Restaurant entrepreneur Tony Allan and Italian chef Giorgio Locatelli bring the vivacity and humour of their 12-year friendship to a brilliant partnership in the kitchen, combining a professional passion for the best of fresh, affordable ingredients with their home lives amongst family and good friends.

From Gabrielle Hamilton on hiring a blind line cook to Michel Richard on rescuing a wrecked cake to Eric Ripert on being the clumsiest waiter in the room, these behind-the-scenes accounts are as wildly entertaining as they are revealing. With a great, new piece by Jamie Oliver, Don't Try This at Home is a delicious reminder that even the chefs we most admire aren't always perfect-and a hilarious musthave for anyone who's ever burned dinner.

This biography not only gives you an idea of the brilliant career of Mandrake with over 100 show photos, but also provides a glimpse behind the scenes. What was it like to live on the road with small children while constantly performing magic shows? Mandrake's first son, Lon, at age 6 attended five different schools in grade one yet graduated from U.B.C. with a Bachelor of Science degree years later. Mandrake's performing partner and wife, Velvet, remembers: "One night we had a big show, with full orchestra and a packed house. At the end , the audience really liked us and they came up on stage and presented me with a bouquet of red roses. We took our bows and we felt like the toast of the town. Then back to the hotel room I went to relieve the sitter while Leon organized back stage. I rolled up my sleeves and thought what a contrast, as I spent the rest of the evening washing out dirty diapers in the bathroom sink." Then there was the time the elegant Vancouver hotel phoned Mandrake for help because another magician's doves had flown into the high chandeliers and no one could catch them. A banquet was planned for that evening and they were in a panic. Mandrake, with his great experience in magic, caught all the birds in no time. See the photo of Mandrake in Las Vegas in 1945 when the Last Frontier was one of only three casinos on the strip. Enjoy the adventures of Mandrake and the unusual people he met on the road. Meet the real Mandrake the Magician.

Francis Ford Coppola's The Godfather (1972) marked a transition in American film-making, and its success – as a work of art, as a creative 'property' exploited by its studio, Paramount Pictures; and as a model for aspiring auteurist film-makers – changed Hollywood forever. Jon Lewis's study of The Godfather begins with a close look at the film's audacious visual style (the long, theatrical set pieces; the chiaroscuro lighting, the climactic montage paralleling a family baptism with a series of brutal murders). The analysis of visual style is paired with a discussion of the movie's principal themes: Vito and Michael's attempt to balance the obligations of business and family, their struggle with assimilation, the temptations and pitfalls of capitalist accumulation, and the larger drama of succession from father to son, from one generation to the next. The textual analysis precedes a production history that views The Godfather as a singularly important film in Hollywood's dramatic box-office turnaround in the early 1970s. And then, finally, the book takes a long hard look at the gangster himself both on screen and off. Hollywood publicity attending the gangster film from its inception in the silent era to the present has endeavoured to dull the distinction between the real and movie gangster, insisting that each film has been culled from the day's sordid headlines. Looking at the drama on screen and the production history behind the scenes, Lewis uncovers a series of real gangster backstories, revealing, finally, how millions of dollars of mob money may well have funded the film in the first place, and how, as things played out, The Godfather saved Paramount Studios and the rest of Hollywood as well.

This critical biography by the acclaimed film historian is “certainly the definitive work on the director” behind The Godfather and Apocalypse Now (Publishers Weekly). Gene Phillips blends biography, studio history, and film criticism to complete the most comprehensive work on Coppola ever written. The force behind such popular and critically acclaimed films as Rumble Fish and the Godfather trilogy, Coppola has imprinted his distinct style on each of his movies and on the landscape of American popular culture. In Godfather, Phillips argues that Coppola has repeatedly bucked the Hollywood "factory system" in an attempt to create distinct films that reflect his own artistic vision—often to the detriment of his career and finances. Phillips conducted interviews with the director and his colleagues and examined Coppola's production journals and screenplays. Phillips also reviewed rare copies of Coppola's student films, his early excursions into soft-core pornography, and his less celebrated productions such as One from the Heart and Tucker: The Man and His Dream. The result is the definitive assessment of one of Hollywood's most enduring and misunderstood mavericks.

With the Civil Rights movement of the sixties fresh in their perspective, movie producers of the early 1970s began to make films aimed toward the underserved African American audience. Over the next five years or so, a number of cheaply made, so-called blaxploitation movies featured African American actresses in roles which broke traditional molds. Typically long on flash and violence but lacking in character depth and development, this genre nonetheless did a great deal toward redefining the perception of African American actresses, breaking traditional African American female stereotypes and laying the groundwork for later feminine action heroines. This critical study examines the ways in which the blaxploitation heroines of the early 1970s reshaped the presentation of African American actresses on screen and, to a certain degree, the perception of African American females in general. It discusses the social, political and cultural context in which blaxploitation films emerged. The work focuses on four African American actresses--Pam Grier, Tamara Dobson, Teresa Graves and Jeanne Belle--providing critical and audience response to their films as well as insight into the perspectives of the actresses themselves. The eventual demise of the blaxploitation genre due to formulaic plots and lack of character development is also discussed. Finally, the work addresses the mainstreaming of the action heroine in general and a recent resurgence of interest in black action movies. Relevant film stills and a selected filmography including cast list and plot synopsis are also included. Instructors considering this book for use in a course may request an examination copy here.

As a kid growing up on Long Island, I struggled with an unknown psychological need to wear a uniform and a strong desire to be a part of an organization. My search would take me through Little League, Cub Scouts, and various fraternal organizations. This desire would only be fulfilled after joining the NYPD in February of 1984. Somewhere during my twenty-year career, I was transformed from that kid into a veteran New York City police detective. This is my evolution from a middle-class suburban kid with simple values who naively thought the “projects” were a homework assignment into a veteran detective working in some of the most unforgiving neighborhoods of New York City. With this transformation comes the ability to separate the daily exposure to the dark side of human nature from your own life-sustaining core beliefs. Many will fail to acquire this ability and fall victim to drugs, alcohol, divorce, crime, and even suicide. This is a process which I have come to call Turning Blue. This is my story of how I dealt with life-changing experiences at home while my gun belt and uniform hung safely in my locker. In my twenty years of experience as a police officer, I can honestly say that I have been scared and feared for my life. Could you go back to work after crying yourself to sleep, reliving your partner’s screams as he lay bleeding to death in the backseat of your unmarked car, and the only thing keeping your heart in your chest was your department-issued bulletproof vest?

The Routledge Encyclopedia of Films comprises 200 essays by leading film scholars analysing the most important, influential, innovative and interesting films of all time. Arranged alphabetically, each entry explores why each film is significant for those who study film and explores the social, historical and political contexts in which the film was produced. Ranging from Hollywood classics to international bestsellers to lesser-known representations of national cinema, this collection is deliberately broad in scope crossing decades, boundaries and genres. The encyclopedia thus provides an introduction to the historical range and scope of cinema produced throughout the world.