Guide to the Harpo Marx Papers
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Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
The Algonquin Round Table New York: a Historical Guide the Algonquin Round Table New York: a Historical Guide
(Read free ebook) The Algonquin Round Table New York: A Historical Guide The Algonquin Round Table New York: A Historical Guide QxKpnBVVk The Algonquin Round Table New York: A Historical Guide GF-51433 USmix/Data/US-2015 4.5/5 From 294 Reviews Kevin C. Fitzpatrick DOC | *audiobook | ebooks | Download PDF | ePub 13 of 13 people found the following review helpful. A great way to introduce yourself to a group who made literary historyBy Greg HatfieldIt seems my entire life has been connected to the Algonquin Round Table. When I first discovered Harpo Marx, as a youngster, it led me to his autobiography, Harpo Speaks,where I then learned about the Round Table. Alexander Woollcott, George S. Kaufman, Dorothy Parker, Robert Benchley, Franklin P. Adams, Edna Ferber, Heywood Broun, and all the rest who made up the Vicious Circle, became an obsession to me and I had to learn about their lives and, more importantly, their work.Kevin Fitzpatrick has done a remarkable job with this book, putting the group into a historical perspective, and giving the reader a terrific overview of what made the Algonquin Round Table unique and worthy of your time. They were the leading writers and critics of the 1920's, who really did enjoy one another's company, meeting practically every day for lunch for ten years at the Algonquin Hotel.Fitzpatrick says, in one section, that there isn't a day, in this modern era, where someone, somewhere, mentions one of the group in a glowing context (I'm paraphrasing here). The fact remains that the work of Kaufman, Mrs. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
The Inventory of the Alexander Woollcott Collection #344
The Inventory of the Alexander Woollcott Collection #344 Howard Gotlieb Archival Research Center WOOLLCOTT, Alexander Purchase: 1971. #l2G Box 1 Folder 1921-1940. Letters from Alexander Woollcott ( #1) 1921 ALS, to Dr. Saunders. October 28. "About 1921 11 marked in pencil on the first page. 2 pp. 1932 TLS, New York, to Mrs. A. P. Saunders, Clinton, N. '/· March 19. 2 pp. Typescript envelope postmarked the same date. TLS, New York, to Mrs. Saunders. October 21. 2 pp. 1936 ALS, Bomciseen,~Vt., to "Louise" October 6, no year marked on letter. 3 pp. Holograph note about Eleanora (van?) Mendelsohn, Viennese actress, who is mentioned in the letter, enclosed. Holograph envelope postmarked October 7. 11 1939 TLS, Beverley Hills, Calif., to "Louise • April 1. 2 pp. Typescript envelope postmarked the same date. 1940 TLS, Bomoseen, Vt., to Mr. Plumley. September 22. 2 pp. Note: Louise is Mrs. Saunders. Dr. Saunders is Arthur Percy Saunders, 1869-1953.~ a ahemist and dean at Hamilton College. WOOLLCOTT, ALEXANDER Purchase: Addenda January 1972 Box 1 Letters from Alexander Woollcott (#1) 1930 TLS. No place, To Miss Schneider, October 3, 1930. 1930 TLS. New York, To Miss Schneider, October 15, 1930. 1934 TLS. New York, to Mr. Scaife t: Roger Livingston Scaife 1875-19513, December 12, 1934. 2 PP• 1936 TLS. New York, to the Rev. Charles Russell Peck, Concord, Mass., no date with typescript envelope postmarked December 7, 1936. 1940 TLS. Fairmont Hotel, San Francisco, to Pierre Monteux (1875-1964), San Francisco, March 27,1940 with envelope postmarked March 26. WOOLLCOTT, Alexander Purchase: November 1977 :Jox 1 Letters from Alexander Woollcott (#1) ALS Carlton Hotel, London to Negley Farson, April 9, 1936, 2 p. -
An Educational Guide Filled with Youthful Bravado, Welles Is a Genius Who Is in Love with and Welles Began His Short-Lived Reign Over the World of Film
Welcome to StageDirect Continued from cover Woollcott and Thornton Wilder. He later became associated with StageDirect is dedicated to capturing top-quality live performance It’s now 1942 and the 27 year old Orson Welles is in Rio de Janeiro John Houseman, and together, they took New York theater by (primarily contemporary theater) on digital video. We know that there is on behalf of the State Department, making a goodwill film for the storm with their work for the Federal Theatre Project. In 1937 their tremendous work going on every day in small theaters all over the world. war effort. Still struggling to satisfy RKO with a final edit, Welles is production of The Cradle Will Rock led to controversy and they were This is entertainment that challenges, provokes, takes risks, explodes forced to entrust Ambersons to his editor, Robert Wise, and oversee fired. Soon after Houseman and Welles founded the Mercury Theater. conventions - because the actors, writers, and stage companies are not its completion from afar. The company soon made the leap from stage to radio. slaves to the Hollywood/Broadway formula machine. These productions It’s a hot, loud night in Rio as Orson Welles (actor: Marcus In 1938, the Mercury Theater’s War of the Worlds made appear for a few weeks, usually with little marketing, then they disappear. Wolland) settles in to relate to us his ‘memoir,’ summarizing the broadcast history when thousands of listeners mistakenly believed Unless you’re a real fanatic, you’ll miss even the top performances in your early years of his career in theater and radio. -
Journalist Biographie Archibald, John
Report Title - p. 1 of 303 Report Title Amadé, Emilio Sarzi (Curtatone 1925-1989 Mailand) : Journalist Biographie 1957-1961 Emilio Sarzi Amadé ist Korrespondent für Italien in China. [Wik] Archibald, John (Huntley, Aberdeenshire 1853-nach 1922) : Protestantischer Missionar, Journalist Biographie 1876-1913 John Archibald arbeitet für die National Bible Society of Scotland in Hankou. Er resit in Hubei, Hunan, Henan, Anhui und Jiangxi. [Who2] 1913 John Archibald wird Herausgeber der Central China post. [Who2] Bibliographie : Autor 1910 Archibald, John. The National Bible Society of Scotland. In : The China mission year book ; Shanghai (1910). [Int] Balf, Todd (um 2000) : Amerikanischer Journalist, Senior Editor Outside Magazine, Mitherausgeber Men's journal Bibliographie : Autor 2000 Balf, Todd. The last river : the tragic race for Shangi-la. (New York, N.Y. : Crown, 2000). [Erstbefahrung 1998 für die National Geographic Society durch wilde Schluchten des Brahmaputra (Tsangpo) in Tibet, die wegen Strömungen und Tod von Douglas Gordon (1956-1998) scheitert]. [WC,Cla] Balfour, Frederic Henry (1846-1909) : Kaufmann, Journalist in China Bibliographie : Autor 1876 Balfour, Frederic Henry. Waifs and strays from the Far East ; being a series of disconnected essays on matters relating to China. (London : Trübner, 1876). https://archive.org/details/waifsstraysfromf00balfrich. 1881 Chuang Tsze. The divine classsic of Nan-hua : being the works of Chuang Tsze, taoist philosopher. With an excursus, and copious annotations in English and Chinese by Frederic Henry Balfour. (Shanhgai ; Hongkong : Kelly & Walsh, 1881). [Zhuangzi. Nan hua jing]. https://catalog.hathitrust.org/Record/100328385. 1883 Balfour, Frederic Henry. Idiomatic dialogues in the Peking colloquial for the use of students. (Shanghai : Printed at the North-China Herald Office, 1883). -
Not Designated for Publication
PUBLIC MATTER – NOT DESIGNATED FOR PUBLICATION Filed May 19, 2015 STATE BAR COURT OF CALIFORNIA REVIEW DEPARTMENT In the Matter of ) Case No. 12-O-10043 ) A. EDWARD EZOR, ) OPINION AND ORDER ) A Member of the State Bar, No. 50469. ) ) This case illustrates the dire consequences an attorney may face when he allows financial self-interest to override his fiduciary responsibilities to a client. A. Edward Ezor appeals a hearing judge’s decision that he be disbarred for willful misappropriation and for failing to maintain funds in trust for an elderly, disabled client. Ezor concedes he did not maintain the required balance in his client trust account (CTA), but denies he misappropriated the funds. He insists that a single accounting error caused the deficiency. The judge rejected his explanation, finding it lacked credibility and supporting proof. After independently reviewing the record (Cal. Rules of Court, rule 9.12), we also reject Ezor’s explanation and find that he intentionally and dishonestly misappropriated $37,247.22. We affirm the hearing judge’s disbarment recommendation. I. FACTUAL AND PROCEDURAL BACKGROUND1 Ezor was admitted to the State Bar in 1972, and has no record of prior discipline. His misconduct arose out of his representation of Maxine Marx, a beneficiary of the estate of her late 1 We base the factual background on a pretrial Stipulation as to Facts and Admission of Documents, trial testimony, documentary evidence, and the hearing judge’s factual findings, which are entitled to great weight. (Rules Proc. of State Bar, rule 5.155(A).) In particular, we give considerable weight to the findings based on credibility evaluations. -
Jewish Culture Spring 2020 Welcome Table of Contents
QUENCH YOUR THIRST FOR JEWISH CULTURE SPRING 2020 WELCOME TABLE OF CONTENTS It isn’t a coincidence that Passover, the holiday that celebrates freedom, is in the Spring. That’s when flowers Welcome 2 bloom, temperatures rise, and, after a winter trapped indoors, we all get to play outside. Buying Tickets 3 So it also isn’t coincidence that freedom and playfulness are undercurrents of JArts’ Spring 2020 season. You’ll savor it through special menu items at Boston’s only Israeli restaurant week. You’ll hear it in the music of Support JArts 4 the unforgettable Argentinian musical duo who will be our Rukin Memorial artists-in-residence. You’ll be surprised and delighted with it in our new JLab series of experimental, unexpected works. And you’ll experience it through The Shape of Play, our public art installation in downtown Boston by artist Sari Carel, following our award-winning Events 6 Pathways to Freedom project. Staff, Contact Info, 20 Whether in a public art project or at a Seder, fun and play are far from frivolous. From the ancient afikomen to Sponsors today’s latest parody songs, people have always incorporated playful elements for passing stories like the Exodus story on to the next generation. Leadership 20 Nachman of Breslov declared “Freedom is the world of joy.” The connections between freedom, laughter, and play Season Calendar 23 are core to the Jewish experience. We hope you will join us this season. Laura Mandel Joey Baron Executive Director Artistic Director 2 BUYING TICKETS IS EASY ABOUT THE JEWISH ARTS COLLABORATIVE ONLINE JArts™ brings people together to explore and celebrate the diverse, world of Jewish art, culture, and creative expression. -
American Discourses on Jewishness After the Second World War (1945-49) Samantha M
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2013 "We long for a home": American discourses on Jewishness after the Second World War (1945-49) Samantha M. Bryant James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the History Commons Recommended Citation Bryant, Samantha M., ""We long for a home": American discourses on Jewishness after the Second World War (1945-49)" (2013). Masters Theses. 162. https://commons.lib.jmu.edu/master201019/162 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. “We Long For a Home”: American Discourses on Jewishness After the Second World War (1945-49) Samantha M. Bryant A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts History May 2013 To my late grandfather whose love for history and higher education continues to inspire my work. Despite having never entered a college classroom, he was, and continues to be, the greatest professor I ever had. ii Acknowledgments The seeds of this project were sown in the form of a term paper for an undergraduate course on the history and politics of the Middle East at Lynchburg College with Brian Crim. His never-ending mentorship and friendship have shaped my research interests and helped prepare me for the trials and tribulations of graduate school. -
Reappraising Classical Film Music Scoring and Analysis
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction Céline Murillo and David Roche Electronic version URL: http://journals.openedition.org/miranda/39864 DOI: 10.4000/miranda.39864 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Céline Murillo and David Roche, “Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction”, Miranda [Online], 22 | 2021, Online since 06 March 2021, connection on 26 April 2021. URL: http://journals.openedition.org/miranda/39864 ; DOI: https://doi.org/10.4000/ miranda.39864 This text was automatically generated on 26 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis... 1 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction Céline Murillo and David Roche 1 This special issue of Miranda is comprised of a selection of articles that were presented at the SERCIA conference entitled “Music & Movies: National and Transnational Perspectives,” organized by Frank Mehring (Radboud University) and Melvyn Stokes (University College London) at Radboud University, Nijmegen, in September 2014. We would like to start by thanking the organizers for a wonderful conference and the SERCIA board for entrusting us with the challenging task of editing this issue. The task was from the start a challenge because the conference confirmed that, even today, the majority of film scholars—that is those who do not have a background in music and musicology—remain cautious, if not downright inhibited, when it comes to studying music in film.