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PUZO, Mario.

Inside Las Vegas.

New York: Grosset & Dunlap , 1977.

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Out of Stock Item Number: RRB-152227
+$500
First Edition of Inside Las Vegas; Signed by Mario Puzo
First edition of Mario Puzo's idiosyncratic and lavishly illustrated portrait of Las Vegas and the gambler's life, produced at the height of his fame following The Godfather. Quarto, original publisher's green cloth with gilt titles to the spine, profusely illustrated with color and black-and-white photographs. Signed by Mario Puzo on the front free endpaper. Near fine in a near fine dust jacket. Accompanied by the original publisher's letter of provenance from Grosset & Dunlap signed by Vice President Frank T. DeMello, dated May 11, 1977 and to Sandy Rose of Bro-Dart, Inc., offering “an autographed copy of Mario Puzo's Las Vegas” laid in. Color photography by John Launois. Black-and-white photography by Michael Abramson and Susan Fowler-Gallagher.
Inside Las Vegas (1977) is one of only two nonfiction works by Mario Puzo (1920-1999), the Bronx-born novelist and Academy Award-winning screenwriter best known for The Godfather (1969) and its celebrated film adaptations directed by Francis Ford Coppola, and represents a candid and unusually intimate portrait of the gambling capital at the height of its mid-century mythology. Published in 1977, the book provides an in-depth behind-the-scenes look at the world of gambling in Las Vegas, written from the perspective of a self-described degenerate gambler who brought to his subject both the trained novelist's eye for human character and the personal authority of a man who had lost and won at the tables himself. The photographs were made by John Launois, Michael Abramson, and Susan Fowler-Gallagher of Howard Chapnick's Black Star agency with unusually free access to the back rooms and back stages as well as the gaming rooms and shows, with over 150 black-and-white and color photographic reproductions lending the volume an exceptional visual documentary character alongside Puzo's text. Kirkus Reviews noted that while Puzo was not striving for art, something like it emerged, praising his admiringly clear-eyed love for the meretricious and observing that even readers put off by Puzo's subject matter would find themselves turning one more page.
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