DOCSLIB.ORG

Nosferatu. Revista De Cine (Donostia Kultura)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: El canalla que reescribió a F. Scott Fitzgerald. Joseph L. Mankiewicz, productor Autor/es: Gallagher, Tag Citar como: Gallagher, T. (2001). El canalla que reescribió a F. Scott Fitzgerald. Joseph L. Mankiewicz, productor. Nosferatu. Revista de cine. (38):15-23. Documento descargado de: http://hdl.handle.net/10251/41246 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: El canalla quereescrihió a F Scott Fitzgerald 'lu:endart' elo gt'dut'lart' bewla egt'n ::.t'tumlcme: gain . .1/ankt' <•tt't'c:.ek ekoi::.pt'tl -lmwk hum/u Últwn I<J:-J() etrt / <J.¡..¡ bt'tarleon, ela ekot'de f!i':io garat' lwrtoko J lo/(¡ u·oodl'ko ::.. tt :('tl(/aá garra ti/ :itstl('/letako ::.m/)(tt'!l'kin lr111 egin ::.tU'II, t'Sall' 1 lmtemko Hitz tww~ \11J tn• ·Jl . Hunk Hor:age (. lfmuwquin: 'TIIl'ee ComrmiNL.}, Geurge Cukor (l'lu' Pltiladepltia St,u:l ~ edo G'eorgl' Stt•rens-l'kin (11imwn ofthe Ji•mJ /ág GaUagher NOSFERATU 38 ómo se puede escribi r ell os a las órdenes del dictador in­ con Orson Welles) era el jefe de acerca de un produc­ discutible del. estudio, Louis B. la sección de guiones de la Para­ tor? Mayer. El cometido de Man­ mount. A los 18 al'ios, Joe cobra­ kiewicz era seleccionar materi al, ba por traducir al alemán los in­ !mente, lo que escri be la desarrollar guiones y decorados, tertítulos de las pelícu las mudas, gente es una serie de títulos de pe­ contratar al director, los actores y y a los 20 fue nombrado ayudante lículas e historias divertidas y unos técni cos, mantener el programa de guionista. Su sueldo entonces cuantos deta ll es comerciales. de trabajo y presupuesto iniciales era de 60 dólares por semana. El ¿Pero qué pasa con un productor y montar el resultado, todo ello de Herman, 1.250 dólares. que qu izá sea también el autor de bajo la estrecha supervisión del sus películas? ¿Qué me di cen de esrudio. En la MGM, para la que Siete anos y más de treinta pelí• Joseph L. Mankiewicz, productor Mankiewicz produjo veinte filmes culas más tarde, Joe se dirigió a de la Metro Goldwyn Mayer, que entre 1936 y 1944, ni las estrellas, Louis B. Mayer y le pidió que le no sólo escribía la totalidad o parte ni los directores, ni los gui onistas hiciera director. "Antes de poder de los ·guiones de sus películas (ni siquiera los productores, se­ caminar, tienes que aprender a (s in créditos en pantalla) sino que gún Mankiewicz) tenían demasia­ arrastrarte", le contestó Mayer, también, como responsable de la do control sobre su trabajo; eran según Mankiewicz, quien añad ió Metro, estaba encima de todos los simplemente empleados. Sin em­ que ésta era la mejor descripción aspectos del diseño, casting, roda­ bargo, la MGM animaba a sus que él conocía de la postura de un je y montaje de sus películ as? ¿Y empleados a imponerse. El mismo productor. "[Durante estos] aiios que además siguió dirigiendo sus Mayer sirvió de ejemplo al elegir oscuros (. ..) produje cantidad de propias películas? ¿Cómo pode­ como ayudantes a personas que películas que me avergiienza ha­ mos saber qué es Mankiewicz en sabía que le apuñalarían por la es­ ber asociado a mi nombre" ( 1). estas películas, en contraposición palda a la mínima oportunidad. a lo que es Borzage o Lang, o el Así, a pesar de que muchas de las Esta pose de autodesprecio la en­ resto de directores qu e Man­ películas de la Metro se confundan contramos en la mayoría de los kiewicz contrató? irremediablemente con la prosaica personajes de Mankiewicz, en la identidad del estudio, y aunque fue mayoría de las películas que diri­ Para responder a estas preguntas, precisamente durante la pem1anen­ gió. Pero htvo que "gatear" du­ podríamos seguir la pista de la cia de Mankiewicz cuando más re­ rante diez afias antes de estrenar­ hi storia de la producción de cada presivos fueron tanto el poder de se como director con El castillo película, estudiar los memorán­ Mayer como la autocensura de la de Dragonwyck (Dragomvyck), du ms de las distintas oficinas y industria cinematográfica, algunos en 1946. E incluso entonces tuvo entrevistar a todas aquellas perso­ directores resueltos fueron capa­ que conseguir primero que Mayer nas imp licadas. ces de realizar ocasionalmente fil ­ lo despidiera por una aventura mes que eran mucho más "suyos" amorosa con Judy Garland. Pero no he hecho nada de esto. que de la Metro. Ni yo ni nadie. Lo que he hecho Éstas son las películas producidas ha sido consultar unos cuantos li ­ Mankiewicz no quería el trabaj o por Mankiewicz: Tres desalma­ bros. Pero, sobre todo, he visto de Mayer. Pero las nociones de dos (Three Godfathers; Richard las películas, además de otros fil ­ Mankiewicz de lo que él pensaba Boleslawski, 1936), con Chester mes rea lizados por los mismos di­ que deberían ser las películas son Morris; Furia (Fwy; Fritz Lang, rectores, y he tratado de sacar casi tan evidentes en las películas 1936), con Sylvia Sidney y Spen­ conclusiones a partir de mis ex­ que produjo para Mayer como en cer Tracy; T he Gorgeous H ussy periencias con estas películas. aquéllas que él mismo escribió y (C iarence Brown, 1936), con dirigió más tarde. Lo que Man­ Joan Crawford y Robert Taylor; En teoría, el trabajo de un pro­ kiewicz amaba eran las palabras, Love on the R un (vV. S. Van ductor de Hollywood en los aílos los actores y el teatro. Él era es­ Dyke, 1936), con Joan Crawford 30 y 40 era hacer de conexión critor, hermano de escritor e hijo y Clark Gable; T he Bride Wore entre el estudio y la producción de un catedráti co de literatura. Red (Dorothy Arzner, 1937), con individual. A veces, el productor Aunque más que un hombre de Joan Crawford y Robert Young; era el que tenía que hacerse cargo letras, fu e un famoso donjuán. Doble boda (Double Wedding; de los "marrones" del estudi o. Ri chard Thorpe, 1937), con Myr­ Otras, era el san Jorge del artista. Joseph L. Mankiewicz entró en el na Loy y William Powell; Manne­ Y, a menudo, trataba de ser am­ mundo del cine porque su herma­ quin (Frank Borzage, 1938), con bas cosas a la vez. En aquell a no Hennan (que póstumamente se Joan Crawford y Speucer Tracy; época, la Metro contaba con va­ haría fa moso por escribir Ciuda­ Tln·ee Cornrades (Frank Borza­ rios productores ejecutivos, todos dano Kane - Citizen Kane, 1941- ge, 1938), con Margare! Sullavan ····(~·-· NOSF ER ATU 38 Woman of the Yenr y Roberl Taylor; E l ángel negro ge Stevens, 1942) , con Katharine cia", la fuerza y la claridad a la hora (TI1e Shopwom Angel; H. C. Poi­ Hepburn y Spencer Tracy; Cairo de expresar emociones. Los críti­ ter, 1938), con Margaret Sullavan (W . S. Van Dyke, 194 2), con cos seiialaban constantemente que, y James S tewart; La hora ra­ Jeanette MacDonald y R obe rt mientras el resto de actores tenían dimtte (The Shining Hour; Frank Young; Reunion in France (Ju­ que "trabajárselo", a Tracy "le sa­ Borzage, 1938), con Joan Craw­ les Dassiu, 1942), con Joan lía sin más, de forma natural". ford, Margaret Sullavan y Robert Crawford y John Wayne; Las lla­ Young; C uento de Navidad (A ves del reino (Tiie Keys of rile Sin embargo, lo que los críticos Christmas Caro/; Edwin L. Marin, Kingdom; John M. Stah l, 1944), no dicen es que Tracy también 1938), con Reginald Owen; The con Greg01y Peck. podía ser un actor tremendamente A d ven tu r es of Hu cldeb en y hi striónico. Tenía un repertorio de Finn (The Adventures of Huckle­ La película ideal de Mankiewicz, ya trucos de actor malo que no du­ berry Finn; R icha rd Thorpe, fuera como director o como pro­ daba en utilizar para robar esce­ 1939), con M ickey Rooney; ductor, era lo que yo denominaré nas a cualquiera que compartiera Strange C argo (Frank Borzage, un " foto-teatro", un tipo de cine su fotograma, como tirarse de la 1940), con Joan C rawford y que se acercaba más a una obra de oreja mientras el otro hablaba. En Clark Gable; H istorias d e Fila­ teatro filmada que a una película, W oman of the Ycar (George delfia (The Philadelphia St01y; más a un documento de actores Stevens, 1942), el truco utilizado George Cukor, 1940), con Katha­ para cuya ach~ac i ón la mímica o el fue la reacción silenciosa de Tra­ rine Hepburn, Cary Grant y Ja­ diálogo es continuo e inevitable, que cy al cotorreo incesante de Katha­ mes Stewart; The Wild Man of a una historia con personajes. ri ne Hepburn y, aunque se supone Borneo (Robert B . S inclair, que el gag es la pasividad de Tra­ 194 1), con Frank Morgan; Hue­ Acuérdense de Spencer Tracy en cy frente a la actividad de Hep­ llas femeninas (Th e Feminine Mannequin.
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Film Essay for "7Th Heaven"
    7th Heaven By Aubrey Solomon In the years between 1926 and 1928, Hollywood ex- perienced a maturation which blended art and indus- try to a new level of cinema. Influenced heavily by the experiments of foreign talents, largely German, new concepts of cinematography, lighting, set de- sign, and special effects known as “trick shots,” per- meated American film-making methods. The somber and sometimes morbid themes of German cinema also seeped into their films, often to the chagrin of American exhibitors who preferred their own exuber- ant optimism and happy endings. “7th Heaven” characterizes a perfect blend of opti- mistic romantic fantasy and German influenced pro- duction design. It also became one of the most pop- ular films of the late silent era. Its opening title card set the tone: “For those who will climb it, there is a ladder leading from the depths to the heights - from the sewer to the stars - the ladder of Courage.” Based on a hugely successful play by Austin Strong which ran at the Booth Theatre on Broadway from October 30, 1922, to May 21,1924 for a total of 685 performances, it portrayed the travails of young lov- An advertisement from a June 1927 edition of Motion ers who meet amidst the sordid gutters of pre-World Picture News. Courtesy Media History Digital Library. War I Paris. Happy-go-lucky street cleaner Chico saves waifish, homeless, Diane, a runaway from her abusive sister. Against Chico’s initial resistance, he Fox Films vice-president and general manager falls in love with Diane only to end up going to war Winfield Sheehan acknowledged audiences were and being declared dead in battle.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • TOWNSHIP with the SUBURBAN NEWSPAPER LARGEST in GUARANTEED THIS AREA CIRCULATION "The Voice of the Raritan Bay District" VOL
    SJMaa»ti»BgjCTiiigpa"ia»iap-rfi-jratjS'^ &&&?Wj&.&&zswtt&*?in^--\'i/'-'*v-*?^-tt*-xx'& RARITAN MOST PROGRESSIVE TOWNSHIP WITH THE SUBURBAN NEWSPAPER LARGEST IN GUARANTEED THIS AREA CIRCULATION "The Voice of the Raritan Bay District" VOL. IV. — NO. 12. FORDS AND RARITAN TOWNSHIP FRIDAY MORNING, MAY 19, 1939. PRICE THREE CENTS JULIUS ENGEL BIDS FAREWELL TO HAROLD BERRUE Can This Be Called A 'Death Trap'? SZALLAR NAMED Rumoured COMMISSION AFTER LONG SERVICE POST TO ERECT TO FORCE AFTER Election RARITAN TOWNSHIP.—Sev-'re-election .since his work prohib- enteen years of brilliant and un- f ited their activities. He was the on MEMORIAL ROCK LONG 'POW-WOW Post Mortems ... tiring public service to the resi- ly Democratic member of the The commissioners of Raritan Township are still get- dents of the township was con- commission and the only original TO BE PLACED ON FRONT BERGEN, ALEXANDER VOTE ting lots and lots of congratulatory messages from the cluded here last week when member of the body since its orig- 'NO' FOR FAILURE TO happy taxpayers of the township who worked for their;sheriff Julius c- Engel- a member in. LAWN OF NEW TOWN Engel took his first public office CONSULT THEM election eleven days ago . Dr. Edward K. Hanson, of[ as tax collector in 1922 and has HALL. NOV. 11 Clara Barton section, general chairman of the successful' been active in township affairs WOODBRIDGE.—After months Administration Ticket, also continues to receive hundreds! ever since. In 1927, when the town PISCATAWAYTOWN. — A me- of controversy on the part of the of letters of praise for his brilliant work in guiding his can- ship voted to abolish the township morial stone, which will serve as Republican big whigs, Frank Szal- committee and establish the com- a lasting tribute to veterans of all lar, 35, of Fords, was named pa- didates to victory .
    [Show full text]
  • Bones of the River
    Bones of the River By Edgar Wallace Bones Of The River I. — THE FEARFUL WORD “LOOK after the chickens,” said Hamilton sardonically, “put the cat out, and don’t forget to wind up the clock,” Lieutenant Tibbetts inclined his head with, as he believed, a certain quiet dignity. “And take something for that stiff neck of yours,” added Hamilton. Mr. Commissioner Sanders came back from the deck of the Zaire to the little concrete quay that jutted out from the residency grounds. He was leaving on a short tour of inspection, and with him went Captain Hamilton and half a company of Houssas. Mr. Tibbetts, whose more familiar name was Bones, was staying behind in charge, and would be for seven days Deputy Commissioner, Deputy Commander of the troops, Deputy Paymaster-General, and Chief of Staff. He was also temporarily in control of twenty-five Orpington hens, three cockerels and a new fowl-house, the property of his superior officer. The cat and the clock were figments of Captain Hamilton’s imagination. “And by the way”—Hamilton, one foot on the deck of the little steamer and one on the quay, turned—“cut out the fairy tales, Bones.” Mr. Tibbetts raised his eyebrows patiently and looked resigned. “If you have to entertain callers, tell ’em something useful such as: A squared plus B squared equals C squared—a little algebra would improve the moral status of the wandering Isisi.” Once before, whilst Bones had been in charge of the station, there had come a canoe from the Isisi country, carrying a small chief with a grievance to lay before the Commissioner.
    [Show full text]
  • The National Film Preserve Ltd. Presents the This Festival Is Dedicated To
    THE NATIONAL FILM PRESERVE LTD. PRESENTS THE THIS FESTIVAL IS DEDICATED TO Stanley Kauffmann 1916–2013 Peter O’Toole 1932–2013 THE NATIONAL FILM PRESERVE LTD. PRESENTS THE Julie Huntsinger | Directors Tom Luddy Kim Morgan | Guest Directors Guy Maddin Gary Meyer | Senior Curator Mara Fortes | Curator Kirsten Laursen | Chief of Staff Brandt Garber | Production Manager Karen Schwartzman | SVP, Partnerships Erika Moss Gordon | VP, Filmanthropy & Education Melissa DeMicco | Development Manager Joanna Lyons | Events Manager Bärbel Hacke | Hosts Manager Shannon Mitchell | VP, Publicity Justin Bradshaw | Media Manager Jannette Angelle Bivona | Executive Assistant Marc McDonald | Theater Operations Manager Lucy Lerner | SHOWCorps Manager Erica Gioga | Housing/Travel Manager Beth Calderello | Operations Manager Chapin Cutler | Technical Director Ross Krantz | Technical Wizard Barbara Grassia | Projection and Inspection Annette Insdorf | Moderator Mark Danner | Resident Curators Pierre Rissient Peter Sellars Paolo Cherchi Usai Publications Editor Jason Silverman (JS) Chief Writer Larry Gross (LG) Prized Program Contributors Sheerly Avni (SA), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Geoff Dyer (GD), Gian Luca Farinelli (GLF), Mara Fortes (MF), Scott Foundas (SF), Guy Maddin (GM), Leonard Maltin (LM), Jonathan Marlow (JM), Todd McCarthy (TM), Gary Meyer (GaM), Kim Morgan (KM), Errol Morris (EM), David Thomson (DT), Peter von Bagh (PvB) Tribute Curator Short Films Curators Student Prints Curator Chris Robinson Jonathan Marlow Gregory Nava and Bill Pence 1 Guest Directors Sponsored by Audible.com The National Film Preserve, Ltd. Each year, Telluride’s Guest Director serves as a key collaborator in the A Colorado 501(c)(3) nonprofit, tax-exempt educational corporation Festival’s programming decisions, bringing new ideas and overlooked films.
    [Show full text]
  • Ucla Festival of Preservation
    Saving Film & Television for Future Generations UCLA FESTIVAL OF PRESERVATION UCLA Film & Television Archive’s signature biennial film festival screens Friday, February 15 - Sunday February 17, 2019 at the Billy Wilder Theater at the Hammer Museum in Westwood FOR IMMEDIATE RELEASE Los Angeles, CA (February 8, 2019)—The UCLA Film & Television Archive presents its biennial celebration of films preserved and restored by the world-renowned preservation department during its first-ever three-day UCLA Festival of Preservation, February 15-17, 2019. Each day the Festival will offer an eclectic survey of the Archive's latest restoration work, headlined by director Frank Borzage's WWII classic The Mortal Storm (1940) with James Stewart and Margaret Sullavan. The Festival will showcase rarely seen silent films, classic Hollywood, golden- age TV treasures, Laurel and Hardy, film noir thrillers, animation and much more. As in years past, the Festival will be a “deep dive into the seldom-explored sea that is American film history, alternating between extreme rarities seen nowhere else and new prints of beloved movie classics,” wrote Los Angeles Times film critic Kenneth Turan. “Previously [since 1988] spread out over an entire month, this year we decided to schedule the Festival of Preservation as a long weekend event,” says Jan-Christopher Horak, Ph.D., director of the UCLA Film & Television Archive. “We believe this will provide more of a festival environment and allow our film-loving audience to see a cornucopia of films over the long weekend. We begin the Festival Friday morning with a delightful 1930s Fox musical comedy, My Lips Betray (dir.
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z FEBRUARY 2021 D 12 Angry Men (1957) 2/27 D Black Panthers (1968) 2/28 D Convicts 4 (1962) 2/10 a ADVENTURE z 20,000 Years in Sing Sing (1932) 2/3 D Black Patch (1957) 2/19 D The Corn is Green (1945) 2/21 m 42nd Street (1933) 2/7 D Blackboard Jungle (1955) 2/3 sD The Cossacks (1928) 2/21 c COMEDY S z Blackwell’s Island (1939) 2/3 D Countryman (1982) 2/21 –––––––––––––––––––––– ––––––––––––––––––––––– A y Blazing Saddles (1974) 2/6 u Crossfire (1947) 2/9 z CRIME u Act of Violence (1949) 2/9 y Blood on the Moon (1948) 2/19 R Crossing Delancey (1988) 2/12 S c Adam’s Rib (1949) 2/22 D Body and Soul (1947) 2/9 D Cry, the Beloved Country (1951) 2/3 o DOCUMENTARY a The Adventures of Huckleberry Finn (1939) 2/10 D Bombshell (1933) 2/21 c The Affairs of Martha (1942) 2/24 a Boom Town (1940) 2/25 P –––––––––––––––––––––– D ––––––––––––––––––––––– D DRAMA c Affectionately Yours (1941) 2/10 D Born to Be Bad (1950) 2/9 y Dances with Wolves (1990) 2/27 u After Office Hours (1935) 2/1 c Born Yesterday (1950) 2/21 D Dancing Co-Ed (1939) 2/8 e EPIC P R The Age of Innocence (1993) 2/14 c Boys’ Night Out (1962) 2/11 D Dangerously They Live (1941) 2/23 S S S w Air Force (1943) 2/23 D The Breaking Point (1950) 2/9 R Daughters Courageous (1939) 2/16 S HORROR/SCIENCE-FICTION z Al Capone (1959) 2/16 R Brief Encounter (1945) 2/12 D Days of Wine and Roses (1962) 2/28 P m sc Algie the Miner (1912) 2/7 m Brigadoon (1954) 2/18, 2/25 D Death in Venice (1971) 2/23 MUSICAL y Along The Great Divide (1951) 2/19 D Broadway Musketeers (1938) 2/6 cR Design for Living (1933) 2/21 R ROMANCE HD The Amazing Mr.
    [Show full text]
  • We Encourage You to Find out More About the DGA by Contacting Us at 1-800-421-4173
    We encourage you to find out more about the DGA by contacting us at 1-800-421-4173. Or contact us at any of our offices: 7920 Sunset Boulevard, Los Angeles, CA 90046 Phone: 310-289-2000 Fax: 310-289-2029 400 N Michigan Avenue, Suite 307, Chicago, IL 60611 Phone: 312-644-5050 Fax: 312-644-5776 110 W 57th Street, New York,, NY 10019 Phone: 212-581-0370 Fax: 212-581-1441 4000 Hollywood Boulevard, Suite 265-S, Hollywood, FL 33021 Phone: 305-981-0233 Fax: 305-963-6155 DGA’s Internet Home Page at http://dga.org/dga/ Design by A. H. Leman From the organizational skills of such mas- ters of the trade as Frank Borzage, Herbert Biberman, John Ford, Howard Hawks, Henry When solidarity began King, Rowland V. Lee, Ernst Lubitsch, for Hollywood’s film directors Rouben Mamoulian, Lewis Milestone, A. nearly sixty-four years ago, two Edward Sutherland, Frank Tuttle, W.S. evenings before Christmas, “Woody” Van Dyke, Richard Wallace and 1935, a dozen-plus directors William A. Wellman, who gathered that Vidor and the Guild’s founding have the Directors Guild, direc- Six decades, three headquar- gathered in a secret meeting at evening in Vidor’s home, grew what has fathers were rich men and the most tors—with the exception of a few ters, one very short strike and the home of King Vidor. the become one of the strongest, most influential respected filmmakers in the busi- mavericks—would be cut to pieces more than 10,000 members later, agenda for discussion was to and trend-setting forces in American enter- ness, but they realized that in order because the Directors Guild really the Guild has become the fore- deal with two threats to the tainment labor: The Directors Guild of to protect their rights, and those of stands behind its members and the most of Hollywood’s collective bar- standing of the filmmakers’ pro- America.
    [Show full text]
  • Celebrating Forty Years of Films Worth Talking About
    2 NOV 18 6 DEC 18 1 | 2 NOV 18 - 6 DEC 18 88 LOTHIAN ROAD | FILMHOUSEcinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT Move over, Braveheart! Last month saw the culmination of our 40th anniversary celebrations here at Filmhouse, and it has been hugely interesting time (for me at any rate!) comparing the us of now with the us of then. I’ve thoroughly enjoyed spending time talking to Filmhouse’s first Artistic Director, Jim Hickey, and finding out in more detail than I knew what myriad ways the business of running Filmhouse has stayed the same and the as many ways it has not (one of these days I’ll write it all down and you can find out how interesting it is for yourselves!). UK film distribution itself has changed immeasurably – the dawn of the multiplex in the latter half of the 1980s saw to that. Back in 1978, Filmhouse itself was part of a sort of movement that saw the birth of a number of similar venues around the UK whose aim was to show a kind of cinema (predominantly foreign language) that simply was not catered for within mainstream film exhibition. Despite 40 years having passed and much having changed, the notion of an audience-driven, ‘curated’ cinema like Filmhouse remains something of a film exhibition anomaly; and something Jim Hickey wrote 30+ years ago rings just as true today as it did then: “But best of all, the new cinemas are being run by those who care about audiences as well as the films that they have paid to watch.” Now, we’ve got a bit of a first for you in November, for we have metaphorically got into bed with Netflix to give one of their films a hugely deserved, exclusive, short run in a cinema – namely David Mackenzie’s splendidly entertaining Robert the Bruce epic, Outlaw King.
    [Show full text]
  • The Dark Side of Hollywood
    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
    [Show full text]
  • Putney Swope
    THE FILM FOUNDATION 2019 ANNUAL REPORT OVERVIEW The Film Foundation supports the restoration of films from every genre, era, and region, and shares these treasures with audiences through hundreds of screenings every year at festivals, archives, repertory theatres, and other venues around the world. The foundation educates young people with The Story of Movies, its groundbreaking interdisciplinary curriculum that has taught visual literacy to over 10 million US students. In 2019, The Film Foundation welcomed Kathryn Bigelow, Sofia Coppola, Guillermo del Toro, Joanna Hogg, Barry Jenkins, Spike Lee, and Lynne Ramsay to its board of directors. Each has a deep understanding and knowledge of cinema and its history, and is a fierce advocate for its preservation and protection. Preservation and Restoration World Cinema Project Working in partnership with archives and studios, The Film Foundation’s World Cinema Project has The Film Foundation has helped save over 850 films restored 40 films from24 countries to date. to date. Completed projects in 2019 included: Completed projects in 2019 included: THE CLOUD– William Wyler’s beloved classic, DODSWORTH; CAPPED STAR (India, 1960, d. Ritwik Ghatak), EL Herbert Kline’s acclaimed documentary about FANTASMA DEL CONVENTO (Mexico, 1934, d. Czechoslovakia during the Nazi occupation, CRISIS: Fernando de Fuentes), LOS OLVIDADOS (Mexico, A FILM OF “THE NAZI WAY”; Arthur Ripley’s film 1950, d. Luis Buñuel), LA FEMME AU COUTEAU noir about a pianist suffering from amnesia, VOICE (Côte d’Ivoire, 1969, d. Timité Bassori), and MUNA IN THE WIND; and John Huston’s 3–strip Technicolor MOTO (Cameroon, 1975, d. Jean–Pierre Dikongué– biography of Toulouse–Lautrec, MOULIN ROUGE.
    [Show full text]