Banker Amadeo Peter Giannini, the Fighting Sullivans
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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. -
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E. -
Lbc July07.Pdf
It’s a busy year for birthdays: John Wayne, FROM THE Laurence Olivier, Barbara Stanwyck, Fay Wray, Burgess Meredith, Katharine Hepburn, Gene BOOTH Autry, and Rosalind Russell, among others, would have turned 100 this year. We’re celebrating by NOT slavishly following the mob of classic-movie stations that will be running King Kong and His Girl Friday and Git Along Little Dogies in ’round-the- from the booth clock birthday bashes. Instead, we’re doing what we do best: dig through the vaults for unheralded gems and seldom-screened classics. So instead of Fay Wray screaming and John Wayne shooting, we have Walter Huston saving America (again!) in Gabriel Over the White House, Henry Fonda winning World War II in The Immortal Sergeant, Judy Garland and Mickey Rooney putting on a show (again!) in Strike Up the Band, and Judy Holliday foreseeing American Idol’s cult of instant celebrity in It Should Happen to You. And, for a change of pace, we’ve got giant grasshoppers, giant scorpions, giant creatures from Venus, and one tiny, tiny man in a handful of 1950s sci-fi classics scattered throughout the season. (Speaking of anniversaries, if you blinked, you probably missed the 35th anniversary of this very theater back in May. Happy birthday to us.) Program by Michael King (MK) and Michael W. Phillips, Jr. (MP) CHRISTMAS IN JULY | 1940 july 7, 2007 Director: Preston Sturges Striking while the iron was hot, America’s foremost cinematic satirist rushed his second feature as director intro production before his debut had even opened. Preston Sturges was eager to make use of a story he had been kicking around Universal for a decade: a regular go-getter (Dick Powell) is duped into thinking he’s won $25,000 in an advertising slogan contest with his asinine entry. -
The White Rose in Cooperation With: Bayerische Landeszentrale Für Politische Bildungsarbeit the White Rose
The White Rose In cooperation with: Bayerische Landeszentrale für Politische Bildungsarbeit The White Rose The Student Resistance against Hitler Munich 1942/43 The Name 'White Rose' The Origin of the White Rose The Activities of the White Rose The Third Reich Young People in the Third Reich A City in the Third Reich Munich – Capital of the Movement Munich – Capital of German Art The University of Munich Orientations Willi Graf Professor Kurt Huber Hans Leipelt Christoph Probst Alexander Schmorell Hans Scholl Sophie Scholl Ulm Senior Year Eugen Grimminger Saarbrücken Group Falk Harnack 'Uncle Emil' Group Service at the Front in Russia The Leaflets of the White Rose NS Justice The Trials against the White Rose Epilogue 1 The Name Weiße Rose (White Rose) "To get back to my pamphlet 'Die Weiße Rose', I would like to answer the question 'Why did I give the leaflet this title and no other?' by explaining the following: The name 'Die Weiße Rose' was cho- sen arbitrarily. I proceeded from the assumption that powerful propaganda has to contain certain phrases which do not necessarily mean anything, which sound good, but which still stand for a programme. I may have chosen the name intuitively since at that time I was directly under the influence of the Span- ish romances 'Rosa Blanca' by Brentano. There is no connection with the 'White Rose' in English history." Hans Scholl, interrogation protocol of the Gestapo, 20.2.1943 The Origin of the White Rose The White Rose originated from individual friend- ships growing into circles of friends. Christoph Probst and Alexander Schmorell had been friends since their school days. -
Munich in the 1920S
International Journal of Humanities and Social Science Vol. 1 No. 20; December 2011 Hitler’s Beer Hall Politics: A Reassessment based on New Historical Scholarship Jeffrey Gaab, Ph. D. Professor of History Department of History, Economics, and Politics SUNY College Farmingdale 2350 Broadhollow Road Farmingdale, New York. USA 11735. Abstract As the eightieth anniversary of Adolf Hitler’s accession to power in Germany approaches in 2013, recent scholarship has revised Hitler’s description of his formative experiences. This new scholarship demonstrates that Hitler’s time in Munich was far more significant than his period in Vienna. The new secondary literature demonstrates conclusively that Munich, not Vienna, became the “school of his life.” It was in Munich, as a “beer hall agitator,” where Hitler learned the political skills he would later employ to outmaneuver Germany’s professional politicians and seize power in 1933. Ian Kershaw has described Hitler’s years in Munich as “the years of his political apprenticeship.” Hitler developed an “aggressive obstinacy” during his years in Munich that lead to his political success. The “aggressive obstinacy” developed after numerous experiences in Munich’s beer halls. This paper argues that the road to the Reich’s Chancellery in 1933 lead through Munich’s beer halls in the 1920s. Key Words: Adolf Hitler, Germany, Third Reich, National Socialism, Munich, Beer Hall. Introduction In Mein Kampf, Adolf Hitler wrote that his political development occurred during his time in Vienna before he came to Germany in 1913. In Vienna, Hitler wrote, “I obtained the foundations for a philosophy in general and a political view in particular which later I only needed to supplement in detail, but which never left me.” In fact, Hitler argues that his political “awakening” caused him to leave Vienna for Munich. -
The Anatomy of a Proletarian Film: Warner's "Marked Woman" Author(S): Charles W
The Anatomy of a Proletarian Film: Warner's "Marked Woman" Author(s): Charles W. Eckert Source: Film Quarterly, Vol. 27, No. 2 (Winter, 1973-1974), pp. 10-24 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1211557 Accessed: 10-12-2016 04:46 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly This content downloaded from 129.100.58.76 on Sat, 10 Dec 2016 04:46:09 UTC All use subject to http://about.jstor.org/terms 10 I0 MARKED WOMAN MARKED WOMAN waitingwaiting song of World War II. songIn the midst of Dayof for for Night Night holdsWorld holds a very a veryimportant important posi- War posi- II. In the midst of the melodramatic scramble to save the "inno- tion in in Truffaut's Truffaut's canon. canon. As content, As content, the film- the film- cent" Camilla, the camera gives us close-ups making of process process becomes becomes his vehicle his vehicle for express- for express- Kodak kittens and puppies, reminding us how ing kindness, kindness, wit, wit, and wisdom,and wisdom, the values the which values which easily we can be manipulated by art. -
Marked Woman (1937) and the Dialectics of Art Deco in the Classical Gangster Genre
San Jose State University SJSU ScholarWorks Faculty Publications Television, Radio, Film and Theatre 1-1-2012 Marked Woman (1937) and the Dialectics of Art Deco in the Classical Gangster Genre Drew Todd San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/trft_pub Part of the Film and Media Studies Commons, Radio Commons, and the Television Commons Recommended Citation Drew Todd. "Marked Woman (1937) and the Dialectics of Art Deco in the Classical Gangster Genre" Film, Fashion & Consumption (2012): 305-325. https://doi.org/10.1386/ffc.1.3.305_1 This Article is brought to you for free and open access by the Television, Radio, Film and Theatre at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. FFC 1 (3) pp. 305–323 Intellect Limited 2012 Film, Fashion & Consumption Volume 1 Number 3 © 2012 Intellect Ltd Article. English language. doi: 10.1386/ffc.1.3.305_1 drew Todd San José State University Marked Woman (1937), and the dialectics of Art deco in the classical gangster genre AbsTrAcT Keywords 1. In this article, I analyse the function of Art Deco designs in the 1930s gangster Art Deco 2. genre and, in particular, Warner Brothers’ Marked Woman (Bacon, 1937). Like gangster 3. many gangster films of the period, it associates high-style Art Deco with excess excess 4. and the criminal underworld. My findings, however, reveal a tension between mise-en-scène 5. the film’s moralist stance and its visual excess. -
Professor John P. Bakke
Men at War: Early Lessons at "The Town" Professor John P. Bakke Last spring I finally got the courage to teach a seminar in rhetoric and popular war films, especially those made during or shortly after World War II. As the bombing of Pearl Harbor is my earliest memory, I was literally weaned on such movies and made no distinction between what I saw on the screen and the war itself. Like Jeanine Basinger confesses in the introduction to her admirable study of World War II combat films, I expected the enemy in my backyard everyday. Why? In her words, "I went to the movies . .. and God knows, there they were."1 Oh, I remember blackouts, shortages, and rationing. And I remember neighbors going to war and occasional talk of someone not coming home. But those memories are no more real to me than those black and white images I saw in the Town Theatre in Waukon, Iowa. I never had any interest in the history of any war. I don't care if there was or was not a "Tanaka Plan." I don't care what the real turning point was in "The Battle of the Bulge" or even if Der Feuhrer is alive and well and living in Argentina. I care about war "films" because I learned from them values, senses of right and wrong, and notions about patriotism and freedom and courage and manliness. They placed images in my head of strange looking people from such far away places as Brooklyn and Tennessee, England and France, and, oh yes, from Germany and Japan. -
Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H. -
Today's Martyrs
Today’s Martyrs Resources for understanding current Christian witness and martyrdom White Rose resistance milestones – 1941 through 1945 This timeline contains not only the events of the arrest and execution of the Christian members of the anti-Nazi White Rose resistance movement, but also relevant entries of Bishop Clemens August Graf von Galen (who had inspired them with his anti-Nazi homilies) and Helmut James Graf von Moltke (the jurist responsible for sending the White Rose leaflets to London) Sunday July 13, 1941 Germany: Munster Bishop Clemens August Graf von Galen (aged 63, co-authored the 1937 encyclical Mit Brennender Sorge, which attacked the philosophical underpinnings of the Nazi regime; UPDATE: delivered a homily attacking the Gestapo for human and civil rights violations that denied justice and created a climate of fear in the country) http://en.wikipedia.org/wiki/Clemens_August_Graf_von_Galen Sunday July 20, 1941 Germany: Munster Bishop Clemens August Graf von Galen (aged 63, UPDATE: delivered a homily stating that written protests against the government’s anti-Christian activities had failed, that clergy and religious were still being arrested and deported, and that the German people were being destroyed not by the Allies’ war activities but rather by negative forces within the country) http://en.wikipedia.org/wiki/Clemens_August_Graf_von_Galen Sunday August 3, 1941 Germany: Munster Bishop Clemens August Graf von Galen (aged 63, UPDATE: delivered a homily condemning the desecration of churches, the closing of convents -
Artistry in Motion
Artistry in Motion Charlie Chaplin’s Comedies in Historical Perspective Lecturer: PD Dr. Stefan L. Brandt, Guest Professor Winter term 2011/12 Charlie Chaplin – Select Filmography (in chronological order) Making A Living. Dir. Henry Lehrman. Perf. Charles Chaplin, Virginia Kirtley and Alice Davenport. Keystone Film Company, 1914. Kid Auto Races at Venice. Dir. Henry Lehrman. Perf. Charles Chaplin and Henry Lehrman. Keystone Film Company, 1914. The Tramp. Dir. Charlie Chaplin. Perf. Charlie Chaplin, Edna Purviance, Lloyd Bacon. Essanay Studios, 1915. The Immigrant. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Eric Campbell. Mutual Film, 1917. A Dog’s Life. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Dave Anderson. First National Pictures, 1918. The Kid. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Jackie Coogan, Carl Miller. First National Pictures, 1921. Safety Last. Dir. Fred C. Newmeyer and sam Taylor. Perf. Harold Lloyd, Mildred Davis, Bill Strother, Noah Young. Hal Roach Studios, 1923. The Gold Rush. Dir. Charles Chaplin. Perf. Charles Chaplin, Mack Swain, Tom Murray, Henry Bergman. United Artists, 1925. The Circus. Dir. Charles Chaplin. Perf. Charles Chaplin, Merna Kennedy, Al Ernest Garcia, Harry Crocker. United Artists, 1928. City Lights. Dir. Charles Chaplin. Perf. Charles Chaplin, Virginia Cherrill, Florence Lee, Harry Myers. United Artists, 1931. Modern Times. Dir. Charles Chaplin. Perf. Charles Chaplin, Paulette Goddard, Herny Bergman. , 1936. The Great Dictator. Dir. Charles Chaplin. Perf. Charles Chaplin, Paulette Goddard, Jack Oakie, Reginald Gardiner, Billy Gilbert. United Artists, 1940. Monsieur Verdoux. Dir. Charles Chaplin. Perf. Charles Chaplin, Mady Correll, Allison Roddan, Robert Lewis. United Artists, 1947. A King in New York. -
Study Guide for Sophie Scholl: the Final Days
STUDY GUIDE FOR SOPHIE SCHOLL: THE FINAL DAYS PRODUCED BY: Vicky Knickerbocker Outreach Coordinator at the Center for Holocaust and Genocide Studies UNIVERSITY OF MINNESOTA, TWIN CITIES CAMPUS SOPHIE SCHOLL AND THE WHITE ROSE: A CASE STUDY IN DISSENT in NAZI GERMANY CURRICULUM GUIDE for the film, Sophie Scholl: The Final Days, authored June, 2006 by Vicky Knickerbocker and edited by Dr. Stephen Feinstein Introduction: Today in Germany, one of the most popular heroes is Sophie Scholl. She is greatly admired for the bold and courageous actions she took to defy the Nazi regime. She and several other members of the White Rose, including her brother Hans, clandestinely published and distributed anti-Nazi literature. Between the early summer of 1942 and February 1943, people in cities in the South of Germany and in Austria found leaflets in their mail boxes calling for protests against the Nazi regime. On February 19, 1943, Hans and Sophie took a great risk by placing copies of a sixth leaflet produced by the White Rose Group in the deserted halls of the University of Munich. After a janitor spotted them, they were arrested by the Gestapo. Sophie, her brother Hans and Christoph Probst were soon tried and executed. The recent film, Sophie Scholl: The Final Days, directed by German director Marc Rothemund, reconstructs the last six days of her life. Based on actual trial transcripts and official police records, this film dramatizes her arrest, her interrogation, her imprisonment, her trial, and her execution. This film reminds its viewers that German resistance did occur and that young adults played prominent roles in the German resistance movement.