Liste des produits par marque FABER AND FABER

After a shooting in London goes hideously wrong, two hitmen, Ray and Ken, are sent to hide out in the strange, Gothic, medieval town of Bruges, Belgium, by their volatile and dangerous boss, Harry Waters.

While awaiting instructions from him as to what to do next, the pair attempt to deal both with their feelings over the botched killing and their differing attitudes towards this curious, otherworldly place they’ve been dumped in (‘Bruges is a shithole.’ ‘Bruges is not a shithole’), until the call from Harry finally comes through, and all three men are enmeshed in a spiral of bloody violence that few will get out of alive.

Sean Connery’s personification of secret agent James Bond invigorated Britain and its cinema, allowing a cash-strapped, morale-sapped country in decline to fancy itself still a player on the world stage. But while Bond would make Connery the first actor to command a million dollar-plus fee, the man himself was forever pouring scorn on the fantasies audiences found it increasingly hard to separate him from.

From her days as a youthful minx at Metro-Goldwyn-Mayer to her post-studio reign as America’s lustiest middle-aged movie queen, Taylor has defined the very essence of Hollywood stardom. Marching through the decades swathed in mink, discarding husbands nearly as frequently as she changed her diamond necklaces, Taylor dominated the headlines as no other star before or since. From America’s sweetheart to America’s homewrecker and then back again, she uncannily reflected (and at times predicted) the always shifting cultural zeitgeist. How to Be a Movie Star is a different kind of book about Elizabeth Taylor: an intimate look at a girl who grew up with fame, who learned early – and well – how to be famous.

This unsettling black comedy about private passion and public shame is based on Zoe Heller’s acclaimed novel, adapted for the screen by celebrated dramatist Patrick Marber (Closer).

With Venus, Hanif Kureishi turns his piercing gaze onto the pains of old age. Maurice (Peter O’Toole) and Ian (Leslie Phillips) are veteran stage actors whose slow, inevitable decline is disrupted by the arrival in their lives of Ian’s niece Jessie (Jodie Whittaker). While Jessie’s housekeeping skills make for a bone of contention with Ian, Maurice finds himself attracted to her.

From his early aspirations to sing opera, to his time under the tutelage of D. W. Griffith, to the fortune and notoriety that his uncanny eye for talent deservedly brought him, Mack Sennett stood behind his belief in individuality and originality. Now, more than eighty years after Sennett rose to heights that epitomized the American dream, the acclaimed biographer of Laurel and Hardy, the Marx Brothers, and W. C. Fields offers a compelling account of comedy's transformation at the hands of a true master.

John Ford’s many classic movies – among them Stagecoach, The Grapes of Wrath, The Quiet Man, The Searchers, and The Man Who Shot Liberty Valance – earned him worldwide praise and renown. Now Joseph McBride presents us with the definitive account of the man’s myriad complexities and contradictions, tracing Ford’s life from his modest beginnings as ‘Bull’ Feeney, the nearsighted football-playing son of Irish immigrants in Maine, to his recognition, after a long, controversial, and much-decorated career, as America’s national myth-maker. This deeply insightful and impeccably documented narrative is the epic tribute that Ford’s stature merits.

Acclaimed film-maker Ang Lee’s concept for his film adaptation of the classic Marvel Comics series, The Hulk, combines all the elements of a blockbuster visual effects-intensive superhero movie with the brooding romance and tragedy of Universal’s classic horror films. In depicting The Hulk as both a superhero and a monster, a wish fulfillment and a nightmare, Lee and his team have stayed true to the early subversive spirit of the character created by Stan Lee and Jack Kirby, while completely updating The Hulk and projecting it into the dangers and aspirations of contemporary times.

Robert Altman served a long apprenticeship in movie-making before his great breakthrough, the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d’Or at Cannes, but also established Altman’s inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman’s decade, with a string of masterpieces: McCabe and Mrs Miller, The Long Goodbye, Thieves Like Us, Nashville . . . In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player, an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park, underscored his comeback.

Funny, touching and real, this second collection of Alan Bennett’s classic work for television from the late 1970s and early 1980s is full of fine observations of life as it is lived. Often imitated but never equalled, Bennett’s work is a masterclass in how to write for the small screen and gives as much enjoyment in the reading as it did in the viewing.

The television plays included in this volume are Our Winnie, All Day on the Sands, One Fine Day, Marks, Say Something Happened, Rolling Home and Intensive Care. This volume also contains a new general introduction by Alan Bennett.