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The Making of the Hitch-Hiker--Illustrated Reviewed By Gordon Osmond of Bookpleasures.com
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Gordon Osmond

Reviewer Gordon Osmond : Gordon is a produced and award-winning playwright and author of: So You Think You Know English--A Guide to English for Those Who Think They Don't Need One, Wet Firecrackers--The Unauthorized Autobiography of Gordon Osmond and his debut novel Slipping on Stardust.

He has reviewed books and stageplays for http://CurtainUp.com and for the Bertha Klausner International Literary Agency. He is a graduate of Columbia College and Columbia Law School and practiced law on Wall Street for many years before concentrating on writing fiction and non-fiction. You can find out more about Gordon by clicking HERE

Gordon can also be heard on the Electic Authors Showcase.







 
By Gordon Osmond
Published on December 18, 2013
 

Author:Mary Ann Anderson

Pubisher:Bear Manor Media

ISBN:1-59393-759-8




Author:Mary Ann Anderson

Pubisher:Bear Manor Media

ISBN:1-59393-759-8

By any measure, Ida Lupino was one of the most remarkable presences on the film scene during the second half of the 20th century. Born in London, with a family theatrical background, her smoky-voiced sensitivity and intensty contributed to several significant films. One of this reviewer’s personal favorites was the 1943 potboiler, The Hard Way. Later, she turned to directing, writing and producing, both for film and television.

A genuine beauty, who reportedly was even more incandescent in person than on screen, Lupino later appeared in arguably “B” black-and-white films such as The Bigamist and Beware My Lovely. In this same group was a film which she directed and co-wrote but did not act in called The Hitch-Hiker, based on the crime career of serial killer, Billy Cook, who was executed at the age of 23 in 1951.

Author Mary Ann Anderson, who enjoyed a close association with Lupino as documented in other books, has chosen The Hitch-Hiker as the focus for this rag-tag collection of quotes, press releases, artist profiles, and publicity photos. There are also a few sketchy accounts of Lupino’s marriages, her struggles with Hollywood censors, and the difficulties she encountered in establishing and managing a film production company.

As it deals with a killer, comparisons between Anderson’s work and Truman Capote’s In Cold Blood, which also received film treatment, are inevitable. Indeed, Lupino visited her killer in prison just as Capote did his. Suffice it to say that the comparison is not favorable to The Hitch-Hiker.

The text is replete with mistakes in grammar and punctuation and it’s sometime difficult to determine whether the faults are those of the author or of the several sources from which she quotes. In any case, there is an overall sense of carelessness, which does no favors either to Lupino or her work.

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