DOCSLIB.ORG

Mervyn Leroy Contended That Judy Garland Was Always His First Choice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mervyn Leroy Contended That Judy Garland Was Always His First Choice Dr ERVYN Le ROY CONTENDED that Judy Garland was always his first choice for Dorothy, but Nicholas Schenck, president of M-G-M’s parent company, Loew’s MIncorporated, pressed for Shirley Temple, who was the nation’s number-one film favorite in 1938. Schenck wanted a “star” name to fill theatre seats and help recoup his company’s substantial investment. In fact, Temple had been suggested for the role several years prior (in November 1935 it had been announced that she would star in a series of Wizard of Oz movies). But Temple was under contract to Twentieth Century–Fox; appearing in M-G-M’s production could only occur through an arranged loan. Copyright © 2013 Turner Entertainment Co. • THE WIZARD OF OZ and all related characters and elements are trademarks of and © Turner Entertainment Co. • “Judy Garland as Dorothy from THE WIZARD OF OZ” • WB SHIELD: ™ & © Warner Bros. Entertainment Inc. • (s13) THE Wizard OF OZ • THE OFFICIAL SEVENTY-FIFTH ANNIVERSARY CoMPANION Part One • DreaMS that YOU DARE to DreaM • CAstING A SPELL Hairdressing reference stills show right, rear, and left views of Judy Garland’s finished coif on November 3, 1938. “I had a cinch so far as makeup was concerned,” Garland related in a 1939 New York Post interview. “The makeup wasn’t very different from the way it is in other pictures . But everything else was difficult. On account of the color there were so many retakes. The picture took half a year to make.” Copyright © 2013 Turner Entertainment Co. • THE WIZARD OF OZ and all related characters and elements are trademarks of and 43 © Turner Entertainment Co. • “Judy Garland as Dorothy from THE WIZARD OF OZ” • WB SHIELD: ™ & © Warner Bros. Entertainment Inc. • (s13) Part One • DreaMS that YOU DARE to DreaM • CAstING A SPELL ...AND OTHER DoUBLE TaKES “The ruby shoes appear on Dorothy’s feet, glittering and sparkling in the sun.” —NoTATION IN THE MAY 14, 1938, SCRIPT DRAFT FOR THE WIZARD OF OZ n Baum’s BOOK, Dorothy’s magical school, and one hour of recreation, as required by Cal- shoes are silver and make a tinkling sound as she ifornia law; even her press interviews usually occurred walks. But to take full advantage of the movie’s at luncheon. There was simply no pragmatic rationale Technicolor photography, the silver shoes became the to consume Garland’s time for insert shots of indistin- IRuby Slippers—as the color red was the most effective guishable body parts. contrast against the bright Yellow Brick Road. Judy Garland’s double was also used for rear and Contrary to modern mythologies, it is not Judy Gar- long shots, and other insert shots where the star’s face land wearing the fabled red slippers in close-up frames wasn’t visible, such as Toto at Dorothy’s feet and in her of the shoes—including those of Dorothy tapping her arms. Garland’s double also performed the physical stunts heels together. Rather, it is Garland’s double who dons required for the part of Dorothy. These include the scenes the famous footwear in such scenes. Because she was of her tumbling into the pigpen, being borne aloft by the a juvenile, Garland’s on-set time was rigidly restricted Winged Monkeys, and climbing out of the Wizard of Oz’s to accommodate four hours of work, three hours of balloon and leaping to the platform below. Copyright © 2013 Turner Entertainment Co. • THE WIZARD OF OZ and all related characters and elements are trademarks of and © Turner Entertainment Co. • “Judy Garland as Dorothy from THE WIZARD OF OZ” • WB SHIELD: ™ & © Warner Bros. Entertainment Inc. • (s13) S WAS TRUE for the wardrobe and makeup of each of the outlandish characters, Buddy Ebsen’s Tin Man costume underwent extensive experimentation. Journalist Paul AHarrison wrote, “Would it be better to have the Tin Man a completely impersonal robot billed as an unseen Buddy Ebsen, or would it be better to have the face of Ebsen, proving the existence of a dancing star inside the shell of L. Frank Baum’s woodchopper?” Meanwhile, Ebsen made the best of his assignment. Assuming that he was made of tin and put together by a plumber, he worked out a step in imitation of the movements of a plumber’s pipe wrench in action. Copyright © 2013 Turner Entertainment Co. • THE WIZARD OF OZ and all related characters and elements are trademarks of and © Turner Entertainment Co. • “Judy Garland as Dorothy from THE WIZARD OF OZ” • WB SHIELD: ™ & © Warner Bros. Entertainment Inc. • (s13) As makeup experimentation continued (left), Lahr’s appearance grew closer to the final look (below). Lahr was an imported Broadway come- dian who infused his brand of physicality into the role, and walked off with the majority of critics’ praise. Adhering to W. W. Denslow’s pictures of the Cowardly Lion (below), Jack Dawn drafted a watercolor of his version (top) before translating his literal interpretation of pen-and-ink strokes directly to Bert Lahr’s face (right). “A line in the script will give you a rough idea of what wasn’t a dancer. Even in rehearsing he had two left feet! when Lahr guested on Fred Allen’s radio show for his musical-variety national tour in 1940; a cinch I had. ‘The Cowardly Lion,’ he quoted, ‘seems to He’d go to practice his song . and he’d ask if it was all in 1939. When fellow comedian Allen com- all the ads pictured and mentioned his Scare- walk on all fours standing up.’ Trim that. Also, I have to right. When I’d tell him it was, he’d ask, ‘Really?’” Despite mented on Lahr’s performance, he said, “You crow character. And the long-suffering Lahr register a silly expression through a makeup that would his anxieties, the role’s comedic factor—as Lahr put it— still look like a lion to me,” to which Lahr may have had a change of heart come July make Leo the Lion tear up his union card. When a little girl was ready-made. “People know the saying ‘brave as a lion’ retorted, “That’s the trouble. I got too far into 14, 1939, when Daily Variety commented on slaps my face I have to shriek and shudder and cry hys- by heart,” he said in 1939, “hence, a lion running away character. Why, I was even startin’ to molt!” his “fascination with the lion skin he wore in terically. After a couple weeks of that I’m qualified from anything at once strikes the risibilities.” When principal photography concluded, The Wizard of Oz . he’s trying to buy it to do a sister act with Ferdinand the Bull.” Lahr’s physical attributes contributed to his Jack Haley, who offset his chagrin during the from Metro for stuffing purposes.” While Lahr’s ongoing grousing drew the sym- humorous delivery as the Cowardly Lion, par- shoot with one-liners about being vacuum- each actor would move on to other projects pathy of assistant dance director Dona ticularly his facial features, which were sin- sealed, couldn’t shed his Tin Man suit and enjoy professional success beyond the Massin, who reported, “I can remember gled out by M-G-M as already leonine in fast enough. Ray Bolger kept a copy of his film, their roles in The Wizard of Oz would one thing—Bert Lahr . The only one I appearance before makeup. The resem- Scarecrow ensemble as a memento, and cement their places in the canon of cinematic Bert Lahr really had to work with was Bert—he blance even became the punch line of a barb made the most of his connection to the film history forever. Copyright © 2013 Turner Entertainment Co. • THE WIZARD OF OZ and all related characters and elements are trademarks of and 61 © Turner Entertainment Co. • “Judy Garland as Dorothy from THE WIZARD OF OZ” • WB SHIELD: ™ & © Warner Bros. Entertainment Inc. • (s13) THE Wizard OF OZ • THE OFFICIAL SEVENTY-FIFTH ANNIVERSARY CoMPANION Part One • DreaMS that YOU DARE to DreaM • CAstING A SPELL By October 10, 1938, thirty-five-year-old screen comedienne Margaret Hamilton had replaced Gale Sondergaard as the Wicked Witch of the West in The Wizard of Oz. As shown in these stills, Hamilton began filming her scenes in a page-boy wig like that previously worn by Sondergaard, but this look was scrapped after two weeks. particularly difficult role, and there’s not much you can do Wicked Witch, and compared the character’s intensity to to make it different . You just wring your hands and roll the witch from Snow White in affecting the psyches of your eyes, and rant and rave and shriek a bit.” But the both children and adults: “The usual explanation the wise actress was far from oblivious to the effect of her shrieking. parent makes to children before pictures containing such “I used to recommend that children under five witches should be made before The Wizard years not be allowed to see [The Wizard of Margaret Hamilton of Oz.” Mrs. T. G. Winter, of the Community Oz],” she told Photoplay in 1974. “It gives them Service division of the Motion Picture Pro- nightmares”—an understatement thoroughly ducers and Distributors of America, comprehended by countless adults who, as summed it up best in her September 1, 1939, youngsters, buried their faces or ran from the review: “Perhaps the Wicked Witch is a bit room during The Wizard of Oz telecasts. scary for ultra-nervous children, but she is The psychological reverberations from part of the stock-in-trade of fairyland, and Hamilton’s ferocious delivery began almost her comeuppance is part of the joy.” immediately.
Load more

Recommended publications
  • Baby Snooks: Why, Daddy?
    baby_snooks_4pg.qxd:4 pg. Booklet 8/18/09 2:51 PM Page 1 Track 7: Baby Buggy - July 2, 1942 – Daddy thinks that he’ll be able to use the old baby buggy to transport the twins, but the Baby Snooks: vehicle will need a few modifications. (9:48) CD 4 Why, Daddy? Track 1: The Camp Report: September 3, 1942 – Daddy welcomes Snooks back after her stay at summer camp, and is Program Guide by Ivan G. Shreve, Jr. looking forward to reading her camp report…but, first bedtime. (8:07) During the Golden Age of Radio, audiences were treated to a “brat triumvirate.” The best- known of the radio brats was wisenheimer Charlie McCarthy, who along with partner (read: Track 2: Baby Snooks Goes to a Movie - September 24, 1942 – ventriloquist) Edgar Bergen entertained audiences for nearly twenty years with the ultra-popular Going to the movies is a pleasure for some…but, since Daddy The Chase & Sanborn Hour . In the 1940s, comedian Red Skelton introduced demon-on- has to take Snooks and the twins it’s akin to walking the last wheels “Junior, the mean widdle kid” on his Raleigh Cigarette Program . Hanley Stafford as the long-suffering mile. (8:51) “Daddy” with Brice as Snooks. The last member of this trio of incorrigibles was Baby Snooks, played by famed musical Track 3: Gozinta - October 1, 1942 – Daddy is suffering from a case of insomnia, so Snooks comedy star Fanny Brice. Brice began her show business career at the age of twelve, earning takes advantage of his sleepless state to con him into helping her with her homework.
    [Show full text]
  • Hollywood Greats Flocked to Racquet Club West
    Hollywood Greats Flocked To Racquet Club West By Don Soja An “official” neighborhood since 2007, the famed Racquet Club West (RCW) was once in the thick of all things “Hollywood” in Palm Springs. Sitting behind the notorious Racquet Club founded by two tennis-addicted actors, Ralph Bellamy and Charles Farrell (who had been politely asked to vacate the courts at the El Mirador Hotel, or so it’s said) the location made adjacent homes attractive to the hottest celebrities of the period. Dinner and dancing, drinks at poolside or sets of tennis were but a short walk or bike ride to the club. (Aside: Bicycles hadn’t been “adult toys” since the 1890’s but were re-popularized in Palm Springs. True.) At any given time, if you could bypass vigilant guards, you’d see Clark Gable, heartthrob Tyrone Power, Doris Day, Kirk Douglas, dancer Ann Miller, honeymooners Lucille Ball and Desi Arnaz, Spencer Tracy or Bob Hope. This neighborhood was also rife with major producers, directors and screenwriters. Tucked between the two major north/south corridors of the town (Palm Canyon and Indian Canyon drives), Racquet Club West is bordered by West San Rafael Road on the north and San Marco Way and Alvarado Road on the south. This mix of 175 one- or two-bedroom villas, unprepossessing weekend cottages, charming Spanish casas, and homes by famed architect Don Wexler and the Alexanders is said to have inspired Raymond Chandler’s book Poodle Springs. The number of Top 100 American Movies, created here poolside and “over a highball” is astonishing.
    [Show full text]
  • Classic Film Series
    Pay-as-you-wish Friday Nights! CLASSIC PAID Non-Profit U.S. Postage Permit #1782 FILM SERIES White Plains, NY Fall 2014/Winter 2015 Pay-as-you-wish Friday Nights! Bernard and Irene Schwartz Classic Film Series Join us for the New-York Historical Society’s film series, featuring opening remarks by notable directors, writers, actors, and historians. Justice in Film This series explores how film has tackled social conflict, morality, and the perennial struggles between right and wrong that are waged from the highest levels of government to the smallest of local communities. Entrance to the film series is included with Museum Admission during New-York Historical’s Pay-as-you-wish Friday Nights (6–8 pm). No advanced reservations. Tickets are distributed on a first-come, first-served basis beginning at 6 pm. New-York Historical Society members receive priority. For more information on our featured films and speakers, please visit nyhistory.org/programs or call (212) 485-9205. Classic Film Series Film Classic Publication Team: Dale Gregory Vice President for Public Programs | Alex Kassl Manager of Public Programs | Genna Sarnak Assistant Manager of Public Programs | Katelyn Williams 170 Central Park170 West at Richard Gilder (77th Way Street) NY 10024New York, NEW-YORK HISTORICAL SOCIETY MUSEUM LIBRARY Don Pollard Don ZanettiLorella Collection of the Supreme Court of the United States Justice in Film Chang Lia Friday, October 17, 7 pm Flower Drum Song | 1961 | 133 min. Judge Denny Chin and distinguished playwright David Henry Hwang introduce this classic adaptation of C. Y. Lee’s novel, where Old World tradition and American romanticism collide in San Joan MarcusJoan Denis Racine Denis Francisco’s Chinatown.
    [Show full text]
  • 1 SAAS CONFERENCE April 9-11, 2019 University of Salamanca
    SAAS CONFERENCE April 9-11, 2019 University of Salamanca, Spain Panel 16 On the Screen as on the Stage: Film and Theater Interplays and the (Fe)Male Gaze Panel Chair: Noelia Hernando Real, Universidad Autónoma de Madrid [Slide 1] “The (Fe)male Gaze in the Cinematographic Adaptations of Little Women” Miriam López Rodríguez Universidad de Málaga [Slide 2] Louisa May Alcott’s Little Women (1868) presents the tribulations of the four March sisters, as they make the transition from girlhood to womanhood, always under the watchful eye of their loving mother.1 Set against the backdrop of the American Civil War, the novel portrays this female community facing the trials of daily life and genteel poverty, while learning to become the type of women they want to be (or that Mr. March wants them to be). [Slide 3] As part of their growing-up process, each daughter must fight her “personal demon”: Meg her jealousy of other people’s wealth, Jo her anger and boisterousness, Beth her shyness and reclusiveness, and Amy her selfishness. In a letter to his wife, their father states: [Slide 4] I know they will remember all I said to them, that they will be loving children to you, will do their duty faithfully, fight their bosom enemies bravely, and conquer themselves so beautifully, 1 As the novel begins, the narrator indicates Meg is 16 years old, Jo is 15, Beth is 13 but there is no indication of Amy’s exact age. She is just described as “the youngest” (7). 1 that when I come back to them I may be fonder and prouder than ever of my little women.
    [Show full text]
  • Warner Bros. Retrospective Resumes at Museum
    The Museum of Modern Art NO. 2 U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOR IMMEDIATE RELEASE WARNER BROS. RETROSPECTIVE RESUMES AT MUSEUM The Museum of Modern Art's major retrospective of Warner Bros, films, interrupted in October by a strike by members of the Museum's professional staff, will resume Sunday, January 6, 1974. Approximately 40 feature films, dating from the 1950s, 1960s and early 1970s and originally scheduled to play during October and November, will be presented daily through January 27. Among the pictures on the program are "Rebel Without a Cause," "A Star is Born," "A Streetcar Named Desire," "The Bad Seed," "Who's Afraid of Virginia Woolf?", "Bonnie and Clyde," "Super Fly," "A Clockwork Orange" and "The New Land." "We are very grateful to Warner Bros, for agreeing to re-schedule the remainder of the program," notes Adrienne Mancia, Associate Curator of Film, who put together the Warners cycle along with Assistant Curator Larry Kardish. "Not only has public response to the Warners series been strong, but a renewed interest in these films has arisen on college campuses and in film societies across the country," Adrienne Mancia adds. The Warners retrospective began July 4, 1973 and over 150 feature films had been presented before the interruption in October. The schedule of films to be shown follows: Sun, Jan 6, 3:00 Jack and the Beanstalk (1952, Jean Yarborough) Sun, Jan 6, 5:30 Rio Bravo (1959, Howard Hawks) Mon, Jan 7, 2:00 The Left-Handed Gun (1958, Arthur Penn) Mon, Jan 7, 5:30 Inside Daisy Clover (1965, Robert Mulligan) Tues, Jan 8, 2:00 The Old Man and the Sea (1958, John Sturges) Wed, Jan 9, 5:30 Rebel Without a Cause (1955, Nicholas Ray) Fri, Jan 11, 2:00 New York Confidential (1955, Russell Rouse) Fri, Jan 11, 5:30 Bonnie and Clyde (1967, Arthur Penn) Sat, Jan 12, Noon The Rise and Fall of Legs Diamond (1960, Budd Boetticher) Sat, Jan 12, 3:00 Seven Men from Now (1956, Budd Boetticher) Sat, Jan 12, 5:30 A Star is Born (1954, George Cukor) (OVER) (OVER) 2.
    [Show full text]
  • Mervyn Leroy GOLD DIGGERS of 1933 (1933), 97 Min
    January 30, 2018 (XXXVI:1) Mervyn LeRoy GOLD DIGGERS OF 1933 (1933), 97 min. (The online version of this handout has hot urls.) National Film Registry, 2003 Directed by Mervyn LeRoy Numbers created and directed by Busby Berkeley Writing by Erwin S. Gelsey & James Seymour, David Boehm & Ben Markson (dialogue), Avery Hopwood (based on a play by) Produced by Robert Lord, Jack L. Warner, Raymond Griffith (uncredited) Cinematography Sol Polito Film Editing George Amy Art Direction Anton Grot Costume Design Orry-Kelly Warren William…J. Lawrence Bradford him a major director. Some of the other 65 films he directed were Joan Blondell…Carol King Mary, Mary (1963), Gypsy (1962), The FBI Story (1959), No Aline MacMahon…Trixie Lorraine Time for Sergeants (1958), The Bad Seed (1956), Mister Roberts Ruby Keeler…Polly Parker (1955), Rose Marie (1954), Million Dollar Mermaid (1952), Quo Dick Powell…Brad Roberts Vadis? (1951), Any Number Can Play (1949), Little Women Guy Kibbee…Faneul H. Peabody (1949), The House I Live In (1945), Thirty Seconds Over Tokyo Ned Sparks…Barney Hopkins (1944), Madame Curie (1943), They Won't Forget (1937) [a Ginger Rogers…Fay Fortune great social issue film, also notable for the first sweatered film Billy Bart…The Baby appearance by his discovery Judy Turner, whose name he Etta Moten..soloist in “Remember My Forgotten Man” changed to Lana], I Am a Fugitive from a Chain Gang (1932), and Two Seconds (1931). He produced 28 films, one of which MERVYN LE ROY (b. October 15, 1900 in San Francisco, was The Wizard of Oz (1939) hence the inscription on his CA—d.
    [Show full text]
  • MEMORY of the WORLD REGISTER the Wizard of Oz
    MEMORY OF THE WORLD REGISTER The Wizard of Oz (Victor Fleming 1939), produced by Metro-Goldwyn-Mayer REF N° 2006-10 PART A – ESSENTIAL INFORMATION 1 SUMMARY In 1939, as the world fell into the chaos of war, Metro-Goldwyn-Mayer released a film that espoused kindness, charity, friendship, courage, fortitude, love and generosity. It was dedicated to the “young, and the young in heart” and today it remains one of the most beloved works of cinema, embraced by audiences of all ages throughout the world. It is one of the most widely seen and influential films in all of cinema history. The Wizard of Oz (1939) has become a true cinema classic, one that resonates with hope and love every time Dorothy Gale (the inimitable Judy Garland in her signature screen performance) wistfully sings “Over the Rainbow” as she yearns for a place where “troubles melt like lemon drops” and the sky is always blue. George Eastman House takes pride in nominating The Wizard of Oz for inclusion in the Memory of the World Register because as custodian of the original Technicolor 3-strip nitrate negatives and the black and white sequences preservation negatives and soundtrack, the Museum has conserved these precious artefacts, thus ensuring the survival of this film for future generations. Working in partnership with the current legal owner, Warner Bros., the Museum has made it possible for this beloved film classic to continue to enchant and delight audiences. The original YCM negatives have been conserved at the Museum since 1975, and Warner Bros. recently completed our holdings of the film by assigning the best surviving preservation elements of the opening and closing black and white sequences and the soundtrack to our care.
    [Show full text]
  • OCF Disney BG 7375.Indd
    DISNEYLAND RESORT EXPANSION questions for Disneyland President George A. Kalogridis 10We caught up with Disneyland Resort President George A. Kalogridis to get some insight into the thought behind this enormous expansion project, as well as some challenges and surprises over the last fi ve years. Here’s what he had to share. 1. Why did Disney make such a large investment to 6. You previously said that one of change Disney California Adventure? the things that had been missing from Disney Since opening in 2001, Disney California Adventure has California Adventure was nighttime entertainment? been the second most-visited theme park in the Western True. The park didn’t have a nighttime spectacular and United States, behind only Disneyland. Though many of World of Color has provided that one last memory as guests the highest-rated attractions are in California Adventure, leave our park. World of Color has entertained more than our guests told us they didn’t have the same emotional 5.5 million guests in just two years, and it has resulted in connection that they had to Disneyland. They wanted more increased park operating hours each evening… along with heart, more fantasy and more immersive experiences. sparking the addition of our nightly family dance parties. 2. How will you connect guests emotionally to Disney 7. What’s the concept behind the family dance parties? California Adventure? We created GlowFest to keep our guests engaged before As guests enter, they will be transported to the 1920s Los and after World of Color shows. We used the concept to Angeles that greeted Walt Disney when he arrived as a create ElecTRONica, a tribute to the movie TRON.
    [Show full text]
  • Antelope Class Writing Term 6, Week 3 Learning- 15.6.20 the Wonderful Wizard of Oz
    Antelope Class Writing Term 6, Week 3 learning- 15.6.20 The Wonderful Wizard of Oz Hello Antelopes, well done for all of your hard work so far. This week, we are going to begin a 3 week fantasy story focus by looking at ‘The Wonderful Wizard of Oz’. It has been a pleasure to see the learning that has been taking place, and we look forward to hearing more about that this week. Please send a picture or scan of your writing to [email protected], either every couple of days or at the end of the week. There are 5 lessons and each lesson will take approximately 30-40 minutes. Miss McMillan and Mrs Smith Lesson 1 To understand the events of a text. This lesson, you are going to become familiar with ‘The Wizard of Oz’ and answer questions about the text. Context • ‘The Wonderful Wizard of Oz’ is a high fantasy novel, written by L. Frank Baum, published in 1900. It was the first published of 14 novels in the Oz series and it is the best known among all the author’s books. • Most of the novels are set in Oz, a land full of wonder, strange rules and mythical beings. • In the story, Dorothy lives in Kansas (America) on her aunt and uncle’s farm. One day, a huge tornado carries her house into the sky. She lands in the fantastical Land of Oz. • Dorothy meets three friends and they travel together to the Emerald City - to visit the Wizard and ask for his help.
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • The History of Carthay Circle
    CARTHAY CTRCI,B HISTORY The Carthay Circle has often been eonsidered cireular but about the only thingr that was round in the eircle was the dome of the grand o1d Carthay Circle Theatre which bore the name of the subdivision. The boundaries of the eirele are Fairfax Avenue to the East; ta Cieneqa Boulevard to the !{est; Olyrnpic Boulevard to the South; Wilshire Boulevard to the North with San Vicente Boulevard (formerly Eulalia Boulevard, named for a mid-wife) cutting a diagonal path througrhout her domain. Geographically on a grid, Carthay Circle resembles more of a jigsaw piece j-n seareh of a puzzle than the Puzzle she is. Planned and developed in the glamourous era of the excit-ing '20's, it was ,r. Harvey McCarthy's hope that this sub-division would be in of a "high class" cal.j.ber. In 1.924 he hired and direeted his architects, Curlett and Beelman to follow his instruetions in the planning of this eommunity. The streets were laid on a diaqonal. Land cost at that time was at a premium and fifty (50) foot Lots sold f or S7,500.00 ! ! ! The sub-divj.sion vras the f irst to have underground utilities, makinq the area free of unsightly telephone poles and electric wires. The zoning for the land was primarily fo:: single fami.ly structrr::es one story in height. West of McCarthy Vista on Warner the houses should be one story while to the East the homes should be 2 stories. On Det Valle single family and a one story height was the Iimit.
    [Show full text]
  • Tin Woodman by L
    The TIN WOODMAN by L. Frank Baum of Oz CHAPTER 2 - THE HEART OF THE TIN WOODMAN \ The Emperor of the Winkies paused in his and legs to the body, and set my head in the tin story to reach for an oil-can, with which he collar, I was a much better man than ever, for carefully oiled the joints in his tin throat, for my body could not ache or pain me, and I was his voice had begun to squeak a little. Woot the so beautiful and bright that I had no need of Wanderer, having satisfied his hunger, watched clothing. Clothing is always a nuisance, because this oiling process with much curiosity, but it soils and tears and has to be replaced; but my begged the Tin Man to go on with his tale. tin body only needs to be oiled and polished. “The Witch with the Silver Shoes hated “Nimmie Amee still declared she would me for having defied her,” resumed the Emper- marry me, as she still loved me in spite of the or, his voice now sounding clear as a bell, “and Witch’s evil deeds. The girl declared I would she insisted that Nimmie Amee should never make the brightest husband in all the world, marry me. Therefore she made the enchanted which was quite true. However, the Wicked axe cut off my other arm, and the tinsmith also Witch was not yet defeated. When I returned to replaced that member with tin, including these my work the axe slipped and cut off my head, finely-jointed hands that you see me using.
    [Show full text]