Books like Orson Welles's Last Movie — picked by fans

Harris focuses on Oscar night 1968 as four of the five films nominated for Best Picture evinced Hollywood’s reluctant affirmation of the American counterculture. These “pictures at a revolution,” as he terms them—Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, and the Oscar winner In the Heat of the Night—signaled a necessary industry re-think, away from bloated old-Hollywood blockbusters (like Dr. Dolittle, the fifth nominee) and towards something more politically savvy and more hip. Harris does well to chronicle the backstage/behind-the-scenes histories of all five of these films.

We believe you can learn more from failure than success. Misfires don’t come much bigger than the 1990 adaptation of Tom Wolfe’s blockbuster novel The Bonfire of the Vanities. The movie busted nary a block, which only makes director Brian De Palma’s willingness to open up the process to reporter/critic Salamon more remarkable.

This visits every department—including our favorite, costume design—and underscores that no one knows if a movie will be a smash or a flop while they’re making it, so cast and crew work just as hard on both. We love the story of second-unit director Eric Schwab seizing the opportunity to prove himself.

Until I read Wasson’s provocative book, it was my understanding that Robert Towne crafted his Oscar-winning Chinatown script with guidance from his star (Jack Nicholson), producer (Robert Evans), and director (Roman Polanski), all of whom urged Towne to find a cogent narrative inside a sprawling concept embedded with powerful metaphors.

Then Wasson debunked the romantic myth of the genius scribe working in isolation by revealing not just the extent of Polanski’s notes but, even more explosively, the involvement of Edward Taylor as Towne’s “editor” and possible uncredited co-writer. I didn’t think it was possible for me to be shocked anymore by discoveries about my chosen field, but Wasson’s book reminded me that solo screenwriting credits are, at best, abstractions and, at worst, misnomers.

When I first read this years ago, it struck me as one of the great books about directing—Steven Spielberg’s ingenuity is a major focus. Revisiting it today, I realize it’s equally valuable as a screenwriting resource because serving a director’s vision is a huge part of the screenwriting life.

As Gottlieb recounts, making Jaws wasn’t stressful just because the mechanical shark kept malfunctioning but because of the pressure Spielberg was under to transform a pulpy bestseller into a crowd-pleasing spectacle. Gottlieb, the third writer to work on the project, offers his unique perspective on the all-too-common scenario of starting a production without a finished script.

Every time I return to this book, I discover another insight about screenwriting, about filmmaking, and about creativity.

This is the first novel I read about grieving families who commissioned photographers to search for the place where their loved one died, in order that a photo could be taken for them to have as a keepsake.

I love learning something new when I read a book and I discovered so much about the after-effects of losing someone without having knowledge of their last moments and a place to pay one’s respects. 

This is about Edie, a widow wanting answers about her husband who she believes might still be alive, despite being classed as ‘missing, presumed dead’ in 1917. She commissions her late husband’s brother to search for him and photograph his final resting place, if indeed there is one.

A wonderful, haunting story of enduring love and loss.

The First World War broke out in August 1914; by September 1914 articles and essays began to appear that defended – or attacked – the policies of the men responsible for the July Crisis. Books soon followed. And they have never stopped. No crisis in history has received more attention than that of July 1914. The topic, with its vast complexities, missed opportunities, and contradictory explanations, continues to fascinate us.

No book on the subject is more captivating than Thomas Otte’s day-by-day unravelling of the complicated diplomacy pursued by the statesmen of Europe. His mastery of the subject is impressive (he has written dozens of articles and essays on the diplomacy of prewar Europe) and his balanced treatment of the topic serves as a model of dispassionate scholarship.

This novel absolutely blew me away. There are many books set during World War One and I’m fascinated by this war, particularly after studying WW1 poetry at school. The central image of the trench has stayed with me forever since. However, this novel is set on the home front in 1916 and shows the effects of war at a distance from the fighting. But don’t be lulled into any sense of comfort – this novel is heart-breaking, with a stunning twist. Merciless writing in the very best way, an excellent piece of war writing by West. When I wrote my own book I was determined to make the home front just as dramatic as any combat scene, just as West does so brilliantly. 

There are many different vantage points from which to view the road to war in 1914, but an essential one is that which focuses on the ethos, politics, and strategy of one of the constellations of European Great Powers. In the 1980s, Macmillan published a series of books focusing on each of these, written by acknowledged experts (Zara Steiner on Britain, John Keiger on France, Dominic Lieven on Russia, Volker Berghahn on Germany, Richard Bosworth on Italy). The last in the series appeared in 1990, when Samuel Williamson published his study of Austria-Hungary.

It was well worth the wait. Comprehensive in its structure, balanced in its judgments, meticulous in its research, Williamson established a new standard for studies of the Great Powers. His conclusion – that Austria-Hungary was largely responsible for initiating the July Crisis and, ultimately, the war itself – is persuasively argued and the story compellingly told.

This modern gothic follows Ivy Radcliffe as she suddenly inherits an estate house in England, during the tail end of World War I.

Throughout this story grief is explored very intimately through Ivy mourning the loss of her brother to the war, but also the way that the communal grief of the war affects individuals and shapes English society and how it functions.

Without giving away too many spoilers, memory places a huge, multilayered role in the story, and of course we see the way that grief and memory are connected, both through the way Ivy remembers her lost brother and characters mourning the way life once was before the war and, ultimately, will never be again.

I was riveted by this revisionist history of how America got into World War I and changed American society and politics. He shows how much of American collective memory about why WWI was fought, and the perception of Germany in America was fashioned, to a large extent, by British propaganda. He also shows why Germany had no choice but to engage in unrestricted submarine warfare, which eventually brought the United States into the war.

Had the British modified the naval blockade on Germany, which starved the German population in a horrific manner, the United States might never have become involved. But Great Britain was determined to make sure Germany would never again pose a threat to its colonial overseas empire. President Wilson at first understood that American neutrality was the means by which he could have brokered peace, but British and French recalcitrance, and eventually the deaths of relatively few… show more.