Author James Reston, Jr. and film director Jules Dassin on this edition of Fresh Air. James Reston, Jr.'s new book is Warriors of God: Richard the Lionheart and Saladin in the Third Crusade. It's the story of the battle for the Holy Land in the late 12th century. It begins as a dual biography of Saladin, the Sultan of Egypt, Syria, Arabia and Mesopotamia, and Richard I, King of England, known as the Lionheart. The two men led the battling Islamic and Christian armies. James Reston is also the author of 12 books, including The Last Apocalypse and Galileo: A Life. He is currently a scholar in residence at the Library of Congress. Film director Jules Dassin's 1955 film noir masterpiece Rififi was re-released last year. It was virtually unseen since its release because Dassin was blacklisted. He met and married Greek actress Melina Mercouri, and went on to collaorate with her in the hit films Never on Sunday and Topkapi, the inspiration for Mission: Impossible. Mercouri is being honored by New York's Film forum. (Broadcast Date: October 8, 2001) 1. Language: English. Narrator: Terry Gross. Audio sample: http://samples.audible.de/rt/whyy/011008/rt_whyy_011008_sample.mp3. Digital audiobook in aax.
'Documents the untold story of the American directors, screenwriters, and actors who emigrated to Europe as a result of the Hollywood blacklist. During the 1950s and early 1960s, these Hollywood exiles directed, wrote, or starred in almost 100 European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (dir. Jules Dassin, 1955) to international blockbusters such as The Bridge on the River Kwai (scr. Carl Foreman and Michael Wilson, 1957) to acclaimed art films like The Servant (dir. Joseph Losey, 1963). At once a lively portrait of a lesser-known American 'lost generation' and an examination of an important transitional moment in European cinema,the book presents a compelling argument for the significanceof the blacklisted exiles to our understanding of postwar American and European cinema and Cold War cultural relations. The experiences of the blacklisted in Europe not only suggest the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon, but, by shedding new light on European cinema's changing relationship with Hollywood, illuminates the postwar shift from national to 'transnational' cinema'--