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Parking Who Was J 60P NAMES WARREN Gary Cooper
Metro, is still working on the same tator state that she was going to thing cute.” He takes me into the day,* had to dye her brown hair is his six- contract she signed when she was marry Lew Ayres when she gets her television room, and there yellow. Because, Director George wife. Seems to year-old daughter Jerilyn dining Mickey Rooney’s freedom from Ronald Reagan. She Seaton reasoned, "They wouldn't me she rates something new in alone, while at the same time she Hollywood: that’s because have a brunette daughter.” the way of remuneration. says quite interesting, watches a grueling boxing match on Back in Film is from Business, Draft May Take Nancy Guild, now recovered from she hasn’t yet had a date with Lew. the radio. Charles Grapewin retiring Hughes, making pictures when he finishes her session with Orson Welles in John Garfield is doing a Bing Gregory Peck gets Robyt Siod- Kay Thompson’s into two his present film, "Sand,” after 52 “Cagliostro,” goes pictures for his Franchot Tone. mak to direct him in "Great Sinner.” Minus Brilliance of Crosby pal, years in the business. And they Schary Williams Bros. —the Clifton Webb “Belvedere Goes That's a break for them both. He in a bit role in Fran- used to the movies were a By Jay Carmody to College,” and “Bastille” for Wal- appears Celeste Holm and Dan Dailey are say pre- carious ferocious whose last Hollywood Sheilah Graham ter Wanger. chot's picture, “Jigsaw.” both so their Coleen profession! Howard Hughes, the independent By blond, daughter North American Richard under (Released by sensation was production of the stupid, bad-taste "The Outlaw," has Burt Lancaster, thwarted in his Conte, suspension Nina Foch is the only star to beat Townsend, in "Chicken Every Sun- Newspaper Alliance.) at 20thtFox for refusing to work in come up with another that has the movie capital talking. -
Boxoffice Records: Season 1937-1938 (1938)
' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J. -
Film Screenings at the Old Fire Station, 84 Mayton Street, N7 6QT
iU3A Classic Film Group 2017-18 Winter Programme: January-March 2018: "Classic Curios" All film screenings at The Old Fire Station, 84 Mayton Street, N7 6QT Plot Summaries and Reviews courtesy of The Internet Movie Database Date/Time: Tuesday, 9th January 10.30 and 14.00; Wednesday, 10th January 13.30 Title: The Night of The Hunter (USA, 1955, 89 minutes, English HOH Subtitles) Director and Cast: Charles Laughton; Robert Mitcham, Shelley Winters, Lillian Gish Plot Summary: A religious fanatic marries a gullible widow whose young children are reluctant to tell him where their real father hid $10,000 that he'd stolen in a robbery. Reviews: "Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry."(San Francisco Chronicle) "It’s the most haunted and dreamlike of all American films, a gothic backwoods ramble with the Devil at its heels." (Time out London) "An enduring masterpiece - dark, deep, beautiful, aglow."(Chicago Reader) Date: Tuesday, 23rd January 10.30 and 14.00; No Wednesday, 24th Jan screening Title: La Muerte de Un Burócrata /Death of A Bureaucrat (Cuba, 1966, 85 minutes, Spanish with English Subtitles) Director and Cast: Tomás Gutiérrez Alea; Salvador Wood, Silvia Planas, Manuel Estanillo Plot Summary: A young man attempts to fight the system in an entertaining account of the tyranny of red tape and of bureaucracy run amok. Reviews: "A mucho funny black comedy about the horrors of institutionalized red tape. It plays as an homage to silent screen comics such as Buster Keaton and Harold Lloyd, the more recent ones such as Laurel and Hardy, and all those who, in one way or another, have taken part in the film industry since the days of Lumiére." (Ozu's World Moview Reviews) "Gutiérrez Alea's pitch-black satire is witty, sarcastic and eternally relevant." (filmreporter.de) Date: Tuesday, 6th February 10.30 and 14.00; Wednesday, 7th February 13.30 Title: Leave Her To Heaven (USA, 1945, 105 minutes, English HOH subtitles) Director and Cast: John M. -
"Hello, Dolly!" at Auditorium Theatre, Jan. 27
AUDITORIUM THEATRE ROCHESTER JANUARY 27 BROAD'lMAY TO FEBRUARY 1 THEATRE LEAGUE 1969 YVONNE DECARLO m HELLO, gOLL~I llng1na1ly D1rected and ChoreogrJphPd by GOWER CHDIPIOII Th1s Pr oductiOn D1rected by LUCIA VICTOR ~tenens FEATURING OUR SATURDAY NITE SPECIAL Prime Rib of Beef Au Jus Baked Potato with Sour Cream & Chives Vegetable - Salad - Coffee $3.95 . ALSO MANY OTHER DELICIOUS ITEMS Stop in for dinner before the show or after the show for a late evening anack SERVING 7 DAYS & NITES FROM 11 A.M. till 2 A.M. 1501 UNIVERSITY AVE . EXTENSION PLENTY OF FlEE PAIICING For Reservations Call: 271-9635 or 271-9494 PARTY AND BANQUET ACCOMMODATIONS Consult Us For Your Banquets And Part i es . • • we w i ll be glad to hove you . Wm. Fisher, Budd Filippo & Ken Gaston proudly present YVONNE DE CARLO in The New York Critics Circle & Tony Award Winn1ng Mus1cal "HELLO, DOLLVI 11 Book IJy Music & Lyrics by MICHAEL STEW ART JERRY HERMAN Based on the originc~l play by Thornton Wilder also starring DON DE LEO with Kathleen Devine George Cavey Rick Grimaldi Suzanne Simon David Gary Althea Rose Edie Pool Norman Fredericks Settings Designed by Lighting Consultant Costumes by Oliver Smith Gerald Richland freddy Wittop Dance & Incidental Music Orchestration by Arrangements by Musical Dirt!cliun by Phillip J. Lang Peter Howard Gil Bowers [)ances Staged for this Production hy Jack Craig Original Choreography & Direction by GOWER CHAMPION This Production Staged by Lucia Victor PHIL'S PANTRYS J A Y ' S "REAL DELICATESSENS" Fresh Sliced Cold Meats D I N E R Home Made Salads & Baked Beans lWO LOCAnONS 2612 W. -
Pictures Afraid You Have Your Dalys Mixed Up
What's New SUSAN HAYWARD from Coast to Coast exciting (Continued from page 10) really sisters. Their ages are: Christine, 25, Dorothy, 23, and Phyllis, 22.... Miss A. Y., Milwaukee, Wisconsin: Johnny Des- mond is on a two -month leave of absence new from the Breakfast Club program, so he can make personal appearances. He is due back on the show October 23.... Miss J. F., San Antonio, Texas: Yes, John Daly is married, and has been for many years. I'm pictures afraid you have your Dalys mixed up. In- JEFF HUNTER cidentally, John recently signed a long- term contract with the American Broad- casting Company as a vice -president in of charge of news. He will continue to be Off-Guard Candids Your the emcee on What's My Line? however. To all of the readers who wrote about Frank Dane, who played Knap Drewer on Favorite Movie Stars the Hawkins Falls show: Frank is no longer on the program because the part of Drewer is no longer in the script. Knap chartered All the selective skill of our ace a private plane to fly from London to the * Isle of Man, in the story, and was killed cameramen went into the making when the plane crashed into the Irish of these startling, 4 x 5, quality DORIS DAY Sea. glossy prints. What ever Happened To . ? John Beal, the movie actor, who used to appear on the Freedom Rings TV show? Since leaving this show, John hasn't been * New poses and names are con- on any regular program, but has been stantly added. -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
The Wooster Voice (Wooster, OH), 1951-10-19
The College of Wooster Open Works The oV ice: 1951-1960 "The oV ice" Student Newspaper Collection 10-19-1951 The oW oster Voice (Wooster, OH), 1951-10-19 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice1951-1960 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 1951-10-19" (1951). The Voice: 1951-1960. 15. https://openworks.wooster.edu/voice1951-1960/15 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 1951-1960 by an authorized administrator of Open Works. For more information, please contact [email protected]. Hoot Mon! Fish Fry Saturday Published By the Students of the College of Woosler LXVI Volume WOOSTER, OHIO, FRIDAY, OCTOBER 19. 1951 Number 5 Compton Pinch Hits flj a 2 For Oppenheimer booster m a u w u u M In Symposium National attention will be fo- 1 Gala Weekend Features cused on Wooster next week end when a five-ma- n symposium on Royalty, "Twentieth Century Concepts of Varied Program Homecoming festivities on Man" will be held in Memorial the Wooster campus will gather momentum tonight and tomorrow as Chapel. hundreds of alumni and visitors return for a weekend packed with special events in their honor. Many departments and organizations, including Robert Oppenheimer has been the sections and local clubs, Dr. J. have planned a variety of entertainment features to welcome the forced to cancel his engagement to crowd. -
Filmindex Lxxvi
Al Taylor, Jack Rockwell, Charles King, George Chesebro, Tracy Lane, Chuck Baldra, Sam Flint, Film index lx x v i Tom London, Lew Meehan. D-prm .: 11. 10. 1937. JO H N W AY N E II. (1935-1939) King of the pecos (Texas konge). Republic 1936. I.: Joseph Kane. M .: Bernard McConville. F .: Ber nard McConville, Dorrell & Stuart McGowan. K .: AF JANUS BARFOED Jack Marta. K l.: Lester Orlebeck. Medv.: John Wayne, Muriel Evans, Cy Kendall, Jack Clifford, 5 = Serial Arthur Aylesworth, Herbert Heywood, Frank Glendon, Edward Hearn, John Beck, Mary Mc F = Forfatter (af originalfortælling) Laren, Bradley Metcalfe, Yakima Canutt. D-prm.: K = Kamera 22. 11. 1937. The oregon trail (Præriens blå drenge). Republic 1936. Kl= Klip I.: Scott Pembroke. M .: Jack Natteford, Robert Emmett, Lindsley Parsons. F .: Robert Emmett, The lawless fromier (Præriens blodhunde). Monogram Lindsley Parsons. K . : Gus Peterson. K l.: Carl 1935. I .: Robert N . Bradbury. M. & F . : Robert Pierson. Medv.: John Wayne, Ann Rutherford, N . Bradbury. K . : Archie Stout. K l.: Carl Pier Joseph Girard, Yakima Canutt, Frank Rice, E. H. son. Medv. : John Wayne, Sheila Terry, George Calvert, Ben Hendricks, Harry Harvey, Fern Em Hayes, Earl Dwire, Yakima Canutt, Jack Rock mett, Jack Rutherford, Marian Farrell, Roland well, Gordon D. Woods. D-prm .: 9. 12. 1935. Ray, Edward Le Saint, Gino Corrado, Octavio Girand, James Burke, Frances Grant, Dave Rainbow valley (Seksløberhelten). Monogram 1935. O'Brien, Tom Curran, Julia Griffith, Arnold I . : Robert N . Bradbury. M. & F . : Lindsley Par Gray, Frank Melton. D-prm.: 20. 12. 1936. sons. K . : W illiam Hyer. K l.: Carl Pierson. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Centennial Summer N 1944, Meet Me in St
Centennial Summer n 1944, Meet Me in St. Louis and E.Y. Harburg. In the end, ev- favorably compared to Meet Me in captivated moviegoers the world eryone ends up where they want St. Louis by critics of the day, but Iover. The unbridled nostalgia for to be and happy endings abound. Centennial Summer is not that film a simpler time was very appealing and can stand proudly on its own in the turbulent war years. Two Centennial Summer was Jerome all these years later. It did receive years later, Twentieth Century-Fox Kern’s final score – he died in No- two Academy Award nominations, made its own film to appeal to that vember of 1945 at sixty years of both in the music category – for same audience – Centennial Sum- age, a great loss to the world of Best Music, Scoring of a Motion mer. With an excellent screenplay musical theatre and film. At the Picture for Alfred Newman, and by Michael Kanin and elegant and time of his death, Metro-Gold- Best Music, Original Song for “All stylish direction by Otto Preminger, wyn-Mayer was making a film Through the Day” by Kern and Centennial Summer takes a color- loosely based on his life (Till the Hammerstein – it lost both, but it ful, fun and even touching look at Clouds Roll By) and he’d just was a very competitive year. the 1876 Philadelphia Exposition begun work on a new musical, and one family’s trials and tribula- Annie Get Your Gun (Irving Berlin None of the stars of Centennial tions and follies and foibles. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Racing the Biracial Body: Biracial Performativity and Interpretation in Pinky and Caucasia Permalink https://escholarship.org/uc/item/4fb9t70d Author Frierson, Sharon Melody Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Racing the Biracial Body: Biracial Performativity and Interpretation in Pinky and Caucasia A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Afro-American Studies by Sharon Melody Frierson 2013 ABSTRACT OF THE THESIS Racing the Biracial Body: Biracial Performativity and Interpretation in Pinky and Caucasia by Sharon Melody Frierson Master of Arts in Afro-American Studies University of California, Los Angeles, 2013 Professor Darnell Montez Hunt, Chair In traditional passing narratives, the protagonist was always thought to be authentically black because of her one drop of black blood. The idea of passing relied on the notion that there was an authentic racial self that one was concealing. The mulatta represents assimilation, the end of blackness, and the end of the discussion on racism. Elia Kazan’s 1949 “problem film” Pinky, based on the novel Quality, in many ways embodies the traditional passing narrative. Danzy Senna’s 1998 novel Caucasia, on the other hand, acts as both a testimony of the lived experiences of being multiracial and critique of the rigidity of racial categories in the United States. Senna argues that race is more performative than biological. By centering on a racially mixed young woman and her family, Caucasia complicates and deconstructs the black/white binary and challenges multicultural theory. -
Dan Duryea Page 1 Of6
Dan Duryea Page 1 of6 Dan Duryea - Charming Villain By Frank Dolven Dan Duryea was typecast by his own skill. He was almost too good at creating disturbing portraits of pathological villains, especially in film noir roles. In real life, he was an old-fashioned family man, the opposite of his screen persona. He was born in White Plains, New York, on January 23, 1907, and was educated at Cornell University, Ithaca, New York. In the 1930s he worked in advertising before finding his true calling. He made his acting debut on Broadway in Sidney Kingsley's Dead End . He won critical acclaim for his role as the weakling "Leo Hubbard" in Lillian Hellman's The Little Foxes on Broadway in 1939. Hollywood scouts took notice of his remarkable performance. Soon he was playing "Leo" in William Wyler's film version of the play. With his slicked-back blonde hair and malicious smile, he became the premier louse of the movies. He developed a repertoire of understated body language with a shrug of the shoulders, a slight raising of the eyebrow, a twitch of the mouth, and a subtle "take-it-or- leave-it-or-go-to-hell" movement of the hand. Duryea became a master, playing to the camera, "as he wielded his reedy, high voice like an irritating, cutting scimitar," one critic wrote. He left many gems among performances in over 70 films spanning 47 years. Film buffs especially remember him for his odious treatment of women. In an interview with Hedda Hopper in the early '50s, Duryea gave a very interesting answer when Miss Hopper asked how he prepared for roles.