Showing posts with label George Sanders. Show all posts
Showing posts with label George Sanders. Show all posts

Wednesday, March 28, 2018

Fritz Lang's While the City Sleeps (1956)

Ida Lupino and Dana Andrews with director Fritz Lang

After two decades of making films in America, director Fritz Lang was at his wits end. The 1950s was difficult time in the film industry. Television was a major rival for audience’s time and attention. For Lang, good opportunities were fewer and far between. It also didn't help that Lang had developed a reputation for being cruel to his actors. In an effort to salvage his Hollywood career, Lang met with producer Bert Friedlob. Friedlob was quite a character. He had dabbled in many different businesses, (he was a liquor salesman and even managed circus acts) and became a film producer while he was married to his third wife actress Eleanor Parker. His films included A Millionaire for Christy (1951), The Steel Trap (1952), The Star (1952) and others. Lang needed a producer and Friedlob was ready and available. According to Lang biographer Patrick McGilligan, after Lang signed with Friedlob, the producer wasn’t interested in any of the directors ideas however the two agreed on one project in particular. Friedlob owned the rights to the novel The Bloody Spur by Charles Einstein. The former  journalist's book was based on the true story of William Heirens, a Chicago based serial killer who targeted women and left messages behind scrawled in lipstick. Lang was familiar with the “lipstick killer” case and agreed to direct the movie. According to McGilligan, the killer in this story reminded Lang of Peter Kurten from his German film M. When William Friedkin interviewed Lang in 1973, they discussed Lang’s interest particularly in films about murderers and criminals. Lang didn’t want to admit it but he did agree that his interests did lie in “social evils.”

While the City Sleeps (1956) follows a cast of characters at the Kyne newsroom at a time when the company as at the brink of major change. Amos Kyne (Robert Warwick), head of the Kyne empire, died just at the time when his newsroom was working on their biggest scoop. A lipstick killer is on the loose. On the story is Edward Mobley (Dana Andrews), the head of the Kyne telecast, Mark Loving (George Sanders), head of the Kyne newswire and Jon Day Griffth (Thomas Mitchell), the Kyne Newspaper’s chief editor. They are in competition for the top spot along with resident newspaper artist Harry Kirtzer (James Craig) to take over where Amos Kyne left off. Unfortunately they're faced with Kyne’s son Walter Kyne (Vincent Price), the spoiled rich brat who has no newsroom experience but likes the power his new position gives him. While the team battles for the top spot by trying to solve the lipstick killer case, the women of the newsroom are also making their mark. Mobley’s girlfriend Nancy Liggett (Sally Forrest) is Loving’s secretary and also Mobley’s pawn to lure the lipstick killer. Women’s story report Mildred Donner (Ida Lupino) isn’t afraid to manipulate her coworkers to play office politics with the big boys. And then there is Kyne’s wife Dorothy (Rhonda Fleming), who is having a secret affair with Harry. Dorothy and Nancy catch the eye of the lipstick killer (John Drew Barrymore, billed as John Barrymore, Jr.). Will Mobley and his police detective friend Burt Kaufmann (Howard Duff) get to them in time before the killer does?

Dana Andrews, Sally Forrest, Thomas Mitchell and Ida Lupino

Producer Friedlob's screenwriter Casey Robinson adapted Einstein’s novel to screen. According to Lang biographer McGilligan, "Robinson had no journalism experience; and the script would lack the real-life verisimilitude the director usually boasted." It did seem unrealistic to me that Andrews’ Edward Mobley was more instrumental in solving the mystery than Howard Duff’s Lt. Burt Kaufman. Friedlob and Robinson also injected an anti-comic book message into the story which did not age well. According to the AFI, “Friedlob announced that the film would address one of the concerns currently publicized by Senator Estes Kefauver, that of the effect of comic books on "juvenile delinquency’" and how the film would be a "weapon in the growing battle against the corrupting force of comic books on young minds." Comic book publisher Tony London pushed back saying that the film's message cast a bad light on an entire genre when only a few bad apples were to blame. Fast forward to 2018 and comic book franchises drive the current film industry. What would have Friedlob thought of that?

Rhonda Fleming and Vincent Price

In a publicity piece for the film, Fritz Lang said the following regarding Rhonda Fleming, "She amuses all the male instinct and she displays her physical assets to great advantage in the picture." Fleming often played such roles which were the complete opposite of what she was like in real life. In an interview with George Feltenstein for the Warner Archive Collection podcast, Fleming said,
“We went on to do While the City Sleeps with Fritz Lang. Which is one I really didn’t want to do because it was what my moral values didn’t stand for. A cheating wife, betraying her husband and lying. I almost turned it down but I guess I wanted to work with Fritz Lang and a great cast. But some of those naughty and not so nice roles were actually wonderful opportunities to play a wider variety of roles and not be mixed up in nice and sweet roles. It’s a favorite of many of my fans, these films.”

Independently produced, United Artists was originally going to distribute the film but in a last minute effort to get the film out on the market quickly Friedlob sold the completed film to RKO. Released in May 1956, While the City Sleeps was well-received. McGilligan said "it was considered a taut, well-made suspense film” and got good reviews in the trades. Friedlob and Lang went on to make Beyond a Reasonable Doubt released that same year (a review of that title coming soon!). Unfortunately, Friedlob died suddenly, just a month after the release of their second film together.

Fritz Lang is my favorite director and that’s because I’ve come to enjoy all the movies I’ve seen of his, even the not so great ones. (To date I’ve seen all but four, his two lost silents and his last two films made in Germany). In While the City Sleeps, the serial killer storyline is besides the point. This movie is really a suspenseful newsroom drama. It’s more about the social politics of an office than it is the hunt for a murderer. Everyone in the film plays to their strengths. And what a cast! Andrews, Lupino, Sanders, Mitchell, Fleming, Forrest, Craig, Price, they are all superb in this picture. Even Barrymore is convincingly frightening as the blood-thirsty Robert Manners. One thing I love about Lang’s films is how the female characters are portrayed. In a male-driven office, the three principal women are not simply pawns in their game. When Sanders tries to manipulate Lupino to get ahead, she manipulates him right back. Forrest isn’t content being the spurned fiancee who Andrews cheats on. A brief moment of defiance helps save her life. Fleming’s part is probably the weakest of the three but she also has her strengths including fighting off the killer. The film has some editing problems. There were some loops added for dramatics that were too noticeable to be taken seriously. A few shots seemed to be sped up or shot in reverse for a similar effect.




While the City Sleeps (1956) is available on Blu-Ray from the Warner Archive Collection.


Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a Blu-Ray copy of While the City Sleeps (1956) to review!

Wednesday, January 3, 2018

A Scandal in Paris (1946)



Born in jail, Eugene Francois Vidocq (George Sanders) seemed destined for a criminal life. On his birthday a few decades later, he finds himself once again behind bars. There he makes friends with fellow career criminal Emile Vernet (Akim Tamiroff). The Vernet matriarch sends Eugene a special birthday cake with a file hidden inside. The two buds break out of jail and set their minds on anything they can steal. Not content with small loot, Eugene sets his sights on a bigger prize.

Eugene meets saloon dancer Loretta (Carole Landis), seducing her out of a ruby laced garter gifted to her by prefect of police Richet (Gene Lockhart). Then he meets the De Piermont family and practically moves in while he and Emile set out to Marquise De Piermont's (Alma Kruger) family jewels. Instead he uses his detective skills to solve his own crime while impressing police captain Houdon de Piermont (Alan Napier). He charms his way into Richet's job as prefect of police. Eugene and Emile fool everyone except the beautiful young Therese (Signe Hasso), daughter of Houdon. She fell in love with Eugene when she saw a painting of the two men as Saint George and the Dragon.  Meanwhile, Eugene and Emile expertly plot out a robbery of the Bank of Paris. Will this be the greatest crime caper of all time or will Therese throw everything off?

George Sanders and Akim Tamiroff in A Scandal in Paris (1946)
George Sanders and Akim Tamiroff in A Scandal in Paris (1946)


A Scandal in Paris (1946) was directed by Douglas Sirk, who went on to direct memorable 1950s melodramas including some of my favorites: Magnificent Obsession (1954), All That Heaven Allows (1955) and Imitation of Life (1959). This was an independent production by Arnold Pressburger and his son Fred Pressburger and distributed by United Artists. The story is very loosely based on the real life career criminal  of the 19th century Eugene Francois Vidocq. He's credited as the world's first private detective. The screenwriters changed many aspects of Vidocq's exploits and even added a cutesy and very unrealistic ending. His buddy Emile was either a work of fiction or an amalgamation of several real life friends of Vidocq. The man himself wrote a couple of memoirs but who knows if he could have been trusted to tell his own story. In fact the opening text of the film warns audiences of this.

This movie is kind of ridiculous and a reminder why I tend to shy from biopics from this era in film history. You couldn't get away with a film like this in contemporary cinema. However, I do appreciate the attention to detail in the wardrobe and sets. I was particularly enamored with the fantastical carousel that the de Pierremonts have in their backyard. It's a fine example of the over-the-top lifestyle of the wealthy elite of that era. I enjoyed the recurring theme of Saint George and the dragon which represents the two main characters, Vidocq and Emile, and how their narratives change throughout the story. I came to this picture because of George Sanders and Akim Tamiroff, two actors whom I greatly admire. Any time a film of theirs pops up on the TCM schedule, I usually schedule my DVR to record it. Having both actors in the same film was not an opportunity that I was going to pass up.

Signe Hasso, George Sanders and Carole Landis in A Scandal in Paris (1946)
Signe Hasso, George Sanders and Carole Landis in A Scandal in Paris (1946)

Both Sanders and Tamiroff deliver fine performances. Sanders is well-suited to the role of a wanna-be upper-class criminal who charms his way out of many situations. Tamiroff is heavily made up as Emile and he adeptly plays the knife-wielding and greedy criminal who sticks by his buddy but always has his eye on the prize. Child actress Jo Ann Marlowe, who many will recognize from Mildred Pierce (1945), plays Mimi de Pierremont, Therese's curious young sister. Carole Landis has a rather small but powerful role as the saloon singer who seduces men in power positions but meets her match with Sanders' Vidocq. I enjoyed Gene Lockhart's performance as the troubled police prefect. Signe Hasso does a fine job in her role as the angelic Therese who becomes wise to Vidocq's intentions. I doubt her character existed in real life. And if it did I feel bad for her as I'm sure Vidocq would have abandoned her for other exploits.

If you can forgive the sins of a 1940s period piece, A Scandal in Paris is a worthwhile venture into the work of several key players including Douglas Sirk, George Sanders and Akim Tamiroff.




Friday, November 17, 2017

Hangover Square (1945) #Noirvember


Hangover Square (1945)

"But Mr. Middleton, music is the most important thing to me."
"No Mr. Bone. The most important thing is your life."

Obsession can destroy a person. In the 1940s, venerated actor Laird Cregar was making strides in Hollywood. He had success in films such as Blood and Sand (1941), I Wake Up Screaming (1941), This Gun for Hire (1942) and Heaven Can Wait (1943). However he hit a major career roadblock when he lost the part of Waldo Lydecker in Laura (1944) to Clifton Webb. The problem was that Cregar looked the part of a heavy. Audiences instantly knew he was a villain. Cregar was a big guy, over 300 pounds with bulging eyes. For Hollywood this meant being relegated to obvious villain roles. He'd be denied romantic leads and complicated characters. Cregar's obsession with his craft led him on the road to destruction.

20th Century Fox's Darryl F. Zanuck didn't know what to do with Cregar who had turned down several roles hoping for something that would make him a star like his idol John Barrymore. After much negotiation, Cregar got the lead role in Hangover Square (1945). This role would be his last.  Cregar had gone on a crash diet losing a whopping 100 pounds. After the filming he planned on having operations that would transform him from villainous heavy to romantic leading man. He underwent the era's equivalent of gastric bypass surgery in December of 1944 with plastic surgery on his eyes to follow. Having done so much damage to his body in the quest to become the actor he always wanted to be, Cregar's body gave out and he died a few days after his stomach operation.


Linda Darnell and Laird Cregar

Cregar's performance as George Harvey Bone would be his grand finale. His character's trajectory would mirror his own. Directed by John Brahm, Hangover Square is a Film Noir set in the Edwardian era. George Harvey Bone is a celebrated composer. He suffers from psychotic spells that set him in murderous rages. When he comes out of these spells he doesn't remember what he's done and he returns to being his mild-mannered self. His friends Sir Henry Chapman (Alan Napier ) and Chapman's daughter Barbara (Faye Marlowe) are concerned about him and ask him to seek the advice of psychiatrist Dr. Allan Middleton (George Sanders). Dr. Middleton suspects the recent murders were committed by George but continues to study him to make sure.

George falls into the snare of lounge singer Netta Longdon (Linda Darnell). She's beautiful, exotic and just out of reach. She entices him in a way that the sweet and doe-eyed Barbara. Netta uses her sexual allure to get George to compose original songs for her. George falls in love and Netta has no clue what psychotic rage lurks beneath George's relative mild exterior. Everything literally goes up in flames in two dramatic climaxes: a Guy Fawkes bonfire followed by the tortured performance of George's masterpiece, his grand concerto.

The story was based on author Patrick Hamilton's 1941 novel. Adapted for the screen by writer Barre Lyndon, significant changes were made to the plot. The setting was shifted from England on the brink of WWII to an Edwardian setting. In the movie, the principal character is a composer and music becomes an overarching theme in the story. Legendary composer Bernard Herrmann contributed a beautiful score as well as a fantastic 10 minute concerto.

Hangover Square is a stunning Film Noir. Cinematographer Joseph LaShelle's artistry is on full display. The artful composition of scenes with forced perspective, careful placing of objects and people and stunning lighting add to the eeriness of the film. There is one shot in particular that I loved. George Sanders' Dr. Middleton is confronting Cregar's George Bone. Sanders is in shadow and Cregar is washed in a harsh light. The recent 4k restoration sharpens the visual artistry of the film.



I'm always delighted to find a new-to-me Film Noir to fall in love with. Hangover Square did not disappoint. I particularly loved the performances and found a new appreciation for Laird Cregar. He artfully plays a Dr. Jekyll/Mr. Hyde type delivering a masterful final performance. Unfortunately we were all robbed of what could have been a long and legendary career from this talented man.

George Sanders and Faye Marlowe in Hangover Square (1945)
George Sanders and Faye Marlowe

I'll watch anything with George Sanders in it and he's what drew me to the film in the first place. I only wish there was more of him in this movie to enjoy! Linda Darnell is playful as the wily femme fatale. I was particularly delighted with Faye Marlowe whose Barbara is the polar opposite of Darnell's Netta. Hangover Square is her film debut. At the tender age of 17, Faye Marlowe was in a high school production of Our Town and caught the eye of a talent agent. Soon after she did a screen test and was signed to a contract with 20th Century Fox.  Years later Marlowe joked, "back in those days studios were signing up starlets like bad checks." Darryl F. Zanuck changed her surname to the glamorous Marlowe and John Brahm cast her in the role because she reminded him of his ex-wife. Marlowe is still with us and is the last surviving cast member.




Hangover Square (1945) is available on Blu-Ray from Kino Lorber. Bonus features include audio commentary track with screenwriter/historian Steve Haberman and actress Faye Marlowe and a separate commentary track with author/historian Richard Schickel. There's a short doc on Laird Cregar, a few trailers and an audio recording radio production of the movie featuring Vincent Price in the lead role.

Thank you to Kino Lorber for sending me a copy of the Blu-Ray to review!

Monday, July 20, 2015

Memoirs of a Professional Cad by George Sanders

Memoirs of a Professional Cad
by George Sanders
Dean Street Press
Originally Published 1960
9781910570463 - Paperback

Barnes and Noble 
IndieBound
Powell's

“You should watch the film for George Sanders.” In one form or another this is a line I’ve repeated often during my years as a classic film fan. George Sanders could charm audiences regardless of the quality of the film he was in. He made fine classics such as All About Eve and Foreign Correspondent as well as questionable clunkers. Every single film he was in was improved simply by his presence.

“...on the screen I am invariably a sonofabitch, in life I am a dear, dear, boy.” – George Sanders

George Sanders charmed fans on the printed page as well with Memoirs of a Professional Cad. Written and published in 1960, this memoir is essentially a collection of essays broken up into 23 chapters and split into Books I and II. Each chapter has a specific theme or multiple themes as Sanders might decide to veer off into a rant or go on a tangent. As I was reading the memoir I started giving chapters different titles. For example chapter 9 I called “On impulsiveness”, chapter 11 “On how to say no and living the good life” and Book II chapter 4, “Musings on Albert, the butler”. With a few exceptions, most of the chapters stand alone as individual essays. Book II chapters 6 and 7 are presented as a pair. Chapter 6 recounts the filming of Solomon and Sheba which leads into chapter 7 which deals with the sudden death of Tyrone Power.

“To the best of my knowledge, my father came in the mail.” – George Sanders

The essays range on a variety of topics. We learn about his family and early days in Russia, his schooling in England and a variety of jobs he held before he became an actor. Sanders shared some hilarious stories of doing work for a cigarette-manufacturing company. He traveled through Argentina and Chile promoting the cigarettes. He came up with a clever marketing plan: dropping cigarette packages from a Bristol Bi-Plane into remote areas of Chile. He was “thrown out” of many jobs before this one but he seemed to make this one stick. However it all ended when he found himself in a duel with a widow’s fiancee and was consequently thrown into jail. His employer came to his rescue but only long enough to bail him out of a jail and bring him back to England. He was unceremoniously fired shortly after and both the fiancee and Sanders survived the ordeal.

“...the driving force of my life has always been laziness; to practice this, in reasonable comfort, I have even been prepared, from time to time, to work.” – George Sanders

This was a lucky turn of events because his next job brought him into the presence of budding actress Greer Garson. She introduced him to acting and legions of George Sanders fans should be forever grateful to her for doing so. In his memoirs, we learn about Sanders’ early days in theater, the time he bailed out of a Rodgers & Hammerstein Broadway production of South Pacific and behind-the-scenes stories of films such as The Moon and Sixpence (1942), All About Eve (1950), Captain Blackjack (1950), Journey to Italy (1954) , Solomon and Sheba (1959) and Bluebeards Ten Honeymoons (1960)

George Sanders had some wonderful observations on Hollywood, acting, work, school, relationships and his own personal quirks. The book is endlessly quotable and I bookmarked many a passage that I heartily agreed with, that made me laugh or that made me scratch my head. Here are some of my favorite quotes:

Observations:

“I arrived at the conclusion that to enjoy one’s life to its fullest, one must build contrast into it. And the more extreme the contrast the fuller the life.” 

“The average audience is also incapable of distinguishing between a good actor and a good part. The actor gets the credit every time when more often than not the credit should go to the writer.”

“The mortality rate among stars is extremely high, whereas a good character actor is almost indestructible.”

“It is one of the sad ironies of life that one has to make money in order to spend time but waste time in order to make money.”

“Common household services are better paid for in money than in marriage, which is liable to produce the disagreeable results of a grossly distended waistline coupled with conversation confined to comparative prices of ground beef.”

“To begin with, it is impossible to be in love with a woman without experiencing on occasions an irresistible desire to strangle her. This can lead to a good deal of ill-feeling. Women are touchy about being strangled.”

“To the Englishman it is a continual source of amazement and irritation that the rest of mankind does not consist of other Englishmen.”

Anecdotes:

“My first appearance on the screen was as one of the gods in The Man Who Could Work Miracles. The part called for me to ride half-naked and shiny with grease, at four o’clock in the morning during one of England’s coldest winters, on a horse which was also coated with grease.”

“For a long time I was considered the ideal actor to play sneering, arrogant, bull-necked Nazi brutes.”

On getting his Oscar for his role in All About Eve. “I was grateful and flattered to get mine, but apart from making my already large ego one size larger it did absolutely nothing for me.”

On Marilyn Monroe “I lunched with her once or twice during the making of the film and found her conversation had unexpected depths. She showed an interest in intellectual subjects which was, to say the least, disconcerting. In her presence it was hard to concentrate.”

“Zsa Zsa was like champagne, and I as her husband was hard put to it to keep up with her standard of effervescence”

“There was no air-conditioning in the studio and the heat was so great at times that one had to sit between scenes with ice cubes wrapped in towels pressed against all possible parts of the anatomy in order to survive.”


Sanders talks in detail about his failed marriage to Zsa Zsa Gabor (and her obsession with hair dryers). He was writing his memoirs during a happy time in his life when he was married to Benita Hume. She’s only discussed once in the book at any length where Gabor’s antics take up entire essays. I also noticed that besides a fleeting mention of him in the first chapter, George Sanders does not talk at all about his brother, actor Tom Conway. I imagine at this point in Sander's life they were not on the best of terms.

I’ve been looking forward to reading this book for years. I have been hunting down an elusive copy of the original out-of-print hardcover but much to my dismay I could never find a reasonably priced one. That’s when Dean Street Press came to the rescue! This small British publisher brought George Sanders’ memoir as well as his two mystery novels back into print. They were very generous and sent me an e-book version of Sanders’ memoir which I was very grateful to read. I still want a physical copy but now I’m debating whether I’ll buy the reissue paperback or wait for a good original hardcover copy.

“I had had since the beginning a profound sense of unreality about my newly acquired profession which the atmosphere of Hollywood did nothing to dispel. I never really thought I would make the grade. And let’s face it, I haven’t.” – George Sanders

I really wanted to love this book but in the end I just really liked it. Some of the essays are absolute gems and others were so-so. Every chapter had some pearl of wisdom, bit of insightful musing or humorous anecdote to devour so I felt very satisfied by the end. The publisher suggests that Sanders’ memoir is somewhat fictional. There is an after by Ulla Watson, Sanders’ niece. She also backs up the claim of Sanders as unreliable narrator pointing out that Sanders often downplayed his skills and sometimes his lack of confidence caused him to bail out of projects.

Whether we can believe everything George Sanders says or not it doesn’t really matter. Memoirs of a Professional Cad is an entertaining and enthralling insight into the mind of one of the 20th century’s most charming actors.

This is my second entry for my 2015 Classic Film Book Summer Reading Challenge!


Wednesday, December 30, 2009

George Sanders, Zsa Zsa and Me

George Sanders, Zsa Zsa, and Me
by David R. Slavitt
9780810126244
Northwestern University Press
2009

Slavitt has a lot to say. In this book, he gets an opportunity to get those thoughts on paper and into the public's hands. Slavitt is a film critic (local to me since he lives in my area) who has shmoozed with and panned lots of greats from the classic film world. You may think from the title that this book is just about George Sanders his wife Zsa Zsa Gabor and Slavitt. Well, you are completely wrong. While George Sanders' life is the foundation of this book, it is really a free platform for Slavitt to talk about his days as a critic and his interactions with various people in the film world.

While reading this book, to me it seemed like Slavitt was a pretty angry guy. What saves the book for me is that he's a no-nonsense, straight-talking critic who isn't afraid to tell you what he thinks. For that reason, and that reason alone ,I kind of admire the man. George Sanders is a figure of both admiration and curiousity for Slavitt. Sanders was a charming, intelligent man who didn't realize his talent and settled for making lots of not-so-great films and as the final words of the book read: "Sanders' performance [in Viaggio] and All About Eve earned him a crumb of immortality. It's more than most of us get." Slavitt touches upon a lot of aspects of Sanders' life including his odd relationship with Zsa Zsa Gabor who he claims is a sort of angel of death in the lives of her husband Sanders and his brother Tom Conway.

There is a laundry list of other stars mentioned throughout the book and I can guarantee you none of them are put on a pedestal and adored. Slavitt sees them as real people who may or may not have done extraordinary things, but not as untouchable ethereal stars. People mentioned in the book include Alfred Hitchcock, Kim Novak, Natalie Wood, Tony Curtis, Suzanne Pleshette, Jennifer Jones, Frank Sinatra, Marilyn Monroe, Audrey Hepburn, Otto Preminger, etc. Slavitt gives us insights that you won't find anywhere else. He tells us about how he disliked Suzanne Pleshette for snubbing his wife in an elevator and he tried to get out of a breakfast with Alfred Hitchcock because he couldn't stand The Birds and didn't want to face him. He also comments on a rumor started by Ava Gardner about her ex-husband Frank Sinatra's lack of sexual prowess. This book is not for the faint of heart. Pretty much everyone is a target for some disdain on Slavitt's part, except for George Sanders. If anyone is on a pedestal in this book, it's him.

I highly encourage you to read this if you have an interest in the life of George Sanders or if you want a different look at classic Hollywood. The book has no real structure and it moves strictly through wandering thoughts with everything coming back to Sanders.

I also want to take a moment to mention The Siren's series on George Sanders. She, like Slavitt, is fascinated by Sanders and has written some excellent pieces on him. Here are a few to check out:

Life with Zsa Zsa, or the Importance of Closet Space
Surreal Sanders: The Private Affairs of Bel-Ami (1947)
George and Bernard: Notes on a Scandal
George Sanders: "Caddishness of Homeric Proportions"
George Sanders on the Kind of Thing to Give the Public  

Special thank you to Northwestern University Press for sending me a copy to review. And a special thanks to Slavitt for mentioning Northeastern University Press (Boston)! I used to work there as an undergrad, a couple of years before it closed it's doors and it was nice to see it mentioned.

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