The Inventory of the Humphrey Bogart Collection #1764

Total Page:16

File Type:pdf, Size:1020Kb

The Inventory of the Humphrey Bogart Collection #1764 The Inventory of the Humphrey Bogart Collection #1764 Howard Gotlieb Archival Research Center Bogart, Humphrey #1764 Dec. 28, 2009 Box 1 Folder 1 I. Manuscripts. A. Screenplays; all leather-bound presentation copies with black and white film stills included. 1. “The Barefoot Contessa,” by Joseph L. Mankiewicz, 153 p., Oct. 2, 1953. Folder 2 2. “Battle Circus,” by Richard Brooks, 118 p., June 25, 1952; completed June 27, 1952. Folder 3 3. “Dark Passage,” by Delmer Daves, 152 p., Oct. 15, 1946. Folder 4 4. “Deadline: U.S.A.,” by Richard Brooks, final draft, 124 p., Sep. 17, 1951. Folder 5 5. “The Desperate Hours,” by Joseph Hayes, revised final, draft, 173 p., Sep. 20, 1954. Folder 6 6. “In a Lonely Place,” by Andrew Solt, final draft, 145 p., Oct. 18, 1949. Folder 7 7. “Knock on Any Door,” by Daniel Taradash, revised final, draft, ca. 120 p., July 24, 1948. 2 Box 1 cont’d. Folder 8 8. “Sabrina,” by Billy Wilder, Samuel Taylor, and Ernest Lehman, final “white” script, 134 p., Oct. 7, 1953. Folder 9 9. “Tokyo Joe,” by Cyril Hume, final draft, 122 p., Dec. 23, 1948. Folder 10 10. “We’re No Angels,” by Ranald MacDougall, final revised script, 124 p., June 16, 1954. Envelope 1 II. Photographs. A. Images of HB. 1. Portraits of HB by Yusuf Karsh. a. Print, black and white, 10.5 x 13.5,” n.d. b. Two negatives, HB’s head only, black and white, 8 x 10”, n.d. 2. Photos of Jean Negulesco’s pencil portrait of HB. a. 11.25 x 14.” (i) HB’s face only, 2 prints, 1957. (ii) HB holding a cigarette, n.d. b. 8 x 10.” (i) HB’s face only, 1957. (ii) HB holding a cigarette, 2 prints, n.d. Package 1 III. Artwork. A. Sketches by Jean Negulesco. 1. Coral-colored chalk portrait, signed by artist, 1957; used as official portrait of HB at his memorial service; approx. 20 x 20.” 3 Package 1 cont’d. 2. Sketches/drawings based on Yusuf Karsh’s 1957 photograph of HB, all approx. 20 x 24.” a. Pen and ink sketch, signed, 1957. b. Sketch in felt-tip pen, unsigned. c. Pencil study, signed. d. Blue pencil study, unsigned. 3. “Santana,” HB’s yacht; page includes two pencil sketches, unsigned. Bogart, Humphrey #1764 9/9/11 Preliminary Listing Added to Box 1 I. Film and Video. A. DVDs featuring HB. 1. “The Maltese Falcon,” 1941. [Loose] 2. “Casablanca,” 1942. 3. “The African Queen,” 1951. Bogart, Humphrey (9/9/11) Page 1 of 1 Bogart, Humphrey #1764 4/30/12 Preliminary Listing I. Manuscripts. A. Screenplays; may include photographs. Box 2 1. “The African Queen,” by James Agree, John Collier, and John Huston, TS, 137 p., n.d. [Loose] 2. “The Caine Mutiny,” by Stanley Roberts, TS, approx. 150 p., May 6, 1953 – May 18, 1953; with 10 black and white prints, including: a. Bogart, Humphrey. b. Ferrer, Jose c. Johnson, Van. d. MacMurray, Fred. 3. “The Harder They Fall,” by Philip Yordan, TS, approx. 150 p., Oct. 12, 1955 – Dec. 2, 1955; with 12 black and white prints; includes: a. Baer, Max. b. Bogart, Humphrey. c. Lane, Mike. d. Walcott, Jersey Joe. II. Photographs. A. Photograph albums. 1. Re: “Beat the Devil,” on-set photos and film stills, 53 black and white prints, n.d.; includes: a. Bogart, Humphrey. b. Jones, Jennifer. c. Lollobrigida, Gina. d. Morley, Robert. e. Lorre, Peter. 2. Re: “The African Queen,” on-set photos, the sinking of the African Queen, 51 black and white prints, 1 color print, n.d.; includes: a. Bogart, Humphrey. b. Hepburn, Katharine. 3. “Assorted Photographs,” re: HB, LB, family, HB and LB wedding day, HB placing hand prints in cement in front of Mann's Chinese Theatre, movie stills, HB with friends, family at home, HB and LB with their children, 147 black and white prints, n.d.; includes: a. Bacall, Lauren. b. Barrymore, Ethel. c. Bogart, Humphrey. d. Bogart, Stephen Humphrey [HB’s son]. e. Bogart, Leslie Howard [HB’s daughter]. Bogart, Humphrey (4/30/12) Page 1 of 14 f. Davis, Jr., Sammy. g. Hepburn, Audrey. h. Wyler, William. III. Scrapbooks. A. Re: HB’s theater career, 1923-1933; includes newspaper clippings. Box 3 B. “African Queen and Oscar,” 1952; includes: 1. Film stills from “The African Queen,” 22 black and white prints; includes: a. Bogart, Humphrey b. Hepburn, Katharine. 2. “Box Office Blue Ribbon Award, Best Picture of the Month, ‘The African Queen’,” Mar. 1952. 3. 47 telegrams to re: HB winning the Oscar for “The African Queen,” Mar. 20-28, 1952; includes: a. Allenberg, Bert. b. Baker, Mary. c. Benny, Jack. d. “Bing” [Bing Crosby]. e. Blair, Charlie. f. Blondell, Joan. g. Burton, Richard and Sybil. h. Calhern, Lou. i. Cardiff, Jack. j. Cooper, Gary. k. Cukor, George. l. Curtiz, Mike. m. Douglas, Kirk. n. Ferrer, Jose. o. Fowler, Marjorie and Gene. p. Goetz, Bill and Edia. q. Goldwyn, Frances and Sam. r. Goldwyn, Jennifer and Sam. s. Grayson, Charlie. t. “Groucho” [Groucho Marx]. u. Gwenn, Edmund. v. Hale, Wanda. w. Helburn, Theresa. x. Helpmann, Bobby. y. Krim, Arthur. z. Langner, Lawerence. aa. Lazar, Swify. bb. Lerner, Alan. cc. Marshall, Armina. dd. Morley, Robert. ee. “Natalie.” Bogart, Humphrey (4/30/12) Page 2 of 14 ff. Sale, Mary and Richard. gg. Schary, Dore. hh. Selznick, Irene. ii. Shurr, Louis. jj. Stewart, Jim. kk. Swope, Herbert Bayard. ll. “Vivien and Larry” [Vivien Leigh, Lawrence Olivier]. mm. Wallis, Hal. nn. Warner, Jack. 4. 4 TLS to HB re: winning an Oscar for “African Queen,” includes: a. Mannix, Edgar J. 3/21/52. b. Schreiber, Lew. 3/21/52. c. Wald, Jerry. 3/22/52. d. Ruby, Harry. 3/23/52; includes holograph corrections. C. “Humphrey Bogart,” 1918-1957; includes: 1. 33 black and white prints, 1 color print re: HB’s early stage career; film stills; HB and LB; HB with family. 2. Notable correspondence to HB. a. Brooks, Richard. Telegram, 9/30/54. b. Obrien-Moore, Erin. Telegram, 9/30/54. c. Fitzgerald, Louise. Telegram, 9/30/54. d. Swope, Herbert Bayard. TLS, 2/25/52. e. Johnston, Eric. TLS, 3/28/52. f. Cukor, George. TLS, 3/14/56. g. Bogart, Stephen. ALS, n.d. 3. Certificates and awards. a. “2nd Replacement Depot Expresses Gratitude and Thanks to Humphrey Bogart for Entertaining the Officers and Men of This Command Overseas…,” n.d. b. HB “Appointed an Honorary Lieutenant of Lee’s Lieutenants, 86th Fighter Group,” n.d. c. “Disenrollment as a Temporary Member of United States Coast Guard Reserve,” 9/30/45. d. Motion Picture Herald presents HB with “Award of Achievement As One Of The Top Ten Money Making Stars,” 4 awards, 1945-1948. e. “United States Treasury Department in Recognition of Distinguished and Patriotic Service to the Cause of Freedom, Rendered in Behalf of the War Finance Program of the United States Government,” 7/4/45. f. “Photoplay Magazine On Behalf of the American Movie Public Awards This Certificate to Humphrey Bogart, One of America’s Five Most Popular Motion Picture Actors,” 2 awards, 1947-1958. g. “The Inaugural Committee Requests the Honor of the Presence of Mr. Humphrey Bogart to Attend and Bogart, Humphrey (4/30/12) Page 3 of 14 Participate in the Inauguration of Harry S. Truman as President of the United States of America, and Alben W. Barkley as Vice President,” invitation, 1/20/49. h. “The State of Colorado: Humphrey Bogart, Ambassador of Goodwill,” signed by Dan Thornton [Governor of Colorado], 6/26/52. i. “United States Treasury Distinguished Service Award,” signed by John W. Snyder [Secretary of the Treasury], 7/22/52. 4. “Petition for a Redress of Grievances,” petition re: Senator Joseph McCarthy's HUAC hearings, TS, 5 p., 10/16/47; includes: a. “The Committee for the First Amendment,” re: HB’s statement against McCarthy Hearings, TS, 1 p., n.d. 5. Newspaper clippings re: HB’s career; family. D. “Humphrey Bogart Special Magazine Articles, Citations, Etc.,” 1957; includes: 1. Newspaper clippings re: HB’s hospitalization, death, 1957. 2. 3 TLS to HB, from: a. “O’Hara.” TLS, 11/26/56. b. Kurnitz, H. TL, n.d. c. [illegible]. TLS, n.d. 3. TLS from HB to William Lyman Stewart, 9/18/56. 4. 22 TLS, ALS, to LB re: HB’s death. a. Croves, Hal. Telegram, 1/14/57. b. “Bob and Hank.” Telegram, 1/14/57. c. Buckley, John R. TLS, 1/14/57. d. Potter, H. C. ALS, 1/14/57. e. Stewart, William Lyman. TLS, 2/13/57. f. “Peter.” TLS, 1/29/57. g. Miner, Worthington “Tony.” ALS, 3 p., n.d. h. “Truman.” ALS, n.d. 5. 13 AN to LB re: sympathy for HB’s death. a. Smith, Alys B. [Mrs. J. Herbert Smith]. b. Hudson, Phyllis [Mrs. Rock Hudson]. c. Wallis, Hal. d. Gosden, Freeman Fisher and Jane. e. Wanger, Walter F. f. Sheridan, Annie. g. Thomas, Danny. h. Hunter, Frank. i. Dieterle, William and Charlotte. 6. “Contributions to the American Cancer Society,” list of donors in HB’s name, TS, 4 p., n.d. 7. “City of Los Angeles: Resolution,” certificate, 1/15/57. E. “Humphrey Bogart, Clippings Covering First Week,” re: HB’s death, funeral, will, Jan. 14, 1957 - Feb. 1957. Bogart, Humphrey (4/30/12) Page 4 of 14 Box 4 F. “Telegrams and Letters Following January 14, 1957 Regarding Humphrey Bogart,” re: death of HB; 231 Telegrams to LB; includes: 1. Andres, Dana. 2. Arlen, Harold and Anya. 3. Arnow, Maxwell. 4. Attwood, Sim and Bill.
Recommended publications
  • Federal Files on the Famous–And Infamous
    Federal Files on the Famous–and Infamous The collections of personnel records at the National Archives available. Digital copies of PEPs can be purchased on CD/DVDs. include files that document military and civilian service for The price of the disc depends on the number of pages contained persons who are well known to the public for many reasons. in the original paper record and range from $20 (100 pages or These individuals include celebrated military leaders, less) to $250 (more than 1,800 pages). For more information or Medal of Honor recipients, U.S. Presidents, members of to order copies of digitized PEP records only, please write to pep. Congress, other government officials, scientists, artists, [email protected]. Archival staff are in the process of identifying entertainers, and sports figures—individuals noted for the records of prominent civilian employees whose names will personal accomplishments as well as persons known for their be added to the list. Other individuals whose records are now infamous activities. available for purchase on CD are: The military service departments and NARA have Creighton W. Abrams, Grover Cleveland Alexander, identified over 500 such military records for individuals Desi Arnaz, Joe L. Barrow, John M. Birch, Hugo L. Black, referred to as “Persons of Exceptional Prominence” (PEP). Gregory Boyington, Prescott S. Bush, Smedley Butler, Evans Many of these records are now open to the public earlier F. Carlson, William A. Carter, Adna R. Chaffee, Claire than they otherwise would have been (62 years after the Chennault, Mark W. Clark, Benjamin O. Davis. separation dates) as the result of a special agreement that Also, George Dewey, William Donovan, James H.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • The Functional Music of Gail Kubik: Catalyst for the Concert Hall
    The Functional Music of Gail Kubik: Catalyst for the Concert Hall Alfred W. Cochran From the late 1930s through the mid-1960s, three composers for the concert hall profoundly influenced American music and exerted a strong influence upon music in the cinema-Virgil Thomson (1896-1989), Aaron Copland (1900-90), and Gail Kubik (1914-84). Each won the Pulitzer prize in music, and two of those awards, Thomson's and Kubik's, were derived from their film scores. 1 Moreover, both Thomson and Copland earned Academy Awards for their film work. 2 All three men drew concert works from their film scores, but only Kubik used functional music as a significant progenitor for other pieces destined for the concert hall. An examination of his oeuvre shows an affinity for such transformations. More common, perhaps, was the practice of composers using ideas derived from previously composed works when writing a film score. In Kubik's case, the opposite was true; his work for radio, films, and television provided the impetus for a significant amount of his nonfunctional music, including chamber pieces and orchestral works of large and small dimension. This earned well-deserved praise, including that of Nadia Boulanger, who was Kubik's teacher and steadfast friend. Kubik was a prodigy-the youngest person to earn a full scholarship to the Eastman School of Music, its youngest graduate (completing requirements in both violin and composition), a college teacher at nineteen, the MacDowell Colony'S youngest Fellow, and the youngest student admitted to Harvard University'S doctoral program in music. In 1940, he left the faculty of Teachers College, Columbia University and became staff composer and music program advisor for NBC.
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • 2018 Annual Report
    Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on.
    [Show full text]
  • BRING IT BACK! Curbside GRAB-And-GO!
    YOUR MONTHLY GUIDE TO PORT’S LIBRARY BOOKINGS July 2020 Ahead — A Note from the Director… A Reopening Plan Special Message Dear Port Washington Community, As Long Island begins to reopen, the Port Washington Public Library is moving forward with its reopening plans. To facilitate this, the library As we confront the unacceptable racial injustices across has created PWPL Ahead, a comprehensive plan to begin reopening our country, notably the recent horrifying killings of while best addressing the safety and health concerns of PWPL staff and George Floyd and Ahmaud Arbery, we will continue patrons. PWPL Ahead consists of four phases that mirror the phases of in our mission as a public library to enhance the well- New York State’s “New York Forward” reopening plan. As Long Island being of every member of our community. We will do enters each new phase, PWPL will also, as it is deemed safe: this by engaging collaboratively and compassionately with our neighbors and community partners, offering Phase 1 – Begins June 1 programming and sharing books and resources that Services, materials, programs and events will continue to be offered incorporate all perspectives, and fostering an openness remotely. The building will be cleaned and sanitized, new MERV that makes all feel welcome. (Minimum Efficiency Reporting Value) 15 air filters will be installed. Personal Protective Equipment (PPE) for staff will be acquired. As an institution that has the privilege of serving this Phase 2 – Begins June 15 wonderfully diverse community, PWPL denounces all Services, materials, programs and events will continue to be offered forms of racism and discrimination.
    [Show full text]
  • Understanding Screenwriting'
    Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges.
    [Show full text]
  • The Broken Ideals of Love and Family in Film Noir
    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
    [Show full text]
  • Funny Games and the History of Hostage Noir
    ANN NO STOCKS SAVAGE NO SPORTS TRIBUTE ™ ALL NOIR www.noircity.com www.filmnoirfoundation.org VOL. 4 NO. 1 CCCC**** A PUBLICATION OF THE FILM NOIR FOUNDATION BIMONTHLY 2 CENTS MARCH / APRIL 2009 BLACK AND WHITE AND READ ALL OVER IN MEMORIAM DAHL, DEADLINES ANN SAVAGE DOMINATE NC7 By Haggai Elitzur Special to the Sentinel n e l or January, San Francisco’s weather was l A . unusually warm and sunny, but the atmos- M d phere was dark and desperate indoors at the i v F a Castro Theatre, as it always is for the NOIR CITY D film festival. On this, the festival’s seventh outing, Eddie Muller and Arlene Dahl onstage at the Castro most of the selections fell into the theme of news- paper noir. tive MGM when Warner Bros. was tardy in re- upping her contract. Arlene Dahl: Down-to-Earth Diva Dahl described meeting a large group of This year’s special guest was the still-beauti- friendly stars, including Gary Cooper, on her very ful redhead Arlene Dahl, whose two 1956 features first day on the Warner Bros. lot. She also offered screened as a double bill. Wicked as They Come some brief details about her two-year involvement By Eddie Muller was a British production featuring Dahl as a social with JFK, which was set up by Joe Kennedy him- Special to the Sentinel climber seducing her way across Europe. Slightly self. It was a spellbinding interview with a great Scarlet, a Technicolor noir filmed by John Alton, star; Dahl made it clear that she loved the huge ANN SAVAGE CHANGED MY LIFE .
    [Show full text]
  • September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 Min)
    September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 min) Directed by Raoul Walsh Screenplay by John Huston and W.R. Burnett Cinematography by Tony Gaudio Ida Lupino...Marie Humphrey Bogart...Roy Earle Alan Curtis...'Babe' Arthur Kennedy...'Red' Joan Leslie...Velma Henry Hull...'Doc' Banton Henry Travers...Pa Jerome Cowan...Healy Minna Gombell...Mrs. Baughmam Barton MacLane...Jake Kranmer Elisabeth Risdon...Ma Cornel Wilde...Louis Mendoza George Meeker...Pfiffer Zero the Dog...Pard RAOUL WALSH (11 March 1887, NYC—31 December 1980, Simi Valley, CA), directed 136 films, the last of which was A Distant Trumpet (1964). Some of the others were The Naked and the Dead (1958), Band of Angels (1957), The King and Four Queens (1956), officials they kept it under lock and key for 25 years because they Battle Cry (1955), Blackbeard, the Pirate (1952), Along the Great were convinced that if the American public saw Huston’s scenes of Divide (1951), Captain Horatio Hornblower R.N.(1951), White American soldiers crying and suffering what in those days was Heat (1949), Cheyenne (1947), The Horn Blows at Midnight called “shellshock” and “battle fatigue” they would have an even (1945), They Died with Their Boots On (1941), High Sierra more difficult time getting Americans to go off and get themselves (1941), They Drive by Night (1940), The Roaring Twenties (1939), killed in future wars. One military official accused Huston of being Sadie Thompson (1928), What Price Glory (1926), Thief of “anti-war,” to which he replied, “If I ever make a pro-war film I Baghdad (1924), Evangeline (1919), Blue Blood and Red (1916), hope they take me out and shoot me.” During his long career he The Fatal Black Bean (1915), Who Shot Bud Walton? (1914) and made a number of real dogs e.g.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]