100 Books Like Five Came Back

I just love it when a topic that sounds dull—in this case librarians and archivists during World War II—turns out to be unexpectedly rich and interesting. 

Peiss recounts in riveting detail the highly successful wartime mission that sent teams of scholars and other bookish types to scour Europe’s bookstores and basements for rare and otherwise valuable publications. Amassing truckloads of printed material not only aided the Allies’ intelligence operations but also restored looted property, demobilized Nazi propaganda, and, ultimately, transformed the holdings of American research libraries.

Delmont’s sweeping story about the complex wartime outlooks and experiences of Black Americans necessarily includes the travails and triumphs of combat fighters; the battlefield contributions of Black GIs have been too often dismissed or ignored. 

But here they appear alongside a fascinating, broader cast of war workers battling racism while doing their bit to defeat the Axis across the world’s continents. From the engineers carving roads out of impenetrable Asian jungle or Alaskan tundra to the women of the all-Black 6888th Central Postal Directory Battalion who sorted mail in an unheated English warehouse while under bombardment, Delmont’s subjects offer a reminder of the awesome scope of this war.

Some books center on an argument, some focus on narrative, and some revolve around characters. What impressed me about this book is that it does all three remarkably well.

I was amazed to learn how some of the most powerful publishers in the U.S. and U.K. either dismissed the Nazi threat or (like Lord Rothermere and the Daily Mail) openly cheered for Hitler.

It also helps that the five men and one woman included in this “axis” all had fascinating backgrounds and quirky personalities, which Olmsted presents in wonderfully concise sketches.

There are lots of stories about spies, and there are great histories about American missionaries.

But Sutton brings them together in a refreshing way, revealing the moral and political conundrums that arose once the United States turned to (mostly) men of faith to do undercover wartime work, from showering North Africa with propaganda and rescuing Doolittle’s downed raiders from China to stealing secrets and plotting assassinations.

Cinema of Paradox is a captivating journey into the intricate world of French cinema during the challenging years of the Nazi occupation of France. This book offers a unique window into a period when the French film industry not only survived but flourished, producing enduring classics like Carne's Children of Paradise.

Evelyn Ehrlich's meticulous exploration guides us through the tapestry of French filmmaking from the outbreak of World War II in 1939 to the liberation of France in 1944. What sets this book apart is its comprehensive approach, delving into the political, cultural, and social context that shaped the cinematic landscape in occupied France. It also sheds light on the occupiers' perspective, revealing the surprising encouragement from the Nazis for the French to maintain their high cinematic standards for their own purposes.

Though the book doesn’t approach the problem of veiled representations of Jewish characters in French cinema, Cinema of… show more.

Wasson and Basinger are two other authors where you simply want to read everything they’ve written.

The reason I picked Hollywood: The Oral History for this list is that you have several hundred pages of Hollywood players telling their own stories. What could be better?? We get the scoop from stars, grips, screenwriters, carpenters, producers, directors, publicists, and everything in between.

What was it like to work in Hollywood in 1949? This book has your answer. What was the transition from Old Hollywood to New Hollywood like, this book has the goods. 

We’ll be honest. We don’t really remember the romantic drama Up Close & Personal (1996), starring Robert Redford and Michelle Pfeiffer. But we won’t forget this book by Dunne, who wrote the film with his wife, Joan Didion. This is a forthright look at the writer’s lot in Hollywood. It’s a manual for massaging egos and dealing with conflicting notes, told with bracing honesty.

Sometimes, you take a job because you need health insurance. Sometimes, a movie that starts out based on the tragic true story of newscaster Jessica Savitch becomes a glossy sudser in which she lives. Sometimes, a troubled project becomes a hit despite itself. That’s always show business.

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

Bordwell is an academic who is encyclopedic on Hollywood.

He has written several definitive works on Hollywood and despite their depth and learnedness, they are very readable and enjoyable to absorb. So when he turned his attention to ‘classical’ Hollywood story telling, I knew it would be a good one, and I was not disappointed. 

Most story theorists have an approach that they are arguing for. Bordwell is analysing from a pure perspective, without ‘skin in the game’, so the result is balanced, critical, and highly enlightening for the aspiring writer. 

An editor of my book, Brian Neve has written extensively on the Hollywood Left, with many books, articles, and chapters devoted to filmmakers such as Cy Endfield, Elia Kazan, Robert Rossen, and Joseph Losey, or more broadly to politics and American cinema. A useful complement to the Ceplair & Englund volume, this astute, engaging, and empirically-grounded study explores how a generational cohort of radical and liberal creative practitioners—including Kazan, Losey, Rossen, Abraham Polonsky, Jules Dassin, John Huston, and Orson Welles—were energized by the political culture of the Depression era and sought, in different ways, to navigate the industrial and commercial constraints of Hollywood to produce socially-engaged films. This project was brutally stifled by the blacklist, with many filmmakers forced to choose between exile or collaboration.