1944-03-31, [P ]

Total Page:16

File Type:pdf, Size:1020Kb

1944-03-31, [P ] Friday, March 31, 1914 THE TOLEDO UNION JOURNAL Page $ These Charming Old New York Customs Lots of Kissing, Petticoats, and Hol Beer The extensive researching endeavor# which converged upon “Knickerbocker Holiday,” the romantic comedy with music, produced and directed by Harry Joe Brown as the first offering ot Producers’ Corporation of America for United Artists release, playing this week at the Esquire Theatre, churned up some Manhattan memorabilia under the 17th century dateline which should prove highly pleasing to those Girl Friend of a Pvt affected with nostalgia for the Eddy Enjoys His Punishment past. Some of these felicitous cus- torns of the old New Amster* darners could, in fact, elicit a By ETHEL VINE pang of envy from more mod­ ern-minded individuals. As a bit of social naivete, for example, Hedy Lamarr, who has prob­ rather than clotheshorse parts, kissing was unreservedly termed ably won more collegiate popu­ and she doesn’t like to pose in a gesture of friendship, whicli larity-poll sweepstakes than any giddy make-up or dress; she'd earned the otherwise staid Man­ other Hollywood actress, and much rather be photographed in hattanites the appellation of who is California's number one overalls in her garden. MW. “Kissing Dutchmen.” Hot beer exponent of the Viennese tradi­ Just an adolescent school girl as the popular beverage, and tion, again appears opposite with large, bright, staring eyes petticoats dotting the scene, debonair William Powell in “The when she first visited a picture were two other earmarks oi thia Heavenly Body,’’ coming to the set in suburban Vienna, Miss generous era. Loew’s Valentine Theatre. Lamarr was caught up by for­ As for the petticoats—fretting In the new role, one of the tune in one of those Cinderella- over the time-consuming task of most unusual of her movie like transformations that some­ enveloping her young form in a "'S ' - career, Miss Lamarr blends a gay times outshine the most imagi­ dozen of them, a lass of the peri­ • X*4"'A" w sense of comedy antics with her native movie press agent. l A - 'ir* z od would be reminded sharply magnetic allure. She appears as After her first bit role came by her mother that the greater the “astrology-hepped’’ wife of “Man Br^ucht Kein Geld” the family affluence, the greater Powell, who is himself a noted (Money Isn’t Everything) in the number of petticoats. A rich astronomer, with little respect which she registered still more. young lady didn’t dare upset for the practice of forecasting From this picture, “Ecstasy,” this ration, that is. appear oil events through the position of and other European efforts to the street without sufficient the heavenly bodies. The sup­ “Algiers,” and again Hedy made bouffancy at the hips. la porting cast of the new picture it with shining colors. And now “Knickerbocker Holiday,” flax­ includes James Craig, Fay Bain- if they’ll keep the banner label en-haired Tina Tienhoven (Con­ ter, Spring Byington, and Con­ ed “glamour girl” in the othe stance Dowling) grumbles, but, nie Gilchrist. Alexander Hall, corner of the sound stage, she'll as a member of a well-to-do who made “My Sister Eileen,’’ is be perfectly happy. f'l' family, she dutifully dons four­ the director. Among Miss Lamarr’s most teen petticoats. Raven-haired Miss ' Lamarr, popular vehicles, since she came zASSf ** Whatever may be said against whose chief hobby is puttering to this country under an M-G-M this undergarment as a deter­ about her acre-and-ahalf Cali­ contract, are “Boom Town,” minant of social philosophy, it fornia ranch, has a special dis­ “Come Live With Me”, “Zieg- had its aesthetic place. The pet­ like for the phrase, “glamour field Girl,” “H. M. Pulham Esq.” ticoat hemlines, tumbling into girl.” She has a strong prefer­ “Tortilla Flat” and “White place as a young lady gracefully ence for good comedy roles Cargo.” curtsied, made a pretty sight. And when the lovely Tina sheds Donna Reed is the sweetheart of no other than. “See Here, all fourteen of hers, and stand# Private Hargrove,” MG.M’s forthcoming screen version of the Two Amateur Photographers stripped to her pantaloons (des­ life and times of that irrepressible army “boot,” habille 1647 vintage) she is still a few garments upon the aver­ age female of the winter of 1943. In an era when mink and sa- ble were raiment reserved for fabulous potentates, another item—the unclaborate manner in which a lady acquired a fur coat—is something which should have a distinctly utopian ring to female ears. The female of the By TED TAYLOR species was exhorted by preach­ ers to uphold decency by re­ fraining from curlirig her fair riuLiu'i vVOOD, March 27 (FP)—Business leaders here have tresses, but as for sporting a organized Civilian Servicemen to visit wounded veterans and give couple of fur coats, there was no them bedside chats about the bright new postwar world industry stigma. In fact, with as little is planning. The intention is to interest discharged soldiers in provocation as a request for his training for technical positions in television, plastics, transporta­ wife, a spouse in 1647 or there­ tion, food processing and other r/" abouts, if he were any kind of a industries. the businessmen’s project, de­ Nelson Eddy never knew being in stocks could be so much fun as he receives a tender man, was expected to remove “We want servicemen to know spite the undoubted purpose to kiss from Constance Bowling. Charles Coburn watches a little grumpily and Johnny “Scat” Davis the shotgun from the mantle, sow seeds of business philosophy. make for the woods, and return they are considered by business­ Charles Boyer and Ingrid Bergman compare their personal stands by his pal. All these hijinks take place in “Knickerbocker Holiday,” hit comedy now play­ men as an integral part of our Might be smajt for unions to snapshots on the set between scenes at the MGM studio during home with a fur coat tucked tri­ ing at the Esquire Theatre through United Artists release. total life,” explains Henry Gins- hand put some rehabilitation the filming of ^Gaslight,” their latest production. umphantly under his arm. berg, Paramount studio exec, ideas too. one of the prime movers. MEDALS FOR BIGGIES. Maj. ©us studio choice for the wife’s Spring Dyington, Woman of World, 1.0! W’S George Shellenberger, Mer- Gen. Joseph Fagen of the ma­ Wanted to Act, role. rines told 20th-Fox studio execu­ Doors chants & Manufacturers Assn. Hails From Smoky City exec, is another leader, andi a tives that war chiefs recognize William Powell t-cr Mird on Valuable Hints Open men out of uniform are helping Born in Pittsburgh, Powell at­ 11 A. M. varied roster of business offi­ A fairly good dress worn with grace and poise is more chic cials and technical experts has win the war. “Many decorations Wrote His Aunt tended the theatre no more fre­ quently than the average school­ than a really good dress worn simply as a covering or because it started visiting the army and will be bestowed on you men in In addition to his highly re­ happens to be the last word in fashion. boy and showed no serious in­ navy hospitals in this area. motion pictures who have done munerative work as an actor, And it takes a long time—years in fact—for a woman to learn Civilian Servicemen would such a meritorius job,” he said. William Powell has done a bit terest in activities behind the footlights until his senior year to choose and wear her clothes_to greatest advantage. Perhaps give the vets “insight into all of writing. He admits the most that’s why some of the best- types of industry, broaden their successful thing he ever wrote, in high school. After playing a is at a loss about her hands, then leading role in “The Rivals,’’ he dressed women in this and other knowledge while they are hos­ however, was a 23-page letter to countries are not debutantes and she should smoke or hold some­ pitalized and occupy their minds a wealthy aunt in Pennsylvania, decided he wanted to go in for thing. an acting career. young brides, but women of ma­ through discussions among the explaining why he needed a ture years. Poise, that most important at­ tribute. should be cultivated as­ men themselves.” loan of $1400 for a two years' After the first year of study This about sums up the atti­ Doctors, nurses, chaplains will course of dramatic study in New in New York, young Powell was siduously. A good beginning is tude towards clothes of one of to slow up; not to rush places, be urged to encourage conversa­ York. The letter brought him more broke than ever, but de­ the most elegant ladies of the tion on business topics between $700 and enabled him to embark termined now that nothing but to move slowly enough to be in9 would interfere with his deci­ screen. Spring Byington, who sure where one is going and just the beds. on a career that was to prove has a featured role with Hedy sion to pursue a stage career. how. There is nothing quite as Presumably the businessmen one of the most colorful in Hol­ Lamarr and William Powell in Vlith will have an easier time getting He managed to keep going, un­ unwoman-of-the-world-1 ike as lywood. Metro-Goldwyn-Mayer’s “T h e permission to conduct bedside der great financial stress, until tripping over something because In his latest M-G-M picture, “Heavenly Body.” Despite fre­ seminars than some unions the end of his course.
Recommended publications
  • Selling Masculinity at Warner Bros.: William Powell, a Case Study
    Katie Walsh Selling Masculinity at Warner Bros.: William Powell, A Case Study Abstract William Powell became a star in the 1930s due to his unique brand of suave charm and witty humor—a quality that could only be expressed with the advent of sound film, and one that took him from mid-level player typecast as a villain, to one of the most popular romantic comedy leads of the era. His charm lay in the nonchalant sophistication that came naturally to Powell and that he displayed with ease both on screen and off. He was exemplary of the success of the new kind of star that came into their own during the transition to sound: sharp- or silver-tongued actors who were charming because of their way with words and not because of their silver screen faces. Powell also exercised a great deal of control over his publicity and star image, which is best examined during his short and failed tenure as a Warner Bros. during the advent of his rise to stardom. Despite holding a great amount of power in his billing and creative control, Powell was given a parade of cookie-cutter dangerous playboy roles, and the terms of his contract and salary were constantly in flux over the three years he spent there. With the help of his agent Myron Selznick, Powell was able to navigate between three studios in only a matter of a few years, in search of the perfect fit for his natural abilities as an actor. This experimentation with star image and publicity marked the period of the early 1930s in Hollywood, as studios dealt with the quickly evolving art and technological form, industrial and business practices, and a shifting cultural and moral landscape.
    [Show full text]
  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'
    Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).
    [Show full text]
  • William Powell ~ 23 Films
    William Powell ~ 23 Films William Horatio Powell was born 29 July 1892 in Pittsburgh, Pennsylvania. In 1907, he moved with his family to Kansas City, Missouri, where he graduated from Central High School in 1910. The Powells lived just a few blocks away from the Carpenters, whose daughter Harlean also found success in Hollywood as Blonde Bombshell Jean Harlow, although she and Powell did not meet until both were established actors. After school, Powell attended New York City's American Academy Of Dramatic Arts. Work in vaudeville, stock companies and on Broadway followed until, in 1922, aged 30, playing an evil henchman of Professor Moriarty in a production of Sherlock Holmes, his Hollywood career began. More small parts followed and he did sufficiently well that, in 1924, he was signed by Paramount Pictures, where he stayed for the next seven years. Though stardom was elusive, he did eventually attract attention as arrogant film director Lev Andreyev in The Last Command (1928) before finally landing his breakthrough role, that of detective Philo Vance in The Canary Murder Case (1929). Unlike many silent actors, the advent of sound boosted Powell's career. His fine, urbane voice, stage training and comic timing greatly aided his successful transition to the talkies. However, not happy with the type of roles he was getting at Paramount, in 1931 he switched to Warner Bros. His last film for them, The Kennel Murder Case (1933), was also his fourth and last Philo Vance outing. In 1934 he moved again, to MGM, where he was paired with Myrna Loy in Manhattan Melodrama (1934).
    [Show full text]
  • Movie Time Descriptive Video Service
    DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • The Dark Side of Hollywood
    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
    [Show full text]
  • The Life and Death of Jean Harlow, Writes of One Particularly Memorable
    Episode #7 Show Notes: The Girl from Missouri In the 1930s Jean Harlow was possibly the biggest star the world had ever known. The original “blond bombshell,” her fresh, sultry look was one that drove men wild and women to peroxide. By her own admission, her acting ability was somewhat lacking. “I’m the worst actress that was ever in pictures,” she had said, and more than once. To her legions of fans, it didn’t matter. She had an indefinable “it” quality that drew people to her like a magnet. Her assessment of her own acting ability was too extreme—she wasn’t the worst actress who ever lived. She wasn’t the best, either. She was an astute observer, though, and as she made a study of her co-stars, her performances did improve over time. In some of her later films, like Wife vs. Secretary and Libeled Lady (two of my favorites) she was quite good—and anything she lacked in acting ability she made up for in sex appeal. She was pretty, yes, but more than that, she was overtly and brazenly sexual. It was well known, for example, that she never wore underwear, which was, at times, shockingly obvious when she would walk on the set wearing diaphanous gowns. David Stenn, in his book Bombshell: The Life and Death of Jean Harlow, writes of one particularly memorable incident that occurred on the set of the film Red Headed Woman: “Most astounding to MGM crews was Harlow’s attitude toward her body. Told by Jack Conway [the director] to remove her jacket in a scene, she obeyed—and wore nothing underneath…Visitors on the set scarcely believed their eyes…but the resulting commotion puzzled Harlow.
    [Show full text]
  • MICHAEL CURTIZ: from HUNGARY to HOLLYWOOD Release
    The Museum of Modern Art For Immediate Release November 1992 MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD November 27, 1992 - January 23, 1993 A survey of more than fifty films by Michael Curtiz (1888-1962), one of cinema's most prolific directors from the studio era, opens on November 27, 1992, at The Museum of Modern Art. As Warner Bros, house director in the 1930s and 1940s, Curtiz symbolizes the crispness and energy that distinguished the Warners' style. On view through January 23, 1993, MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD explores the consistent quality and versatility of the filmmaker's work. The Hungarian-born Curtiz mastered virtually all genres and, during his twenty-seven-year career at Warner Bros., made every type of film from westerns and musicals to social dramas and comedies. A strong director of actors, he made stars of such disparate types as Errol Flynn, John Garfield, and Doris Day, and earned an Academy Award and a renewed career for Joan Crawford in Mildred Pierce (1945). Many of his films were popular critical and financial successes. Curtiz possessed an acute narrative sense, displayed in such remarkable films included in the exhibition as The Adventures of Robin Hood (1938), with Flynn and Olivia de Havilland; Casablanca (1942), for which Curtiz received an Academy Award for Best Director; Yankee Doodle Dandy (1942), the musical which won James Cagney an Academy Award; Mildred Pierce, the film noir portrait of an imperfect American family; Young Man with a Horn (1950), starring Kirk - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Douglas as an obsessed jazz trumpeter and inspired by Bix Beiderbecke's life; and The Breaking Point (1950), based on Ernest Hemingway's To Have and Have Not, His early successes -- Cabin in the Cotton (1932), a melodrama about sharecroppers, and The Mystery of the Max Museum (1933), an early all-color horror film -- are also included in the exhibition.
    [Show full text]
  • Genre Films: OLLI: Spring 2021: Weeks 1 & 2: Week 1: the PUBLIC ENEMY (1931) Directed by William A
    Genre Films: OLLI: Spring 2021: Weeks 1 & 2: week 1: THE PUBLIC ENEMY (1931) directed by William A. Wellman cast: James Cagney, Edward Woods, Jean Harlow, Joan Blondell, Beryl Mercer, Donald Cook, Mae Clarke, Leslie Fenton, Robert Emmett O'Connor, Murray Kinnell From filmsite.org: “The Public Enemy (1931) is one of the earliest and best of the gangster films from Warner Bros. in the thirties. The film's screenplay (by John Bright and Kubec Glasmon), which received the film's only Academy Award nomination, was based upon their novel Beer and Blood. Unfortunately, the film wasn't even given a Best Picture nomination, nor was Cagney rewarded with a nomination for his dynamic and kinetic performance. Jean Harlow's small role as a sexy call-girl was her only screen appearance with Cagney and her only lead role with Warners. Director William Wellman's pre-code, box-office smash, shot in less than a month at a cost of approximately $151,000, was released at approximately the same time as another classical gangster film – Little Caesar (1930/31) that starred Edward G. Robinson as a petty thief whose criminal ambitions led to his inevitable downfall. The Public Enemy was even tougher, more violent and realistic (released before the censorship codes were strictly enforced), although most of the violence is again off-screen. “The lead character is portrayed as a sexually magnetic, cocky, completely amoral, emotionally brutal, ruthless, and terribly lethal individual. However, the protagonist (a cold-blooded, tough- as-nails racketeer and "public enemy") begins his life, not as a hardened criminal, but as a young mischievous boy in pre-Prohibition city streets, whose early environment clearly contributes to the evolving development of his life of adult crime and his inevitable gruesome death.
    [Show full text]
  • The Careers of Burt Lancaster and Kirk Douglas As Referenced in Literature a Study in Film Perception
    The Careers of Burt Lancaster and Kirk Douglas as Referenced in Literature A Study in Film Perception Henryk Hoffmann Series in Cinema and Culture Copyright © 2020 Henryk Hoffmann. 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, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2020942585 ISBN: 978-1-64889-036-9 Cover design by Vernon Press using elements designed by Freepik and PublicDomainPictures from Pixabay. Selections from Getting Garbo: A Novel of Hollywood Noir , copyright 2004 by Jerry Ludwig, used by permission of Sourcebooks. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. To the youngest members of the family— Zuzanna Maria, Ella Louise, Tymon Oskar and Graham Joseph— with utmost admiration, unconditional love, great expectations and best wishes Table of contents List of Figures vii Introduction ix PART ONE.
    [Show full text]
  • HOLLYWOOD of the 1930S and 1940S
    HOLLYWOOD OF THE 1930s AND 1940s AT THE GARDEN OF ALLAH by Dick LaBonté The Cast On the balcony: William Powell, Myrna Loy, Asta (a dog), Ronald Colman, Loretta Young, Greta Garbo, Melvyn Douglas, Veronica Lake, Spencer Tracy, Katherine Hepburn, James Stewart, Maureen O'Hara, Tyrone Power, Carole Lombard, Clark Gable, Vivien Leigh, Lawrence Olivier, Leslie Howard, Olivia de Haviland, Errol Flynn. Below the balcony: Cary Grant, Douglas Fairbanks, Jr., Victor McLaglen, Dick Powell, Ruby Keeler, Mickey Rooney, Judy Garland, Ginger Rogers, Fred Astaire, Gary Cooper, Marlene Dietrich. In the windows: Lou Costello, Bud Abbott, Mae West, Hattie McDaniel, Warner Oland, Sam Jaffe, Robert Benchley. Left background: Elizabeth Taylor with Lad (a dog, a.k.a. Lassie), Elsa Lancaster, Boris Karloff, Bette Davis, Bela Lugosi, Humphrey Bogart, Ingrid Bergman, Dooley Wilson, Lauren Bacall. Right background: Roy Rogers, John Wayne, Claire Trevor, Randolph Scott, William Boyd, Topper (a horse), George "Gabby"Hayes. Around the pool: Johnny Weismuller, Maureen O'Sullivan, Cheetah (a chimpanzee), C. Aubrey Smith, Bing Crosby, Dorothy Lamour, Bob Hope, Hedy Lamaar, Robert Taylor, Henry Fonda, David Niven, Claudette Colbert, Ava Gardner, Rita Hayworth, Orson Welles, John Barrymore, W.C. Fields, Shirley Temple. In the pool: Jane Wyman, Ronald Reagan, Ann Sheridan, Oliver Hardy, Stan Laurel, Jean Harlow, Edward G. Robinson, James Cagney, Lucille Ball, Jimmy Durante, Tallulah Bankhead, Joe E. Brown, Lana Turner, Groucho Marx, Alice Faye, Chico Marx, Frank Sinatra, Joan Crawford, Charles Laughton. On the diving board: Betty Grable, Harpo Marx. www.dicklabonte.com.
    [Show full text]
  • San Diego Filmcalendar
    63 Up STARTS FRIDAY, DECEMBER 13, 2019 • ONE WEEK SAN DIEGO FILMCALENDAR KEN CINEMA 4061 Adams Ave, Kensington (619) 283-3227 HILLCREST CINEMAS 3965 5th Ave, Hillcrest (619) 298-2904 LandmarkTheatres.com “63 Up is the most important British film of our lifetime!” /HillcrestCinemas —David Thomson, Film Critic & Historian /KenCinema “If this is the final chapter, as Apted suggests it could be, it’s a worthy cap to one of the boldest experiments in world cinema.”—Chris Willman, VARIETY @LTSanDiego Legendary filmmaker Michael Apted (COAL MINER’S DAUGHTER), an Emmy nominee, DGA winner, and BAFTA-winning director, returns with the @LTSanDiegoCA latest installment of his groundbreaking documentary series, unmatched in the history of cinema for its astonishing and revelatory longevity. The original 7 UP was broadcast in 1964 as a one-off “World in Action” Special inspired by the Jesuit saying, “Give me the child until he is seven, and I will give you the man,” and featured 14 British children talking about their hopes and dreams for the future. Subsequent visits every seven years Email sign up: over six decades have documented the group as they grew up, became adults and entered middle-age, dealing with everything life has thrown at them in between. How have their lives reflected (or not) those earliest influences and the social class in which they were raised? Now, as the filmclub.landmarktheatres.com group reaches late adulthood, 63 UP is back to discover what they are doing—exploring retirement, facing mortality and reflecting on what the project has meant to them. It’s a not-to-be-missed new chapter in a fascinating saga.
    [Show full text]