DOCSLIB.ORG

1932-10-09 [P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1932-10-09 [P Broadway Sees Effort of Interviewing the Stars PHOTOPLAYS AT WASHINGTON THEATERS THIS WEEK Non-Commercial Theater Of Hollywood's Colony WEEK OF OCTOBER 9 Sunday Monday Tuesday Wednesday Thursday Saturday and Will in Will Roters in Jackie Cooper and Cllre Brook and Cllre Brook and Cllve Brook Rotera Lewis Stone in "Down to Earth." "Down to Earth." an Lila Le· LUa Lt* Lila Lee "Divorce In Fam- Theater j of the Theater Guild, on the Ambassador Burns-Allen comedy. Burns-Allen comedy. the Group, Offsp. Such Work Requires Patience In tn ily." Serial. Cartoon. ^Vnter Says 18th & Columbia Rd. "Nltht of June lith "Nltht of junf 13th.' "Nltht of ffune 13th.' Newman Traveltslk. Newman Traveltalk. Itanwyck Kit Francis and and L tone I A twill and Marlon Davit· In Marlon Davits In Petty Shannon and Barbara Produces "Success Which Comes in Lionel Atwill Brent In William Powell In Story," and Yet the Interviewer Fav Wray In Fav Wray In "Blondie of the "Blondle or the SDencer Tracy in and Geori Part of the Player, 'Purchai Price." "Jewel Robbery." Apollo "Doctor X." "Doctor X." Follie·." PoUles" "Painted Woman com, Jack Haley come Serial. Comedy. 624 H St. NE. Sons reel. Comedy. Sont reel. Comedy. Cartoon. Edgar Kennedy for Considerable Critical Attention. Cartoon;__ Dix In H ave Some Lowell Sherman Jean and Ches- "jean Harlow and Ches- Robert Tount Richard Should Sympathy. Lowell Sherman and and Harlow of Constance Bennett In ter Morris In "Red- ter Morris In "Red- "New Morals for < "Roar the Draton Dark. Constance Bennett In With Buffalo Arcade "What Price Holly- Headed Woman." Headed Woman." Comedy. "Battling ••What Price Holly- Bill.·' No. 11. Comedy HyatUvllie. Md. wood.'' Com News. wood." Com. New». Comedy. Mews. Comedy. News. Cartoon. Shannon and Warren William and Bill Cody and Bert Wheeler and Hammond. Leslie Howard Petty Robert Woolsey By Percy M errick. Mondell In In Bpencer Tracer in Bette Davis Andy Phuford By Mollie Dark. Joan In Ashton "Make Me a Star." "Reicrvtd for "The Palntad In voices are with the cf a tlren whose " of the "Hold Jall and then petulant exception gelid — "The Dark Horse Law JFm "_ Norma Shearer is tr? nicest giri you Va. La dits." Woman." calif.,October β Clarendon. Jeck Holt and to b? heard crying ior · non- charms he has trinîferred from the Marx Brother* In Lionel At-will and Lionel Atwill and Lll Darover and Torn Ml* 1Λ and ever talked to. She hrj no "forbidden" Four Marx Brothers in Pour " Oraves In arms of the Putting on the make-up "Horsefeathera." Pay Wray In Fav Wray In Warren William in "Texas Bad Man Ralph ccaimercial theater—a theater ex-presldcnt of the concern will di«u~a her husband, "Horsefeathers "War Cnrre«oond»n' the role is only territory. Sh2 Vitaphone short "Doctor X." "Doctor X." "Woman From Monte Clyde Cook comedy. uninfluenced motives to his own. He now sneers at th? for- going through of Avalon Vltaphone short slants. Serial. by gainful her baby, her work, he; opinion pic- subleet. Short sub. 8ong reel. Short sub. Carlo." Comedy Sport _jComedy._ NOW men. still a small of the Holly- M12 Conn. Ave. subject. _8ont_reel._ devoted to the service of gotten Cruel, relentless, but part the Wilson and Lewis Stone and Hollywood, tures in general. Holly rood, Europe, Wheeler and Bert Wheeler and Constance Bennett and Constance Bennett and Bela Lutosi In Dorothy hell en- dissatisfied, he has much and wood Personal appear- Bert In •tackle Coooer In nail-show culture rather than the gained job. with in Robert Wools»* in Nell Hamilton in Neil Hamilton In "White Zombie." Eric Linden a the and the future Robert Woolsey "Divorce In the Fam- loet more. And no doubt he has been a ances and interviews occupy goodly past, preient Grand Hold 'Em Jail." "Two Against the "Two Against the Clyde Cook comedy. "Ate of Consent." | its Recent under- is one in a million, Ave. "Hold Em Jail." lly." Serial. Cartoon. iponsors· of the star's time and take equanimity. She Serial. World." Comedy. World" Comedy. Newman Traveltalk. Comedy. Oddity. tfâlnel *?r Broadwa>· Indicate that warning to ambltous groundlings In the portion 645 Pa. Αν». βΤ Serial; Erie Linden and some- and think God for her, say* I. Will Rogers in Will Rogers in PeKuy Shannon and Bert Wheeler and Bert Whseler and is business not to too toll of the star's patience Dorothy Jordan In the "III answered bV numerous advertising venture heavy how and this "Down to larth.' "Down to Earth." Buencer Tracy In Robert Woolsey In Robert Woolsey In It be added You know Garbo feels, Dark. Murder." of«f an nature, far on the Ice of However. times, without doubt. might Comedy. Comedy. "Painted Woman." Hold Em JaU "Hold 'Em Jail "Roadhouse undertaking "«saleable aspiration. and about interviews has become Cameo. Serial. Comedy. It seems have been interest of motion pictures peculiarity News. News. Comedy. Wews. Comedy. Cartoon. Comedy. Cartoon. Ρΐ»νΛ:,1 so lacking in to Mr. Lawsc-η'β first in the once Mt. Rainier. produced often her tratle mark. Ann Harding, 1M. and Ches- Tom Mix in C to manufacture a en- that the interview In Dm;κ Fairbanks. Jr.. In Joan Bennett In Joan Bennett in Claudette Colbert and Jean Harlow market^*! the only «P'anatlon purpose vendible their progress com- Doua. Fairbanks, jr. "Red- "Rider of Death an excellent subject for current Is a Racket." "Week End Marriate." "Week End Marriate." Edmund Lowe In ter Morris In «nn» tertainment. and In a take3 heavy to'.l of the interviewer's "Love Is a Racket "Love Valley." for their appearance is that their pro- this. measure, he and valuable Carolina In Bankhead In Elissa Landl in Elissa Landl in "Misleading Ladv." Herded Woman. better of a bright type, Bankhead Tallulah " " has done. He uses of Stars are sometimes mentary Tallulah "Devil's Devil's Comedy. Comedy ducetV. business men. I am many the perfunc- patience. the Constance 11th li Ν C Ave S.I. "Thunder "Thunder Below Lottery." Lottery Comedy. n?, are when has gone into silence, Below._ In Marion Davles in λΐ. 9uch tory of the showman—In- beiore the camera than they Lionel Atwill and Dorothy Wilson and Bela Lu«os I In Bela Lutosl in Be'· L -tosi askaï enterprises expedients Bennett a series of Lionel Atwill and " "Blondie of thi for Falaise, following Wray In Eric Linden In "White Zombie "White Zombie "White Zombie." M 'The Rn^ /·. and "Bid- cluding the ccmlc typist who vociferous- speaking public print. Fay Wray in Fay " stories which lie considered unfair and X." "Age of Consent Charlie Chase comedy. Charlie Chns- comedy. Charlie Chase comedy. Follies V T^Plets" Central "Doctor X. "Doctor Cartoon. din* Htolv· ff, when 11 ÎMm« ly chewa gums, and he brings his cur- Since the interview list is a dwindling Com. Frank McHuth com. Cartoon. Cartoon. Cartoon. detrimental to her, has done likewise. at. NW. Souvenir reel. Com. Souvenir reel tain the is being 41S »th Jackie Cooper and ce?ta£ that thiaU1î,Ched· down with bang deemed essen- one—every day some nam? and with Buster Keaton and Four Marx Brothers in Four Mar* Brothers in Bert Wheeler and Bert Wheeler ard Ditto for Tallulah Bankhead Keaton and In Conrad Nagel in » tial to theatrical amusement. More off—a discussion of this phase In Jlminie Durante In "Horsefeathers." •Horsefeathers." Rob-rt Woolsey In Robert Woolsey »*" «as checked reason. And with reserva- Îlusterimmir Durante Err Jail." "Divorce in the Fam- Stars have good ditto, Circle "Speak Easily." Cartoon. Cartoon. "Hold 'Em Jail." "Hold j scrupulous than Mr. Lewson. I suspect, of cinema is not "Speak Easily. Comedy. il y." Cartoon. Wïi" pointless. Gavnor. Since for some News. News Comedy tions. for Janet Ave Ν W. Cartoon Cartoon are his especially Luther Adlcr, thing of interview», 2105 Pa. Jackie Cooper and players, said what they time interviewers have confined their Marx Brothers Will Rogers in Will Pone's In Lil Dagover and Barbara Stanwyck a of Four Marx Brothers Pour " thoughtful, resourceful and an interviewer's idea "Down to Earth." "Down to Earth Warren William in and George Brent in LewU Stone in dynamic and perhaps work with Janet almost ex- 'n in Fam- I mime to those who Gaynor Vltaphone short Vltaphone short "Woman From Mont· "Purehss* Price "Divorce in the " ^ who successfully fuses his own in- stars would be interesting "Horsei-athers." ••Horsefeathers. Cartoon. clusively to prohpccies and ruminations Colony Oddity. subject. subject Carlo." Com Travel._ Pitts-Todd comedy. lly." Serial. | tic are lndlfIerent with that of the Ave Oddity. "to binebvUeThat Ρ^Γΐΐ8ρ" dividuality principal read movie news. Ga. k Farratut in as to whether or not she was happy and Lionel Bariymore and Richard Dix In Riche rd Dix In Joan Blondell and Buck Jones to barter and i*rh ar'd are active character. It Is an and Claudette Colbert " impersonation who Claudette Colbert "Roar Oeor-je Brent in "McKenr* of the with Pickford. or about Brook In Karen Morley in of the Dragon "Roar of the Dragon " We'll begin Mary v.ith her husband unhappy Clive Brook In Clive Mounted." •heerlv for ?h. H,^.>nge worthy of his distinguished clan: as, around "The Man From Yes- "Wrwhlncton Masque- Comedy. Entlneer'i Comedy. •Engineer'· "Miss Pinkerton doesn't throw her interviews Charles Farrell and hLs marriage to Vir- Dumbarton "The Man From Yes- Comedy. Corned y. indeed, is that of his Miss to Comedy. terday." Comedy. rade ." Comedy. Dauthter Daughter lady cousin.
Load more

Recommended publications
  • ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
    cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde.
    [Show full text]
  • Mission Su Nday R 23Rd Mission Tabloid for Separate Reading;
    • *i 5s r = g : f ^"^ ~^ '* '^^^^ .^^:^ftt ?^V;?'^"\V'"•''. ^m^mrn^y^^mm Turn to page 10. Slip out the special Mission Su nday r 23rd Mission Tabloid for separate reading;. m The Catholic 7r_ THE NEWSPAPER OF THE ROCHESTER DIOCESE Journal 78th Year ROCHESTER, N.Y., FRIDAY, OCT. 21, 1966 Price 15 cents 'Closer to the People1 St. Ambrose Mission in Homes in Parish St. Ambrose parish will "We want to demonstrate," what they would like to dis­ them," comments the pastor. be the locale of a unique he said, "that the Church is cuss," he explained. During the five weeks, trae four-week spiritual crusade anxious to come closer to her Open communication between four Holy Cross priests hope from Oct. 23 to Nov. 20. people, understand their needs priests and people is one of to contact via these neighbor­ Four Holy Cross priests and serve them, better." the big aims of the St. Am- hood visitations about 2.50O peo­ will spearhead the effort, broso venture. ple. The parish will be divided using approaches which are into four areas, to ensure a Parishioners who have been The initial program.Jtonslg- completely new to the more thorough coverage. Each approached to be hosts for the nor Ratigan hopes, will be fol­ Rochester area. evening, except Saturday, A neighborhood—Mass—and—discus­ lowed by a long-range effort, family in each area will be host sion sessions, have been vocal centering on small neighbor­ Lutheran Pastor Norbcrt E. Kabelitz of Oklahoma City made a hard-hitting appeal for Evening Masses offered in to "a living room Mass" (or in their enthuslam: "Mass right hood discussion groups, meet­ parishioners' homes (four dif­ dining room, adds Monsignor here — in our own home? ing once a month in parishion­ justice to all American school children in a talk at Aquinas Institute.
    [Show full text]
  • Images of the Religious in Horror Films
    Journal of Religion & Film Volume 5 Issue 2 October 2001 Article 7 October 2001 The Sanctification of ear:F Images of the Religious in Horror Films Bryan Stone Boston University School of Theology, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stone, Bryan (2001) "The Sanctification of ear:F Images of the Religious in Horror Films," Journal of Religion & Film: Vol. 5 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Sanctification of ear:F Images of the Religious in Horror Films Abstract Horror film functions both as a threat and a catharsis by confronting us with our fear of death, the supernatural, the unknown and irrational, ''the other" in general, a loss of identity, and forces beyond our control. Over the last century, religious symbols and themes have played a prominent and persistent role in the on-screen construction of this confrontation. That role is, at the same time, ambiguous insofar as religious iconography has become unhinged from a compelling moral vision and reduced to mere conventions that produce a quasi-religious quality to horror that lacks the symbolic power required to engage us at the deepest level of our being. Although religious symbols in horror films are conventional in their frequent use, they may have lost all connection to deeper human questions.
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [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 Picture Show Annual (1928)
    Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton.
    [Show full text]
  • Lilms Perisllecl
    Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re­ not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou­ O 1928, only a small portion survive . sands, relatively few projection prints were re­ While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos­ earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi­ and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas­ exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom­ more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard .
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]
  • Theater Playbills and Programs Collection, 1875-1972
    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
    [Show full text]