"A beautiful but disturbing portrait of a misfit painfully aware that he's not like anyone else." âNPR
Former comedian (and mayor) JÃ³n Gnarr now turns his lens from politics to tell his life story in his literary debut.The Indian is a highly entertaining and bittersweet literary memoir by JÃ³n Gnarr, the world-famous Icelandic comedian and former Mayor of Reykjavik,Iceland, revisiting his troubled childhood. Diagnosed as "retarded" because of his severe dyslexia and ADHD, Gnarr spent time in a "home for retarded children" before getting out, only to find himself subjected to constant bullying, leading the young Gnarr to identify with the Indians against bully cowboys on TV.
The Indian is the first book in a trilogy that looks back at Gnarr's childhood and adolescence, providing the unparalleled coming of age story of an outcast who overcame the odds and matured into a world-renowned comedian, actor, writer, and politician. Each book in the trilogy is told with the warmth and humor that defines Gnarr's unique personality, allowing readers of all ages to identify with his story.
Arguably the greatest star of Bengali cinema, Suchitra Sen mesmerized audiences for years, before withdrawing from the public gaze and refusing to emerge in the limelight in the last decade of her life. In this nuanced biography, Shoma Chatterji unveils the two different dimensions of the Suchitra Sen persona: as a legendary romantic star with an audience pull spanning over two decades, and her slow but steady metamorphosis into a powerful performing artist through films like Deep Jele Jai, Hospital, Mamta and Aandhi who could seamlessly and effortlessly essay completely different characters without the on-screen partnership of Uttam Kumar. Award-winning author and film critic Shoma Chatterji presents a fascinating portrait of an icon of Indian cinema, addressing two significant elements that have not been touched by other writers: Suchitra Sen as a working woman in films and her wilful social seclusion.
Oddly, nothing in the form of a biography has been written before about Bengal's most memorable actor, Uttam Kumar, in English. Veteran film critic Swapan Mullick's Mahanayak Revisited goes behind the professional life and public face of Bengal's most idolised actor to reveal little-known details of the star's unconscious power in the film industry for more than thirty years, the dazzling achievements dampened by dud disappointments, the aberrations attendant on a life constantly in the floodlights as well as the human face that was masked by his towering image in front of the camera-all of which have resulted in, for cinelovers, an attachment that survives more than thirty years after his death. Mullick researches the reason for our undying worship of, and emotional links with, Bengal's most enduring screen hero, emerging with a gripping portrait of a true master of his art.
The little known story of the unlikely friendship of two famous figures of the American WestâBuffalo Bill Cody and Sitting Bullâtold through their time in Codyâs Wild West show in the 1880s.
It was in Brooklyn, New York, in 1883 that William F. Codyâknown across the land as Buffalo Billâconceived of his Wild West show, an âequestrian extravaganzaâ featuring cowboys and Indians. The idea took off. For four months in 1885 the Lakota chief Sitting Bull appeared in the show. Blood Brothers tells the story of these two iconic figures through their brief but important collaboration.
Blood Brothers flashes back to 1876, when the Lakota wiped out Custerâs 7th Cavalry unit at the Little Big Horn. Sitting Bull did not participate in the âlast stand,â but was nearbyâand blamed for killing Custer. The book also flashes forward to 1890, when Sitting Bull was assassinated. Hours before, Cody rushed to Sitting Bullâs cabin at Standing Rock, dispatched by the army to avert a disaster.
Deanne Stillman unearths little told details about the two men and their tumultuous times. Their alliance was eased by none other than Annie Oakley. When Sitting Bull joined the Wild West, the event spawned one of the earliest advertising slogans: âFoes in â76, Friends in â85ââreferring to the Little Big Horn. Cody paid his performers well, and he treated the Indians no differently from white performers. During this time, the Native American rights movement began to flourish. But with their way of life in tatters, the Lakota and others availed themselves of the chance to perform in the Wild West. When Cody died in 1917, a large contingent of Native Americans attended his public funeral.
An iconic friendship tale like no other, Blood Brothers is truly a timeless story of people from different cultures who crossed barriers to engage each other as human beings. And it foretells todayâs battle on the Great Plains.
The long-departed Steve McQueen is still the coolest man on two wheels.
Even thirty years after his death, Steve McQueen remains a cultural icon. His image continues to appear in advertising and pop culture and his fan base spans from car lovers to racing enthusiasts to motorcycle obsessives.
In his movies, McQueen's character always had an envy-inducing motorcycle or car, but in his personal life, motorcycles were always McQueen's first true love. McQueen's Motorcycles focuses on the bikes that the King of Cool raced and collected.
From the first Harley McQueen bought when he was an acting student in New York to the Triumph "desert sleds" and Huskys he desert raced all over California, Mexico, and Nevada, McQueen was never without a stable of two wheelers.
His need for speed propelled him from Hollywood into a number of top off-road motorcycle races, including the Baja 1000, Mint 400, Elsinore Grand Prix, and even as a member of the 1964 ISDT team in Europe. Determined to be ahead of the pack, McQueen maintained his body like it was a machine itself. He trained vigorously, weight lifting, running, and studying martial arts.
Later in his life, as he backed away from Hollywood, his interests turned to antique bikes and he accumulated an extensive collection, including Harley-Davidson, Indian, Triumph, Brough Superior, Cyclone, BSA, and Ace motorcycles.
Today, McQueen still has the Midas touch; anything that was in the man's possession is a hot commodity. McQueen's classic motorcycles sell for top dollar at auctions, always at a multiple of what the same bike is worth without the McQueen pedigree. McQueen's Motorcycles reveals these highly sought-after machines in gorgeous photography and full historical context.
In the three decades since Smita Patil died-at the impossibly young age of thirty-one-she has unwaveringly been one of Indian cinema's biggest icons. That is unusual enough for a 'parallel cinema' actor, rendered more remarkable in a career that spanned a mere ten years. Patil, one of the leading lights of the New Indian Cinema of the mid-1970s, has a body of work that would make veterans proud. Smita Patil: A Brief Incandescence tells her remarkable story, tracing it from her childhood to stardom, controversial marriage and untimely death. Her close friends remember 'Smi' as outspoken and bindaas, not beyond hurling abuses or taking off on bikes for impromptu joyrides. Film-makers like Shyam Benegal and Jabbar Patel, and co-stars Om Puri and Shabana Azmi talk about Patil's dedication to her craft and her intuitive pursuit of that perfect take. From the difficult equation she shared with her mother to her propensity for 'wrong' relationships, about which she was always open unlike other stars of the time, this is a complex and honest exploration of Patil's life. The book also includes a sharp critique of the films that defined her. They read like a roster of the best of New Indian Cinema: Bhumika, Mandi, Manthan, Umbartha, Bhavni Bhavai, Akaler Sandhane, Chakra, Chidambaram and Mirch Masala among them. Maithili Rao also examines Patil's many unfortunate forays into mainstream commercial cinema. Incisive and insightful, Smita Patil: A Brief Incandescence is an invaluable addition to film studies in India, bringing alive an entire era when cinema in India was truly different. It is also the definitive biography of a rare talent and a haunting life.
Here is the astonishing true story of Bollywood, a sweeping portrait about a country finding its identity, a movie industry that changed the face of India, and one man's struggle to become a star. Shah Rukh Khan's larger than life tale takes us through the colorful and idiosyncratic Bollywood movie industry, where fantastic dreams and outrageous obsessions share the spotlight with extortion, murder, and corruption. Shah Rukh Khan broke into this $1.5 billion business despite the fact that it has always been controlled by a handful of legendary film families and sometimes funded by black market money. As a Muslim in a Hindu majority nation, exulting in classic Indian cultural values, Shah Rukh Khan has come to embody the aspirations and contradictions of a complicated culture tumbling headlong into American style capitalism. His story is the mirror to view the greater Indian story and the underbelly of the culture of Bollywood.
"A bounty for cinema lovers everywhere." --Mira Nair, Director, The Namesake and Monsoon Wedding
"King of Bollywood is the all-singing, all-dancing back stage pass to Bollywood. Anupama Chopra chronicles the political and cultural story of India with finesse and insight, through fly-on-wall access to one of its biggest, most charming and charismatic stars." -- Gurinder Chadha, director of Bend it Like Beckham
"The "Easy Rider Raging Bull" of the Bollywood industry and essential reading for any Shah Rukh Khan fan." --Emma Thompson, actress
"Anu Chopra infuses the pivotal moments of Shah Rukh Khan's life with an edge-of-your-seat tension worthy of the best Bollywood blockbusters." --Kirkus
Molly Spotted Elk: A Penobscot in Paris chronicles the extraordinary life of a twentieth-century American Indian performing artist. Born in 1903 on the Penobscot reservation in Maine, Molly ventured into show business at an early ageâperforming vaudeville in New York, starring in the classic docudrama The Silent Enemy, then dancing for royalty and mingling with the literary elite in Europe.
In Paris, Molly found an audience more appreciative of authentic Native dance than in the United States. There Molly married a French journalist, but she was forced to leave him and flee France with her daughter during the 1940 German occupation.
Drawing extensively on diaries, letters, interviews, and other sources, Bunny McBride reconstructs Molly Spotted Elkâs story and sheds new light on the pressures Molly and her peers endured in acting out white stereotypes of the âIndian.â