Chaplin and Agee charts the friendship between James Agee, author of Let Us Now Praise Famous Men and Pulitzer Prize-winning A Death in the Family and screenwriter for American classics including The African Queen, and Charlie Chaplin, who starred in a staggering number of films from 1914 to 1967. This friendship emerged in the midst of the tumult of the 1940s and 1950s, with the atomic bombings of Hiroshima and Nagasaki, McCarthyism and blacklisting. In print here for the first time is Agee's first screenplay, The Tramp's New World, lost until recently. The striking screenplay--a comedy "so dark it was without precedent"--was written for Chaplin's tramp character and set in post-apocalyptic New York. Chaplin and Agee also features many previously unpublished letters and photographs. As the story moves from Hollywood to Greenwich Village, these two figures come to life, revealing the untold story of the great bond between two influential twentieth-century artists.

A study of Charlie Chaplin, considered the world's greatest cinematic comedian and a man said to be one of the most influential screen artists in movie history.

“I’ll croak before I write ads or sell bonds—or do anything except write.” James Agee’s father died when he was just six years old, a loss immortalized in his Pulitzer Prize–winning novel, A Death in the Family. Three years later, Agee’s mother moved the mourning family from Knoxville, Tennessee, to the campus of St. Andrew’s, an Episcopal boarding school near Sewanee. There, Agee met Father James Harold Flye, who would become his history teacher. Though Agee was just ten, the two struck up an unlikely and enduring friendship, traveling Europe by bicycle and exchanging letters for thirty years, from Agee’s admission to Exeter Academy to his death at forty-five. The intimate letters, collected by Father Flye after Agee’s death, form the most intimate portrait of Agee available, a starkly revealing account of the internal and external life of a tortured twentieth-century genius. Agee candidly shares his struggles with depression, professional failure, and a tumultuous personal life that included three wives and four children. First published in 1962, Letters of James Agee to Father Flye followed the rediscovery of Agee’s Let Us Now Praise Famous Men and the posthumous publication of A Death in the Family, which won the 1958 Pulitzer Prize and became a hit Broadway play and film. The collection sold prolifically throughout the 1960s and ’70s in mass-market editions as a new generation of readers discovered the deep talents of the writer Dwight Macdonald called “the most broadly gifted writer of our American generation.”

[The author] had a passion for art in all its aspects, but it was the new art of the movies that was his greatest inspiration as a critic. [This book] has long been recognized as the single most influential American book about movies. Witty, probing, lacerating his moral criticisms, eloquent in his admiration of filmmakers from Charlie Chaplin to John Huston, [the author] is a critic who engages the reader no matter what subject he is writing about.-Back cover.

-From 1942 to 1948, James Agee wrote rather voluminous move reviews for Time and The Nation at a time when motion pictures captured wide swaths of the viewing public. This fifth volume in the Works of James Agee series includes Maland's historical introduction and his textual introduction as well as Agee's reviews from Time, The Nation, other published film criticism, and unpublished articles. Agee's Time reviews have never been published in their entirety, and early reviews from Agee's time at Exeter Academy are also included---

A re-discovered masterpiece of reporting by a literary icon and a celebrated photographer In 1941, James Agee and Walker Evans published Let Us Now Praise Famous Men, a 400-page prose symphony about three tenant farming families in Hale County, Alabama, at the height of the Great Depression. The book shattered journalistic and literary conventions. Critic Lionel Trilling called it the “most realistic and most important moral effort of our American generation.” The origins of Agee and Evans’s famous collaboration date back to an assignment for Fortune magazine, which sent them to Alabama in the summer of 1936 to report a story that was never published. Some have assumed that Fortune’s editors shelved the story because of the unconventional style that marked Famous Men, and for years the original report was presumed lost. But fifty years after Agee’s death, a trove of his manuscripts turned out to include a typescript labeled “Cotton Tenants.” Once examined, the pages made it clear that Agee had in fact written a masterly, 30,000-word report for Fortune. Published here for the first time, and accompanied by thirty of Walker Evans’s historic photos, Cotton Tenants is an eloquent report of three families struggling through desperate times. Indeed, Agee’s dispatch remains relevant as one of the most honest explorations of poverty in America ever attempted and as a foundational document of long-form reporting. As the novelist Adam Haslett writes in an introduction, it is “a poet’s brief for the prosecution of economic and social injustice.”

Examining the legendary actor's life, art, and controversial politics within the context of their times, Lynn presents a fresh and definitive portrait of Chaplin.

Novelist, poet, screenwriter, journalist, film critic, and cult hero, James Agee was a man of many talents. This collection examines Agee's achievements from the perspective of family members, friends, and contemporaries to create a multifaceted portrait of a dynamic and influential man. Included are recollections and commentary from Agee's widow, his lifelong friend and teacher Father Flye, his editor David McDowell, and other notables, including John Huston, Andrew Lytle, and Walker Evans, with whom Agee collaborated on Let Us Now Praise Famous Men. For this edition, the editors have added new insights from such luminaries as Robert Fitzgerald, Dwight Macdonald, and Frederick Manfred, along with Agee critics Scott Bates, Edward Carlos, James Lee, Edwin M. Sterling, and William Stott. In addition, editor Jeffrey J. Folks has contributed a new preface outlining the state of Agee criticism in the years since the first edition was published in 1974. With liveliness and candor, Remembering James Agee evokes the life and personality of a writer and critic who holds a unique place in American letters.