2019 National Jewish Book Award Finalist for Biography. Ben Hecht had seen his share of death-row psychopaths, crooked ward bosses, and Capone gun thugs by the time he had come of age as a crime reporter in gangland Chicago. His grim experience with what he called “the soul of man” gave him a kind of uncanny foresight a decade later, when a loose cannon named Adolf Hitler began to rise to power in central Europe. In 1932, Hecht solidified his legend as "the Shakespeare of Hollywood" with his thriller Scarface, the Howard Hughes epic considered the gangster movie to end all gangster movies. But Hecht rebelled against his Jewish bosses at the movie studios when they refused to make films about the Nazi menace. Leveraging his talents and celebrity connections to orchestrate a spectacular one-man publicity campaign, he mobilized pressure on the Roosevelt administration for an Allied plan to rescue Europe’s Jews. Then after the war, Hecht became notorious, embracing the labels “gangster” and “terrorist” in partnering with the mobster Mickey Cohen to smuggle weapons to Palestine in the fight for a Jewish state. The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist is a biography of a great twentieth-century writer that treats his activism during the 1940s as the central drama of his life. It details the story of how Hecht earned admiration as a humanitarian and vilification as an extremist at this pivotal moment in history, about the origins of his beliefs in his varied experiences in American media, and about the consequences. Who else but Hecht could have drawn the admiration of Ezra Pound, clowned around with Harpo Marx, written Notorious and Spellbound with Alfred Hitchcock, launched Marlon Brando’s career, ghosted Marilyn Monroe’s memoirs, hosted Jack Kerouac and Salvador Dalí on his television talk show, and plotted revolt with Menachem Begin? Any lover of modern history who follows this journey through the worlds of gangsters, reporters, Jazz Age artists, Hollywood stars, movie moguls, political radicals, and guerrilla fighters will never look at the twentieth century in the same way again.

A vibrant portrait of one of the most accomplished and prolific American screenwriters, by an award-winning biographer and essayist He was, according to Pauline Kael, “the greatest American screenwriter.” Jean-Luc Godard called him “a genius” who “invented 80 percent of what is used in Hollywood movies today.” Besides tossing off dozens of now-classic scripts—including Scarface, Twentieth Century, and Notorious—Ben Hecht was known in his day as ace reporter, celebrated playwright, taboo-busting novelist, and the most quick-witted of provocateurs. During World War II, he also emerged as an outspoken crusader for the imperiled Jews of Europe, and later he became a fierce propagandist for pre-1948 Palestine’s Jewish terrorist underground. Whatever the outrage he stirred, this self-declared “child of the century” came to embody much that defined America—especially Jewish America—in his time.Hecht's fame has dimmed with the decades, but Adina Hoffman’s vivid portrait brings this charismatic and contradictory figure back to life on the page. Hecht was a renaissance man of dazzling sorts, and Hoffman—critically acclaimed biographer, former film critic, and eloquent commentator on Middle Eastern culture and politics—is uniquely suited to capture him in all his modes.

Ben Hecht's critically acclaimed autobiographical memoir, first published in 1954, offers incomparably pungent evocations of Chicago in the 1910s and 1920s, Hollywood in the 1930s, and New York during the Second World War and after. "His manners are not always nice, but then nice manners do not always make interesting autobiographies, and this autobiography has the merit of being intensely interesting."--Saul Bellow, New York Times Named to Time's list of All-Time 100 Nonfiction Books, which deems it "the un-put-downable testament of the era's great multimedia entertainer."

Fantazus Mallare is a tortured artist who is slowly descending into madness. In a search for a muse and aided by a dwarf-monster, Goliath, Mallare tries to make sense of the world of reason versus that of insanity. Since its publication in 1924 and being banned in 1928 by the US Government, the book has achieved a cult status that strips the veneer of sanity, religion, lust and art. Musaicum Books presents to you the meticulously edited book with all the original black and white illustrations which earned it both its notoriety and praise. Excerpt: "FantaziusMallare considered himself mad because he was unable to behold in the meaningless gesturings of time, space and evolution a dramatic little pantomime adroitly centered about the routine of his existence. He was a silent looking man with black hair and an aquiline nose. His eyes were lifeless because they paid no homage to the world outside him. When he was thirty-five years old he lived alone high above a busy part of the town. He was a recluse. His black hair that fell in a slant across his forehead and the rigidity of his eyes gave him the appearance of a somnambulist. Twenty-twoHe found life unnecessary and submitted to it without curiosity. His ideas were profoundly simple. The excitement of his neighborhood, his city, his country and his world left him unmoved. He found no diversion in interpreting them. A friend had once asked him what he thought of democracy. This was during a great war being waged in its behalf. Mallare replied: "Democracy is the honeymoon of stupidity."

An exploration of the Kastner affair: a conspiracy, a violation of conscience, criminal betrayal. Picture those early days when the new nation of Israel was being formed in the region of Palestine European Jews had just endured history’s ultimate holocaust. Allied governments such as Great Britain had refused to take action to block the trains from carrying thousands of them to certain death. In those final days before the end of the war, the epicenter of the Nazi extermination effort was Hungary. Jews had fled there from Germany and Poland, but they could not outrun the shadow of death. That is the obvious truth, but was there more? Was there collaboration with the enemy that resulted in these murderous acts? Can you really trust governments and leaders to do what is right and best for those they represent? As Edmund Burke declared, "The only thing necessary for the triumph of evil is for good men to do nothing." But what happens when those who are trusted as good join forces with evil? Underlying this story is a bizarre tapestry of deception at the highest levels of government with the lives of many innocents in the balance. The libel trial of Rudolf Kastner, a prominent journalist representing the new government and supported by its Prime Minister David Ben Gurion, establishes the outline of that hidden past, protected by the political interests of some of Israel’s early leaders. A true classic...History that reads like a mystery novel when villains parade themselves as heroes and the real heroes are targets of evil.-Print ed. Includes 204 photos, plans and maps illustrating The Holocaust

As a writer, Ben Hecht (1894-1964) operated on many fronts and just as many levels. As a Chicago reporter in the wide-open 1920s, he created a frenetic and extravagant style of journalism. Later, he made his mark as a novelist of the bizarre, and was also one of the most popular playwrights of his day. Still later, as a screenwriter and sometime director in the golden age of Hollywood, he left a permanent stamp on films and on movie legend. Hecht was a prolific writer (35 books and twice as many films) and has come to seem just as prodigious in the combined folklore of Broadway, the movie industry and the newspaper business. But the fact that he worked in so many fields simultaneously has tended to blur his reputation. In this introduction to Hecht's personality and works, Doug Fetherling breaks Hecht's career into five overlapping "lives" or phases. First, there are the darlings of the avant garde, Hecht the Iconoclast and Hecht the Bohemian, at war with the ordinary, who brought about a new appreciation of the modern urban sensibility. Next was Hecht the Sophisticate, who mixed a unique concoction of sentiment and cynicism, a blend that remains a feature of his work and of popular culture between the wars. Then there was Hecht the Propagandist, who, in his work on behalf of the Jewish people, managed to alienate all sides of a bitterly fought series of political confrontations. Finally, there was Hecht the Memoirist who, drawing on previous selves, brought new vigor to what is often a stodgy literary form. While the Hollywood Hecht is best remembered today, Fetherling argues that the whole of his work must be viewed before we can gain insight into any of its parts. In so doing, he has written the first serious examination of a writer who, while at odds with his times, is one without whom they would not have been quite the same.--From publisher description.

Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).

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