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The Glorious Career of Comedienne Judy Holliday Is Celebrated in a Complete Nine-Film Retrospective
The Museum of Modern Art For Immediate Release November 1996 Contact: Graham Leggat 212/708-9752 THE GLORIOUS CAREER OF COMEDIENNE JUDY HOLLIDAY IS CELEBRATED IN A COMPLETE NINE-FILM RETROSPECTIVE Series Premieres New Prints of Born Yesterday and The Marrying Kind Restored by The Department of Film and Video and Sony Pictures Born Yesterday: The Films of Judy Holliday December 27,1996-January 4,1997 The Roy and Niuta Titus Theater 1 Special Premiere Screening of the Restored Print of Born Yesterday Introduced in Person by Betty Comden on Monday, December 9,1996, at 6:00 p.m. Judy Holliday approached screen acting with extraordinary intelligence and intuition, debuting in the World War II film Winged Victory (1944) and giving outstanding comic performances in eight more films from 1949 to 1960, when her career was cut short by illness. Beginning December 27, 1996, The Museum of Modern Art presents Born Yesterday: The Films of Judy Holliday, a complete retrospective of Holliday's short but exhilarating career. Holliday's experience working with director George Cukor on Winged Victory led to a collaboration with Cukor, Garson Kanin, and Kanin's wife Ruth Gordon, resulting in Adam's Rib (1949), Born Yesterday (1950), The Marrying Kind (1952), and // Should Happen To You (1952). She went on to make Phffft (1954), The Solid Gold Cadillac (1956), Full of Life (1956), and, for director Vincente Minnelli, Bells Are Ringing (1960). -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 The Department of Film and Video and Sony Pictures Entertainment are restoring the six films that Holliday made at Columbia Pictures from 1950 to 1956. -
032343 Born Yesterday Insert.Indd
among others. He is a Senior Fight Director with OUR SPONSORS ABOUT CENTER REPERTORY COMPANY Dueling Arts International and a founding member of Dueling Arts San Francisco. He is currently Chevron (Season Sponsor) has been the Center REP is the resident, professional theatre CENTER REPERTORY COMPANY teaching combat related classes at Berkeley Rep leading corporate sponsor of Center REP and company of the Lesher Center for the Arts. Our season Michael Butler, Artistic Director Scott Denison, Managing Director School of Theatre. the Lesher Center for the Arts for the past nine consists of six productions a year – a variety of musicals, LYNNE SOFFER (Dialect Coach) has coached years. In fact, Chevron has been a partner of dramas and comedies, both classic and contemporary, over 250 theater productions at A.C.T., Berkeley the LCA since the beginning, providing funding that continually strive to reach new levels of artistic presents Rep, Magic Theatre, Marin Theater Company, for capital improvements, event sponsorships excellence and professional standards. Theatreworks, Cal Shakes, San Jose Rep and SF and more. Chevron generously supports every Our mission is to celebrate the power of the human Opera among others including ten for Center REP. Center REP show throughout the season, and imagination by producing emotionally engaging, Her regional credits include the Old Globe, Dallas is the primary sponsor for events including Theater Center, Arizona Theatre Company, the intellectually involving, and visually astonishing Arena Stage, Seattle Rep and the world premier the Chevron Family Theatre Festival in July. live theatre, and through Outreach and Education of The Laramie Project at the Denver Center. -
Honey, You Know I Can't Hear You When You Aren
Networking Knowledge Honey, You Know I Can’t Hear You (Jun. 2017) Honey, You Know I Can’t Hear You When You Aren’t in the Room: Key Female Filmmakers Prove the Importance of Having a Female in the Writing Room DR ROSANNE WELCH, Stephens College MFA in Screenwriting; California State University, Fullerton ABSTRACT The need for more diversity in Hollywood films and television is currently being debated by scholars and content makers alike, but where is the proof that more diverse writers will create more diverse material? Since all forms of art are subjective, there is no perfect way to prove the importance of having female writers in the room except through samples of qualitative case studies of various female writers across the history of film. By studying the writing of several female screenwriters – personal correspondence, interviews and their writing for the screen – this paper will begin to prove that having a female voice in the room has made a difference in several prominent films. It will further hypothesise that greater representation can only create greater opportunity for more female stories and voices to be heard. Research for my PhD dissertation ‘Married: With Screenplay’ involved the work of several prominent female screenwriters across the first century of filmmaking, including Anita Loos, Dorothy Parker, Frances Goodrich and Joan Didion. In all of their memoirs and other writings about working on screenplays, each mentioned the importance of (often) being the lone woman in the room during pitches and during the development of a screenplay. Goodrich summarised all their experiences concisely when she wrote, ‘I’m always the only woman working on the picture and I hold the fate of the women [characters] in my hand… I’ll fight for what the gal will or will not do, and I can be completely unfeminine about it.’ Also, the rise of female directors, such as Barbra Streisand or female production executives, such as Kathleen Kennedy, prove that one of the greatest assets to having a female voice in the room is the ability to invite other women inside. -
Rencontre Avec George Cukor Gene D
Document généré le 28 sept. 2021 02:59 Séquences La revue de cinéma Rencontre avec George Cukor Gene D. Phillips Numéro 108, avril 1982 URI : https://id.erudit.org/iderudit/51019ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce document Phillips, G. D. (1982). Rencontre avec George Cukor. Séquences, (108), 4–9. Tous droits réservés © La revue Séquences Inc., 1982 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ *• \ ... rencontre avec GEORGE CUKOR SÉQUENCES 108 « Mesdames et messieurs, la prise était bonne, mais, si vous le voulez bien, nous allons la reprendre sur un tempo plus rapide, pour le plaisir de la chose. » Le réalisateur s'exprime sur un ton à la fois courtois et autoritaire, tout en frappant sa jambe avec le scénario roulé en spirale, comme s'il s'agissait d'une cra vache. Il s'appelle George Cukor, il a quatre-vingts ans et il est en train de diriger le tournage de Rich and Famous <'>. La prise en charge de ce film a fait de lui le cinéaste le plus âgé à avoir jamais réalisé un film pour un grand studio. -
{DOWNLOAD} the More the Merrier Ebook
THE MORE THE MERRIER PDF, EPUB, EBOOK Anne Fine | 160 pages | 28 Nov 2006 | Random House Children's Publishers UK | 9780440867333 | English | London, United Kingdom The More the Merrier PDF Book User Ratings. It doesn't sound that hard to think up but the events that lead toward the end result where the parts that are hard to think up when writing. Washington officials objected to the title and plot elements that suggested "frivolity on the part of Washington workers". Release Dates. Edit page. Emily in Paris. Joe asks Connie to go to dinner with him. User Reviews. Dingle calls Joe to meet him for dinner. Apr 28, Or that intimate scene where McCrea gives a carrying case to Jean Arthur. External Sites. Their acting is so subtly romantic in that scene. Two's a Crowd screenplay by Garson Kanin uncredited [1]. Save Word. Help Learn to edit Community portal Recent changes Upload file. The Good Lord Bird. It's shocking how believably he pulls off the scene in which McCrea and Arthur wander around the apartment without bumping into each other. Quotes [ first lines ] Narrator : Our vagabond camera takes us to beautiful Washington, D. Alternate Versions. If you like classic comedies then this must be on your watch list. Share the more the merrier Post the Definition of the more the merrier to Facebook Share the Definition of the more the merrier on Twitter. The More the Merrier Writer New York: Limelight Editions. September 16, Rating: 4. Tools to create your own word lists and quizzes. Variety Staff. You may later unsubscribe. -
Scanned Using Scannx OS15000 PC
OTTERBEIN 1 South Grove Street UNIVERSITY Westerville, OH 43081 TEL (614)823-1600 Office of Marketing and fax (614)823-1360 www.otterbein.edu Communications Contact: Jennifer Hill, (614) 823-1605 [email protected] FOR IMMEDIATE RELEASE August 5, 2010 OTTERBEIN UNIVERSITY THEATRE ANNOUNCES 2010-2011 SEASON BORN YESTERDAY By Garson Kanin Directed by Christina Kirk October 14-17, 21-23, 2010 Fritsche Theatre at Cowan Hall, 30 S. Grove St. Born Yesterday is one of America’s original screwball comedies! Harry Brock is a business tycoon who goes to Washington trying to break into the ‘special interest’ business with an ethically-challenged senator. He realizes that his fiancee, Billie Dawn, may need a makeover to fit his new inside-the-beltway image. To ensure that Billie gets properly ‘culturefied,’ Brock hires a D.C. journalist to give the seemingly dim-witted blonde a crash course in politics, history, literature, and—of course—true love. Andrew Lippa’s THE WILD PARTY Book, Music and Lyrics by Andrew Lippa Based on a poem by Joseph Moncure March Guest Directed by Mo Ryan Chorographer by Stella Hiatt-Kane November 4-6, 11-13, 2010 Campus Center Theatre, 100 W. Home St. Adapted from a book-length poem written in and about the Roaring Twenties, The Wild Party tells the story of Queenie and Burrs, a vaudeville couple whose relationship is marked by vicious behavior and recklessness, mirroring the times in which they live. They decide to throw a party to end all parties, inviting an assortment of people living on the edge for one wild evening in their Manhattan apartment. -
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. -
Little Theatre Society of Indiana
LITTLE THEATRE SOCIETY OF INDIANA 1915-16 1919-20 1921-22 Polyxena Bernice Release A Killing Triangle Eugenically Speaking The Dragon The Glittering Gate Three Pills in a Bottle The Spring The Scheming Lieutenant Trespass A Nativity Play Dad The Angel Intrudes The Constant Lover A Christmas Miracle Play Trespass (2nd Production) Androcles & the Lion The Pretty Sabine Women The Shepherd in the Distance The Forest Ring Overtones The Star of Bethlehem Beyond the Horizon The Broken God Dierdre of the Sorrows Everyman Dad (2nd Production) The Jackdaw The Betrothal Cake At Steinberg’s Bushido Disarmament How He Lied to Her Husband A Woman’s Honor The Casino Gardens The Game of Chess Unspoken Children of the Moon The Kisses of Marjorie Moonshine Belinda Dawn Phoebe Louise Not According to Hoyle The Dark Lady of the Sonnets The Bank Robbery Mansions A Scrambled Romance Chicane The Dryad & the Deacon (silent film) The Groove Underneath A Shakespeare Revel Stingy 1922-23 Rococo The Trysting Place 1916-17 The Price of Coal A Civil War Pageant 1920-21 The Turtle Dove Night with Indiana Authors The Proposal Brothers Polly of Pogue’s Run In Hospital Two Dollars, Please! Laughing Gas Behind a Watteau Picture The Marriage Gown The Lost Silk Hat The Home of the Free Dad (3rd Production) The Farce of Pierre Patelin The Blind Sycamore Shadders Duty The Medicine Show Nocturne The Maker of Dreams Aria Da Capo Treason The Importance of Being Mary Broome Where Do We Go From Here? Earnest The Star of Bethlehem (2nd The Wish Fellow Lithuania Production) Father and the Boys Supressed Desires The Mollusc My Lady Make-Believe Cathleen Ni’Hoolihan Mary’s Lamb A Shakespeare Revel (2nd Spreading the News The Emperor Jones Production) The Rising of the Moon The Beauty Editor Sham 1923-24 1917-18 The Confession March Hares (No records survive) The Lotion of Love The Bountiful Lady The Wren 1918-19 The Doctor of Lonesome Folk A Pageant of Sunshine Why Marry? and Shadow Hidden Spirits The Murderer (a.k.a. -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
HERRMANN MUSIC in HAVE GUN WILL TRAVEL and OTHER CLASSIC CBS TELEVISION SERIES by Bill Wrobel
HERRMANN MUSIC IN HAVE GUN WILL TRAVEL AND OTHER CLASSIC CBS TELEVISION SERIES By Bill Wrobel [April 2006 1st draft but some material added June 13, 2007 for Rawhide & Perry Mason] Have you ever watched the old classic CBS series such as Have Gun Will Travel, Gunsmoke, Rawhide, Perry Mason, and Twilight Zone and ever wondered how much of Bernard Herrmann’s music you heard in various episodes? I remember when I was seven years old and watched Paladin on Saturday nights for its first season run. While I was still not cognizant at the time of whom Bernard Herrmann was by name, I recall the excitement I felt watching the show (westerns were big, so to speak, or very popular at that general period on American television). I particularly liked Paladin, and then Matt Dillon (Gunsmoke). I also associated the CBS series with pleasure because of the music heard. I did not know Herrmann’s name because no credits were given at the end of the episodes (since the music was a collection of so-called “stock music” cues from various composers edited into each episode). But even back at that young age I felt drawn to the music. Let’s focus first on the Have Gun Will Travel series since the first three seasons (as I write this paper) are now available on dvd. Now: Bernard Herrmann did indeed write an original score for the pilot episode of Have Gun Will Travel starring Richard Boone perfectly cast as Paladin (although I heard, true or not, that Randolph Scott was first offered the role). -
William Powell ~ 23 Films
William Powell ~ 23 Films William Horatio Powell was born 29 July 1892 in Pittsburgh, Pennsylvania. In 1907, he moved with his family to Kansas City, Missouri, where he graduated from Central High School in 1910. The Powells lived just a few blocks away from the Carpenters, whose daughter Harlean also found success in Hollywood as Blonde Bombshell Jean Harlow, although she and Powell did not meet until both were established actors. After school, Powell attended New York City's American Academy Of Dramatic Arts. Work in vaudeville, stock companies and on Broadway followed until, in 1922, aged 30, playing an evil henchman of Professor Moriarty in a production of Sherlock Holmes, his Hollywood career began. More small parts followed and he did sufficiently well that, in 1924, he was signed by Paramount Pictures, where he stayed for the next seven years. Though stardom was elusive, he did eventually attract attention as arrogant film director Lev Andreyev in The Last Command (1928) before finally landing his breakthrough role, that of detective Philo Vance in The Canary Murder Case (1929). Unlike many silent actors, the advent of sound boosted Powell's career. His fine, urbane voice, stage training and comic timing greatly aided his successful transition to the talkies. However, not happy with the type of roles he was getting at Paramount, in 1931 he switched to Warner Bros. His last film for them, The Kennel Murder Case (1933), was also his fourth and last Philo Vance outing. In 1934 he moved again, to MGM, where he was paired with Myrna Loy in Manhattan Melodrama (1934). -
DT Filmography
Dolly Tree Filmography Legend The date after the title is the release date and the number following is the production number Main actresses and actors are listed, producer (P) and director (D) are given, along with dates for when the film was in production, if known. All credits sourced from AFI, IMDB and screen credit, except where listed Included are contentious or unclear credits (listed as Possible credits with a ? along with notes or sources) FOX FILMS 1930-1932 1930 Just Imagine (23/11/30) Maureen O’Sullivan, Marjorie White David Butler (D) Possible Credits 1930 ? Soup to Nuts ? Part Time Wife 1931 Are You There? (3/5/31) Hamilton MacFadden (D) Annabelle’s Affairs (14/6/31) Jeanette Macdonald Alfred Werker (D) Goldie (28/6/31) Jean Harlow Benjamin Stoloff (D) In production mid April – mid May 1931 Bad Girl (12/9/31) Sally Eilers, Minna Gombell Frank Borzage (D) In production July 1931 Hush Money (5/7/31) Joan Bennett, Myrna Loy Sidney Lanfield (D) In production mid April – mid May 1931 The Black Camel (June 1931) Sally Eilers, Dorothy Revier Hamilton MacFadden (D) In production mid April – early May 1931 Transatlantic (30/8/31) Myrna Loy, Greta Nissen William K. Howard (D) In production mid April – early May 1931 Page 1 The Spider (27/9/31) Lois Moran William C. Menzies (D) In production mid June – early July 1931 Wicked (4/10/31) Una Merkel, Elissa Landi Allan Dwan (D) In production mid June – early July 1931 Skyline (11/10/31) Myrna Loy, Maureen O’Sullivan Sam Taylor (D) In production June 1931 The Brat (20/9/31) Sally O’Neill,