The Films of Gregory Peck

Secaucus, NJ: The Citadel Press, 1984. First Edition. INSCRIBED by Gregory Peck to film critic and academic Judith Crist, who provides the introduction: "For Judith / With great appreciation and warm regards / Gregory Peck." Laid in are two very interesting pieces of ephemera: a photocopy of a rave review from The Columbus Dispatch, with a holograph ink notation from John Griggs to Crist: "Dear J.C. / Received this from Peck the other day and thought you'd enjoy seeing it as much as I did / LXXX / JG" and a copy of "Judith Crist's Oscar Pool 1992," something of an internal document, that includes two mentions of Peck's final acting role, the 1991 remake of "Cape Fear" by Martin Scorsese.

Judith Crist was the first full-time female film critic for an American newspaper, the New York Herald Tribune, the founding film critic at New York magazine, and in her later years, well known as the film critic for television Guide. She appeared in Woody Allen's "Stardust Memories" (1980), and authored several collections of essays on film and interviews with filmmakers. Though more a populist, she very much paved the way for Pauline Kael, as she refused to be influenced by any opinion but her own, and could be quite blunt in her assessments of films. Billy Wilder once said that asking her to review a film was like "asking the Boston Strangler for a neck massage," and Otto Preminger simply referred to her as "Judas Crist."

In her foreword here, Crist makes clear her absolute fondness for the archetypal style that Peck created, moving through a huge variety of groundbreaking characters while maintaining a staunch core integrity, best exemplified by his role as one of the first Western anti-heroes in "The Gunfighter" (1950), the anti-Cary Grant in "Roman Holiday" (1953), and the anti-father in "To Kill a Mockingbird" (1963).

Near Fine in a Very Good plus dust jacket. Jacket has a lightly faded spine and a few tiny nicks at the extremities, else quite bright.

[Book #132758]