Child of the Century 5

Total Page:16

File Type:pdf, Size:1020Kb

Child of the Century 5 CHILD OF THE CENTURY Written by Scott Jacobs Adapted from the book by Ben Hecht (c) Scott Jacobs 2326 W. Medill Chicago, IL 60647 773-517-6008 Email: [email protected] March 12, 2020 ii. CAST Principals:(6) Ben Hecht . Narrator Ben Hecht . writer/actor Rose Caylor . wife Charles MacArthur . co-writer Herman Mankiewicz . screenwriter Peter Bergman . activist Featured Players:(11) playing multiple roles Sherman Reilly Duffy Margaret Anderson Sherwood Anderson Carl Sandburg Adolph Hitler John Barrymore Charles Ort Mac McEvoy Franny Brice Stoolie Don DiMico Rabbi Chaim Levin Cameos/Extras/Other: Hecht’s Mother, Unicyclist, Bearded Lady, Silk Dancer, Deliveryman, Harry the Acrobat, Bursar, Frat Boys(3), Uncle Manny, John Eastman, Martin Hutchens, Henry Justin Smith, Brooks Beitler, Copyboy, Queen Lil, Whores(2), Malloy, Clarence Darrow, Neighborhood Jews(2), Keating, Cuban President, Cap’n Loftus, The Pinheads(twins), Captain Helpern, Rabbis(4), Harpo Marx, Helen Hayes, Bill “Mr. Bojangles” Robinson, David O. Selznick, Victor Fleming, Billy Rose, Marlon Brando. Act I A relaxed Ben Hecht, the very picture of his picture, sits in a spotlight off to the side of an empty stage, a half-smoked cigar dangling from his fingers. The black background is a huge video scrim stretched across the span of the stage. HECHT NARRATOR For a number of years, I have thought of writing a book about myself. I deferred believing that I might become brighter and better informed as I grew older. I was, in my dreams, never quite finished with becoming what I hoped to be. But I have decided to put away such convenient humility because, obviously, if I keep postponing the task, no book at all will come to pass and the empire I call myself will vanish without any chronicle from the man most suited to provide it –– me. VIDEO: On the scrim, a grainy 1908 film clip of downtown Racine includes a boy catching frogs in a creek bed, playing with friends and lying on his back watching clouds as described. HECHT NARRATOR I grew up in Racine, Wisconsin. My mother had a store in Monument Square -- the Paris Fashion Shop -- where I would hang out every day. When I was not hunting frogs by the creek bed, or chasing make-believe Indians through the streets, I was laying out on the jetty staring at the cloud galleons overhead, imagining where they might take me. SCENE ONE - PARLOR OF HECHT’S BOARDING HOUSE Hecht boyhood home at 827 Lake Avenue. Dissolve to parlor backdrop. A young Hecht practices his violin while his mother watches silently in the doorway. An acrobat passes through on a unicycle, a bearded lady sits in a chair reading a newspaper, a silk dancer and strongman play backgammon at a table. HECHT NARRATOR We lived in Mrs. Castello’s boarding house. She had once been a bareback-riding beauty in P.T. Barnum’s circus, and the place was filled with retired circus folk from the sawdust world. My mother hoped I might grow up to be a great musician. But knowing my predilections, she didn’t trust me to practice so she made me play in the parlor where she could watch my every move. On my 13th birthday, four huge crates arrived with my name on them. They were a gift from my father. Inside were all the great books of literature, or so his professor friend had told him because, a tailor by trade, he had read none of them. 2. Deliveryman goes off. Others exit carrying their props. Scrim dissolves to attic bedroom. Hecht reads on bed. There were 15 volumes of Shakespeare, a complete set of Charles Dickens and Mark Twain, and a 52-volume History of The World in Literature. I read every one, thrilled by the adventures of Jason and the Argonauts and wishing I was there to help Perseus free Andromeda from Poseidon’s rock. Scrim goes dark. A trapeze is lowered with Harry on it. When I could read no more, I would slip out the window to the Castello’s barn where Mrs. Castello’s son Harry hung a trapeze to practice his act. Silent tableau of Harry swinging and talking to Hecht about upcoming circus tour. Harry had dreams too. He was organizing a one-ring circus to tour all the small towns in Wisconsin, and he invited me to tag along. My mother was skeptical, but she relented when Harry promised I would be doing a violin solo. I don’t think the violin ever came out of its case, but I had the time of my life –– what life I had –– until we hit Fond du Lac and the money ran out. SCENE TWO - UNIVERSITY OF WISCONSIN A scenic shot of Bascom Hill. HECHT NARRATOR Since I faced a summer of sitting around doing nothing, my father insisted I enroll at the University of Wisconsin in Madison. A now 16-year-old Hecht stands at the bursar’s desk. A gaggle of fraternity boys in stiff- collared suits sit around a darkened table. BURSAR Name? HECHT Hecht. Ben Hecht. BURSAR First year? HECHT Yup. 3. BURSAR Major? HECHT I’m 16. Is that major enough? (Hecht laughs. The bursar is not amused.) I’ll be 17 in February. BURSAR That’s nice. But what’s your major? What do you want to study? HECHT I want to study everything. BURSAR (non-plussed) Arts & Sciences. HECHT Yeah, that sounds good. Arts & Sciences. BURSAR (Rounds up papers. Hands Hecht a catalog.) Here’s your catalog. Classes start Monday. Young Hecht takes the material and walks over to the table. HECHT NARRATOR I lasted all of three days at the university. Never even made it to the first class. The frat boys are jovially drinking. Hecht sits and buries his head in the catalog. I was staying in a fraternity with some of the most stiff-necked swells I ever met. They were so full of themselves I couldn’t get a word in edgewise. They seemed amused that I was taking classic literature courses. When I told them I wasn’t worried because I’d read most of the books, they accused me of snobbery. FRAT BOY #1 Did’ya hear that boys? He thinks ole Snifflebeak’s class is going to be a breeze. FRAT BOY #2 Maybe he should teach it. 4. They laugh. FRAT BOY #1 There’s a reason we call them freshmen. They’re fresh as baby poo when they come in. FRAT BOY #2 Here’s a word of advice, freshman. Nobody likes a know-it-all. You’ve got to pay your dues before people will take you seriously. Think about it. Spotlight. HECHT NARRATOR I did think about it––for about a minute. Okay, ten minutes. Then I bolted down to the train station to catch the next train to Chicago. VIDEO: Young Hecht sits alone in a train car. Historical footage of Chicago neighborhoods flash by in the window. The train arrives at Union Station. Hecht walks over to lie down on a bench in the waiting room.. HECHT NARRATOR (CONT’D) I spent my first night in Chicago on a bench in Union Station. I had $50 in my pocket –– my university money –– and I planned to spend it all before going back to Racine. SCENE THREE - MAJESTIC THEATER VIDEO: State Street in 1910 ends on a street view of the Majestic Theater. HECHT NARRATOR I went to take in a vaudeville show at the Majestic Theater and was standing outside when I heard someone call my name. UNCLE MANNY Bennie! Bennie Hecht! What the hell are you doing here? HECHT NARRATOR It was my Uncle Manny, my mother’s brother, who left Racine for the liquor business in Chicago. HECHT I’m going to see a show. UNCLE MANNY That I can see. But what are you doing in Chicago? 5. HECHT Looking for a job. UNCLE MANNY What kind of job? HECHT One that pays. UNCLE MANNY Any particular kind of job? (Hecht shrugs.) Are you trained in anything? Bookkeeping? Sales? HECHT I worked as an acrobat once. And I can play the violin. UNCLE MANNY That and a nickel will get you a cup of coffee. You drink? Nah, of course you don’t drink. You’re too young. But it never hurts to know people who do. Come with me. I’ll introduce you around. SCENE FOUR - THE CHICAGO JOURNAL Reporters stare as Uncle Manny leads Hecht into the newsroom of the Chicago Journal. John Eastman, the publisher, is happy to see them. EASTMAN Manny, Manny, Manny . Where have you been? I told you my wife is throwing a big shindig tonight. What do you have for me? UNCLE MANNY Only the best. 120 proof whiskey . and a bonus. My nephew here is new in town and looking for a job. I thought you could use some fresh eyes in this tired old place. (To Hecht.) Bennie, meet John Eastman, publisher of the esteemed Chicago Journal. HECHT It’s a pleasure, Mr. Eastman. UNCLE MANNY He’s a writer. EASTMAN Everybody’s a writer, or so they say. What kind of writer are you because, right now, I need a poem for a toast tonight. 6. HECHT I can do that. EASTMAN You can, huh. MANNY He’s a literary genius. EASTMAN Okay, so there’s this bull out in a pasture who swallows a God damn bumblebee. It goes down his throat into his stomach and -- two days later -- comes out his ass in a big load of bullshit.
Recommended publications
  • The Front Page First Opened at the Times Square Theatre on August 14, 1928, It Was Instantly Heralded As a Classic
    SUPPORT FOR THE 2019 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN AND CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP 2 DIRECTOR’S NOTES SCAVENGING FOR THE TRUTH BY GRAHAM ABBEY “Were it left to me to decide between a government without newspapers or newspapers without a government, I should not hesitate a moment to prefer the latter.” – Thomas Jefferson, 1787 When The Front Page first opened at the Times Square Theatre on August 14, 1928, it was instantly heralded as a classic. Nearly a century later, this iconic play has retained its place as one of the great American stage comedies of all time. Its lasting legacy stands as a testament to its unique DNA: part farce, part melodrama, with a healthy dose of romance thrown into the mix, The Front Page is at once a veneration and a reproof of the gritty, seductive world of Chicago journalism, firmly embedded in the freewheeling euphoria of the Roaring Twenties. According to playwrights (and former Chicago reporters) Charles MacArthur and Ben Hecht, the play allegedly found its genesis in two real-life events: a practical joke carried out on MacArthur as he was heading west on a train with his fiancée, and the escape and disappearance of the notorious gangster “Terrible” Tommy consuming the conflicted heart of a city O’Conner four days before his scheduled caught in the momentum of progress while execution at the Cook County Jail. celebrating the underdogs who were lost in its wake. O’Conner’s escape proved to be a seminal moment in the history of a city struggling Chicago’s metamorphosis through the to find its identity amidst the social, cultural “twisted twenties” is a paradox in and of and industrial renaissance of the 1920s.
    [Show full text]
  • AMERICAN VETERANS of ISRAEL VOLUNTEERS in ISRAEL’S WAR of INDEPENDENCE UNITED STATES & CANADA VOLUNTEERS 136 East 39Th Street, New York, NY 10016
    SPRING 2005 AMERICAN VETERANS OF ISRAEL VOLUNTEERS IN ISRAEL’S WAR OF INDEPENDENCE UNITED STATES & CANADA VOLUNTEERS 136 East 39th Street, New York, NY 10016 THE MIGHTY MA’OZ Sharon Recalls Machal before American Part I From Pleasure Ship to Flagship. Jewish Leaders in New York, May 22 By J. Wandres Following is an excerpt from Sharon’s address: By October 948, the Israeli I am honored to stand here and feel the strong bond between Israel Defence Force had pushed back Arab and the rest of the Jewish world. We share a history, and we share a future as forces to the north and east. Egyptian well. forces had been halted in the Negev. In 948, the new State of Israel was forced to stand its ground against Only Israel’s Mediterranean coastline the armies of the combined Arab world. The survival of Israel was not at all remained vulnerable. An Egyptian certain. We had no choice but to fight for our lives. It seemed as if we stood squadron, chased from Tel Aviv, was alone. about to be dealt with at Gaza. Kvar- But we were not all alone. I had the merit to participate in the War of nit (Commander) Paul Shulman, on the Independence, and I still remember how I felt when I learned that volunteers bridge of the 690-ton, 20-foot-long K- from Jewish communities around the world were coming to help us. They 24 Ma’oz that day in mid-October, was risked, and sometimes lost, their lives in our War of Independence.
    [Show full text]
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • GAILY, GAILY the NIGHT THEY RAIDED MINSKY's “In 1925, There
    The one area where it succeeded perfectly was So, Rosenblum began refashioning the film, in its score by Henry Mancini. By this time, using a clever device of stock footage that Mancini was already a legend. After toiling in the would lead into the production footage, rear - GAILY, GAILY music department at Universal (the highlight of ranging and restructuring scenes, and spend - his tenure there would be Orson Welles’ Touch ing a year doing so – the result was stylish and Of Evil) , he hit it big, first with his TV score to visually interesting and it transformed the film THE NIGHT Peter Gunn – which not only provided that from disaster into a hit. THEY RAIDED MINSKY’S Blake Edwards series with its signature sound, but which also produced a best-selling album The score for Minsky’s was written by Charles on RCA – and then in a series of films for which Strouse, who’d already written several Broad - “In 1925, he provided amazing scores, one right after an - way shows, as well as the score for the film other – Breakfast At Tiffany’s, Charade, Hatari, Bonnie and Clyde . The lyrics were by Lee there was this real The Pink Panther, Days Of Wine and Roses , Adams, with whom Strouse had written the religious girl” and many others. Many of those films also pro - Broadway shows Bye Bye Birdie, All-American, duced best-selling albums. Mancini not only Golden Boy, It’s A Bird, It’s A Plane, It’s Super - knew how to score a film perfectly, but he was man and others.
    [Show full text]
  • Freedom Teachers : Northern White Women Teaching in Southern Black Communities, 1860'S and 1960'S
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2001 Freedom teachers : Northern White women teaching in Southern Black communities, 1860's and 1960's. Judith C. Hudson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Hudson, Judith C., "Freedom teachers : Northern White women teaching in Southern Black communities, 1860's and 1960's." (2001). Doctoral Dissertations 1896 - February 2014. 5562. https://scholarworks.umass.edu/dissertations_1/5562 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. FREEDOM TEACHERS: NORTHERN WHITE WOMEN TEACHING IN SOUTHERN BLACK COMMUNITIES, 1860s AND 1960s A Dissertation Presented by JUDITH C. HUDSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May 2001 Social Justice Education Program © Copyright by Judith C. Hudson 2001 All Rights Reserved FREEDOM TEACHERS: NORTHERN WHITE WOMEN TEACHING IN SOUTHERN BLACK COMMUNITIES, 1860s AND 1960s A Dissertation Presented by JUDITH C. HUDSON Approved as to style and content by: Maurianne Adams, Chair ()pMyu-cAI oyLi Arlene Voski Avakian, Member ACKNOWLEDGMENTS . I would like to acknowledge the financial support of the American Association of University Women. I received a Career Development Grant which allowed me, on a full¬ time basis, to begin my doctoral study of White women’s anti-racism work.
    [Show full text]
  • Bellarosa Connection and the Hazards of Forgetfulness
    The Bellarosa Connection and the Hazards of Forgetfulness Kathleen Jeannette Weatherford University of Copenhagen Saul Bellow's 102.page paperback The Bellarosa Connection represents a tour de force true to the spirit of the man whose name in its Italian corruption inspires the book: Billy Rose, the broadway impresario and "the business partner of Prohibition hoodlums, the sidekick of Arnold Rothstein; multimillionaire Billy, the protkgk of Bernard Baruch, the young shorthand prodigy whom Woodrow Wilson, mad for shorthand, invited to the White House for a discussion of the rival systems of Pitman and Gregg; Billy the producer, the consort of Eleanor Holm, the mermaid queen of the New York World's Fair; Billy the collector of Matisse, Seurat, and so forth . nationally syndicated Billy, the gossip columnist."1 Billy Rose, the man who was into everything, makes an unlikely appearance in Bellow's show as clandestine savior of European Jews from the Nazi Holocaust. Rose is the first real historical personage to play a major role in his own name in Bellow's fiction, and thus with The Bellarosa Connection, Bellow initiates himself into a group of American fiction writers, including E. L. Doctorow, Gore Vidal and William Styron, who imaginatively combine historically real people together with fictional ones. Like Billy, Bellow is "all over the place"2 with this book. Not only does Bellow make an exploratory foray into the genre of semi-historical fiction, but he also experiments with a new narrative perspective as well. 1 Saul Bellow, The Bellarosa Connection (New York: Penguin, 1989), p. 12. The Bellarosa Connection has also bccn rcprinled as part of Bcllow's Something to Remember Me By: Three kles (New York: Signet, 1991).
    [Show full text]
  • Nothing Sacred (United Artists Pressbook, 1937)
    SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians.
    [Show full text]
  • INTRODUCTION Fatal Attraction and Scarface
    1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things.
    [Show full text]
  • Asolo Repertory Theatre Presents Fanny Brice, America's Funny Girl
    For Immediate Release: April 24, 2012 Media Contact: Steph Gray, Public Relations Coordinator 941.351.9010 ext. 4800; [email protected] Asolo Repertory Theatre presents Fanny Brice, America’s Funny Girl (SARASOTA, Fla.)- Before there was a Lucy or Ethel, Gracie Allen or Imogene Coca, Fanny Brice was the female comic superstar. Fanny Brice, America's Funny Girl will be open May 23, 2012 and run until June 17, 2012. Previews begin May 20. Fanny Brice, America’s Funny Girl is a reworking of Maltz Jupiter Theatre’s 2009 hit production Fanny Brice: The Real Funny Girl. Writer and Director David H. Bell modified the script and is bringing Asolo Rep the most inspiring version yet. TCPalm raved, “Marya Grandy may not be the real Fanny Brice…but she just might be a new version of Ethel Merman. That’s with a little Patti LuPone and the emotional singing delivery al a Judy Garland tossed in for good measure”. WJTW FM said “what really brought the audience to its feet for a standing ovation however was the finale…it doesn’t get any better than that.” Born Fania Borach on the Lower East Side of New York City in 1891, Brice began her career on stage with a burlesque troupe at the age of 17. Two years later she was headlining for the Ziegfeld Follies, and by 1921 she released her signature song, “My Man.” Brice became one of the biggest comedic stars to grace the stage, yet her personal life wasn’t as successful, with heartache and betrayal followed her at every step and her three marriages all ending in divorce.
    [Show full text]
  • Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
    LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo).
    [Show full text]
  • The Ideology of the John Birch Society
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Ideology of the John Birch Society Max P. Peterson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Political Science Commons Recommended Citation Peterson, Max P., "The Ideology of the John Birch Society" (1966). All Graduate Theses and Dissertations. 7982. https://digitalcommons.usu.edu/etd/7982 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THEIDEOLOGY OFTHE JOHN BIRCH SOCIETY by Y1ax P. Peterson A thesis submitted in partial fulfillment of the requirements for the degree of MASTEROF SCIENCE in Political Science Approved: Major Professor Head of Department Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 1966 ACKNOWLEDGMENTS I wish to express my appreciation to Dr. Milton C. Abrams for the many hours of consultation and direction he provided throughout this study. To Dr. M. Judd Harmon, I express thanks, not only for his constructive criticism on this work, but for the constant challenge he offers as a teacher. A very special thanks is given my wife, Karen, for her countless hours of typing, but first and foremost for the encouragement, u nderstanding, and devotion that she has given me throu ghout my graduate studies. TABLE OF CONTENTS Introduction 1 Chapter I. The Background and Organization of the John Birch Society 4 The Beginning 4 The Symbol 7 The Founder 15 Plan of Action 21 Organizational Mechanics 27 Chapter II.
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]