Charles Arnold

William Arnold, born in 1945, is an American journalist and author who spent over thirty years as the primary film critic for the Seattle Post-Intelligencer. His writing career began after graduating from the University of Washington, where he initially worked as a freelance writer. He gained significant recognition for his bestselling books, "Shadowland" (1978) and "China Gate" (1983). "Shadowland" explored the life of actress Frances Farmer, leading to a high-profile plagiarism lawsuit. "China Gate," a novel based partly on his childhood experiences in Taiwan, also became a bestseller but faced criticism for its political tone and encountered government resistance.

Beyond his literary achievements, Arnold was a prominent film critic, contributing to the cultural landscape of Seattle, a city then considered a key market for film. He played a notable role in the campaign to save the film "The Stunt Man," advocating for its release and eventual national distribution. Throughout his career, Arnold received accolades for his journalistic work, including a Sigma Delta Chi award. He is married to novelist Katherine O'Neal.

William Arnold's literary career gained significant momentum with his 1978 book, "Shadowland." Inspired by a revival screening of the film "Come and Get It" and the largely forgotten story of its star, Frances Farmer, Arnold began an in-depth investigation. His initial article, "The Dark Odyssey of Frances Farmer," published in the Seattle Post-Intelligencer, unearthed new witnesses and deepened the mystery surrounding Farmer's confinement. Expanding on this research, Arnold crafted "Shadowland," a narrative that blended journalistic inquiry with a novelistic, first-person perspective, drawing parallels to the film "Laura" in its exploration of a reporter falling for his subject. The book was acquired by McGraw-Hill and became an immediate bestseller, praised by publications like The New York Times Book Review and Time magazine for its compelling narrative and "tragic detective work."

Following the success of "Shadowland," Arnold, along with producer Noel Marshall, initiated a prominent lawsuit in 1981 against Mel Brooks and others involved in the production of the Frances Farmer biopic "Frances." They alleged substantial plagiarism of "Shadowland." While the case was highly publicized and explored complex issues of copyright for factual material, the federal judge ultimately ruled in favor of the defense, questioning the copyright protection for the book's novelistic approach to factual events. Arnold's next major work, "China Gate," published shortly before the trial concluded, was a novel set in post-WWII Taiwan, drawing on his own childhood experiences. It also achieved bestseller status, earning praise for its suspenseful plot and international intrigue, though it faced criticism for its perceived conservative political stance and encountered opposition from the Taiwanese government, reportedly impacting a planned film adaptation.

Arnold's tenure as the main film critic for the Seattle Post-Intelligencer, spanning from 1978 to 2009, placed him in a city recognized as a significant market for film. In this role, he not only reviewed films but also actively engaged in film preservation and promotion. One of his most notable contributions was his instrumental role in the campaign to save "The Stunt Man." Arnold championed the film, which had been shelved by its producers, proclaiming it a masterpiece and lobbying fellow critics. His efforts, including arranging a test screening in Seattle, are credited with leading to the film's eventual forty-three-week run there and subsequent national distribution. His extensive career as a critic resulted in thousands of published works and earned him recognition, including a Sigma Delta Chi award for journalistic excellence.

“Mr. Arnold's tragic detective work... chilling... and poignant in the extreme.”

“the most moving and disturbing of all Hollywood horror stories... compassionately described by the writer.”

“definitive and superb”

“incorrigibly readable.”

“superreactionary tone”