Hunted, the Devil's in the Details and Gunfighter's Moon, Among Others
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Collection of Laverne & Shirley Television Series Scripts, 1975-1986
http://oac.cdlib.org/findaid/ark:/13030/kt2j49r8qb No online items Finding Aid for the Collection of Laverne & Shirley television series scripts, 1975-1986 Processed by Arts Special Collections staff; machine-readable finding aid created by Sue Hwang and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 198 1 Laverne & Shirley television series scripts, 1975-1986 Descriptive Summary Title: Collection of Laverne & Shirley television series scripts, Date (inclusive): 1975-1986 Collection number: 198 Extent: 11 boxes (5.5 linear feet) Abstract: Laverne and Shirley was an American television sitcom spin-off of the popular television show Happy Days. The collection consists of 150-plus scripts from the Laverne and Shirley television series (1976-1982). Also included are a small number of scripts from the television show, All is Forgiven. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Always. . .Patsy Cline at Aventura Arts & Cultural Center Pays Tribute To
January 19, 2016 Pierson Grant Public Relations 954/776-1999 Chris Feeley, ext. 237 [email protected] Always. .Patsy Cline at Aventura Arts & Cultural Center Pays Tribute to the Legendary Country Singer AVENTURA, Fla. – On Thursday, February 4 at 8 p.m., the Aventura Arts & Cultural Center will present Always...Patsy Cline, a musical play and tribute to the legendary country singer, which includes the story of Cline’s friendship with a fan from Houston who befriended Cline in a Texas honky-tonk and corresponded with the star until her tragic death in a 1963 plane crash. Woven with down-home country humor, true emotion and some audience participation, the show’s title was inspired by Cline’s letters to Louise Seger, which she consistently signed, “Love ALWAYS. .Patsy Cline.” In all, the show includes 27 of Cline’s unforgettable hits, such as “Crazy,” “I Fall to Pieces,” “Sweet Dreams” and “Walking after Midnight.” Cindy Williams, best known for playing Shirley Feeney on the 70s hit TV show Laverne & Shirley, will star as Louise Seger. Her stage credits include, The Drowsy Chaperone (Broadway), The Odd Couple with Joanne Worley. Film credits include The Conversation and George Lucas’s American Graffiti, for which she received a British Academy award nomination for Best Supporting actress. Written and originally directed by Ted Swindley, Always...Patsy Cline has played for years throughout the U.S., including a successful off-Broadway run. According to American Theater Magazine, it has been one of the most-produced musicals in America and also has been seen internationally in Canada, the UK and Australia. -
Snelling Wins Best of Staffing Client Award –
Snelling Snelling Corporate Office https://www.snelling.com Snelling Wins Best of Staffing Client Award - 2017 ...but that is not all Categories : EMPLOYER HOT TOPICS Date : February 16, 2017 Do you know what Katherine Hepburn, Jack Nicholson, Ingrid Bergman, Daniel Day Lewis, Walter Brennan, Meryl Streep and Snelling all have in common? Well, obviously the first 6 people listed are movie actors. However, they are not just actors. They are part of an elite group of actors. These 6 people are – in fact – the greatest Academy Award winners of all time. Hepburn leads the pack with 4 Oscar wins; Nicholson, Bergman, Day Lewis, Brennan and Streep have all won 3 times. But no matter how you cut it, all 6 are in a class of their own. But even as we prepare to watch the Academy Awards on Sunday, Feb. 26, to see if Casey Affleck beats Andrew Garfield or if Meryl Streep beats Emma Stone (and joins Ms. Hepburn in the 4x winner club), be aware that none of these actors have achieved what Snelling has. You see, actors have the Oscars; musicians have the Grammy’s; writers have the Pulitzer. Staffing firms have the Best of Staffing award – handed out to those elite staffing firms who have received “remarkable” reviews from the clients they serve. Best of Staffing Here at Snelling, we are honored to announce that we are (again) the winner of Inavero’s Best of 1 / 2 Snelling Snelling Corporate Office https://www.snelling.com Staffing® Client Awards for 2017. But the news gets better, for Snelling has achieved what none of the actors above have. -
Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated. -
None of This Would Have Ever Happened If You Had Just Given an Oscar to Jennifer Lopez
NONE OF THIS WOULD HAVE EVER HAPPENED IF YOU HAD JUST GIVEN AN OSCAR TO JENNIFER LOPEZ By Tony Meneses Characters: Hugo Omar Nigel Elijah Yosef (all gay men of color in their 30’s/40’s) Setting: The last recorded Oscar party in gay history Time: February 9th, 2020 Wine. Charcuterie. Fresh fruit that no one’s eating. YOSEF. 1970? ELIJAH. ... Maggie Smith. NIGEL. Good one. YOSEF. 1991. ELIJAH Kathy Bates. HUGO. Also great. YOSEF. 1965! ELIJAH. Julie Andrews. NIGEL. (To Hugo.) Too easy. YOSEF 19... 46? ELIJAH. Joan fucking Crawford. NIGEL. HUGO. Oh my god! Yes ma-ma! NIGEL. That might actually be my favorite one. Mildred Pierce, can’t beat that. HUGO. What! Over Vivien Leigh, Ingrid Bergman, MERYL!?! 1 NIGEL. I stand by my decree. ELIJAH. Give me Elizabeth Taylor any day! YOSEF. 2002? In an instant it all goes quiet. NIGEL. ... What did you just say? YOSEF. 2002. Who won Best Actress in 2002? HUGO. Girl. Are you kidding? NIGEL. Oh god. She’s not. YOSEF. I’m not the biggest awards show gay, I’m sorry. HUGO. Who invited him again? ELIJAH. (Very serious.) 2002. That’s what you’re asking, Yosef? Two thousand, and two? YOSEF. Yes? ELIJAH. ... Halle Berry. Halle Berry won the Oscar that year. YOSEF. Oh. Isn’t that a good thing? We love Halle Berry. Don’t we? NIGEL. What kind of a question is that! 2 HUGO. You’re going to have to leave. ELIJAH. Halle Berry was—and remains to this day—the only woman of color to ever win the Academy Award for Best Actress. -
Here's Looking at You
SCANDINAVIAN REVIEW | Denmark | Finland | Iceland | Norway | Sweden | Here’s Looking at You, Kid INGRID BERGMAN AT 100 Summer 2015 INGRID BERGMAN AT 100 Another look at the luminous Swede, one of the finest stage and screen Here’s actors of the mid-20th century. Looking By Donald Dewey ER G This is where Humphrey Bogart delivers the classic line to Ingrid Bergman in Casablanca (1942). at You, Kid GRAN 30 SCANDINAVIAN REVIEW SCANDINAVIAN REVIEW 31 Ingrid Bergman at 26 HAT IS THERE LEFT TO SAY ABOUT INGRID BERGMAN? Journalists and biographers and film historians have been dipping W into Bergman’s life (1915–1982) so relentlessly for so long that it is easy to forget that it wasn’t always in the public domain. The woman’s career, off and on screen, started being dissected so minutely so many decades ago that just about the only survivors from all those labors are her children and a hand- ful of actors from the already-41-year-old Murder on the Orient Express. In short, and though many of us are loath to admit it, the world of Ingrid Bergman seems to have warp-sped away from us to distances we might not have thought possible. It may not be as remote as Planet Garbo, but it is still out there, back in that century they used to call the 20th with an air of self-satisfaction making it sound like the tiniest of steps before infinity. (“My God, man, it’s the 20th century!”) There is, of course, the record of her many performances—filmed, kinescoped, taped, digitized, hologrammed, whatever technical development preserves them next. -
'Hallmark Channel's Christmas
‘HALLMARK CHANNEL’S CHRISTMAS CONCERT’ Cast Bios Jack Wagner- During a career that has spanned over 30 years, Jack Wagner has proven himself to be not just a triple, but also a quadruple threat. Though most well known for his work in television, Wagner has achieved great recognition as an accomplished stage actor, musician, and holds the rare distinction of being a scratch golfer. Wagner recently starred in and executive produced the original telefilm “The Wedding March,” which has now spawned three additional films within the franchise, and he guest starred on Showtime’s “Ray Donovan.” Musically, Wagner recently released his long-awaited, sixth full-length album, On the Porch. A collection of 12 original songs, all written or co-written by the Missouri native, the album takes Wagner back to his Americana roots. On the Porch, produced by Dave Darling, has an authentic down-home feel brimming with textured acoustic instrumentation (slide guitar, dobro, mandolin, etc.). The collaboration resulted in a thoroughly gratifying 41-minute listening experience. In 1983, after graduating from the University of Arizona with a Bachelor of Fine Arts degree, Wagner landed the starring role on the number one daytime series, “General Hospital.” Portraying rocker Frisco Jones afforded him the opportunity to record songs for the show, which eventually led to a multi-album deal with Quincy Jones’ Warner Bros. imprint, Qwest Records. Wagner’s debut LP released in 1984, spawned a massive hit single in the title track, “All I Need.” He would go on to release four follow-up albums, generating four more top 40 singles. -
[GCXZ]⋙ Shirley, I Jest!: a Storied Life by Cindy Williams #QU7Y09F8XL6
Shirley, I Jest!: A Storied Life Cindy Williams Click here if your download doesn"t start automatically Shirley, I Jest!: A Storied Life Cindy Williams Shirley, I Jest!: A Storied Life Cindy Williams Cindy Williams, half of the comedic duo of Laverne & Shirley, has had a wild and lively career in show business. This book is an engaging and heartfelt journey from Williams’s blue collar roots to unexpected stardom—from being pranked by Jim Morrison while waiting tables at Whisky a Go Go to starring in one of the most iconic shows on television. With wit and candor, Cindy tells stories of her struggles as a child growing up with meager means and dreaming of becoming an actress. She also shares many misadventures and amusing anecdotes about some of the most famous actors in Hollywood. Never taking herself too seriously, Cindy finds humor and irony in the challenging world of show business. Download Shirley, I Jest!: A Storied Life ...pdf Read Online Shirley, I Jest!: A Storied Life ...pdf Download and Read Free Online Shirley, I Jest!: A Storied Life Cindy Williams From reader reviews: Kirsten Muncy: Information is provisions for folks to get better life, information nowadays can get by anyone from everywhere. The information can be a know-how or any news even an issue. What people must be consider any time those information which is inside former life are hard to be find than now is taking seriously which one is acceptable to believe or which one the actual resource are convinced. If you have the unstable resource then you obtain it as your main information we will see huge disadvantage for you. -
Garry E Penny Marshall E Il Mito “Abruzzese”
| 1 GARRY E PENNY MARSHALL E IL MITO “ABRUZZESE” DI HAPPY DAYS di Piercesare Stagni* L’AQUILA – Chi mai potrebbe pensare che tra la mitica e americanissima serie tv Happy Days e l’Abruzzo esiste un legame? Eppure, incredibile ma vero, è proprio così, perché questi celebri telefilm, imperniati sulle vicende della simpatica famiglia Cunningham di Milwaukee e sulle gesta dell’invincibile Fonzie, furono creati da Garry Marshall, regista, attore e produttore originario di San Martino sulla Marrucina, in provincia di Chieti. E sorprendentemente i collegamenti tra la famosissima serie e la nostra regione non si esauriscono qui, perché anche la sorella di Marshall, Penny, recitò in Happy Days nel ruolo della simpatica operaia italoamericana Laverne De Fazio: addirittura, insieme all’inseparabile www.virtuquotidiane.it | 2 Shirley, interpretata da Cindy Williams, divenne protagonista di una serie tutta loro, Laverne & Shirley appunto. Si trattava di uno spin-off, di una nuova sit-com derivata dalla principale, da Happy Days, che in Italia circolò solo in alcune televisioni private dei primi anni ‘80 ma che spopolò negli Stati Uniti, a tal punto da battere negli ascolti anche le vicende di Richie Cunningham e dei suoi amici: un successo talmente grande da far nascere anche una versione a cartoni animati delle vicende delle due simpatiche e spregiudicate ragazze, Laverne e Shirley nell’esercito. www.virtuquotidiane.it | 3 Il cognome di Penny e Garry Marshall in origine era Masciarelli, ma il padre, Anthony, decise di cambiarlo alla nascita del figlio maschio, probabilmente per farlo crescere senza le discriminazioni a cui gli italiani e le altre minoranze etniche erano purtroppo frequentemente esposte: forse è stato proprio il cambio di cognome a non renderli noti come avrebbero meritato in Italia, ma in realtà le carriere dei due artisti sono state eccezionali, purtroppo accomunate anche dalla relativa triste vicinanza della loro morte, nel 2016 per Garry e solo pochi giorni fa, il 17 dicembre 2018, per Penny. -
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AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
DIVISMO E RAPPRESENTAZIONE DELLA SESSUALITÀ NEL CINEMA ITALIANO (1948-1978) a Cura Di Laura Busetta E Federico Vitella
E DEI MEDIA IN ITALIA IN MEDIA DEI E CINEMA DEL CULTURE E STORIE SCHERMI STELLE DI MEZZO SECOLO: DIVISMO E RAPPRESENTAZIONE DELLA SESSUALITÀ NEL CINEMA ITALIANO (1948-1978) a cura di Laura Busetta e Federico Vitella ANNATA IV NUMERO 8 luglio dicembre 2020 SCHERMI 8 - 2020 Schermi è pubblicata sotto Licenza Creative Commons 14 INGRID MAMMA FELICE E SOPHIA NEI GUAI - D’Amelio INGRID MAMMA FELICE E SOPHIA NEI GUAI: MATERNITÀ, DIVISMO E SCANDALI MEDIALI SULLE PAGINE DI «OGGI» 1949-1959 Maria Elena D’Amelio (Università degli Studi della Repubblica di San Marino) This essay is an examination of two famous star scandals of the Fifties: the extramarital affair of Ingrid Bergman with Roberto Rossellini and that of Sophia Loren with Carlo Ponti. Focusing on the Italian popular magazine «Oggi»’s coverage of these stars’ scandals, my article aims to investigate popular discourses of sexuality and motherhood in relation to historical and social change in postwar Italy, in particular the interconnectedness of media scandals, star’s textual and extratextual images, and the symbolic construction of motherhood. Keywords Ingrid Bergman; Sophia Loren; star scandals; motherhood DOI 10.13130/2532-2486/13385 Negli anni Cinquanta, due sono gli scandali divistici legati alla sfera dell’intimità e della famiglia che vengono maggiormente discussi sulle pagine dei rotocalchi popolari: la relazione adulterina tra Ingrid Bergman e Roberto Rossellini, poi sfo- ciata in un matrimonio per procura e nella nascita di tre figli, e quella tra Sophia Loren e Carlo Ponti, sui quali i rotocalchi popolari costruiscono uno storytelling melodrammatico tra accuse di bigamia, rifugi all’estero e maternità mancate.