DOCSLIB.ORG

The Scarlet Hour

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Scarlet Hour WINTER 2010 Noir City Sentinel 9 By Gary Deane Special to the Sentinel hen theorists and aficionados attempt to • Another female, good and dutiful, in love with and the director Mr. Curtiz has achieved a locate a definitive “end point” for the clas- the man; certain amount of suspense but little else.” Wsic period of film noir, four films emerge as • An urban setting where lives are lived out (UK Times, May 1957) the leading candidates: unhappily by day and by night; • A lurid and convoluted plot conveyed with hard- To present-day eyes, The Scarlet Hour isn’t drab at • Touch of Evil (1958), for its baroque inflations boiled urgency; all, merely dense in its complications and saturated of character and style; • Shadows, low angles, and “trick” shots adding with character types that seem contemporary and • Odds Against Tomorrow (1959), for its modern- unsettled atmosphere. anachronistic at the same time. It’s a familiar tale of ism and progressive tonal shifts; dark love, obsession, duplicity and murder. Tryon is • Psycho (1960), for its narrative and generic The Scarlet Hour was produced and directed by E.V. “Marsh” Marshall, the protégé of land developer dislocations; the renowned Michael Curtiz. Backed by Paramount, Ralph Nevins (Gregory), who happens to be having • Blast of Silence (1961), for its all-pervasive the film received a healthy A-feature budget. an affair with his boss’s wife, Paulie (Ohmart). moral desolation. However, the cast was populated with mostly “new faces,” including Tom Tryon, Carol Ohmart, James Disagreement is inevitable, given that the very Gregory, and Jody Lawrance. When completed, the definition of film noir is itself fluid. film was released with little fanfare and quickly dis- Each of these four films, however, represents appeared from screens. For more than fifty years, it some kind of distinct change from what went before. has languished in total obscurity. Thus the actual endpoint of “classic noir” might more Is its obscurity justified? Contemporary reviews logically be found in a film that sums up what that of the film were lukewarm at best. It actually played “fluid” consensus had been. more in Great Britain than in the States—and the UK A final and unapologetic evocation of exactly press, so often harsh in its assessment of crime films, what went before is precisely what we’re in search of did not make an exception to this rule for The Scarlet … and is what brings us to The Scarlet Hour (1956). Hour: Despite its release date, The Scarlet Hour is a film far more in character with ’40s noir, with many “It is a very drab hour and a half, in the of the insistent thematic, narrative, and visual motifs company of actors who have not yet of the earlier decade: established their reputations and are unlikely to achieve them as a result of this • A male protagonist obsessed with a sexually movie. The story combines a rather alluring woman; unsavoury triangle with a jewel robbery Tom Tryon and Carol Ohmart in The Scarlet Hour 10 Noir City Sentinel WINTER 2010 Marshall and Ed Binns as the investigating police better elaborated, adding visual luster and character officers. All had established their acting bona fides in dimension, setting in motion several story elements in television, and all would become fixtures on the small one fell swoop. screen in the 60s. And the script has its share of well-turned one- Jody Lawrance, on the rebound from an aborted liners, most of them handed to Paulie. They are not launch at Columbia earlier in the decade, does what only memorably hard-boiled, they add character reso- she can with her role, but in her bottle-blonde incar- nance: nation she is too reminiscent of the edgier and far “Don’t try to brush me off, Marsh—when I more distinctive Jan Sterling. She might have stood stick, I stick hard.” out more as a brunette. (Lawrance disappeared from “I never thought about the things I wanted, only Hollywood in 1961). the things I didn’t want.” All in all, Paulie Nevins is an unusually self- ne actress who stands out here—and does so reflexive femme fatale. Many of her lines function in with style—is Elaine Stritch, playing Phyllis the film the way Walter Neff’s voiceover frames Elaine Stritch (right) almost steals The Scarlet Hour out ORycker, friend and confidante to Paulie. In her Double Indemnity. Like Neff, she goads herself into a from under star Carol Ohmart film debut, Stritch displays her trademark skill at criminal act to tap into a strange nether region of self- wresting attention away from anyone sharing the worth. She’s Phyllis and Walter combined, wrapped Nevins’ secretary Kathy Stevens (Lawrance) is the screen with her. up in one leggy, complicated package. “good girl,” a la Virginia Huston in Out of the Past, Phyllis is a retired-but-not-quite-reformed B-girl Despite these flourishes, the film suffers from who pines for Marsh. who’s found true love in the arms of a blue-collar hedo- an odd type of flatness. All the elements of a top- nist (husband Tom plumbs for a living, but lives to keep notch 40s noir are present, but the combination of a aulie wants the life Ralph’s wealth affords her, his own pipes well-lubricated). She and Paulie have a weak lead actor (Tryon), overly glossy production but she doesn’t want him. In order to take her long backstory—all the way from tenement days—and values, and a lack of velocity in the final reel make Pleave from him with the requisite wherewithal, it’s through their intimate exchanges that we learn things seem a bit stale. Even with such a kinetic she uses her considerable charms to seduce Marsh something more of who Paulie is and what motivates script, the film is just not as emphatic in style and pac- into hijacking a jewelry heist that they overhear being her. While she’s cunning and dressed to kill, we’re also ing as it needs to be. planned while parked in a lovers’ lane. However, allowed to know her as a woman damaged by life and A major reason is that the visuals, despite their Ralph is aware that Paulie has something going on burdened with regret. When Phyllis toasts her ever- enhanced use of low lighting (thanks to a new lens behind his back. Prone to violence, he begins to keep solicitous and slightly sozzled husband, “Here’s to from Japan employed by veteran noir cinematograph- tabs on his wandering wife. When he decides to take happy marriages made in heaven,” Paulie replies: er Lionel Linden), are less seamless than they ought action, the plot thickens and darkens. “Here’s to happy marriages made anywhere.” to be. Not every shot or sequence is as creatively or That’s about as much as you should need or carefully composed as it might have been, and camera want to know going into this film. A good deal of the One actress who stands out here— movement is much less fluid than one is accustomed pleasure to be had from these tales of triangulation and does so with style—is Elaine to in a Curtiz film. and treachery is inevitably in the details. The plot Stritch, playing Phyllis Rycker, Thus Curtiz’ attempt to return to the more ornate twists are ably supplied by lead screenwriter Frank friend and confidante to Paulie. In noir style—one that he’d virtually invented in Tashlin, better known for his work in comedy—The Mildred Pierce, embroidered to baroque perfection in Lieutenant Wore Skirts (1956), Will Success Spoil her film debut, Stritch displays her The Unsuspected (virtually a textbook example of Rock Hunter? (1957)—with the hard-boiled lines trademark skill at wresting atten- Foster Hirsch’s notion of “italicized [visual] served up by Alford “Rip” Van Ronkel and Curtiz’ tion away from anyone sharing the moments”), and synthesized in The Breaking Point— protégé and stepson, John Meredyth Lucas, who screen with her. was derailed by a combination of factors he could not would polish his skills in TV crime dramas over the overcome. In those earlier films, the complicated cho- next decade. This is Tashlin’s sole noir credit, but a Stritch, always a brash scene-stealer, also chal- reography of plot, visuals, and actorly presence desperate undercurrent was palpable in his comedies, lenges Ohmart to stand up to her. Ohmart manages to meshed into something greater than the sum of its well noted by film critic Dave Kehr: “More than most do so, and then some: their scenes together invigorate many parts: in The Scarlet Hour, the yeast doesn’t of his contemporaries, Tashlin was attuned to the the film. quite rise. We have only intimations of the robust fla- ways in which our own desire betrays us.” That qual- Stritch would later dismiss her role in the film as vorings that classic noir provides. ity is abundantly on display here. little more than a random walk-on, but she creates one (Finally, there’s the title. Moviegoers may have Part of the potential in The Scarlet Hour is com- of the great “bit” parts in all of noir and barely breaks wondered, as we do today, just what the heck a “scar- promised by Tom Tryon’s lack of range. Some of this a sweat. let hour” is. The working title for the film was Too stems from the script, which leaves little leeway for Clearly, The Scarlet Hour doesn’t shy away Late, My Love.
Load more

Recommended publications
  • See It Big! Action Features More Than 30 Action Movie Favorites on the Big
    FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films
    [Show full text]
  • Bruce Geller Papers, 1957-1976
    http://oac.cdlib.org/findaid/ark:/13030/kt4w1021tr No online items Finding Aid for the Bruce Geller papers, 1957-1976 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by EEE. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2005 The Regents of the University of California. All rights reserved. Finding Aid for the Bruce Geller PASC 5 1 papers, 1957-1976 Descriptive Summary Title: Bruce Geller papers Date (inclusive): 1957-1976 Collection number: PASC 5 Creator: Geller, Bruce. Extent: 80 boxes (33.4 linear ft.) Abstract: Bruce Geller created, produced, or wrote for a variety of television and motion picture projects. The collection consists scripts and production files related to Geller's career. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library 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 UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
    Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated.
    [Show full text]
  • 75 Years Since the Release of Hollywood Classic Casablanca “And What If You Track Down These Men and Kill Them?
    World Socialist Web Site wsws.org 75 years since the release of Hollywood classic Casablanca “And what if you track down these men and kill them? ... Even Nazis can’t kill that fast” By Joanne Laurier 22 November 2017 As part of the celebration of 75 years since the premiere of Michael and Helmut Dantine, who had actually spent time in a concentration camp Curtiz’s classic and beloved melodrama, Casablanca, in New York City in Austria, is a casino patron. on November 26, 1942, the film was recently shown in select cinemas in Tellingly, only three of the credited cast members were born in the US. the US. This was made possible by Turner Classic Movies, Warner Bros. The themes of sacrifice, nobility and love in the face of tyranny Entertainment and TCM Big Screen Classics Fathom Events. continue to inspire and move audiences. The extraordinary artistic Still enormously popular to this day, the movie is an elegant, textured traditions and level of skill embodied in the director, crew (more about tale of World War II political intrigue, featuring an iconic love triangle. that below), writers and almost miraculous cast, coupled with their depth Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid and Claude of feeling about Hitlerism, helped create one of the 20th century’s most Rains, Casablanca was nominated for eight Academy Awards. remarkable works of popular culture. The final script for Curtiz’s work, labored on by numerous individuals Casablanca begins in 1942 with credits displayed over a map of Africa. (including Julius Epstein, Philip Epstein, Howard E.
    [Show full text]
  • Economies of Russian Literature 1830-1850 by Jillian
    Money and Mad Ambition: Economies of Russian Literature 1830-1850 By Jillian Elizabeth Porter A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Harsha Ram, chair Professor Irina Paperno Professor Luba Golburt Professor Victoria Bonnell Spring 2011 Money and Mad Ambition: Economies of Russian Literature 1830-1850 © 2011 by Jillian Elizabeth Porter 1 Abstract Money and Mad Ambition: Economies of Russian Literature 1830-1850 by Jillian Elizabeth Porter Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Harsha Ram, chair This dissertation offers a sustained examination of the economic paradigms that structure meaning and narrative in Russian literature of the 1830s-1840s, the formative years of nineteenth-century Russian prose. Exploring works by Alexander Pushkin, Nikolai Gogol, Fyodor Dostoevsky, and Faddei Bulgarin, I view tropes such as spending, counterfeiting, hoarding, and gambling, as well as plots of mad or blocked ambition, in relation to the cultural and economic history of Nicholas I’s reign and in the context of the importation of economic discourse and literary conventions from abroad. Furthermore, I consider the impact of culturally and economically conditioned affects—ambition, avarice, and embarrassment—on narrative tone. From the post-Revolutionary French plot of social ambition to
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Sample Pages
    About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop FXOWXUHVFKRODUVDQG¿OPFULWLFVDORQJZLWKLQWURGXFWRU\HVVD\VRQ WKH ¿OP LWV GLUHFWRU DQG D UHVRXUFH VHFWLRQ FRQWDLQLQJ D JHQHUDO ELEOLRJUDSK\ GLUHFWRU¶V FKURQRORJ\¿OPRJUDSK\ FDVW OLVW DZDUGV and honors, and the volume’s contributors … to whom I am grateful. Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is LQWHQGHGDVERWKDFRPSDQLRQIRUVHULRXV¿OPIDQVDQGDUHVRXUFH for students and scholars. No single volume on any movie can be FRPSOHWHEHFDXVHWKHEHVW¿OPV²WKHclassic¿OPV²DOZD\V\LHOG up things to say, year after year. Not surprisingly, much has been written already about CasablancaDVWKHELEOLRJUDSK\DWWHVWV7KH essays contained in this volume add to the critical “conversation” in, I hope, provocative ways. Some overlapping is unavoidable, but LQGLYLGXDOO\WKHVHHVVD\VDSSURDFKWKH¿OPIURPGLIIHUHQWDQJOHV collectively they help to explain why Casablanca is so highly UHJDUGHG²VWLOORUGHVSLWHLWVÀDZV²DQGZK\LWZLOOOLNHO\UHPDLQ so. Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to LGHQWLI\WKHUHDVRQVIRULWVVXFFHVV7KHLVVXHRIDXWHXULVPFRPHV up a number of times, with varying opinions over the amount of credit due director 0LFKDHO&XUWL]²WKRXJKQRQHRIWKHFRQWULEXWRUV GLVSXWHVWKH¿OP¶V²RU&XUWL]¶V²JUHDWQHVV ,Q KHU HVVD\ RQ ³7LSV RI WKH +DW 7KH &ULWLFDO 5HVSRQVH to Casablanca´ %UHQQDQ 0 7KRPDV QRWHV WKDW Casablanca SHUIRUPHGZHOODWWKHER[RI¿FHSDUWO\EHFDXVHRIIRUWXLWRXVWLPLQJ Early reviewers remarked that :DUQHU %URV ZDV HLWKHU OXFN\ RU SUHVFLHQWJLYHQWKDWWKH¿OP¶VSUHPLHUHFDPHOHVVWKDQWKUHHZHHNV after Casablanca, Morocco, was captured by Allied forces and the vii ¿OP¶VVXEVHTXHQWZRUOGZLGHUHOHDVHFRLQFLGHGZLWKWKH&KXUFKLOO Roosevelt meetings in Casablanca. But timing wasn’t everything.
    [Show full text]
  • NPRC) VIP List, 2009
    Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website.
    [Show full text]
  • Second Takes in Recognition of the Ways in Which the Sequel Recapitulates Features of an “Original,” but Additionally Offers Something New to Its Source
    Introduction CAROLYN JESS-COOKE AND CONSTANTINE VEREVIS TONIGHT’S SCHEDULE FOR A LOCAL cinema reads as follows: Die Hard 4.0 (15) Hostel Part II (18) Directed by: Len Wiseman Directed by: Eli Roth Starring: Bruce Willis, Timothy Starring: Bijou Phillips, Lauren Olyphant, Maggie Q German, Roger Bart 11:00 13:50 17:10 20:10 21:20 21:30 Fantastic Four: Rise of the Silver Ocean’s Thirteen (PG) Surfer (PG) Directed by: Steven Soderbergh Directed by: Tim Story Starring: George Clooney, Brad Pitt, Starring: Ioan Gruffudd, Jessica Alba, Matt Damon Chris Evans 20:50 11:00 13:20 15:30 Pirates of the Caribbean: At Harry Potter and the Order of the World’s End (12A) Phoenix (12A) Directed by: Gore Verbinski Directed by: David Yates Starring: Johnny Depp, Orlando Starring: Daniel Radcliffe, Emma Bloom, Keira Knightley Watson, Rupert Grint 17:50 10:30 11:00 11:30 12:00 13:00 13:30 14:00 14:30 15:00 16:00 16:30 17:00 Shrek the Third (U) 17:30 18:00 19:00 19:30 20:00 20:30 Directed by: Chris Miller 21:00 Starring: Mike Myers, Eddie Murphy, Cameron Diaz 11:10 11:40 12:20 12:50 13:40 14:40 15:10 15:40 16:10 16:50 17:20 18:10 18:40 19:10 19:50 20:201 1 © 2010 State University of New York Press, Albany 2 Carolyn Jess-Cooke and Constantine Verevis TRIKINGLY, EVERY FILM LISTED here is a sequel. This being summer of 2007, it is not unusual for sequels to hold a strong cinematic Spresence—but every screening? And, looking at fi lm releases sched- duled for the coming months, the horizon is fi lled with sequels.
    [Show full text]
  • A Tribute to Michael Curtiz 1973
    Delta Kappa Alpha and the Division of Cinema of the University of Southern California present: tiz November-4 * Passage to Marseilles The Unsuspected Doctor X Mystery of the Wax Museum November 11 * Tenderloin 20,000 Years in Sing Sing Jimmy the Gent Angels with Dirty Faces November 18 * Virginia City Santa Fe Trail The Adventures of Robin Hood The Sea Hawk December 1 Casablanca t December 2 This is the Army Mission to Moscow Black Fury Yankee Doodle Dandy December 9 Mildred Pierce Life with Father Charge of the Light Brigade Dodge City December 16 Captain Blood The Private Lives of Elizabeth and Essex Night and Day I'll See You in My Dreams All performances will be held in room 108 of the Cinema Department. Matinees will start promptly at 1:00 p.m., evening shows at 7:30 p.m. A series of personal appearances by special guests is scheduled for 4:00 p.m. each Sunday. Because of limited seating capacity, admission will be on a first-come, first-served basis, with priority given to DKA members and USC cinema students. There is no admission charge. * If there are no conflicts in scheduling, these programs will be repeated in January. Dates will be announced. tThe gala performance of Casablanca will be held in room 133 of Founders Hall at 8:00 p.m., with special guests in attendance. Tickets for this event are free, but due to limited seating capacity, must be secured from the Cinema Department office (746-2235). A Mmt h"dific Uredrr by Arthur Knight This extended examination of the films of Michael Only in very recent years, with the abrupt demise of Curtiz is not only long overdue, but also altogether Hollywood's studio system, has it become possible to appropriate for a film school such as USC Cinema.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]