DOCSLIB.ORG

LINCOLN THEATER in the “The Clemenceau Case," Bone," Mutual Noted Ingenues in Cohan & Ilarris Peared for Three Seasons Play, Sen in the Leading Role

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LINCOLN THEATER in the “The Clemenceau Case, ( WHERE THE MOVING SCREEN UNFOLDS ITS VARIED PICTURES OF HUMAN LIFE I COMING EVENTS 1 FOR NEW ARM Arion Society's Concert, u The program arranged for the con- cert of the Arlon Society, to be held In Auditorium Tuesday ^BBB Krueger »■ night, enlists as soloists two artists of international reputation. Arkady rrB Bourstin, who is to contribute the ■ violin numbers, is a pupil of Henri Marteau.' Wherever he has appeared in this country in recital or concert his masterly, performance has caused 1 little less than a furor. Mr. Bourstln’s art is of an intel- ]■ lectual order, and he has ft personal ■ magnetism that has made for him a ■ * great following wherever he has ap- 'THe Groofttt Girl. peared. Gifted with vigor, he pro- CRITERION- duces a big, full tone, his bowing is elastic and his technique is most ad- mirably developed. fl V ,' j r1 f Historic ■ Theda Bara. tW'TVe Drama IB Featured at the in l GaUe^SWGOOOWIN^I mB New City Theater B The ^■||| Slle WALNUT.' “The Martyrs of the Alamo” BUB Tells of the Taxas "' H§f§| Graphically she > -—.- .-■■■ = H War for Independence. : '^Kijj Theda Bara in iv i t|i ^Bpj voire Carmen at Court The new City Theater announces a ^B program for next week that is in liefur- V — Inn.' B every way in keeping with the taste appea and up-to-datenesss of the ^B The program of the Court Theater enterpris- Coenr. B. ing management. It would be fob this week will be the showing of difficult will k.B Indeed, to find a finer bill in Newark before B one sucessful production after the fllnidom. the sea® Sheridan o^ier. "The at least* " char- Martyrs of the Alamo" is the ^^"Frank Tomorrow, Sunday, a benefit novelties «n The HlonenTHaater feature for Monday and Tuesday. It ity performance will be given with two Dut^ is, as the name COURT THEATRE., Hobart Bosworth in the Western Implies, a drama of numbers ^ the days in which s_^ melodrama, "Colorado,” written* by Texas fought for she will nj her independence from Mexico, and three our great American playwright, Au- deals Englfl with such historic characters as been the onl gustus Thomas. Santa Clark Anna, David Silent who sees Marguerite Robert Warwick will be Crocker, th" Monday, Smith, James Bowie and others. The in featured "Sins of a English, in Society," production of the film was at U. S. Palace in This supervised praised her for’ Brady-W'orld play. play by David GrllTeth, and in the cast are in excitement and heart abounds the very pick of the permanent Grif- “Still Waters” In a unusual John McC throbs, ending very feth companies. The comedy for The sale of seats : Adventure" CARLTON scene of lovers uniting. these days will be “Her Painted the main attraction will cert to be Tuesday Hero,” with Polly Moran In the lead- Arkady Bouretln. given by John"" And Pickford Will Em- be the six-act Fox Feature, "Car- ing role. at the New York Hlppodromei" Mary men," with Theda Bora as the star. Edna Mayo and Bryant Washburn Miss Anna Bussert, who is allotted day afternoon. December 19. Role of Cho- Wednesday, Hamilton Revelle and heard William Farnum body the are to be the stars at the City The- the soprano solos, has been at the box be featured in open office Monday mom-'’ Lois Meredith will atre on Wednesday and Thursday In throughout the country with the Cho-San. Bronson Howard’s thrilling ing, December 13. The entire pro- George "The Allster Case," a picturlzatlon of greatest orchestras and has achieved at the Carlton Mr. ceeds of the concert will to story, "An Enemy to Society." Paul Gilmore's popular novel. Those undeniable success. Her voice is well go the Revelle In the role of the to fund of enemy who love mystery, melodrama, a plot schooled, and though of light timbre, building the Knights of with the high place his real Quite in keeping society, who learns Identity that takes hold with an ever-tighten- Is most flexible and possessing great Columbus, of New Yorfe city, who are at the Carlton a benefit will in of means of Sunday which It occupies the regard and finds regeneration by ing grip, will be charmed with this tonal beauty. out to raise a half million dollars for be held for a cause. All new S: Palace his love for the beautiful Decima worthy amusement lovers, the U. picture. a central which Miss headquarters in Manhattan pictures will be shown. Theater in Orange has provided a su- Duress, the character Friday and Saturday the chief at- Musicians' Clnb Meeting. one of Island. They have hopes of reallz-*'1 "Blind Justice," next Meredith portrays, registers traction will be "Saved by Monday’s feature, perior program for its patrons Wireless," The new club-room of the Newark Ing $10,000 through Mr. McCormack's the strongest characterizations of hi* a Keystone in which Is an Essanay picture starring Henry week. production, Musicians' Club, at 847 Broad street, dramatic career. and generosity. William Fox of diplomacy, humor burlesque are be at a meeting to Walthall. Tuesday The iblll for the first two days Dn Thursday, Edmund Breese will will Inaugurated Among those who have purchased pre- happily Intermingled. "The Disciple" .when a most excel- sents the $100,000 screen artist, Wil- the week stars dainty Marguerite Metro "The be held tonight, boxes for this great event are: Ex- be shown in the Feature. will also be given, a play In which After the j1 In "The Wonderful Ad- referred to as "the Slave." On this lent program is promised. Governor Glynn, Mayor Mltchel, liam Farnum, Clark, sometimes Song of the Wage William S. Hart portrays the fron- will in the first thea- concert and meeting a reception Comptroller > Prendergast, John D. venture,” a drama of modern life, gH-1 that is different," in "Still night the Court will be tier missionary. be held. Crimmins, J. Jus- a dual of rural circus life ter in Newark to show the first Morgan O'Brien, It ’Great Vacuum STRAND which Mr. Farnum appears in Waters,” a drama tice Victor J. Robber*}’ episode of the greatest of all Univer- Dowling, Justice Gave- role. that is as interesting as it is novel. Fifth Week at the Opera. Countess sal serials, entitled "Graft.” There The Srenarlo Offers gan, Leary, Mrs. Burke the idol- Beginning as a quaint comedy, with a will the fifth Mrs. N. F. Wednesday Dorothy Gish, will be thirty-two reels, two shown "The Nation’s Peril.” "II Trovatore” open Roche, Brady, James B. very delightful romance, the story sea- Thomas ized screen artist appears in "The each Thursday night, taking sixteen •week of the Metropolitan opera Regan, J. Shanley, Mrs. Aloha Oe Is the Theda Bara in gradually develops into a thrilling "The Nation’s evening, the cast in- Mrs. \ Bred in the a four-act Mutual weeks to the Peril,” the photo- son next Monday George Lounsbery, George Kidd, Bond,” drama with a tremendous climax In complete production. Ober and a have play taking its motive from that all- cluding Mmes. Rappold, Clarence Mackey, Enrico Carust The deals with from a Eighteen of the greatest authors \ Feature Picture “The Slave” masterpiece. story the rescue of the heroine burly and Messrs. Martinelli. and Fritz Kreisler. Galley this in a absorbing topic of the day, "The Mattfeld stage-struck girl who becomes a cele- ring master who has entrapped her. collaborated on work, way and a Nation’s Unpreparedness,” is Amato, Rothier, Reschiglian Mr. McCormack is at Also the latest Patho "Saved Wireless” is another of that, while the whole makes great -pre- present at the Strand at the Goodwin brated actress. by sented and tomorrow Audisio, Mr. Polacco conducting. making his first tour of the those “Sennett thrillers” which not serial, each particular day has a com- today (Sunday) South, news will be shown. at next week will be: where he is hold story in itself. the Scenario. The Sunday perform- Other operas meeting with a series of Thursday’s offering is "The Glory of only tickle the risibles, but lay plete "Manon" on Wednes- On the Fox "The Lit- ance is,for the benefit of local Massenet’s remarkable ovations. Writing to a Kalem four-part feature tell- of the heart. It is brimful of dare- Friday play, charity. with Mmes. Alda, Scott and Youth," Ber- The entire north Atlantic United day evening, friend in New York, he says: “I ‘lrhe Roles Are En- Faversham, Cyril that an devil adventure and rollicking mirth, tle Gypsy." featuring Dorothy fleet, and Principal ing the story of the passion Duchene, Sparkes and Braslau have found out that violates the nard and Thurlow will be fea- States navy, took active part in the Southern hospi- invalid millionaire has for and and yet nowhere good Bergen Scotti, Rothier, De 1 \ acted Willard Mack and Ethel Will Also youth production of film. Messrs. Caruso, tality and chivalry is not a * by Barrymore for taste which characterizes all the TVi- tured. this Secretary of Reschig- myth." beauty, and how his blind seeking the Segurola, Reiss, Leonhardt, 1 Enid Next Week. himself angle productions. It will bo the Saturday will finish the week with Navy Josephus Daniels, Admirals Polacco conduct- Dainty Markey. Appear happiness by surrounding Winslow and lian and Begue, Mr. J. GORDON EDWARDS. two Palace feature on Wednesday and the Klelne-Edison play, "The Money Fletcher and Vice-Ad- with young people nearly wrecks miral ing. Gordon Thursday Master," featuring the three great Mayo are seen, as well as the eve- J.
Load more

Recommended publications
  • (16198000Deficit
    i rf 11 fffTftl [flffjl IflBBli Blflffi Qffi 11 11 Icon IrfQ III111 Tlfl QXfi QTQ {rHill 1111 M f^Q] IQuiI IMU! I IKU1* i UUI QQ ii' n I ,IW1 I.Ml PI MillPtTtj rrm I ! r 111 ll f iL11 ill Mill III' II III Tl 111 11 Mill 11T1111 GLANDS MARKET ibwiIki^u ibbpimlij impi icpj[Till itzxpi ioujI ibpi hxxpi laxpi loro] hhpi itnui a Doorv Milk Fmh From Cow to Yon icbpi icnpi (tcfj |tnpi Declares America Opens Y CHRISTMAS NOACTIONIND.C. SOARS; BABOONS (16,198,000DEFICIT M E R R i « IN GREAT DEMAND To AU Who Laibor for a* « .... Progress By Cable to The Star and Chicago Dally New*. Copyright, 1932. > 22..London INPOSTALSERVICE ON V LONDON, December ARBUCKLEFILMS 22 to of these fortunate PITTSBURGH, Pa., December ., take advantage his surgeons confirm the report that that America opens wide circumstances. His task is to find Order on Saturday the demand for Declaring chosan work and to labor at it with For monkey gland the door of advancement to those who diligence and earnestness. For work Bandar Delivery Authorities Await Public Is Increasing so rapidlyoperationsGen. Dawes Gives Figures in It with an earnest Is It Is his duty to acquaint that they cannot living approach happiness. Mince it Pumpkin Pies supply to labor for progress.determinationhimself with the government glands fast enough. The Increase the customs and the idealsInstitutions.of from i B the of such operations has resulted in Scoring "Submerged" of Labor James J. Davis today to himself Opinion Regarding SecretaryAmerica, and give an order being placed with a firm gave a holiday greeting to the to their support.
    [Show full text]
  • The Fatty Arbuckle Case
    M60 5O§ A PAPERBACK LIBRARY FIRST EDITION SIIKI !8ITH«j Most famous rape case of the century The Hollywood story no one dared publish THE KING He could have any woman in Hollywood he wanted—except beautiful Virginia Rappe. Already a star, Virginia didn't need Fatty Arbuckle and didn't want him. Surrounded by adulation, yes-men, the semi-royal glitter of Hollywood, glutted with money, fame and success, Fatty Arbuckle couldn't take "no" for an answer. HERE IS THE SHOCKING, SOMETIMES SORDID, AND ALWAYS FASCINATING STORY OF ONE OF THE MOST FAMOUS CRIMINAL TRIALS OF ALL TIME THE FATTY ARBUCKLE CASE THE FATTY ARBUCKLE By LEO GUILD V PAPERBACK LIBRARY, INC New York Copyright © 1962 by Paperback Library, Inc. All Rights Reserved PAPERBACK LIBRARY ORIGINAL First Printing: August 1962 Printed in the United States of America FOREWORD The writing of a book such as this is a monumental re- search job. It entails conversation with people who were on the scene; a search for their friends, relatives, ac- quaintances; study of the court records, the newspaper stories of the trial, magazines which contain much perti- nent material about the case. People only remotely in- volved with the subject or the circumstances must be questioned. One interview always leads to another and another until the list of prospects becomes so long it seems impossible to write or to see all of them. But all must be reached. Then medical experts must be consulted, legal advice must be secured. Books which covered similar cases have to be read to study pattern and summation.
    [Show full text]
  • New Jersey in Focus: the World War I Era 1910-1920
    New Jersey in Focus: The World War I Era 1910-1920 Exhibit at the Monmouth County Library Headquarters 125 Symmes Drive Manalapan, New Jersey October 2015 Organized by The Monmouth County Archives Division of the Monmouth County Clerk Christine Giordano Hanlon Gary D. Saretzky, Curator Eugene Osovitz, Preparer Produced by the Monmouth County Archives 125 Symmes Drive Manalapan, NJ 07726 New Jersey in Focus: The World War I Era, 1910-1920 About one hundred years ago, during the 1910-1920 decade in America, the economy boomed and the Gross National Product more than doubled. Ten million Americans bought automobiles, most for the first time. Ford’s Model T, produced with then revolutionary assembly line methods, transformed family life for owners. Such personal “machines” led to paved roads and the first traffic light, reduced the need for blacksmiths and horses, increased the demand for auto mechanics and gas stations, and, when not caught up in traffic jams, sped up daily life. Some owners braved dirt roads to drive to the Jersey Shore, where thousands thronged to see the annual Baby Parade in Asbury Park. While roads at the start of the decade were barely adequate for travel in the emerging auto boom, New Jersey became a leader in the advocacy and construction of improved thoroughfares. Better road and rail transportation facilitated both industrial and agricultural production, bringing such new products as commercially grown blueberries from Whitesbog, New Jersey, to urban dwellers. In the air, history was made in 1912, when the first flight to deliver mail between two government post offices landed in South Amboy.
    [Show full text]
  • Mabel's Blunder
    Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914.
    [Show full text]
  • Sex, Crime, and Jazz-Age Journalism
    Sex, Crime, and Jazz-Age Journalism The 1920s were an exciting, shocking decade in America’s cities. Although Prohibition laws outlawed alcohol, people flocked to speakeasies, private clubs where they could drink bootleg liquor and dance to the latest jazz. Gangsters battled in the streets for control of the alcohol trade. Women put on lipstick and rouge, wore short skirts, and smoked in public. Ground-breaking novels and plays focused on the once-taboo subject of sex. People poured into sporting events and movie houses and worshipped new-found celebrities like Babe Ruth and Charlie Chaplin. This raucous decade was known as the jazz age. Newspapers reflected the era, attracting readers with sensational stories. Throughout the decade, many newspapers drew readers by focusing on stories involving sex, crime, and celebrities. This was known as "jazz-age journalism." In 1921, a story broke that involved all three elements—sex, crime, and a celebrity. Roscoe "Fatty" Arbuckle, one of Hollywood’s most famous stars, was accused of sexually assaulting and killing a movie actress. The press pounced on the story, printing detail after lurid detail. The case of "Fatty" Arbuckle raised the question of whether a celebrity could get a fair trial amid enormous national press coverage. The Rise of the Tabloids On June 26, 1919, a new kind of newspaper called a tabloid hit the streets of New York City. Half the size (15 x 11 inches) of other newspapers, the Daily News typically displayed a front page with a screaming headline and large pictures. Inside, short, sensationalized news articles sat alongside photos, illustrations, and feature stories about the lives, loves, and misfortunes of both ordinary and famous people.
    [Show full text]
  • The Last Days of Buster Keaton John C. Tibbetts
    Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies.
    [Show full text]
  • First Words: the Birth of Sound Cinema
    First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints.
    [Show full text]
  • Cases of the Century
    Loyola of Los Angeles Law Review Volume 33 Number 2 Symposium on Trials of the Century Article 4 1-1-2000 Cases of the Century Laurie L. Levenson Follow this and additional works at: https://digitalcommons.lmu.edu/llr Part of the Law Commons Recommended Citation Laurie L. Levenson, Cases of the Century, 33 Loy. L.A. L. Rev. 585 (2000). Available at: https://digitalcommons.lmu.edu/llr/vol33/iss2/4 This Symposium is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. CASES OF THE CENTURY Laurie L. Levenson* I. INTRODUCTION I confess. I am a "trials of the century" junkie. Since my col- lege years, I have been interested in how high-profile cases reflect and alter our society. My first experience with a so-called trial of the century was in 1976. My roommate and I took a break from our pre- med studies so that we could venture up to San Francisco, sleep in the gutters and on the sidewalks of the Tenderloin, all for the oppor- tunity to watch the prosecution of newspaper heiress, Patty Hearst. It was fascinating. The social issues of our time converged in a fed- eral courtroom While lawyers may have been fixated on the techni- cal legal issues of the trial, the public's focus was on something en- tirely different.
    [Show full text]
  • The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
    Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63
    [Show full text]
  • Film Essay for The
    The Kid By Jeffrey Vance “The Kid” (1921) is one of Charles Chaplin’s finest achievements and remains universally beloved by critics and audiences alike. The film is a perfect blend of comedy and drama and is arguably Chap- lin’s most personal and autobiographical work. Many of the settings and the themes in the film come right out of Chaplin’s own impoverished London child- hood. However, it was the combination of two events, one tragic (the death of his infant son) and one joyful (his chance meeting with Jackie Coogan), that led Chaplin to shape the tale of the abandoned child and the lonely Tramp. The loss of three-day-old Norman Spencer Chaplin undoubtedly had a great effect on Chaplin, and the emotional pain appears to have triggered his creativ- ity, as he began auditioning child actors at the Chap- lin Studios ten days after his son’s death. It was dur- ing this period that Chaplin encountered a four-year- old child performer named Jackie Coogan at Orphe- um Theater in Los Angeles, where his father had just performed an eccentric dance act. Chaplin spent more than an hour talking to Jackie in the lob- by of the Alexandria Hotel, but the idea of using Jackie in a film did not occur to him. After he heard that Roscoe Arbuckle had just signed Coogan, Chaplin agonized over his missed opportunity. Later, Charlie Chaplin as The Tramp sits in a doorway with the he discovered that Arbuckle had signed Jack orphan he has taken under his wing (Jackie Coogan).
    [Show full text]
  • The Political History of Classical Hollywood: Moguls, Liberals and Radicals in The
    The political history of Classical Hollywood: moguls, liberals and radicals in the 1930s Professor Mark Wheeler, London Metropolitan University Introduction Hollywood’s relationship with the political elite in the Depression reflected the trends which defined the USA’s affairs in the interwar years. For the moguls mixing with the powerful indicated their acceptance by America’s elites who had scorned them as vulgar hucksters due to their Jewish and show business backgrounds. They could achieve social recognition by demonstrating a commitment to conservative principles and supported the Republican Party. However, MGM’s Louis B. Mayer held deep right-wing convictions and became the vice-chairman of the Southern Californian Republican Party. He formed alliances with President Herbert Hoover and the right-wing press magnate William Randolph Hearst. Along with Hearst, Will Hays and an array of Californian business forces, ‘Louie Be’ and MGM’s Production Chief Irving Thalberg led a propaganda campaign against Upton Sinclair’s End Poverty in California (EPIC) gubernatorial election crusade in 1934. This form of ‘mogul politics’ was characterized by the instincts of its authors: hardness, shrewdness, autocracy and coercion. 1 In response to the mogul’s mercurial values, the Hollywood community pursued a significant degree of liberal and populist political activism, along with a growing radicalism among writers, directors and stars. For instance, James Cagney and Charlie Chaplin supported Sinclair’s EPIC campaign by attending meetings and collecting monies. Their actions reflected the economic, social and political conditions of the era, notably the collapse of US capitalism with the Great Depression, the New Deal, the establishment of trade unions, and the emigration of European political refugees due to Nazism.
    [Show full text]
  • Carrie Rickey
    BOOK REVIEWS CARRIE RICKEY Twentieth Century Fox by Frederick Wasser Twentieth Century Fox is the third in Routledge’s eight- volume “Hollywood Centenary” series chronicling the creation of the film-production entities born as stand-alone movie studios and their evolution into the entertainment divisions of today’s transnational corporations. Fox was born a few years before Hollywood became the American film capital and would, by the time of its 2019 acquisition by Walt Disney, outlive the century for which it was named. Given its focus on colorful figures like William Fox, Downloaded from http://online.ucpress.edu/fq/article-pdf/74/3/88/465034/fq.2021.74.3.88.pdf by guest on 26 September 2021 Darryl F. Zanuck, and Rupert Murdoch, the book promises dramas of hubris, Oedipal complexes, and political intrigue. Disappointingly, it lacks all three. Instead, the biggest sur- prise in this workmanlike book from Frederick Wasser is how much of the studio’s century—especially its commit- ment to movie palaces, newsreels, and wide-screen produc- tion—was put in place in the 1920s by founder William Fox (born Fuchs), Hungarian immigrant and onetime schmatta dealer. In 1904, a garment-industry associate, Sol Brill, ap- proached Fox about pooling their savings to buy an arcade in Brooklyn’s Bushwick neighborhood. On its second floor, amid the penny amusements, was a rudimentary theater showing one-reelers for a nickel. After their purchase, the crowds that Fox and Brill saw when they originally toured the property had disappeared, and Fox suspected that the seller had planted them (11).
    [Show full text]