DOCSLIB.ORG

1945-11-07 [P A-16]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

curred if any of the odd people in- leu 15-minute episodes and launched accent for the French technical di- sian of 1876, but it is good Boyer,” at volved had once hinted at the truth on the radio, it could be used to sell rector of "Centennial Summer,” the and that’s the way itll be in the 'This Love of Ours’ Keith’s is a cad and probably not fit to see soap for years to come. adviser said, "It isn't exactly Pari- picture. By HARRY Mac ARTHUR. "THIS LOVE OP OURS," • Universal such sentimental goings on as "This picture with Merle Oberon and Charles Love of Ours." Is Model AMUSEMENTS. AMUSEMENTS. Nation’s Postwar Mess Makes As nearly as can be determined Korvln, produced by Howard Benedict, di- Boyer rected by William Dieterle, screenplay by ■ Melodramatic* of love such as are By the Associated Press. from a single exposure to it, "This Bruce Mannlni and John Klorer, based set forth here are the sort of Love of Ours,” which opened yes- on the play by Intel Pirandello. At thing HOLLYWOOD. Keith's. actors and actresses must love French for scenes in mo- Hit of the Season terday at Keith’s, Is a violent attack THE CAST. dearly, Talking Merle Sue Comedy on leaping to conclusions when you Karin. _Merle Oberon and Oberon, England and tion pictures isn’t just talking By JAY CARMODY. tousee_Charles Korvln Charles Korvin their roles not French. It isn’t that Because learn that your wife has been spend- niwal _Claude Rains play easy. To pull the comedy hit of the season out of today’s foreboding head- ing her afternoons with another Uncle Robert___-Carl Esmond merely to the hilt, but to somewhere of public reaction to favorites who Suaette _Sue Enticed lines is a kind of miracle. That is what Playwright Howard Lindsay and man. Your wife can be in -the neighborhood of the elbow. are French, like Boyer, a vogue is perfectly Chadwick __ Jess Barker Russel Crouse have done in “State of the Union,” which opened last innocent in such circumstances, but Dr. WUerson_Harry Davennort Claude Raines has the advantage set. Every one who talks in French Dr. Morten Lane _Ralph over them of cast as a com- or uses a French must night at the National Theater. Moreover, it is a smash hit. There is this if you leap to the wrong conclu- Dr. Bailey_ Frltx Leiber being accent, speak sensible as about it, however, that it is not an idle jest which the authors have built sions you may wind up the central Tucker_;_Helen Tnimic paratively citizen and he -s nearly like Boyer possible, or Housekeeper_ Ferlke Boros the role with the feels it isn’t around today’s industrial warfare, political skulldueeerv. and human figure in as turgid a set of melo- Dr. Barnes_Howard Freeman portrays dignity. general public genu- in America. Even while it dramatic circumstances as has been Dr. Melnik_Selmer Jackson All of those involved probably ine. Ten years ago, all Hollywood depravity Dr. Dave Willock -STATE OF THE UNION,” * new comedy Dailey-- could have careers cut out for them Frenchmen had to talk like the then rocks the audience with laughter, by Howard seen in a long time. That is what Suaette (aa small child)_Jeanle Bell Lindsey and Russel Crouse, with if wanted to with "This Maurice Chevalier. the intimates that this may be Ralph Bellamy and Ruth Hussey, produced happens to the conclusion-leaper in they stay favorite, play as tearful as the writers and direc- 1 the last unless someone does by Leland Hayward, directed by ■Fetaitne this film. Love of Ours.” Cut up into number- When Cornel Wilde use a French laugh Windust, with settings by Raymond Sovey. tor will. about the psy- At the National. something quickly Adapted 'from a play by PiAndello Let it not be said that Director chotic mess into which the Nation has THS CAST —and it is safe to far _AMUSEMENTS._AMUSEMENTS._ • James Conover- Minor Watson probably say William Dieterle has missed a single “State of the Union,” giv- M “THE SOUTHERNER” plunged. Spike McManus-Myron McCormick from it without even knowing the opportunity to play upon the lach- Ttday ing names, dates and places, all of Kay Thorndyke_ Kay Johnson affair becomes Grant original—this quite rymal glands. It seems as is Suzette, them familiar here, thinks less than Matthews__Ralph Bellamy Norah Helen Ray a lachrymose adventure before it is who spends most of her time picking Bondi at All Uew’s Theatres do about the state of the Union. Mary Matthews_Ruth Hussey Buy Victory you concluded. When a man brings a flowers and about a so Stevens_ John Rowe mooning private The miracle is that it can say Bellboy _Howard Graham new wife home to meet a neurotic Enter shrine erected to the memory of her _ Our Victory Bowls El comically, coherently and courage- Waiter _ Robert Toms adolescent daughter with an ad- Sam Parrish_Herbert Heyes mother, never will get over her father are ously. Swenson ‘Fred Cotton vanced complex there strange and moody ways. It seems as In proving that the theater is not Judge Jefferson Davis Alexander. bound to be and tearful mo- G Albert Smith tragic if this sad turmoil will just go on as moribund as has been as everyone Mrs. Alexander_Maidel Turner ments, any moviegoer well knows. and on, forever maybe. And anyone A saying, the National’s lamentably Jennie _ Madeline King When the new wife is also the old who comments dourly that these tenant^-the moves on Mrs. Draper_Aline McDermott brief play William Hardy _Victor Sutherland wife (the two having been estranged adventures never would have oc- Saturday night—utilizes the talents Senator Lauterback_ George Lessey all these years by that leap to the LEND-LEASE WIFE I of a superb cast. Its principal play- wrong conclusion) and the mother AMUSEMENTS. * ers are Ruth Hussey, Ralph Bellamy, low to handle. The politicians who of the child without the child know- WITH TWO Minor Watson, Myron McCormick would boss him discover that he is ing it, the situation can become and Johnson, all of them a a tartar and that his wife twice as and as Kay pretty tragic many times »:*•, of Pro- is even more of one. When the NATIONAL*™ credit to the discrimination HUSBANDS , ducer Leland Hayward, his authors, boss set does contrive to soft pedal MWat., TWr*8. * Sal. and Director Bretaigne Windust. Matthews’ tendency to shout that Where and When mim tram TOO MANY!... They were not quite letter perfect in both labor and capital lack states- • / TODAY'S NEIGHBORHOOD MOVIES runs but and that lack Theater BELLAMY HUSSEY a play that still overtime, manship, politicians Current Attractions ... om the cmnI KIBBLES* A Bonds and Stamps at Local Theater that is a quibble that should be morality among other things, and Time of Buy Victory Any wife takes the Between Showing , tossed right back in the teeth of up cry. rAlIfll IMS nth & N. Av*. S.t. All lime MitaniM Given In whm umuLiHH Broi.' the ingrate who utters it. them, they make a terrible mess of Stage. Cont. Fr#m S;45 P M, Adi Indient* Time Feature la HOWASO * GOIIMT "NAUGHTY NINETIES." ABBOTT anc Preiented. ^ ^ ^ ^ the well-laid of the National—“State of the Union": LINDSAY —4 IUSSIL CSOOSI CLAUDETTE E» plans group, I'SHE’S RITA JOHNSON. Plus "I mUm^n § COSTELLO. • which was mad enough to assume 2:30 and 8:30 p.m. ftp imumMi Hmt Mm • buMum DONAMECNE I ACCUSE MY PARENTS," MARY BETP Tbeatere Having Matlneee In asserting that America has W ./#•• they were docile. At the same time, Catholic University—"The Liar”: ■MMUNfllM // a ■ HUGHES__ dived into a chaos that is both ludi- NEXT MONDAY N rescue themselves from the 8:30 BIS. 2101 po- Av*' w* RE-0,84 AMBASSADOB crous and “State of the they p.m. CIRCLE tragic, T» Matinee 1 P.M. martial mess they have made of Screen. Y»I« SAOASWAV Or Union” is a superbly contrived in- Today and Tomorrow—"WILSON" JOAN CRAWFORD. JACK CARSON. their own lives, which- gives the Capitol—“Abbott and Costello in Mum* SAmUa "Jkuu4& Technicolor) with ALEXANDER KNOX ZACHARY SCOTT In "MILDRED dictment which overlooks nothing. CHARLES COBURN, GERALDINE FITZ- some its more mo- 11 7:15 PIERCE At 1. 3:10. 6:30. 7:30. play of tender Hollywood": a.m., 1:45, 4:30, At It is constructed with an amazing GERALD. 6:25. 9:15._ 0:50. Get your name in our Victory ments as well as its more and 9:55 p.m. Stage shows: 1, 3:45, skill out of those details which are guffawish WILLIE HOWARD 1349 Av,‘ Bowl. You may receive a valuable 6:30 and 9:15 DUMBARTON prize. of at ones. p.m. the material your daily despair — * * * * Columbia “The Southerner”: MtSVM-MMIMMUl Last Day—Two Great Hits. RFVFIH V 15th A f N.E. the way things are going. Vicki Baum's HOTEL BERLIN." Plus DLTLtlLI the 11:40 a m., 1:40, 3:40, 5:40, 7:40 and BK NCtUY-MHHMSHL-lbMMMhA u 3300 Mot , PM- Whatever trouble you may have Beyond wayward presidential "THE CHICAGO KID." Parking Space Available to Patrone. 9:40 Mt—wss— HAL LE ROY candidate and his beautiful, cynical p.m. .AAmtWSIMim* I Today Through Friday—JOHN HO- to what think of such trying say you — Gf«"b«»-Md- “State of the Union” is Earle “Mildred Pierce,” 10:15 Star DIAK.
Recommended publications
  • Our Love Affair with Movies

    Our Love Affair with Movies

    OUR LOVE AFFAIR WITH MOVIES A movie producer and Class of ’68 alumnus recalls the cinematic passions of his senior year—and offers some advice on rekindling the romance for today’s audiences. By Robert Cort crush on movies began on a Around the World was a grand spectacle Louis Jourdan as Gaston realizing how damp November night in 1956. that ultimately claimed the Academy much he loved Gigi and pursuing her Dressed in my first suit—itchy Award for Best Picture. Beyond its exotic through Paris singing, “Gigi, what mir- MY and gray—I sat in the backseat locales, it was my first experience of char- acle has made you the way you are?” of our Oldsmobile as my parents crossed acters attempting the impossible. When Before that scene, what I’d observed the Brooklyn Bridge into Manhattan. At David Niven as Phineas Fogg realized about men and women in love was my Mama Leone’s I tasted Parmesan cheese that crossing the International Date Line parents’ marriage, and that didn’t seem for the first time. Then we walked a few had returned him to London on Day 80, something to pine for. blocks to the only theater in the world the communal exuberance was thrilling. Three Best Pictures, three years in a playing the widescreen epic comedy- A year later my brother took me to an- row: the thrill of daring men in the wide, adventure, Around the World in 80 Days. other palace, the Capitol Theater, for The wide, Todd-AO world; the horrors that I was already a regular at Saturday Bridge on the River Kwai.
  • 31 Days of Oscar® 2010 Schedule

    31 Days of Oscar® 2010 Schedule

    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No

    ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No

    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
  • Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall

    Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall

    Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U.
  • Ronald Davis Oral History Collection on the Performing Arts

    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.
  • 1 \^Ith D Brownsville a and B Valley D Theaters 1

    1 \^Ith D Brownsville a and B Valley D Theaters 1

    1 \^ith D Brownsville a and B Valley D Theaters 1 COMEDY RIOT STARS OF FILM WILL IS ADVISING I IN ‘OUR BETTERS’ HaewaHHBBBMT «ws\ iteS And the big laugh riot ‘"Riey Just Had to Get Married”, featuring fSUm Summerville and Zasu Pitts, the great laugh team. Showing Tuesday and Wednesday at the Capitol. Brownsville. Constance Bennett and Gilbert Roland in “Our Betters’* showing to- day and Monday at the Rivoli Theatre. San Benito. Dick Powell. Marion Nixon and Will Rogers in “Too Busy to Work," “THE showing Tuesday and Wednesday at V\e Rivoli Theatre. San Benito. GREAT JASPER’1 stalwart young leading man Is cast as Lieut. B F. Pinkerton. Charlie LAW ON I'AROLE GIRL’S TRAIL THRILLS ARE Ruggles has an effective comedy ummm mmmrn " role especially written into the pic- ture for him. Irving Pu^el Is a con- APLENTY IN vincing menaco’. Pistol Shoot Sunday (Special to The Herald • FILM HARLINGEN. March 25 —The QUEEN_ last preliminary pistol shoot before the record shoot of April 9. is ex- Edward G. Robinson and Bebe Daniels in “Silver Dollar." showing Ha* ‘Lucky Devil*’ pected to be held by reserve of- Thursday and Friday at the Rivoli Theatre, San Benito. Bill In ficers of the Valley at A< Boyd Gardens Sunday. Lead Role In April the officers will PRIVATE JONES (SPITFIRE TRACY) for medals offered by a San tonic firm. Dare-devil stunts performed by w. nos men with charmed lives make Richard Dix In a new screen hit The Great "MARRIAM again Jasper" supported Lucky Devils,' Bill Boyd's new RKO by Wera Engels and Edna May Oliver.
  • Films from the THIRTIES: PART II 1935-39

    Films from the THIRTIES: PART II 1935-39

    t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
  • UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011

    UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011

    UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr.
  • Ralph Bellamy Papers, 1926-1982 (Bulk 1980-1982)

    Ralph Bellamy Papers, 1926-1982 (Bulk 1980-1982)

    http://oac.cdlib.org/findaid/ark:/13030/kt5290381r No online items Finding Aid for the Ralph Bellamy papers, 1926-1982 (bulk 1980-1982) Processed by Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney, Julie Graham and Caroline Cubé. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Ralph Bellamy 224 1 papers, 1926-1982 (bulk 1980-1982) Descriptive Summary Title: Ralph Bellamy papers, Date (inclusive): 1926-1982 Date (bulk): (bulk 1980-1982) Collection number: 224 Creator: Bellamy, Ralph, 1904-1991 Extent: 2 boxes (1 linear ft.) Abstract: Ralph Bellamy has acted on stage, film, and motion pictures. The collection consists primarily of materials related his role in the television mini series Winds of War, including scripts as well as production and press material. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
  • His Girl Friday (1940)

    His Girl Friday (1940)

    Conversations about great films with Diane Christian & Bruce Jackson HOWARD HAWKS (30 May 1896, Goshen, Indiana—26 December 1977, Palm Springs, California, aftermath of a fall) directed 47 films (and was producer on most of them) and wrote 24 screenplays. The last film he directed was Rio Lobo 1970; his first was Road to Glory 1926. Some of the others were: Man's Favorite Sport? (1964), Hatari! (1962), Rio Bravo (1959), Land of the Pharaohs (1955), Gentlemen Prefer Blondes (1953), I Was a Male War Bride (1949), A Song Is Born (1948), Red River (1948), The Big Sleep (1946), To Have and Have Not (1944), Sergeant York (1941), Only Angels Have Wings (1939), Bringing Up Baby (1938), Come and Get It (1936), Barbary Coast (1935), Twentieth Century (1934), Scarface (1932), and The Dawn Patrol (1930). He won an honorary Oscar in 1975. BEN HECHT (28 February 1894, New York City—18 April 1964, NYC, HIS GIRL FRIDAY (1940). 92 min thrombosis) wrote or co-wrote 128 screenplays, half of them uncredited. Produced and directed by Howard Hawks Some of them are Cleopatra (1963), Mutiny on the Bounty (1962), Walk on Based on the play, “The Front Page,” by Ben Hecht the Wild Side (1962), A Farewell to Arms (1957), Miracle in the Rain and Charles MacArthur (1956), The Court-Martial of Billy Mitchell (1955), The Man with the Screenplay by Charles Lederer Golden Arm (1955), Guys and Dolls (1955), Rope (1948), The Miracle of Cinematography by Joseph Walker the Bells (1948), Ride the Pink Horse (1947), Kiss of Death (1947), Duel in the Sun (1946), Notorious (1946), Gilda (1946), Spellbound (1945), Cary Grant ...Walter Burns Lifeboat (1944), The Outlaw (1943), Gone with the Wind (1939), Wuthering Rosalind Russell ...Hildegaard 'Hildy' Johnson Heights (1939), Stagecoach (1939), Angels with Dirty Faces (1938), Ralph Bellamy ...Bruce Baldwin Barbary Coast (1935), Viva Villa! (1934), Scarface (1932), and The New Gene Lockhart ...Sheriff Peter B.
  • Movie Time Descriptive Video Service

    Movie Time Descriptive Video Service

    DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list.
  • Tom Marshall's Weekly News, September 12, 2016 Actors And

    Tom Marshall's Weekly News, September 12, 2016 Actors And

    Tom Marshall’s Weekly News, September 12, 2016 Actors and Actresses Depicting Famous People: The Weekly News of December 11, 2006, was entitled “Let’s Go to the Movies.” When I was young during the Golden Age of Hollywood, I loved the movies, culminating in the Club House Theater in Yorklyn, which I operated for two seasons in 1947 and 1948. From the 1930s through the ‘50s, leading stars of the screen were under contract with the big studios and often took roles not to their liking. Among the features during this period was the portrayal of American heroes in full-length films, which carried over to historical documentaries on TV. The earlier movies took liberties with actual facts, but they were popular. Big name stars were often asked to portray historical figures. Sometimes they were honored to do it; often they “had to.” Following is the list of those I can recall. Spencer Tracy: Clarence Darrow, Father Flanagan, Christopher Jones, Jimmy Doolittle, Thomas Edison, Robert Rogers. Edward Arnold: Pawnee Bill, Daniel Webster Walter Hampden: Thomas Jefferson Hal Holbrook: John Adams, Mark Twain, Abraham Lincoln Henry Fonda: Abraham Lincoln James Stewart: Glenn Miller, Charles A. Lindbergh Cary Grant: Cole Porter Don Ameche: Alexander Graham Bell, Stephen Foster James Cagney: George M. Cohan Gary Cooper: Lou Gehrig, Sergeant York Joel McCrea: Buffalo Bill Cody Louis Calhern: Buffalo Bill Cody Raymond Massey: Abraham Lincoln, John Brown Robert Walker: Jerome Kern Jose Ferrer: Sigmund Romberg Tony Curtis: Harry Houdini Charlton Heston: Andrew Jackson (twice) Van Heflin: Andrew Johnson Ronald Reagan: George Custer, George Gipp Errol Flynn: Earl of Essex, Gentleman Jim Corbett, Jeb Stuart, George Custer Howard Keel: Frank Butler Fess Parker: Swamp Fox Marion, Davy Crockett, James J.