Pocket Essentials , 96 pages , £3.99 , PB
Bitesize: Meet Roger Corman – one of the originals . . .

Roger Corman is one of the legends of low budget and exploitation cinema; a rare combination of guerrilla tactic director and shrewd businessman. Pocket Essential Roger Corman by Mark Whitehead deals with his work as a director whilst briefly touching upon his other roles. There is good reason for this – there would be no way a 96 page book could even scratch the surface of his impact on drive-in cinemas and their audiences, his mentoring of (now) major Hollywood players and his numerous business successes. Even by concentrating on his directorial work there is much ground to cover, Corman being synonymous with the quick shoot, as can be seen in his classic black comedy The Little Shop of Horrors.

Whitehead tackles his subject with the clear love of Corman’s genre-smashing cult oeuvre, from the early formulaic westerns, through the science fiction B-movies of the fifties, the more upmarket, critically acclaimed Poe cycle to his hippie films of the late sixties and beyond. Rather than provide in-depth criticism of the films, Whitehead’s approach is to use the endless amusing or interesting anecdotes associated with the films to drive the book onwards. This makes for entertaining reading but also places the films firmly in their commercial and social context. This is not to say that judgement is reserved or praise universal. Travesties such as Viking Women and Ski Troop Attack are given suitably short shrift, although the stories concerning their making are fascinating: the former’s disastrous warship fiasco and the latter containing a real avalanche when Corman yelled “Action!” into his megaphone. Intermingled with this are the tales of ridiculously tight budgeting and Corman’s attempts at severing ties with bargain basement producers at AIP.

All great stuff and an inspiration to potential film-makers/entrepreneurs alike. At no point does the importance of Corman’s collaborators go unchecked either, as Whitehead places the canon more firmly in the mould of collaborative rather than auteur film-making.

Any Cop?: Roger Corman is favourably remembered for producing succinct, short, interesting, entertaining work without pretension. Mark Whiteheads’ book could easily be said to do the same.

Little Brown , 480 pages , £16.99 , HB
Bitesize: Barnstorming biography of one of the men who made Hollywood!

These days Hollywood is run, in the main, by faceless corporations all aiming to produce blockbuster after blockbuster. The director is generally considered to be the sole author of a film and its actors the marketing push. But there was another time, just a few decades ago, when the producers reigned supreme. And Sam Spiegel, producer of such classics as The African Queen, Bridge on the River Kwai, On the Waterfront and Lawrence of Arabia was one of the best. They don’t make ’em like they used to.

Spiegel’s life was fascinating – despite his relatively modest upbringing he was well educated and well travelled. He always had the drive and ambition to become a success. But it was his personality that really helped him reach the top. He lived lavishly, whether he had money or not, and was constantly in debt in his formative years. He’d borrow people’s cars and neglect to return them. He’d throw wild, extravagant dinner parties at expensive hotels, then omit paying the bill. He was imprisoned many times in several countries for not paying his debts. He was a complete cad to his wives and daughter. But he oozed charm. People who were furious at him would forgive his misdemeanours, he could talk his way around anything.

Natasha Fraser-Cavasson’s biography is a fascinating insight into an incredibly complex character. It covers Spiegel’s life and, of course, his film output. Detailed chapters lovingly chart the production process of the movies and are filled with great anecdotes. All the juicy details are present and correct: tales of major creative clashes between producer and directors, Spiegel living it up on his yacht whilst his cast and crew were suffering on location, taking top credit on his productions and of course that old favourite, the casting couch. There’s no doubt that Sam Spiegel was an incredibly discriminating producer and, unusually, an independent, not affiliated with a particular studio. Without his drive and grandiose vision, the epics he produced would probably not have been, well, epic. His real talent lay in spotting the creative talent within others. And exploiting it.

Any Cop?: A splendid read about an extraordinary character, with plenty of tales about both the man and his films.