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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
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. -
THE WIZARD of OZ an ILLUSTRATED COMPANION to the TIMELESS MOVIE CLASSIC by John Fricke and Jonathan Shirshekan with a Foreword by M-G-M “Munchkin” Margaret Pellegrini
THE WIZARD OF OZ AN ILLUSTRATED COMPANION TO THE TIMELESS MOVIE CLASSIC By John Fricke and Jonathan Shirshekan With a foreword by M-G-M “Munchkin” Margaret Pellegrini The Wizard of Oz: An Illustrated Companion to the Timeless Movie Classic is a vibrant celebration of the 70th anniversary of the film’s August 1939 premiere. Its U.S. publication coincides with the release of Warner Home Video’s special collector’s edition DVD of The Wizard of Oz. POP-CULTURE/ ENTERTAINMENT over the rainbow FALL 2009 How Oz Came to the Screen t least six times between April and September 1938, M-G-M Winkie Guards); the capture and chase by The Winkies; and scenes with HARDCOVER set a start date for The Wizard of Oz, and each came and went The Witch, Nikko, and another monkey. Stills of these sequences show stag- as preproduction problems grew. By October, director Norman ing and visual concepts that would not appear in the finished film: A Taurog had left the project; when filming finally started on the A • Rather than being followed and chased by The Winkies, Toto 13th, Richard Thorpe was—literally and figuratively—calling the shots. instead escaped through their ranks to leap across the castle $20.00 Rumor had it that the Oz Unit first would seek and photograph whichever drawbridge. California barnyard most resembled Kansas. Alternately, a trade paper re- • Thorpe kept Bolger, Ebsen, and Lahr in their Guard disguises well ported that all the musical numbers would be completed before other after they broke through The Tower Room door to free Dorothy. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
'The Wizard Of
© 2014 Universal Uclick A 75-Year Enchantment from The Mini Page © 2014 Universal Uclick ‘The Wizard of Oz’ Can you finish these famous movie The Scarecrow (Ray Bolger), lines? the Cowardly Lion (Bert Lahr), Dorothy (Judy Garland) and the • “Toto, I’ve a feeling we’re not in Tin Man (Jack Haley) eagerly ________ anymore!” approach the Wizard. • “There’s no place like _________.” Actor Buddy Ebsen was cast • “I’ll get you, my pretty, and your as the first Tin Man. He inhaled little _______ , too!” the silver aluminum crystals dusted on his face and suffered • “Follow the __________ a severe reaction. He had to ____________ Road.” be in an iron lung, a machine “The Wizard of Oz” movie first lit to help him breathe, for two up movie screens in August 1939. weeks. The role of the Tin Man Seventy-five years later, it is still one was taken over by Jack Haley. The aluminum crystals were of the most beloved movies of all time. mixed with Haley’s makeup Say one of the movie lines above, and to form a paste. That way, he people know exactly what you mean. © 2013 Warner Bros Entertainment Inc. All Rights Reserved. Courtesy Home Video would not inhale the crystals. The Mini Page talked with an Oz American adventure Changing the story historian to celebrate the lasting power “The Wonderful Wizard of Oz” was The movie directors thought kids in of “The Wizard of Oz.” America’s first fairy tale, experts say. 1939 would not like magical worlds, Until that book, most kids’ books were so they turned Dorothy’s adventures Magical story by European authors, and lessons were into a dream. -
Female Monologues
The Blair Witch Project http://cli.ps/iMRUX The Blair Witch Project written by Daniel Myrick & Eduardo Sanchez Movie Summary from Wikipedia: This movie is presented as "found footage", as if pieced together from amateur footage, and popularised this style of horror movie. The film relates the story of three student filmmakers (Heather Donahue, Joshua Leonard, and Michael C. Williams) who disappeared while hiking in the Black Hills near Burkittsville, Maryland in 1994 to film a documentary about a local legend known as the Blair Witch. The viewers are told the three were never seen or heard from again, although their video and sound equipment (along with most of the footage they shot) was discovered a year later by the police department and that this "recovered footage" is the film the viewer is watching. (from the Sundance Film Festival version of the movie) Heather: I just want to apologize to Mike's mom and Josh's mom and my mom and I'm sorry to everyone. I was very naive. (looks away from camera, scared) I was very naive and very stupid and I shouldn't have put other people in danger for something that was all about me and my selfish motives. I'm so sorry for everything that has happened because in spite of what Mike says now it is my fault. Because it was my project and I insisted on everything. I insisted we weren't lost. I insisted we keep going. I insisted we walk south. Everything had to be my way and this is where we've ended up. -
Read It Here
IN THE UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF GEORGIA ATLANTA DIVISION JACK HALEY, JR. PRODUCTIONS, ) INC., and KELLY BRANDT, as trustee ) of the Jack Haley, Jr. Trust and as executor ) of the Estate of Jack Haley, Jr., ) ) Plaintiffs, ) ) CIVIL ACTION v. ) ) CASE NO. ______________ WARNER HOME VIDEO, a division ) of WARNER BROS. HOME ) ENTERTAINMENT, INC., ) WARNER BROS. PICTURES, a ) division of WB STUDIO ENTERPRISES ) INC., and WARNER BROS. ) ENTERTAINMENT INC., ) ) Defendants. ) COMPLAINT COME NOW Deadline.comPlaintiffs Jack Haley, Jr. Productions, Inc. and Kelly Brandt, as trustee of the Jack Haley, Jr. Trust and as executor of the Estate of Jack Haley, Jr. (collectively, “Plaintiff”), and file this Complaint against Defendants Warner Home Video, a division of Warner Bros. Home Entertainment, Inc., Warner Bros. Pictures, a division of WB Studio Enterprises, Inc., and Warner Bros. Entertainment Inc. (collectively, “Defendant” or “Warner”), as follows. PARTIES, JURISDICTION, AND VENUE 1. Plaintiff Jack Haley, Jr. Productions, Inc. (“JHP”) is an entity incorporated in and maintains its principal place of business in the State of California. 2. Plaintiff Kelly Brandt is the trustee of the Jack Haley, Jr. Trust (the “Trust”) and executor of the Estate of Jack Haley, Jr. Prior to his death, Jack Haley, Jr. assigned all his rights, title, and interest in his shares of JHP to the Trust. The Trust was formed under the laws of California and Ms. Brandt serves as the trustee. Jack Haley, Jr. also appointed Ms. Brandt as the executor of the Estate of Jack Haley, Jr. Ms. Brandt resides in Topanga, California. 3. -
Profiles in History December 2012 Auction 53 Prices Realized Lot Title Winning Bid Amount 2 Vintage Futuristic City Photograph F
Profiles in History December 2012 Auction 53 Prices Realized Lot Title Winning Bid Amount 2 Vintage futuristic city photograph from Fritz Lang’s Metropolis. $1,200 3 Mary Philbin “Christine Daae” photograph from The Phantom of the Opera. $300 4 Louise Brooks publicity portrait. $2,500 5 Louise Brooks portrait for Now We’re in the Air. $400 9 Alfred Cheney Johnston nude portrait of Peggy Page. $1,000 10 Alfred Cheney Johnston oversize nude portrait of Julie Newmar. $1,200 11 Alfred Cheney Johnston Portrait of unidentified seated nude. $600 13 Vintage Carroll Borland as “Luna” photograph from Mark of the Vampire $325 16 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 17 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,100 18 Pair of Katharine Hepburn oversize gallery portraits by Ernest A. Bachrach. $1,700 19 Katharine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,200 20 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $475 21 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $650 22 Katherine Hepburn oversize gallery portrait for Sylvia Scarlett by Ernest A. Bachrach. $300 23 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $1,200 24 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $450 25 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $450 26 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $225 27 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 28 Katherine Hepburn oversize gallery portrait by Ernest A. Bachrach. $200 29 Pair of Katherine Hepburn oversize gallery portraits by Ernest A. -
Billie Burke
FIVE Series of Lectures and WILL BE EAST WINNER. Plays During Winter II II ?f Vote for Woodrow Wilson New York, Novf. 6. William LAST TIME TONIGHT O. Redfield, secretary of com- Entirely new, yet in keeping with the II merce, visited democratic head- progressive civic spirit of the modern II quarters here today and de- American community is the class room II clared a trip through Indiana theatre movement which will be bitro-duce- d II and Ohio has assured him that to Salem this winter by Prof. President Wilson will be an Wallace MacMurray, of Willamette uni- UNITED STATES easy winner in those states. versity. BILLIE BURKE As an educational factor working for In Chapters 16 and 1 7 of "Gloria's Romance" - the cultural uplift and inspiration oi Far Electors of President and Vice-- I resident of the United States the highest civic ideals this new dra- VOTE FOB FIVE matic movement has been an instantan- Qualifications of eous success wherever introduced. Thil largely due R R., Republican has been to the possibilities 12 BUTLER, Voters In Oregon which its limited is capable Wasco 3 atmosphere II of County of demonstration. Lionel Barrymore In order to give the facts regarding Originating with Percy MacKaye, jj In "The Upheaval" 13 COTTELL, WILLIS I., Republican the qualifications of voters in the na who. is recognized as America's lending of Multnomah County dramatic writer and composer of the 10 o tional election Tuesday the following w set forth in the statutes relat- present, the civic tbeatre, has had a ha rules as phenomenal past Sisters 14 KEADY, W. -
Pacific Symphony Pops Richard Kaufman , Conductor a S Ymphonic Night at the Movies “O Z with Orchestra ”
SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday –Saturday, April 7 –9, 2011, at 8:00 p.m. PRESENTS PACIFIC SYMPHONY POPS RICHARD KAUFMAN , CONDUCTOR A S YMPHONIC NIGHT AT THE MOVIES “O Z WITH ORCHESTRA ” CAST Judy Garland: Dorothy Gale Screenplay by Frank Morgan: Prof. Marvel/Emerald City Noel Langley Doorman/the Cabbie/The Florence Ryerson Wizard’s Guard/The Wizard of Edgar Allan Woolf Oz Ray Bolger: Hunk/The Scarecrow Directed by Victor Fleming Bert Lahr: Zeke/The Cowardly Lion Jack Haley: Hickory/The Tin Man Produced by Billie Burke: Glinda, the Good Witch Mervyn LeRoy Margaret Hamilton: Miss Gulch/The Wicked Witch Music by Charley Grapewin: Uncle Henry Harold Arlen (Songs) The Munchkins Herbert Stothart Film Courtesy of Warner Bros. Entertainment, Inc. PRODUCTION CREDITS Producer: John Goberman Original orchestrations reconstructed by: John Wilson and Andrew Cottee The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists. The Saturday, April 9 concert is generously sponsored by The Westin South Coast Plaza the Official Hotel of Pacific Symphony. Pacific Symphony proudly recognizes its Official Partners: Official Airline Official Television Station Pops Radio Sponsor ABOUT THE CONDUCTOR Kaufman has coached various actors in musical roles including Jack Nicholson, RICHARD KAUFMAN Dudley Moore, Tom Hanks, Armand Hal and Jeanette Segerstrom Family Assante, David Ogden Stiers and Susan Foundation Principal Pops Conductor Chair Sarandon. Kaufman has served as music director PRINCIPAL POPS CONDUCTOR and conductor for numerous musicals.