This Month on Tcm On

Total Page:16

File Type:pdf, Size:1020Kb

This Month on Tcm On WEEKLY THIS MONTH ON TCM SHOWCASES 15 CARSON ON TCM 1 CARSON ON TCM 8 CARSON ON TCM 15 CARSON ON TCM 21 TIMES, THEY ARE A-CHANGIGIN’ 26 PFRIDAY NIGHT SPOTLIGHT: Carson on TCM: Shelley Winters (’75) THE ESSENTIALS Carson on TCM: Drew Barrymore (’82) Carson on TCM: Doris Day (’76) Carson on TCM: Shelley Winters (’75) MoMon OnclOncle (’58) FRANÇOIS TRUFFAUT Carson on TCM: Ronald Reagan (’75) Must-See Classics Carson on TCM: Kirk Douglas (’88) Carson on TCM: Charlton Heston (’76) Carson on TCM: Ronald Reagan (’75) ModerModern Times (’36) Day for Night (’73) Carson on TCM: Robin Williams (’81) Saturdays at 8:00pm (ET) 5:00pm (PT) Carson on TCM: Mary Tyler Moore (’78) Carson on TCM: Chevy Chase (’86) Carson on TCM: Robin Williams (’81) The Last Metro (’80) Carson on TCM: Jonathan Winters (’88) Carson on TCM: Neil Simon (’80) Carson on TCM: Steve Martin (’79) Carson on TCM: Jonathan Winters (’88) 22 CARSON ON TCTCM The Wild Child (’70) Key Largo (’48) Carson on TCM: Michael Caine (’83) Carson on TCM: George Burns (’89) Carson on TCM: Tony Curtis (’73) Carson on TCM: Michael Caine (’83) The Story of Adele H (’75) The Women (’39) CaCarson on TCCMM: MeMel BrookBrooks (’75) Gaslight (’44) CaCarson on TCCMM: DoDom DeluisDeluise (’76) Tootsie (’82) Directed by Bryan Forbes 27 1982 COMEDIES Herbert Ross and Neil Simon Directed by Billy Wilder DThier ecWrontedg b Byo Bx r(’66yan) Forbes CaCarson on TCCMM: BeBetttte DaviDavis (’83) Diner (’82)* Some Like It Hot (’59) The Wrong Box (’66) Collaborations Séance on a Wet Afternoon (’64) CaCarson on TCCMM: BurBurt ReynoldReynolds (’72) Tootsie (’82) The Sunshine Boys (’75) The Fortune Cookie (’66) Séance on a Wet Afternoon (’64) The Whisperers (’67) CaCarson on TCCMM: Fred AstairAstaire (’79) My Favorite Year (’82) ESSENTIALS, JR. The Goodbye Girl (’77) The Spirit of St. Louis (’57) The Whisperers (’67) The L-Shaped Room (’62) Diner (’82) Must-See Classics for California Suite (’78) The Seven Year Itch (’55) The L-Shaped Room (’62) Aststaaire-e-Rogers Maraathothon Kids of All Ages 16 S PAUL HENREID The GaGay DivorceDivorcee (’34) 28 STARRING JEAN SIMMONS Sundays at 8:00pm (ET) S S S 5:00pm (PT) 2 PAUL HENREID 9 PAUL HENREID 16 PAUL HENREID Top HaHat (’35(’35) Never So Few (’59) Great Expectations (’46) In Our Time (’44) Now, Voyager (’42) Never So Few (’59) Follow ththe Fleet (’36) The Incredible Shrinking Man (’57) Siren of Bagdad (’53) So Long at the Fair (’50) Devotion (’46) Deception (’46) Siren of Bagdad (’53) SwinSwing Time (’36) The Magnificent Seven (’60) Hollow Triumph (’48) Song of Love (’47) Dead Ringer (’64) Hollow Triumph (’48) The Story of Vernon and IrenIrene CasCastle (’39(’39) Mon Oncle (’58) Joan of Paris (’42) 29 CARSON ON TCM Great Expectations (’46) Deep in My Heart (’54) The Madwoman of Chaillot (’69) Joan of Paris (’42) Thief of Damascus (’52) Meet Me in Las Vegas (’56) The Spanish Main (’45) Thief of Damascus (’52) 23 S PAUL HENREHENREIDID Carson on TCM: Henry Fonda (’80) So Young, So Bad (’50) FRIDAY NIGHT SPOTLIGHT So Young, So Bad (’50) Carson on TCM: Elizabeth Taylor (’92) Of Human Bondage (’46) 3 THE KIDS ARE ALRIGHT 10 ROBERT OSBORNE’S PICKS Carson on TCM: Susan Sarandon (’74) Themed Monthly Showcase 17 STARRING TONY RANDALL BetweeBetween Two Worlds (’44) Fridays at 8:00pm (ET) 5:00pm (PT) 17 STARRING TONY RANDALL Carson on TCM: William Holden (’76) With Six You Get Eggroll (’68) The Reckless Moment (’49) HollywooHollywood CanteeCanteen (’44) 7 Faces of Dr. Lao (’64) Carson on TCM: Goldie Hawn (’80) See full listings to left. Weekend with Father (’51) Trade Winds (’38) 7 Faces of Dr. Lao (’64) Pirates of Tripoli (’55) Our Man in Marrakesh (’66) And So They Were Married (’36) Algiers (’38) Our Man in Marrakesh (’66) Last of the Buccaneers (’50) The Mating Game (’59) Starring Walter Matthau TCM UNDERGROUND Three Daring Daughters (’48) Comrade X (’40) The Mating Game (’59) The Four Horsemen of the Apocalypse (’62) Boys’ Night Out (’62) Cactus Flower (’69) Cult Classics Twice Blessed (’45) Boys’ Night Out (’62) The Adventures of Huckleberry Finn (’60) Hello, Dolly (’69) Saturdays at 2:00am (ET) 11:00pm (PT) The Adventures of Huckleberry Finn (’60) 11TCM MEMORIAL TRIBUTE: 24 AFI LIFE ACACHIEVEMENT AWARD: Hopscotch (’80) 4 THE 4TH ON FILM RAY HARRYHAUSEN A TRIBUTE TO MEMEL BROOKS The Baby (’73)* 18 GUEST PROGRAMMER: Fail-Safe (’64) 18 GUEST PROGRAMMER: The House of Seven Corpses (’74) The Music Man (’62) Jason and the Argonauts (’63) FRANK RICH The 2013 AFI LiLiffe Achievement Award: FRANK RICH Thing That Couldn’t Die (’58) Ah, Wilderness! (’35) The Golden Voyage of Sinbad (’73) Mel BrookBrooks (’13(’13) 30 S PAUL HENREID Wild Guitar (’62) The Palm Beach Story (’42) 1776 (’72) Sinbad and the Eye of the Tiger (’77) The Palm Beach Story (’42) The Twelve ChairChairs (’70(’70) The Sadist (’63)* The Manchurian Candidate (’62) The Conspirators (’44) Winchester ’73 (’50) Earth vs. the Flying Saucers (’56) The Manchurian Candidate (’62) CarsoCarson on TCMTCM: Mel BrookBrooks (’83(’83) The Rules of the Game (’39) Casablanca (’42) The Beast from 20,000 Fathoms (’53) The Rules of the Game (’39) ExcavatinExcavating the 2000 Year Old Man (’12(’12) SILENT SUNDAY NIGHTS Petulia (’68) Ten Thousand Bedrooms (’57) 5 PFRIDAY NIGHT SPOTLIGHT: Petulia (’68) The 2013 AFI LiLiffe Achievement Award: Operation Crossbow (’65) Silent Treasures FRANÇOIS TRUFFAUT 12 PFRIDAY NIGHT SPOTLIGHT: Mel BrookBrooks (’13(’13) Sundays at Midnight (ET) 9:00pm (PT) 19 PFRIDAY NIGHT SPOTLIGHT: Goodbye, Mr. Chips (’39) FRANÇOIS TRUFFAUT 19 PFRIDAY NIGHT SPOTLIGHT: The ProducerProducers (’68(’68) The 400 Blows (’59) FRANÇOIS TRUFFAUT The Thief of Bagdad (’24) FRANÇOIS TRUFFAUT The DicDick CaveCavettt ShowShow: Mel BrookBrooks (’06(’06) Antoine and Colette (’62) The Bride Wore Black (’68) 31 DIRECTED BY DOUGLAS SIRK Seven Years Bad Luck (’21) The Soft Skin (’64) The Twelve ChairChairs (’70(’70) Stolen Kisses (’68) Confidentially Yours (’83) The Soft Skin (’64) Seven Chances (’25)* Jules and Jim (’62) Magnificent Obsession (’54) Mickey (’18) Bed & Board (’70) Mississippi Mermaid (’69) Jules and Jim (’62) Two English Girls (’71) 25 CONTROVERSIAL TEACHERS Imitation of Life (’59) Phantom (’22) Love on the Run (’79) Such a Gorgeous Kid Like Me (’72) Two English Girls (’71) CONTROVERSIAL TEACHERS A Story of Water (’61) There’s Always Tomorrow (’56) Vanishing Fiancée (The Green Room) (’78) Shoot the Piano Player (’60) A Story of Water (’61) The Prime of Miss Jean Brodie (’69) The Woman Next Door (’81) Written on the Wind (’56) TCM IMPORTS The Woman Next Door (’81) Dead PoetPoet’s Society (’89) The Man Who Loved Women (’77) Shockproof (’49) Classics from Around the World 6 BASED ON MAXWELL ANDERSON 13 STARRING ROSALIND RUSSELL The Man Who Loved Women (’77) These Three (’36) Sundays at 2:00am (ET) 11:00pm (PT) WherWhere Angels Go, Trouble Follows (’68) Key Largo (’48) The Women (’39) 20 STARRING CHARLES BOYER 20 The Explosive Generation (’61) La Cucaracha (’59) * What Price Glory (’52) Hired Wife (’40) STARRING CHARLES BOYER Gaslight (’44) Seven Samurai (’54) * The Bad Seed (’56) The Feminine Touch (’41) Gaslight (’44) À Nous La Liberté (’31) History Is Made at Night (’37) History Is Made at Night (’37) Ugetsu Monogatari (’53) Une Parisienne (’57) 7 DOWN TO SIZE 14 SEVEN UP Une Parisienne (’57) * Times may vary. Check full listings for correct showtime. The Incredible Shrinking Man (’57) The Magnificent Seven (’60) The Devil Doll (’36) Seven Angry Men (’55) S STAR OF THE MONTH A Night at the Movies: Stephen King (’11) P FRIDAY NIGHT SPOTLIGHT TCM PREMIERE.
Recommended publications
  • Concetta E. Ribaudo Scrapbook on the Hollywood Canteen 7093
    http://oac.cdlib.org/findaid/ark:/13030/c8474hpv No online items Finding aid for the Concetta E. Ribaudo scrapbook on the Hollywood Canteen 7093 Bo Doub USC Libraries Special Collections 2019 June Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding aid for the Concetta E. 7093 1 Ribaudo scrapbook on the Hollywood Canteen 7093 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Concetta E. Ribaudo scrapbook on the Hollywood Canteen creator: Ribaudo, Concetta E. Identifier/Call Number: 7093 Physical Description: 0.21 Linear Feet1 box Date (inclusive): 1938-1944 Abstract: The Concetta E. Ribaudo scrapbook on the Hollywood Canteen includes a variety of memorabilia collected by Ribaudo, who went by the stage name Connie Roberts, during her employment as a hostess at the Hollywood Canteen during World War II. The Hollywood Canteen was a converted barn that operated at 1451 Cahuenga Boulevard in Hollywood from October 3, 1942 to Thanksgiving Day 1945 as a club offering food, dancing, and entertainment for more than three million servicemen. A military uniform served as ticket for admission and everything at the canteen was free of charge. The collection includes Ribaudo's nametag and identification card, letters she received from servicemen she met at the Canteen, news clippings, and various other forms of ephemera and memorabilia. One pilot who went by the name "Crash Clark" wrote to Ribaudo: "You are an OK kid in my books and I can not tell you just how much fun we had at the canteen.
    [Show full text]
  • Austin Theatre Alliance Archive Promotional Materials
    Austin Theatre Alliance Archive promotional materials Includes Single-Sheet Promotional Materials, Newsletters, Fundraising Materials (most in the form of letters with envelopes), and glossy head shots and other Photographs: Head Shots Paramount Collection: Photo Box 1. Single-Sheet Promotional Materials 1) Tuna Does Vegas. Oct 23-Nov 11 (no year). Paramount Theater. Two signatures on front, Joe Sears and Jaston Williams. 2) Lu Ann Hampton; Laverty Oberlander. The Belle of Bradleyville, Texas. By Preston Jones. A Paramount Theatre Production, available for booking February, 1987. 3) Carmen. Texas Opera Theater. Paramount Theatre. November 3, 1985. 4) Blade Runner: The Final Cut. November 18-23, 2007. Paramount Theatre. 5) Late Nite Catechism. By Vicki Quade & Maripat Donovan. Directed by Patrick Trettenero. No date, no location. Includes New York Times review from October 1996. 6) A Tuna Christmas. Joe Sears and Jaston Williams. Jan 2-7 (no year). Paramount Theatre. 7) Big. Feb 12-14 (no year). Paramount Theatre. 8) Hot Mouth. Tues Jan 26 (no year). Paramount Theatre. ―Masters of vocalogy‖ 9) Madame Butterfly. Texas Opera Theater. Sun Mar 4 (no year). Paramount Theatre. 10) Biloxi Blues. By Neil Simon. Directed by Gene Saks. Paramount Theatre. Feb 20-22, 1987. 1985 Winner, Tony Award, Best Play. 11) George Carlin: Live in Concert. Fri June 8 (no year). Paramount Theatre. With Dennis Blair. 12) The Glass Menagerie. By Tennessee Williams. Directed by Michelle Polgar. State Theater Company. March 13-April 7 (no year). 13) Anton in Show Business. By Jane Martin. State Theater Company. March 16-April 8 (no year). 14) The Little Prince: the musical.
    [Show full text]
  • Fact Or Fiction: Hollywood Looks at the News
    FACT OR FICTION: HOLLYWOOD LOOKS AT THE NEWS Loren Ghiglione Dean, Medill School of Journalism, Northwestern University Joe Saltzman Director of the IJPC, associate dean, and professor of journalism USC Annenberg School for Communication Curators “Hollywood Looks at the News: the Image of the Journalist in Film and Television” exhibit Newseum, Washington D.C. 2005 “Listen to me. Print that story, you’re a dead man.” “It’s not just me anymore. You’d have to stop every newspaper in the country now and you’re not big enough for that job. People like you have tried it before with bullets, prison, censorship. As long as even one newspaper will print the truth, you’re finished.” “Hey, Hutcheson, that noise, what’s that racket?” “That’s the press, baby. The press. And there’s nothing you can do about it. Nothing.” Mobster threatening Hutcheson, managing editor of the Day and the editor’s response in Deadline U.S.A. (1952) “You left the camera and you went to help him…why didn’t you take the camera if you were going to be so humane?” “…because I can’t hold a camera and help somebody at the same time. “Yes, and by not having your camera, you lost footage that nobody else would have had. You see, you have to make a decision whether you are going to be part of the story or whether you’re going to be there to record the story.” Max Brackett, veteran television reporter, to neophyte producer-technician Laurie in Mad City (1997) An editor risks his life to expose crime and print the truth.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Swing: from Time to Torque (Dance Floor Democracy at the Hollywood Canteen)
    KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) by Sherrie Tucker 2013 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Sherrie Tucker. (2013). “Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen.” Daedalus: Journal of the American Academy of Arts & Sciences 142(4):82-97. Published version: http://www.dx.doi.org/10.1162/DAED_a_00243 Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml KU ScholarWorks is a service provided by the KU Libraries’ Office of Scholarly Communication & Copyright. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) Sherrie Tucker Abstract: The Hollywood Canteen (1942–1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the “Good War” and “Greatest Gen- eration.” Drawing from oral histories with civilian volunteers and military guests who danced at the Hol- lywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over “democracy” for jazz and swing studies through a focus on “torque” that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees’ embodied narratives on ideo - logically loaded ground, improvising on the past in the present.
    [Show full text]
  • Piraten- Und Seefahrerfilm 2011
    Repositorium für die Medienwissenschaft Matthias Christen; Hans Jürgen Wulff; Lars Penning Piraten- und Seefahrerfilm 2011 https://doi.org/10.25969/mediarep/12750 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Christen, Matthias; Wulff, Hans Jürgen; Penning, Lars: Piraten- und Seefahrerfilm. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 120). DOI: https://doi.org/10.25969/mediarep/12750. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0120_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 1 Medienwissenschaft / Hamburg: Berichte und Papiere 120, 2011: Piraten- und Seefahrerfilm. Redaktion und Copyright dieser Ausgabe: Matthias Christen, Hans J. Wulff, Lars Penning. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0120_11.html Letzte Änderung: 28.4.2011. Piratenfilm: Ein Dossier gentlichen Piraten trennen, die „gegen alle Flaggen“ segelten und auf eigene Rechnung Beute machten. Inhalt: Zur Einführung: Die Motivwelt des Piratenfilms / Matthi- Selbst wenn die Helden und die sehr seltenen Hel- as Christen. dinnen die Namen authentischer Piraten wie Henry Piratenfilm: Eine Biblio-Filmographie. / Hans J. Wulff. Morgan, Edward Teach oder Anne Bonny tragen und 1. Bibliographie. 2. Filmographie der Piratenfilme. ihre Geschichte sich streckenweise an verbürgte Tat- Filmographie der Seefahrerfilme / Historische Segelschif- sachen hält, haben Piratenfilme jedoch weniger mit fahrtsfilme / Lars Penning.
    [Show full text]
  • Film London Jarman Award 2020 Film London Jarman Award 2020 Shortlisted Artists
    Film London Jarman Award 2020 Film London Jarman Award 2020 Shortlisted Artists Michelle Williams Gamaker Hannah Quinlan & Rosie Hastings Jenn Nkiru Project Art Works Larissa Sansour Andrea Luka Zimmerman Jury About the Jarman Award Iwona Blazwick OBE The Film London Jarman Award Director, Whitechapel Gallery recognises and supports artists working with moving image Shaminder Nahal and celebrates the spirit of Commissioning Editor (Arts and experimentation, imagination and Factual), Channel 4 innovation in the work of UK-based artist filmmakers. The Award is Hetain Patel, Artist, winner of inspired by visionary filmmaker Jarman Award 2019 Derek Jarman, and is presented in partnership with the Whitechapel Tyrone Walker-Hebborn Gallery and Genesis Cinema. Director, Genesis Cinema The previous Jarman Award Andrea Lissoni winners are: Luke Fowler (2008), Artistic Director, Haus der Kunst Lindsay Seers (2009), Emily Wardill and Film London Board Member (2010), Anja Kirschner & David Panos (2011), James Richards Chaired by Film London Artists’ (2012), John Smith (2013), Ursula Moving Image Network (FLAMIN) Mayer (2014), Seamus Harahan (2015), Heather Phillipson (2016) Oreet Ashery (2017), Daria Martin (2018) and Hetain Patel (2019). Welcome Film London Jarman Award Patrons With the impact of COVID-19 being felt so deeply by artists This year we are delighted to announce an esteemed group of and exhibitors, we are more proud than ever to present this of artists, actors, screenwriters and musicians as the new Film year’s Jarman Award shortlist and help raise the profile of this London Jarman Award Patrons. important body of original work, that questions and articulates the world around us. We would like to congratulate all the shortlisted artists and thank our funders, Arts Council England, as well as returning partners Whitechapel Gallery and Genesis Cinema for all their vital support.
    [Show full text]
  • (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released.
    [Show full text]
  • Patricia Medina Y María Montez. Dos Estrella Coetáneas De Hollywod De
    PATRICIA MEDINA Y MARÍA MONTEZ. DOS ESTRELLAS COETÁNE- AS DE HOLLYWOOD DE ASCENDENCIA CANARIA. ANÁLISIS CONTRASTIVO PATRICIA MEDINA AND MARIA MONTEZ. TWO CONTEMPORARY HOLLYWOOD STARS OF CANARY DESCENT. CONTRASTIVE ANALYSIS Inodelbia Ramos Pérez* y Pedro Nolasco Leal Cruz** Cómo citar este artículo/Citation: Ramos Pérez, I. y Leal Cruz, P. N. (2017). Patricia Medina y María Montez dos estrellas coetáneas de Hollywood de ascendencia canaria. Análisis contrastivo. XXII Coloquio de Historia Canario-Americana (2016), XXII-064. http://coloquioscanariasmerica.casadecolon.com/index.php/aea/article/view/10007 Resumen: Patricia Medina y María Montez son dos estrellas de Hollywood de ascendencia canaria, el padre de la primera nació en Las Palmas de Gran Canaria, el de la segunda en Garafía (La Palma). Las dos artistas tuvieron una vida paralela y carreras exitosas. Ambas se casaron con actores muy conocidos del cine del siglo pasado. Nuestro objetivo es hacer un estudio y contraste de estas dos famosas actrices. Palabras clave: Patricia Medina, María Móntez, cine, Gran Canaria, La Palma, Hollywood, Siglo XX Abstract: Patricia Medina and Maria Montez are two Hollywood stars of Canary descent. The father of the former was born in Las Palmas de Gran Canaria and the father of the latter was born in Garafia (La Palma). Both artists had a parallel life and enjoyed successful careers, both stars had well-known husbands in the world of stardom of the twentieth Century. Our aim is to make a study and contrast between them. Keywords: Patricia Medina, Maria Montez, cinema, Gran Canaria, La Palma, Hollywood, XXth Century INTRODUCCIÓN Canarias tiene el orgullo y privilegio de contar con dos artistas de nivel internacional, hijas de padres canarios.
    [Show full text]
  • Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
    Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3.
    [Show full text]
  • Copyrighted Material
    c01.qxd 12/18/06 1:10 PM Page 5 1 Out of the Ashes of Despair The difference [between a director and an auteur] is that a director who is working for a living simply does the job, which may not be akin to his philosophy, but it is not inconsistent to have the same man being both. The word is “hunger.” If you are hungry and nobody will buy your orig- inal idea, you might get lucky, direct a Kellogg’s cornflakes commercial and take home a few boxes. —Mel Brooks, 1971 n the early 1970s, Mel Brooks had reason to find himself in an ironic I position as far as his career was concerned. He had already won Acad- emy Awards and Emmys, and had hit radio commercials and three suc- cessful comedy albums (such as The 2000 Year Old Man). He was a veteran of the writing teams for two of the most cherished series of Amer- ican television’s golden age: Your Show of Shows and Caesar’s Hour. Brooks’s recent association with the highly successful sitcom Get Smart had enhanced his visibility with the public and given him additional industry credibility.COPYRIGHTED Although his movie TheMATERIAL Twelve Chairs (1970) had failed to make any tangible impact at the box office, The Producers (1968) was well on its way to becoming a cult favorite. Yet Brooks was now unable to get any new show business projects off the ground and into production. How many times, he must have won- dered, did he have to crash through the establishment’s barriers before he gained solid acceptance from his peers and the public? How long could he continue to subject himself to the ordeal of starting over—yet again? 5 c01.qxd 12/18/06 1:10 PM Page 6 6 IT’S GOOD TO BE THE KING For a time, Mel wanted to produce a film version of She Stoops to Conquer.
    [Show full text]
  • Ƴ•È˜​Ç´¢Ç“¦Â·Æ​Œé​¯Ç¦​Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    法è˜ç​ ´¢ç“¦Â·æœ​ é¯​ ç¦ ​ 电影 串行 (大全) The Man Who Loved https://zh.listvote.com/lists/film/movies/the-man-who-loved-women-1195396/actors Women The Soft Skin https://zh.listvote.com/lists/film/movies/the-soft-skin-1219569/actors Une Visite https://zh.listvote.com/lists/film/movies/une-visite-1304330/actors Such a Gorgeous Kid https://zh.listvote.com/lists/film/movies/such-a-gorgeous-kid-like-me-1305672/actors Like Me A Story of Water https://zh.listvote.com/lists/film/movies/a-story-of-water-1306407/actors Small Change https://zh.listvote.com/lists/film/movies/small-change-1765162/actors The Wild Child https://zh.listvote.com/lists/film/movies/the-wild-child-477707/actors Love at Twenty https://zh.listvote.com/lists/film/movies/love-at-twenty-568518/actors Confidentially Yours https://zh.listvote.com/lists/film/movies/confidentially-yours-759324/actors 最後地下éµ​ https://zh.listvote.com/lists/film/movies/%E6%9C%80%E5%BE%8C%E5%9C%B0%E4%B8%8B%E9%90%B5-1049604/actors 隔牆花 https://zh.listvote.com/lists/film/movies/%E9%9A%94%E7%89%86%E8%8A%B1-1117460/actors 騙婚記 https://zh.listvote.com/lists/film/movies/%E9%A8%99%E5%A9%9A%E8%A8%98-1168045/actors ç¶ å±‹ https://zh.listvote.com/lists/film/movies/%E7%B6%A0%E5%B1%8B-1171341/actors 奪命佳人 https://zh.listvote.com/lists/film/movies/%E5%A5%AA%E5%91%BD%E4%BD%B3%E4%BA%BA-1211737/actors 四百擊 https://zh.listvote.com/lists/film/movies/%E5%9B%9B%E7%99%BE%E6%93%8A-162331/actors 兩個英國女å​‐ https://zh.listvote.com/lists/film/movies/%E5%85%A9%E5%80%8B%E8%8B%B1%E5%9C%8B%E5%A5%B3%E5%AD%A9%E8%88%87%E6%AD%90%E9%99%B8-
    [Show full text]