James McKay

Dana Andrews, arguably the finest minimalist actor of his generation, as one critic commented, could convey more with one look than many actors could with a soliloquy. In a film career spanning nearly five decades, Andrews appeared in some of Hollywood's most prestigious productions, including The Ox-Bow Incident (1943) and The Best Years of Our Lives (1946). His unique screen presence was shown at its best in such film noir classics as Laura (1944) and Where the Sidewalk Ends (1950). Beginning with an absorbing biographical chapter, this critical survey of Dana Andrews' screen career features a complete filmography with synopses, reviews, behind-the-scenes anecdotes and insightful comments from Andrews and his coworkers. A chronological list of television, radio and theater credits is included.

With no formal training as an actor, Welsh-born Ray Milland (1907-1986), a former trooper in the British Army's Household Cavalry, enjoyed a half-century career working alongside some of the great directors and stars from the Golden Age of cinema. He won the Academy Award for Best Actor for his performance as the alcoholic writer in The Lost Weekend (1945), a defining moment that enabled him to break free from romantic leads and explore darker shades of his debonair demeanor, such as the veiled menace of his scheming husband in Hitchcock's Dial M For Murder (1954). A consummate professional with wide range, Milland took the directorial reins in several of his starring vehicles in the 1950s, most notably in the intelligent Western A Man Alone (1955). He comfortably slipped into most genres, from romantic comedy to adventure to film noir. Later he turned to science fiction and horror movies, including two with cult filmmaker Roger Corman. This first complete filmography covers the actor's screen career, with a concise introductory biography and an appendix listing his extensive radio and television credits.

The Politics of Expertise offers a challenging new interpretation of politics in contemporary Britain, through an examination of non-governmental organisations. Using specific case studies of the homelessness, environment, and international aid and development sectors, it demonstrates how politics and political activism has changed over the last half century. NGOs have contributed enormously to a professionalization and a privatization of politics, emerging as a new form of expert knowledge and political participation. They have been led by a new breed of non-party politician, working in collaboration and in competition with government. Skilful navigators of the modern technocratic state, they have brought expertise to expertise and, in so doing, have changed the nature of grassroots activism. As affluent citizens have felt marginalised by the increasingly complex nature of many policy solutions, they have made the rational calculation to support NGOs, the professionalism and resources of which make them better able to tackle complex problems. Yet in doing so, support rather than participation becomes the more appropriate way to describe the relationship of the public to NGOs. As voter turnout has declined, membership and trust in NGOs has increased. But NGOs are very different types of organisations from the classic democratic institutions of political parties and the labour movement. They maintain different and varied relationships with the publics they seek to represent. Attracting mass support has provided them with the resources and the legitimacy to speak to power on a bewildering range of issues, yet perhaps the ultimate victors in this new form of politics are the NGOs themselves.

With his rugged features and earthy sex appeal, Victor Mature ushered in a new breed of postwar Hollywood actor, far removed from the debonair matinee idols of the 1930s. Following success as an upbeat leading man in the early 1940s Fox musicals, opposite the likes of Betty Grable and Rita Hayworth, he went on deliver two of his most powerful performances in My Darling Clementine (1946) and Kiss of Death (1947). But it was in the biblical epics such as Samson and Delilah (1949), The Robe (1953) and Demetrius and the Gladiators (1954) that his heartfelt acting and statuesque, larger than life screen presence finally secured his place as a Hollywood icon. Beginning with a concise biography, this work covers Mature's film career in its entirety, featuring synopses, anecdotes from cast and crew, and review commentary.