cover of book

A Little Solitaire: John Frankenheimer and American Film
edited by Murray Pomerance and R. Barton Palmer
contributions by Victoria Duckett, Bill Krohn, Doug McFarland, James Morrison, Jerry Mosher, Robin L. Murray, Stephen Prince, Charles Ramirez Berg, David Sterritt, Linda Ruth Williams, Rebecca Bell-Metereau, Matthew Bernstein, Dennis Bingham, Tom Conley, Christine Cornea and Corey Creekmur
introduction by R. Barton Palmer
Rutgers University Press, 2011
Cloth: 978-0-8135-5059-6 | Paper: 978-0-8135-5060-2 | eISBN: 978-0-8135-5098-5
Library of Congress Classification PN1998.3.F7327L58 2011
Dewey Decimal Classification 791.430233092


Think about some commercially successful film masterpieces--The Manchurian Candidate. Seven Days in May. Seconds. Then consider some lesser known, yet equally compelling cinematic achievements--The Fixer. The Gypsy Moths. Path to War. These triumphs are the work of the best known and most highly regarded Hollywood director to emerge from live TV drama in the 1950s--five-time Emmy-award-winner John Frankenheimer.

Although Frankenheimer was a pioneer in the genre of political thrillers who embraced the antimodernist critique of contemporary society, some of his later films did not receive the attention they deserved. Many claimed that at a midpoint in his career he had lost his touch. World-renowned film scholars put this myth to rest in A Little Solitaire, which offers the only multidisciplinary critical account of Frankenheimer's oeuvre. Especially emphasized is his deep and passionate engagement with national politics and the irrepressible need of human beings to assert their rights and individuality in the face of organizations that would reduce them to silence and anonymity.

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