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0 of 0 people found the following review helpful. 3 Cheers for McBrideBy Michael McCrannJoseph McBride is one of the greatest writers yet to write about the movies. I have a pristine first edition of Searching For but I keep a much used paperback in my car. Whenever I have to wait (dentist, doctor, subway etc) I take this book out and just start rereading. I think this definitive biography of John Ford is the great movie bio ever. Also love his works on and Howard Hawks. When Variety got cheap and downsized their writers, Mr. McBride sort of disappeared from his great movie reviews. This new collection of previously published material is a movie lover's feast. It would be worth the price just for the article on . I heartily recommend this book to movie fanatics (not fans!) like me.0 of 0 people found the following review helpful. TWO CHEERS FOR HOLLYWOOD is a collection that will delight movie loversBy Ray KellyLong overdue, TWO CHEERS FOR HOLLYWOOD is a collection that will delight movie lovers. This large volume collects some of the best work of journalist and film historian Joseph McBride from the past 50 years. They are all here, from George Cukor to the Coen Brothers. McBride has a deep love of the movies, but always casts a critical eye on the, actors, writers and directors that have filled the big screen.1 of 1 people found the following review helpful. If you love film, you do not want to miss this ...By Judy SchavrienIf you love film, you do not want to miss this book. It is a learned compendium--filled with sixty-four interviews or commentaries on celebrities from many walks of the film industry, with McBride characteristically deeply informed so as to deliver the best possible information on Cukor or Wilder or Stepin Fetchit. He is deeply informed and yet he has a wonderful Irish talent for getting personal. As a journalist his first schooling was in remaining "objective." Yet one can trace with him, throughout the book, the development of a penchant for personal vision and authenticity, even when against the tide in commercial Hollywood. He champions that in the figures he analyzes and interviews--from directors to actors to editors and visual designers; he laments when the authenticity suffers a certain shredding, whether due to politics in the post-war Red scare or the sheer pursuit of survival amidst Hollywood pressures. McBride also embodies the personal and authentic in his own style of recounting. One ends up feeling, as his reader, two things simultaneously: this is a man who knows his stuff, diligent, an indefatigable researcher; nevertheless, this is a buddy who will dig out for me all the juicy tidbits. His interviewing will put me on a first name basis with Hollywood's best. There is another wonderful thing about McBride as an expert. He will give you the developments in the Hollywood film industry by viewing them in the round. He is not, of course, viewing everything: he's mostly trying to see what enables films with a personal vision to be made--whether through collaboration of screenwriter and director, or through top-notch editing, or the best actor interpreters. Likewise there's the three dimensionality-- political factors (again, blacklisting in the post-war era), socio-economic, factors regarding the visuals, regarding sound, regarding editing, or landscapes, regarding sexualities of various kinds (e.g. Hitchcock!), regarding what gains ascendancy as a type of film in a particular decade and why. For instance there are a spate of films featuring strong women while the men are away at war during the 40's and the women lend support to the box office. On the other hand, the 50rsquo;s catalyzed a domination of young-guy-flicks, which reached full bloom in the 70rsquo;s; the studios decided that the boys were calling the film for date night. These many angles McBride delivers through his own commentary or through interviewing the relevant writers, directors, actors. This is the very best way for him and for us to hunt down what has sometimes made quality personal vision possible in film-making, what has sometimes, alas, made it near impossible, what would be needed to make it prevail. Well, TWO cheers for Hollywood!

Joseph McBride has been writing about films for fifty years. His career as a critic and historian has included acclaimed biographies of Frank Capra, , and John Ford, and three books about . McBride's extensive journalistic work, the best of which is collected in Two Cheers for Hollywood: Joseph McBride on Movies, includes interviews with directors; profiles of screenwriters; features on stars and craftspeople; accounts of visiting sets; and essays on some of his favorite films. Among the filmmakers he covers in Two Cheers for Hollywood are Billy Wilder, Alfred Hitchcock, George Cukor, , George Stevens, Franccedil;ois Truffaut, Jean-Luc Godard, Richard Lester, Joe Dante, Hal Ashby, Elia Kazan, Robert Riskin, Abraham Polonsky, Michael Wilson, Marguerite Roberts, John Wayne, , Peter O'Toole, and Katharine Hepburn. Two Cheers for Hollywood is a rich, insightful, often amusing chronicle of McBride's decades of covering the American film industry and observing its decline from the challenging films of the 1960s to the juvenilia of today. This provocative collection brings together sixty-four pieces with commentaries on them, including a new monograph on the Coen Bros. and several other essays written for this book. Two Cheers for Hollywood demonstrates why McBride has helped set the standard for the field of film scholarship. As the late novelist Thomas Flanagan wrote in The New York Review of Books, McBride "deploys his wide knowledge of American social and film history with tact, wit, and imagination." McBride is a professor in the School of Cinema at San Francisco State University. He spent several years as a film critic, reporter, and columnist for Daily Variety in Hollywood. His screenwriting credits include Rock 'n' Roll High School and five Life Achievement Award specials on CBS-TV.

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