By B. H. Liddell Hart
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Publish yr note: First released November thirtieth 1928
When Liddell Hart's Sherman was once first released in 1929, it obtained encomiums reminiscent of these:
"A masterly functionality . . . the most thorougly dignified, probably the most uncommon biographies of the year."-- Henry Steele Commager, big apple bring in Tribune
"It isn't usually that one comes upon a biography that's so good performed as this publication. approximately each web page bears facts of the truth that it's the made from painstaking and exhaustive examine, mature notion, and a professional figuring out of the topic in hand . . ."-- Saturday overview of Literature
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Additional info for Sherman: Soldier, Realist, American
Sit down. ” On screen she appeared palpable, kinetic, “all fire” one witness to the test exclaims. Yet what to make of “Marilyn Monroe” seemed to puzzle both the actress and her studio. In fact, she would not legally change her name for another ten years. Publicity shots of the period 1946–48 reveal nothing about her intense desire to act or about what kinds of roles might suit her. The arbitrariness of the shots is most striking. Monroe is there to make the poses, fulfill the assignments in a makeup session, in a series of yogalike exercises, in skimpy bathing suits, in low-cut evening gowns, in a potato sack, in a babysitting sequence, in an acting lesson, in tights, in sultry poses, night gowns and tee shirts, and playing baseball.
Hyde’s son remembers her at his father’s funeral, where she was overcome with grief, throwing herself on the coffin. She shook everyone, screaming Hyde’s name over and over again. Monroe grieved for him as if for herself. Grief did not prevent Monroe from doing her work, although on the set of her next film, As Young as You Feel, she would weep and disappear from the set, according to her director, Harmon Jones. Just two weeks after Hyde’s death, Elia Kazan’s visit bolstered her. This Group Theatre veteran of the 1930s, an acclaimed film and theater director of the 1940s, liked her unpretentious wit, her reliance on his advice, and her sexual attention.
No wonder she repeatedly drove past the theater featuring her film, for it was like watching the announcement of her new identity—an announcement even more exciting than the fifty-foot tall skirt flying likeness of herself, an advertisement for The Seven Year Itch, that later appeared on the front of the State Theatre Building in New York City. With no more than this token of success in hand, she was forced into other work after the expiration of her Columbia contract on September 8, 1948. ” No one at Columbia pictured her potential, he told interviewer John Kobal.
Sherman: Soldier, Realist, American by B. H. Liddell Hart