Light & Noir: Exiles and Émigrés In

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“LIGHT & NOIR: EXILES AND ÉMIGRÉS IN HOLLYWOOD, 1933-1950” EXHIBIT PRESS IMAGES & IMAGE CREDITS Authorized for non-commercial editorial use with inclusion of image credits as listed only. Not authorized for commercial or public use. “ Double Indemnity” (1944) poster, © Paramount Pictures. “Double Indemnity” (1944) film still, © Paramount Pictures. Courtesy of the Margaret Herrick Library, Academy of Motion Courtesy of the Margaret Herrick Library, Academy of Picture Arts and Sciences. Shown from left: Fred MacMurray, Motion Picture Arts and Sciences. Shown from left: Fred Barbara Stanwyck, Edward G. Robinson MacMurray, Barbara Stanwyck. “Harvey” (1950) film still, © Universal International. “Harvey” (1950) poster, © Universal International. Courtesy Courtesy of the Margaret Herrick Library, Academy of of the Margaret Herrick Library, Academy of Motion Picture Motion Picture Arts and Sciences. Shown: James Stewart. Arts and Sciences. Shown in center: James Stewart. Page 1 of 3 “LIGHT & NOIR: EXILES AND ÉMIGRÉS IN HOLLYWOOD, 1933-1950” PRESS IMAGES & IMAGE CREDITS “A Foreign Affair” (1948) poster, © Paramount Pictures. “A Foreign Affair” (1948) film still, © Paramount Pictures. Courtesy of the Margaret Herrick Library, Academy of Courtesy of the Margaret Herrick Library, Academy of Motion Motion Picture Arts and Sciences. Shown from left: Picture Arts and Sciences. Shown: Friedrich Hollaender at piano, Marlene Dietrich, John Lund, Jean Arthur. Marlene Dietrich. “A Foreign Affair” film still (1948), © Paramount Pictures. U.S. Declaration of Intention Paper for Marlene Dietrich Courtesy of the Margaret Herrick Library, Academy of (Maria Magdelene Sieber), 1937. From the Records of the U.S. Motion Picture Arts and Sciences. Shown from left: Jean District Court for the Central District of California (Los Arthur, John Lund, Marlene Dietrich. Angeles) at the National Archives of Riverside. Page 2 of 3 “LIGHT & NOIR: EXILES AND ÉMIGRÉS IN HOLLYWOOD, 1933-1950” PRESS IMAGES & IMAGE CREDITS Gallery installation view of “Casablanca” (1942) Christmas card from Carl Laemmle, December section. Photo by Robert Wedemeyer. Courtesy of 18, 1938. Courtesy of Rosemary Laemmle Hilb. Skirball Cultural Center. ### Press images available for download at: http://www.californiamuseum.org/photo-gallery/light-noir Interviews & exhibit tours available by request submitted via: http://www.californiamuseum.org/media-inquiries MEDIA CONTACTS: Brenna Hamilton Communications & Marketing Director Phone: (916) 651-0934 Email: [email protected] Massiel Bobadilla Communications & Marketing Manager Phone: (916) 651-0936 Email: [email protected] Page 3 of 3 .

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The Strange Love of Martha Ivers
The Strange Love of Martha Ivers t was 1946 and film noir was everywhere, counter, The Jolson Story, Notorious, The and into the 70s and 80s, including King of from low budget quickies to major studio Spiral Stair-case, Anna and the King of Kings, El Cid, Sodom and Gomorrah, The Ireleases. Of course, the studios didn’t re - Siam , and more, so it’s no wonder that The V.I.P.s, The Power, The Private Life of Sher - alize they were making films noir, since that Strange Love of Martha Ivers got lost in the lock Holmes (for Wilder again), The Golden term had just been coined in 1946 by shuffle. It did manage to sneak in one Acad - Voyage of Sinbad, Providence, Fedora French film critic, Nino Frank. The noirs of emy Award nomination for John Patrick (Wilder again), Last Embrace, Time after 1946 included: The Killers, The Blue Dahlia, (Best Writing, Original Story), but he lost to Time, Eye of the Needle , Dead Men Don’t The Big Sleep, Gilda, The Postman Always Clemence Dane for Vacation from Marriage Wear Plaid and more. It’s one of the most Rings Twice, The Stranger, The Dark Mirror, (anyone heard of that one since?). impressive filmographies of any film com - The Black Angel , and The Strange Love of poser in history, and along the way he gar - Martha Ivers. When Martha Ivers, young, orphaned nered an additional six Oscar nominations heiress to a steel mill, is caught running and another two wins. The Strange Love of Martha Ivers was an away with her friend, she’s returned home “A” picture from Paramount, produced by to her aunt, whom she hates.
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Before the Forties
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A Foreign Affair (1948)
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