The authoritative biography of Britains most subversive twentieth-century clown from celebrated biographer Graham McCann; author of Dadrsquo;s Army and Morecambe Wise.Please note that this edition is text only and does not include any illustrations.The rambling perambulations; the catchphrases; the bland brown suit and chestnut hairpiece: such were the hallmarks of a revolution in stand-up comedy that came in the unique shape of Frankie Howerd. His act was all about his lack of act; his humour reliant on trying to prevent the audience from laughing (No; no please; nowhellip;now control please; control).This new biography from Graham McCann charts the circuitous course of an extraordinary career ndash; moving from his early; exceptional; success in the forties and early fifties as a radio star; through a period at the end of the fifties when he was all but forgotten as a has-been; to his rediscovery in the early sixties by Peter Cook. Howerd returned to television popularity with lsquo;Up Pompeiirsquo;; which led to work with the Carry On team. In his last few years he became the unlikely doyen of the late eighties alternative comedy circuit. But his life off-stage was equally fascinating: full of secrets; insecurities (leading at one point to a nervous breakdown) and unexpected friendships.Graham McCann vividly captures both Howerds colourful career and precarious private life through extensive new research and original interviews with such figures as Paul McCartney; Eric Sykes; Bill Cotton; Barbara Windsor; Joan Simms and Michael Grade. This exceptional biography brings to life an unique British entertainer.
#2572197 in eBooks 2016-01-27 2016-01-27File Name: B01B5EJPW8
Review
13 of 13 people found the following review helpful. A great read for Hitchcock fansBy G. UhlinWith the sheer amount of Hitchcock scholarship out there; one would hardly think there was anything more left to say. Allens impressive and comprehensive book proves otherwise. Allen draws on all of this previous scholarship (he is an editor of Hitchcock Annual and two anthologies on the director) by arguing that all of the conflicting interpretations of HItchcocks singular films is symptomatic of the directors specifically cultivated aesthetic of romantic irony. Romantic irony; a term borrowed from literature; is when the writer or filmmaker presents competing and opposed perspectives; yet refuses to privilege one over the other; allowing both conflicting interpretations to remain true. It turns out that romantic irony provides a rather useful lens with which to focus the vast output of Hitchcocks films (53 features total; most of which Allen discusses in detail). The books first section mounts a defense of the use of romantic irony; as well as a classification of the narrative forms found through Hitchcocks body of films; including an extended discussion of the directors well-known use of suspense. The books best chapters; though; come in its second half where Allen devotes his attention to a detailed consideration of the filmmakers visual style; including the influence of German expressionism and the directors elaborate use of color. Film studies in general rarely attends to the formal and stylistic features of a directors work in this kind of detail; and while Allens own admiration for Hitchcock is on evidence; he lets the filmmakers greatness speaks for itself.0 of 0 people found the following review helpful. Great Hitchcock literatureBy customer528I really liked this book. It was well written and understandable as a non-cinema studies major. The whole book demonstrates Allens vast and comprehensive knowledge of Hitchcock. I thought the most important aspect of the book was that it brings up arguments and topics that have not been discussed before in Hitchcock scholarship.
