As the age of the silent film dawns, a mysterious filmmaker approaches the Penny Dreadful with a proposal to turn Montgomery Flinch's sinister stories into motion pictures. With Monty starring in the production, filming begins but is plagued by a series of strange and frightening events. As Monty pleads with Penelope to help him, she is drawn into the mystery, but soon finds herself trapped in a nightmare penned by her own hand. Can Penelope uncover the filmmaker's dark secret in time?
Step into the past in this spine-tingling historical adventure from award-winning author Christopher Edge. Penelope Tredwell is the feisty thirteen-year-old orphan heiress of the bestselling magazine, The Penny Dreadful . Her masterly tales of the macabre are gripping Victorian Britain, even if no one knows she's the author. One day a mysterious filmmaker approaches The Penny Dreadful with a proposal to turn their sinister stories into motion pictures. Filming begins but is plagued by a series of strange and frightening events. As Penelope is drawn into the mysteries surrounding the filming she soon finds herself trapped in a nightmare penned by her own hand... Can Penny uncover the filmmaker's dark secret before it's too late? Spine-tingling historical adventure series with a supernatural twist! From the acclaimed author of The Many Worlds of Albie Bright and The Infinite Lives of Maisie Day . Related discussion notes and activity ideas available on the Nosy Crow website.
Penelope Tredwell is the feisty thirteen-year-old orphan heiress of Victorian Britain's bestselling magazine, the Penny Dreadful. Her spine-chilling tales—concealed under the pen name Montgomery Finch—are gripping the public. One day she receives a letter from the governor of the Bedlam madhouse requesting Finch's help to investigate the asylum's strange goings-on. Every night at precisely twelve minutes to midnight, the inmates all begin feverishly writing-incoherent ramblings that Penelope quickly realizes are frightening visions of the century to come. But what is causing this phenomenon? In the first book of this smart new series, Penelope is drawn into a thrilling mystery more terrifying than anything she could ever imagine!
A collection of some of the Pulitzer Prize–winning film critic’s most scathing reviews, from Alex & Emma to the remake of Yours, Mine, and Ours. From Roger’s review of Deuce Bigalow: European Gigolo (0 stars): “The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.' Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: “Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind . . . . Maybe you didn’t win a Pulitzer Prize because they haven’t invented a category for Best Third-Rate, Unfunny Pompous Reporter Who’s Never Been Acknowledged by His Peers . . . .” Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.” Roger Ebert’s I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a bestseller. This collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.
From two of the greatest imaginations of our time comes a magnificent novel of adventure and magic...SHADOW MOON: First in the Chronicles of the Shadow War. The genius of Star Wars(r) creator George Lucas and the vision of Chris Claremont, the author of the phenomenally bestselling The Uncanny X-Men adventures, merge in what must be the fantasy event of the year. In Shadow Moon, war and chaos have gripped the land of Tir Asleen. An ancient prophecy reveals one hope: a savior princess who will ascend to the throne when the time is right. But first, a Nelwyn wanderer must face forces of unimaginable malevolence and dangerous, forbidden rites of necromancy that could bring back a powerful warrior from soulless sleep. George Lucas reshaped filmmaking in the '70s and '80s with his Star Wars and Indiana Jones films. When Bantam Books asked Lucas if he had any stories he would like to develop as novels rather than as films, Lucas turned to his 1988 fantasy film, Willow. "When I wrote the story for Willow, I began with the pre-story," Lucas said, "but the full story was yet to be told." Now, Lucas's vision is being fulfilled with the talented help of Chris Claremont. Having previously taken the reins of what was for a decade the bestselling comic in the western hemisphere (The Uncanny X-Men) Claremont assumes the reponsibility of foster parent to Lucas's creation. On sale in hardcover now, and available on BDD Audio Cassette as well, SHADOW MOON is a momentous new adventure for readers looking to spend part of this summer in a fantastic world. SHADOW MOON is one of Bantam Spectra's most exciting publishing events in 1995, the year we celebrate our 10th Anniversary as the premiere publishing imprint of books of speculative fiction.
Penelope Tredwell, the pen behind bestselling author, Montgomery Flinch, is cursed with writer's block. She needs a sensational new story or her magazine, the Penny Dreadful, will go under. So when a mysterious letter arrives, confessing to the impossible crime of stealing the Crown Jewels just days before the King's coronation, Penelope thinks she has found a plot to enthrall her readers, until the police charge Montgomery Flinch with the theft of the jewels. Can Penelope solve the mystery, restore the jewels, rescue Monty, save the magazine, and keep the true identity of Montgomery Flinch a secret?
Illustrating the cultural significance of film and its power as a vehicle for social change, this book reveals the intricacies of the cultural movement and explores its connections to other art forms such as photography, drama, and literature.
Alice Faye's sweet demeanor, sultry glances, and velvety voice were her signatures. Her haunting rendition of “You'll Never Know” has never been surpassed by any other singer. Fans adored her in such films as Alexander's Ragtime Band, Rose of Washington Square, Tin Pan Alley, Week-End in Havana, and Hello, Frisco, Hello. In the 1930s and 1940s she reigned as queen of 20th Century Fox musicals. She co-starred with such legends as Shirley Temple, Tyrone Power, Carmen Miranda, and Don Ameche and was voted the number-one box-office attraction of 1940, placing ahead of Bette Davis and Myrna Loy. To a select cult, she remains a beloved star. In 1945 at the pinnacle of her career she chose to walk out on her Fox contract. This remarkable episode is unlike any other in the heyday of the big-studio system. Her daring departure from films left Fox mogul Darryl F. Zanuck and the rest of the movie industry flabbergasted. For years she had skirmished with him over her roles, her health, and her private life. His heavy-handed film editing of her fine work in Otto Preminger's drama Fallen Angel, a role she had fought for, relegated Faye to the shadows so that Zanuck could showcase the younger Linda Darnell. After leaving Fox, Faye (1915–1998) devoted herself to her marriage to radio star Phil Harris, to motherhood, and to a second career on radio in the Phil Harris–Alice Faye Show, broadcast for eight years. She happily gave up films in favor of the independence and self-esteem that she discovered in private life. She willingly freed herself of the “star-treatment” that debilitated so many of her contemporaries. In the 1980s she emerged as a spokeswoman for Pfizer Pharmaceuticals, touring America to encourage senior citizens to make their lives more meaningful and vital. Before Betty Grable, before Marilyn Monroe—Alice Faye was first in the lineup of 20th Century Fox blondes. This book captures her special essence, her work in film, radio, and popular music, and indeed her graceful survival beyond the silver screen.
