEJA RE-VU
"BLONDE: THE MARILYN STORIES" Chopra's "Blonde" is an absorbing depiction of Monroe's life, blending fact and fiction. Featuring a sympathetic and convincing portrayal by Poppy Montgomery, it's a bit more respectful and a lot less arty and sensationalized than the new Netflix adaptation, which came from the same source material. "Marilyn and Me," a TV-movie, is a lesser effort, centered on a supposed romance Monroe had with an aspiring writer. "Goodbye, Norma Jean" is a tacky, tawdry piece of tripe. But some might find it a guilty pleasure. And Misty Rowe is certainly eye-catching in the title role. Curious Marilyn fans, who hunger for anything related to the tragic actress, will want to watch all three movies and, of course, the bonus features. The extras for this Film Chest set include a couple of documentaries on Marilyn, one narrated by Mike Wallace. Also here is her first TV appearance, doing a comedy sketch on "The Jack Benny Show." It provides good nostalgic fun.
"THE COUNT YORGA COLLECTION: COUNT YORGA, VAMPIRE, & THE RETURN OF COUNT YORGA" The movie is set in modern day (at the time) Los Angeles. Those in Yorga's orbit are open to the notion of séances and other trendy examples of the occult. But they remain skeptical of the concept of vampires, even when evidence begins to mount. The Count grooms a young woman to add to his stable of vampire brides. But her boyfriend and her doctor might just stand in his way... hopefully with a cross in hand. Though quickly shot on a miniscule budget, the movie, directed by Bob Kelljan, proves surprisingly effective. It's eerie and subtly suspenseful, doling out appropriately spaced shocks to keep the viewer on edge. The unusually strong cast is a huge benefit. Most importantly, Robert Quarry brings a magnetic presence to the Count. Solid in support are Judy Lang, Roger Perry and Michael Murphy, who would go on to become a staple in Woody Allen and Robert Altman films. Extras include commentary tracks; original trailer; an entertaining new interview with Murphy; and a fond remembrance of the film by "Shawshank Redemption" director Frank Darabont. The Arrow package's second disc presents the sequel. It stars Quarry and Mariette Hartley. Roger Perry has a role in this one, as well. A pre-"Coach" Craig Nelson pops up as a cop, before he added the middle initial "T" to his billing. AIP brought director Kelljan back for the "Return" and, armed with a bigger budget thanks to the success of the first movie, he pulls off another tense and terrifying tale. The bonus materials on this disc, in addition to more audio commentaries, include "Chamber-music of Horrors," a new interview with author David Huckvale about the mood-setting scores for both films, which were composed by Bill Marx, adopted son of Harpo.
Even if your Blu-ray collection already has an earlier "Count Yorga" release, it's definitely worth picking up this new Arrow set.
THE DAVE CLARK FIVE - "ALL THE HITS: THE 7" COLLECTION" These 45 rpm discs explode with the DC5's incredibly dynamic sound. Having been remastered, the tracks display an even more powerful impact. The 20 numbers are all hits, no B-sides, no filler. The Hall of Famers soared up the charts from 1964 to 1970, mostly with wildly rollicking rockers, but also serving up beautiful ballads. Mike Smith's potent vocals and Vox Continental keyboard work, pleasing harmonies, Lenny Davidson's inventive and versatile guitar riffs, Denny Payton's blaring sax and howling harmonica, Rick Huxley's solid bass and Dave Clark's fierce drumming (reportedly augmented by renowned session drummer Bobby Graham on occasion) added up to one of the British Invasion's most distinctive and spirited sounds. The songwriting was also top-notch, with several band members contributing. The combo also masterfully revamped old R&B hits, giving them a whole new energy and style. Here's the lineup in this set: "Glad All Over" with "Bits and Pieces" as an equally foot-stomping flip side; "I Like It Like That" with Chuck Berry's "Reelin' and Rockin'," Berry Gordy's "Do You Love Me" (first recorded by The Contours) with "Can't You See That She's Mine," the lovely "Because" with "Everybody Knows (I Still Love You)," "Catch Us If You Can" (the irresistible title track from their Warner Bros movie) with the ultra-cool "Try Too Hard," the chart-topping "Over and Over" (a remake of Bobby Day's 1958 release) and "You Got What It Takes" (a horn-driven powerhouse, reworking an old Marv Johnson tune), Disc 7 teams the remarkablly high-octane "Any Way You Want It" with the enticingly bluesy ballad "Come Home." The DC5's marvelous medley of oldies but goodies, "Good Old Rock 'N' Roll," is backed by the throbbing "Nineteen Days." The rowdy "Having a Wild Weekend" (their movie's title in the U.S.) comes with the catchy "At The Scene." The 10th disc combines the quintet's covers of two uplifting songs -- "Put a Little Love in Your Heart" and "Everybody Get Together." The Dave Clark Five were a hit-making machine in the mid-60s. Their signature sound balanced frenzy and finesse. In about two minutes, their songs would create an indelible impression, making listeners hungry to hear them over and over. These fab 45s make clear why the band sold more than 100 million records. DOUG "COSMO" CLIFFORD - "CALIFORNIA GOLD" This project teams him with vocalist/guitarist/B-3 player Bobby Whitlock (Derek & The Dominos) Together they drive a take-no-prisoners, bruising blues-rock sound. The songs, written by Clifford and Whitlock, are consistently strong. Clifford's production is first-rate. "It Ain't Like Mama Told Me" has a CCR sort of swampy sizzle. "Do Or Die" is a robust rocker. The slower, moody "It's Always Darkest Before The Dawn" surges with a Procol Harum vibe. "Other grabbing tracks include "On Hold Again," "Rollin' On" and "Get Down Fever." The album hits an upbeat note with "I'm Happy Just Being Alive." Whitlock's soulful voice, in the same vein as Joe Cocker, and Clifford's powerful drumming fuel the fire and fun here. Among the other top-notch musicians helping to create this "Gold" rush are The great Stax bassist Donald "Duck" Dunn and guitarist David Vega (Graham Central Station) Classic rock fans will be thrilled that this long lost album is now seeing the light of day.
ALEX CHILTON - "LIVE IN LONDON: ENCORE EDITION" "Live in London: Encore Edition," released by Sundazed Music, was recorded at the legendary venue Dingwall's in 1980. Chilton had hit a low point by that time. But he still delivers an energetic set bristling with raw, rough, edgy, punky rock. This edition, available on CD and 2-LP white vinyl, offers many previously unreleased tracks. Chilton's career got off to an auspicious start. With The Box Tops, he hit the top of the charts with "The Letter." He includes an aggressive version of that song in this set. He also launches into the Big Star power-pop classic "September Gurls," one of his most popular compositions. The album's opener is also a memorable Big Star number, "In The Street." It became the theme song for the sitcom "That' 70s Show," though the TV series' producer used more mainstream-friendly cover versions. Another high point of this live record is Chilton's wild and woolly cover of the Johnny Burnette Trio's riotous rockabilly number "Train Kept A-Rollin'." He careens into a frenzied "Come On Now," a Kinks klassic. Also finding kindred spirits in The Seeds, he serves up "Can't Seem to Make You Mine." Chilton died of a heart attack in 2010, at age 59. But he left behind a lot of great music. "Live in London" may not represent his creative zenith, but it stands as a valuable piece of an under-appreciated rock figure's history. CATHY SEGAL-GARCIA & PHILLIP STRANGE - "LIVE IN JAPAN" This two-CD package contains 21 classic tunes, attractively arranged and entrancingly performed. Segal-Garcia's ability to utilize unique phrasing, wherever appropriate, allows her warm, abundantly appealing voice to act as an inventive instrument. Her savory scatting serves up another fun, engaging element. She pours moving, authentic emotion into such alluring songs as "More Than You Know," "The Nearness of You" and "How Long Has This Been Going On." Segal-Garcia gives a glorious rendition of "Misty." She's soulful and earthy on "God Bless The Child." She is equally effective on toe-tappers like "I Got Rhythm" and "Night and Day." She makes each song her own. She and Strange take "Sentimental Journey" on an exhilarating trip it's never been on before. "Alice in Wonderland" proves to be truly magical, as is her exquisite take on "When You Wish Upon a Star." Because the '92 concert took place in December, the duo also performed a few Christmas tunes. They swing merrily through "Santa Claus Is Comin' to Town." Segal-Garcia's vocal on "White Christmas" glistens beautifully, as does "The Christmas Song." At the piano, Phillip Strange, with a mastery of tone and dynamics, melody and rhythm, as well as stylistic variety, provides the ideal accompaniment for Segal-Garcia. His playing is imaginative and tasty. It's a delight to catch two such extraordinary talents delivering such a superlative set. 3 PAIRS OF BOOTS - "MIGHTY LOVE" Stern wrote or co-wrote most of the songs here. "Leap of Faith," "Sweet Spot" and "Evensong" all prove instantly memorable. Stern finds historical inspiration on a couple of compositions. His "Labor Day" delves into the plight of unions during violent, Depression-era strikes. "Just Call Him Love" tells the tale of Nat Love, a black cowboy in the Old West, a former slave who became a rodeo star. "Ghosted," one of the songs Stern co-wrote with poet Wren Winfield, is a poignant exploration of loneliness and longing. Another of their co-writes, "Day Break," touches on climate change. Their resonant folk-rocker "The Server" is another standout. Arias' own composition "Mighty Love," is the kind of sweet tune Olivia Newton-John might have recorded when she first broke into the country scene in the 70s. The duo can create a distinctive cover, as well. Arias and Stern transform Tom Petty's "The Waiting" into a gentle, pretty, string-laden number. 3 Pairs of Boots might momentarily recalls The Byrds, Fleetwood Mac or Crosby, Stills & Nash, but they've developed a winning sound that is definitely their own. The "Mighty Love" album is mighty good. JIM CROCE - "YOU DON'T MESS AROUND WITH JIM" The title track, Croce's signature song, opens the album. Also in the uptempo folk-pop-blues vein are snappy "Hard Time Losin' Man" and "Rapid Roy (That Stock Car Boy"). But Croce was also a master of the ballad. And this record contains many of his best known and best loved, among them "Photographs and Memories," "Operator (That's the Way It Feels)" and "Time in a Bottle." His melodies are hauntingly beautiful and the lyrics eloquently reveal deep emotions. Lesser known, but equally lovely is "A Long Time Ago." "Walkin' Back to Georgia" and "New York's Not My Home" are also hummable honeys. Croce's voice is earnest and expressive. His acoustic guitar interplay with Maury Muehleisen provides a pleasing, complementary accompaniment. This album spent 93 weeks on the charts. Fifty years later, his love songs remain as moving as ever.
JOHN LEE HOOKER - "THE HEALER" A Latin flavor enhances the title track, "The Healer," courtesy of The Santana Band's percussive magic and Carlos Santana's silky lead guitar lines. Bonnie Raitt joins Hooker for the urgently earthy "I'm in the Mood." That track won a Grammy for Best Traditional Blues Performance. Hooker proves he can boogie with the best on "Cuttin' Out," which features Canned Heat. Los Lobos brings an electrifying, raw energy to "Think Twice Before You Go." Hooker also dishes up exciting interactions with Robert Cray, George Thorogood and Charlie Musselwhite. But the blues maestro doesn't need any outside help to enthrall listeners, as he proves on "Rockin' Chair," "No Substitute" and the beautiful ballad "My Dream."
The Mississippi-born Hooker, an incredibly influential artist, had a compelling voice that came from deep within and a penetrating guitar power. He's still spellbinding. Savor Craft Recordings' "The Healer" reissue on CD or 180-gram vinyl.
FEELS LIKE HOME: A SONG FOR THE SONORAN BORDERLANDS Ronstadt, whose grandparents were Mexican immigrants and descendants of Spanish settlers, also examines border politics. She grew up in the 50s and 60s, but can provide insights into the immigrant experience so relevant today. She basks in fond memories of the family music sessions, as well as the food that helped to bond them, as they carried on cherished traditions. Included are 20 of her favorite recipes, reflecting the Sonoran and Southwestern cultures. Among the inviting dishes are cheese soup, enchiladas, tuna-stuffed jalapenos, sautéed wild greens, and meatballs, just the way Ronstadt's grandmother made them. Ronstadt's tone is friendly, unaffected and disarming. Readers will be enchanted by the genial manner in which she shares details of her background, heritage and personal evolution. This beautiful book, rich in heart and soul, is tremendously enhanced by the wonderful photos taken by Ronstadt's friend Bill Steen. After reading the memoir, fans will come away knowing and loving Linda Ronstadt even more.
CAPTAIN OF HER SOUL: THE LIFE OF MARION DAVIES Davies was, in fact, a bright, exceptionally gifted actress and independent woman upon whom Hearst relied for emotional and, in his time of need, financial support. Lara Gabrielle's new biography of Davies brings out the strength and complexity of this extraordinary woman's character. The author charts Davies' rise from humble Brooklyn beginnings to earning attention as a chorus girl, before adding to the sparkle of Hollywood. Gabrielle expounds on her film work, which was diverse and impressive. Though Hearst's backing was undeniably an advantage, Davies proved herself to be one of the screen's finest comediennes. She was one of the most popular stars of the 20s and early 30s. At San Simeon, the Xanadu-like property she shared with Hearst, Davies welcomed such friends as Charlie Chaplin, Gloria Swanson, Norma Shearer and Irving Thalberg. A silent film superstar, she segued with modest success to the talkies, overcoming a stutter. But Davies was most proud of what she achieved in philanthropy and child advocacy. Though she was inexorably linked to Hearst, she always remained her own woman, or as she once referred to herself, "the captain of my soul." Gabrielle's book proves to be a fascinating read, from start to finish. The author documents the glamorous and epic parties at San Simeon, giving readers a picture of Hollywood's golden era. She also reveals the complicated, but enduring romance between Hearst and Davies. She shows Davies to be an admirable woman. The actress was generous and genuine, fun and loyal. She had a difficult life in many ways, one marred by alcoholism. But Davies had an indomitable spirit. And Gabrielle allows it to soar once again. BOLDLY GO: REFLECTIONS ON A LIFE OF AWE AND WONDER Some actors obsess over finding new creative challenges to meet. William Shatner has always had a wider and more adventurous scope in mind. He possesses an insatiable curiosity, an unquenchable thirst for knowledge, a hunger to live life to its fullest. In this latest book, he explains how this craving continues, even at age 91 After all, this nonagenarian recently traveled into space. In this uplifting memoir, Shatner's self-reflection has a universal resonance. His signature humor is present, often in a self-deprecating form. But there is a serious side, as he shares the wisdom he has accrued. Shatner talks of acting -- Brando and Olivier were his idols, but it was Christopher Plummer, a fellow Canadian, who most influenced him. He also talks of his revered role as father and grandfather. But he's also drawn to more daring pursuits, from riding motorcycles and horses to skydiving to swimming with sharks. But whether he's discussing "Star Trek" or his encounter with Stephen Hawking, he displays an unflagging enthusiasm. He says he tries to celebrate every moment of his existence. Shatner does continue to break new creative ground. He has gained satisfaction writing lyrics for his recent music projects. He explains the allure music holds for him. In the book, there are moving thoughts about his marriages, as well as his cherished friendship with Leonard Nimoy. You'll also find amusing recollections of his memorable appearances on the game show "The $25,000 Pyramid." But life is not all joy. He touches on disappointments and mistakes. Shatner doesn't ignore the low points in his life, including finding his wife's body in the swimming pool and having Nimoy shut him out in his final days. He is still eagerly learning. He believes that to keep discovering helps to avoid death. As he states in the introduction, "Knowledge feeds me. It's as necessary to my existence as oxygen. It thrills me." We can all envy and emulate Shatner's sense of awe and wonder. His greatest frustration is knowing that despite the infinite possibilities that surround us, we're all on a finite road and he won't have time to experience everything our amazing world has to offer. In the book, he goes into the meaning of legacies. He explains his own form of spirituality. The philosophical Shatner ends the book by describing, with the use of his own lyrics, what he would like to transition into, when his days on this planet finally end. But certainly, for Shatner, it's a wonderful life. CROOKED, BUT NEVER COMMON: THE FILMS OF PRESTON STURGES In the 1930s, Sturges became one of Hollywood's top screenwriters, penning the scripts for such movies as "The Good Fairy," "Diamond Jim," "Easy Living," "If I were King" and "Remember The Night." Unhappy with difference between his vision and what wound up on screen, Sturges sold Paramount "The Great McGinty" screenplay for just $10, with the provision that he would direct it himself. Thus he shaped the role of the writer-director in Hollywood, a concept previously not accepted. "McGinty" is where Klawans begins his exploration. The author details Sturges' masterful use of language. Sturges' dialogue crackled with sophisticated wit, but he wasn't afraid to mix in pratfalls, when they would add to the merriment. He dreamed up memorable, colorful characters, even in small roles. His scripts could bite or startle, but would also embrace poignant moments. Sentimentality balanced cynicism. And though his films could be frantically paced, they were always thought-provoking. He had a fresh take to offer on a myriad of subjects, including romance, politics, wealth, greed, advertising, deception and Hollywood itself. His best scripts brimmed with social commentary, but that never got in the way of the laughs. From 1940 to 1944, Sturges was on a dazzling wining streak. His astonishing string of hits included "Christmas in July," "The Lady Eve," "Sullivan's Travels," "The Palm Beach Story," "The Miracle of Morgan's Creek" and "Hail The Conquering Hero." Klawans offers fascinating insights into each of these distinctively smart screwball comedies. He also goes into what went wrong on 1944's "The Great Moment," a biopic about the 19th century dentist who discovered the use of ether for anesthesia. Ruined by studio interference, the film and its poor reception helped precipitate Sturges' professional decline. Frustrated with having to battle the studio for artistic control, Sturges went his own way, but a partnership with Howard Hughes proved disastrously counter-productive. Klawans dissects one interesting flop from that period, "The Sin of Harold Diddleback," which returned silent legend Harold Lloyd to the screen. At Fox, Sturges filmed his last important film, "Unfaithfully Yours." But it was not well received at the time of its release. The author's engrossing analysis shines a light on the writer-director's techniques and creative instincts. He touches on how the scripts did, or didn't, relate to the filmmaker's personal life. Klawans puts Sturges' oeuvre into context, offering a more profound understanding and appreciation for his films.
DON RICKLES: THE MERCHANT OF VENOM Starr provides the facts of Rickles' childhood and the formation of his performing dreams. He also goes into tremendous detail, when it comes to the evolution of his stand-up. Rickles was never really a joke-teller. He was a master ad-libber who found out that audiences responded enthusiastically when he hurled insults at hecklers. Soon he was tearing down visiting celebs, as well as civilians who caught his eye from the stage. He would fearlessly mock their race, religion, appearance and anything else that fit his rapid-fire assault. After years of struggling to make a name for himself in seedy clubs, some with mob ties, he became a sensation. Not everyone appreciated his harsh humor. Starr points out that even some peers, such as Shecky Greene, found Rickles' act appalling, despite the insult comic's declaration that all of his barbs actually came from a place of love and brotherhood. Fortunately for Don, however, when he showered abuse on Frank Sinatra, the Chairman of the Board responded not with a punch in the nose, but with raucous laughter. Sinatra's support was a key building block in Rickles' success. Starr documents Rickles' shows by quoting reviews and serving up some of the comic's juiciest lines. As you read, you'll hear Rickles voice in your head, snapping off these marvelous morsels of meanness. The book goes into Rickles' myriad TV appearances. He had notable guest shots on series, such as "The Wild Wild West" and "The Dick Van Dyke Show." The comic was a smash on talk and variety shows, but couldn't seem to land the sort of weekly series that would capitalize on his unique talents and win him big ratings. Brisk, brash banter with Carson, Letterman, Kimmel, Philbin, et all, kept him in the public eye, however. A graduate of the American Academy of Dramatic Arts, Rickles was also never really able to break through as a dramatic film actor, much as he desired that recognition. Farcical roles in fare like "Beach Blanket Bingo" weren't what he longed to play. His memorable turn in "Kelly's Heroes" opposite Clint Eastwood came closer, as did a surprising portrayal in Martin Scorsese's "Casino," but didn't lead to more significant parts. Rickles remained beloved as the Cancel Culture era dawned, but it became clear that changing times were making his often line-crossing taunts increasingly divisive and risky. Ironically, Rickles found a new generation of fans in family fare, voicing Mr. Potato Head in Pixar's "Toy Story" franchise. He kept churning along, though slowing when necrotizing fasciitis, a flesh-eating disease, afflicted his leg and dragged his health down. He was a source of hilarity for more than 60 years. Between Rickles' quoted jibes and the author's own witticisms, you'll find ample chuckles here. Starr's book also gives readers a deeper understanding of Rickles, his drive and his personality, as well as the shifting landscape of show business, from the 1950s to the recent past. So don't be a hockey puck. Buy this biography, you dummy! TCM UNDERGROUND: 50 MUST-SEE FILMS FROM THE WORLD OF CLASSIC CULT AND LATE-NIGHT CINEMA They have broken the 50 chosen ones into clever categories. "It's Crime Time" includes William Castle's campy 1965 Joan Crawford-starrer "I Saw What You Did." It's described as "a spine-tingler in the Grande Dame Guignol tradition." That movie is far removed from another entry, "The Harder They Come," a classic featuring Jamaican reggae legend Jimmy Cliff. And there's '"The Honeymoon Killers," which is peculiarly unnerving. Among the flicks you'll find in the "Domestic Disturbances" category are Paul Bartel's "Eating Raoul" and John Waters' "Polyester." Alan Rudolph's "Remember My Name," from 1978 and starring Geraldine Chaplin and Anthony Perkins, is darkly thought-provoking and very different from other films in this chapter. The authors don't exclude foreign language or silent films. The eccentrically eerie "Haxan," which fits both of those qualifications, can be studied in the "Fright Club" chapter, which also examines such movies as "Blacula" and "The House By The Cemetery." There are also two horror flicks that ride on terrific female lead performances -- Zohra Lampert in "Let's Scare Jessica to Death" and Samantha Eggar in David Cronenberg's "The Brood." In "Rebellion & Youth Movements," you'll immerse yourself in the teen angst and lustful agitation of "Little Darlings" with Tatum O' Neal and Kristy McNichol. And don't forget about another of the era's young female attractions, Linda Blair, who skates up a storm in "Roller Boogie." Michael Parks went into full James Dean mode for the brooding romantic drama "Wild Seed." As the authors point out, this is one of the cult films that cries out for rediscovery. Also falling into the "Rebellion" category is Penelope Spheeris' documentary punk/metal trilogy "The Decline of Western Civilization." "Visual Delights and Other Strange Mind Melters" includes the brain-bending animation of Japan's "Belladonna of Sadness," the titanically tacky "E.T." knock-off, "Mac and Me," Olivia Newton-John's musical extravaganza "Xanadu" and Russ Meyer's satirical sexploitation creation, "Beyond the Valley of the Dolls." There's also the mind-blowing magic of "Head," in which director Bob Rafelson and co-writer Jack Nicholson, aided by plenty of LSD, determinedly deconstruct and destroy The Monkees' teen idol image. Of course, also here is the trippiest of all, Roger Corman's "The Trip," starring the always fascinating to watch Peter Fonda and Susan Strasberg, with another Jack Nicholson screenplay. And these are just a few of the tasty treats in this collection. You'll find details of how and why the movies were made, the reaction, the background and the cultural context. From the bizarre to the brilliant, the camp to the cool, De Chirico and Murry know this territory intimately. They amuse with their "WTF Moments" sidebars and add welcome spotlights on some of the films' stars. With knowledge, humor and an appropriately twisted perspective, the authors give readers a fuller realization of what late-night cinema offers. With a foreword by Patton Oswalt, this celebration of strangeness is well worth exploring. ALL THINGS ASIDE: ABSOLUTELY CORRECT OPINIONS In her latest book, she tackles all sorts of relatable subjects, from the big issues of the day to the minutiae with which we all struggle. She touches on areas ranging from social media to cancel culture to scammy marketing targeted at women to "sheepy" following of trends to miscarriage, not shying away from taboos. She expresses her exasperation at humans who do not know how to "act like a person." Shlesinger scores consistently with the often acerbic, invariably witty asides she drops into the text. She's frank, funny and courageous. Whether what she writes is hilarious, outrageous or touching, it's always honest. The observant Shlesinger has a lot to say... and she says it in articulate, discerning, intelligent fashion. LADY DIRECTOR: ADVENTURES IN HOLLYWOOD, TELEVISION AND BEYOND But in the men's club that was Hollywood, Chopra faced innumerable challenges. She needed a rare resilience. With candor and compassion, in her new memoir, she reveals her long and winding creative journey. Along the way, she encountered an array of luminaries, some delightful, others deplorable. Among those whose names pop up in these pages are Harvey Weinstein, Sydney Pollock, Ted Kotcheff, Michael J. Fox, Diane Keaton and Carol Kane. She discusses her work relationships with cast members, as well as close friendships with Gene Wilder and Arthur Miller. The book offers insights into the often vision-mangling machinery and machinations of Hollywood. Chopra delves into her #MeToo moments, as well. Chopra details her battles, her painful disappointments and her triumphs. The industry's gender inequality could not defeat her. Instead she paved the way for many other gifted female filmmakers. With courage and perseverance, added to her talent, she has been able to make a lasting mark, continuing now into her eighties. Chopra's perceptive memoir is moving, disturbing, amusing and ultimately inspiring. Email Paul Freeman at paul@popcultureclassics.com |
