It's rare that one can read a book containing so much dry information such as the budgetary concerns of many many films, and still be captivated by the storytelling enough to make it work. This book reads like a well-crafted novel, with the main characters being a handful of studio executives. What results is an utterly readable, insider's look into the business of filmmaking in the studio era. The artistic genius of some of these men is acknowledged, but largely, their business dealings are highlighted. If you're afraid of such business talk, don't be. The author makes budgets and salaries an interesting and integral part of the story. I highly recommend this book to anyone who just loves movies and wants to learn more about how it all started. I also recommend this book to anyone who is in or getting into the producing biz now. What a helpful and inspirational resource. My only regret is that there is just no way that I can remember all of the information that I read in this book. That's why I refer to it as a resource in the title of this review and why I will use it as such for years to come.

Prof. Schatz does not suffer from the scholar's disease of academic-speak and writes a book that clearly demonstrates his expertise on the studio structure. Most books I have read extended the view of the outsider looking in at the star system and not the economics of the studios. "Genius of the System" chronicles the history of the studio's business, that is to say the economics and the people behind the economics.

If you want to read about the business structure of Hollywood during its beginnings, this is the book for you. I cannot recommend it enough.

An easy to read writer, Thomas Schatz details how the studio system worked from the silent era to its final collapse in the 1960s.

He illuminates both the art and the business of films, with keen analysis of how producers, directors and screenwriters created such fine art (and rich profits) -- especially the producers, who are more the authors of Hollywood films than any other group.

He convincingly portrays MGM's Irving Thalberg as a genius of art and commerce and MGM's Louis B. Mayer as a clod (except when dealing with difficult stars).

Schatz offers telling portraits of many others who did their best work under the constraints of the Hollywood system. He details the major studios' styles and how they evolved over the years. It's clear he has read file cabinets of documents, from endless -- but revealing -- memos to how much the stars made(!).

He also puts the film industry in social and cultural context; he even says the anti-communist witch hunts of the 1940s and 1950s were a disguised form of anti-semitism.

In the end, Schatz offers a convincing alternative to the auteur theory.

When we sit in a darkened theater, watching pictures flicker and come to life before our eyes, we often forget that the movies are made with one primary purpose in mind, and contrary to popular belief, it's not to entertain us. Film studios are in the business of making money and lots of it, through careful financial and creative planning. They choose the concepts they think we will most like to see, they hire the directors and actors whose work they think we will find most appealing, and then they put a film together for a price they think they can recoup or, even better, make a profit from. Sometimes however, things go wrong. Final Cut tells the story of the making of Heavens Gate, infamous as one of the greatest financial debacles in film history, from an insiders point of view. It shows what can happen to the best laid plans of mice an men and gives a glimpse of a back office Hollywood we rarely see or hear about. Not only is the reader able to discern why the film was so unsuccessful, but how such a movie could even come to be made. Though now a bit dated, this remains a must-read for anyone with an intrest in the process of big-budget film making

Having read Maria Riva's book on her mother along with Dietrich's own autobiography, I didn't really expect any new revelations from this book -- but I couldn't have been more wrong! Mr. Bach is to be congratulated on his fascinating and respectable work honoring Miss Dietrich and her life. What a remarkable performer and a remarkable human being. We could sure use a few more like her in today's world. This is a must read for fans of the Lady and the Legend!!

Hmmm...where to begin? I looked forward to reading Dazzler based on my love of history, the theatre, and New York in general. In those respects, the book doesn't disappoint. Steven Bach paints a terrific picture of early twentieth century Broadway that really brings it to life as he follows Moss Hart's life and career. It's very obvious that he's done his homework and he fills gaps in his narrative very nicely.

The problem lies in an area that can be very troublesome for biography and I'm afraid that Bach falls into the trap a bit much. First, the individual chapters, while well crafted, seem to lack a cohesiveness that would make the book flow well. It seemed difficult to read more than two or three chapters in a sitting. To give Bach the benefit of the doubt, I'll say that it's because there was so much information to digest.

Second, to echo some of the other reviews that have been posted, in the end Moss Hart is a big name that does not carry a corresponding talent. Yes, he was the co-author of some of the standards of twentieth century theater, but upon the closer scrutiny Mr. Bach provides he doesn't really seem to measure up to the level of greatness that Mr. Bach thinks he deserves (or wants him to deserve to merit this book). A quick sidebar, to label Moss Hart the Neil Simon of his day, as others have, is a disservice to Mr. Simon. Sitcoms may have made us more sensitive to fluff, but there is a distinct difference in the two men's careers.

Lastly, Mr. Bach goes to great lengths to bring Moss Hart's sexuality to light, providing anecdotes and evidence that, if not outright gay, he was at least bisexual. All well and good, except that in trying so hard to prove this particular thesis, Bach loses sight of one very important point, namely that an artist's sexuality (or for that matter their upbringing) does not automatically mean that every piece of work they do is colored by it. It may be true, but it isn't necessarily true. Bach interrupts too many interesting stories to go into this subject, which only applies toward making his point about one-third of the time.

Overall it helps to have some vague form of familiarity with the plays and, since some of them are such mainstays of high school and regional theaters across the country, it will provide some interesting insights. As Bach rightly points out, some of these plays have not held up well over the course of time but, taken for what they are, they are undeniable classics. To a lesser degree, so was Moss Hart.

Most early readers of this new Hart biography are readers who love "Act One." That brilliant book is central to every stage-struck person's devotion to theater, Broadway and glamor. But along comes Mr. Bach, and his portrait only makes us love Hart's version more. Yes, I believe Mr. Bach has researched and read and compiled facts that delineate the real life of a Broadway legend. But by comparison it is also insight into what a creation is "Act One" and the creative process of a playwright and man of the theatre. Hart wrote his own version with the eye of an artist; facts didn't interest him. A great story was in the telling. Facts interest Mr. Bach, and they are very well presented. If any reader is worried that Mr. Bach has been indiscreet, that his palette has too many warts and all, I assure you that he has been careful and admiring. His role as a biographer may have kept him at too much of a distance from the artist, but his book in combination with Hart's is a full-blown, 3-D treatment of a worthy subject. It takes this new book to make you fully appreciate the original, and then grateful for the contrasting study.

He was a thoroughly delightful man. Most of us met him in “Act One” his best-selling autobiography published in the late ‘50’s. Apparently, he tidied up his life a mite in that story. But that’s what playwrights do; give us the best story possible.

“Dazzler” is a well-done biography that is a treasure trove of show business history as well as a deep and compelling study of Moss Hart. I would call this a “definitive” biography except for some reason Mr. Hart’s widow, the charming Kitty Carlisle, did not cooperative with the author. Therefore, there are probably many papers that still can be brought to light.

I was a little put off by Mr. Bach’s tone at the beginning of the book, it seemed lightly touched with superiority toward his subject. Yes, Moss Hart was extravagant, a bit of a dandy..., and sometimes—very rarely—forgot to credit the people who helped him on the way up. When the author hits his stride, this tone disappears, and we see Moss Hart clearly as the energetic, generous, brilliant man that he was. He left whatever he touched more colorful and replaced the humdrum with magic.

The description of the complete, astounding success of “My Fair Lady’s” opening night, which Hart directed, is the stuff of which movies are made. This was a pinnacle of life experience for everyone who participated. Reading about the making of “My Fair Lady” alone is worth the price of the book.

When the book was over, I wished there were more triumphs to reveal, and that Mr. Hart lived to write “Act II.” A highly readable book with a dazzling subject.

This is a book I can't put down once I start reading it, and I re-read it every few years. It starts when a new management team takes over United Artists. They have to put together a slate of films. "Heaven's Gate" is one of their choices, and we see how this film moves from one choice among many to the behemoth that wrecks the studio. Contrary to some of the reviewers who say the book doesn't get to "Heaven's Gate" soon enough, I think the book is well-structured.

I also like the way Bach displays three different directors: Cimino, Scorsese and Woody Allen. Cimino is obviously the egomaniac out of control. Allen comes across as the "good director," always conscious that he is working with somebody else's money. Scorsese comes out between the two extremes.

Hey, if this book were only about "Heaven's Gate," I wouldn't like it so much, but we also get some insight into "Manhattan" and "Raging Bull," two much better movies.

This is the first and still by far one of the best insider books ever written about the Hollywood studio system, and the ugly battle that takes place behinde the facade. Steven Bach tells the story of the new Wünderboy Michael Cimino, that won Oscars and what have you for is breakthrough film "Deer Hunter". And Bach tells what happens when there's no one controling the action anymore. Murphy's Law: Everything that can go wrong will go wrong, and for "Heaven's Gate" it most curtainly did. Read this book, and trust me you'll enjoy every moment of it. . .

This is the first and still by far one of the best insider books ever written about the Hollywood studio system, and the ugly battle that takes place behinde the facade.

Steven Bach tells the story of the new Wünderboy Michael Cimino, that won Oscars and what have you for is breakthrough film "Deer Hunter". And Bach tells what happens when there's no one controling the action anymore. Murphy's Law: Everything that can go wrong will go wrong, and for "Heaven's Gate" it most curtainly did. Read this book, and trust me you'll enjoy every moment of it. . .