January, 2006
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mabel's Blunder
Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914. -
Pass the Gravy by Steve Massa
Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927). -
“The Spice of the Program” Educational Pictures and the Small-Town Audience
3 “The Spice of the Program” Educational Pictures and the Small-Town Audience “What the hell’s educational about a comedy?” asked slapstick producer Jack White in an interview toward the end of his life. “Something that was very offen- sive to me,” he continued, “was [the slogan] . ‘This is an Educational Comedy.’ There’s no such thing as educating yourself with a comedy. It’s a stupid name.”1 The object of White’s ire? The company for which he had produced and directed two- reel shorts for over a decade—the comedy distributor with the most unlikely of names: Educational Pictures. The company had been formed in 1915 as the Educational Films Corporation by real-estate man Earle W. Hammons, with the intent indicated by its name: to provide educational subjects for school, church, and other nontheatrical pur- poses. But by the late 1910s Hammons had realized little profit from this idea and began to target the commercial field, setting in motion a process of expan- sion that would see Educational become the dominant short-comedy distributor of the late silent era. “It did not take me long to find out that the demand [for educational films] did not exist and that we could not survive by doing that alone,” Hammons later recalled.2 As early as the 1918–1919 season, Educational had begun to diversify its product lines, adding Happy Hooligan and Silk Hat Harry cartoons to its weekly program of travelogues and informational sub- jects.3 In April 1920, Hammons signed director Jack White and comedian Lloyd Hamilton from Fox’s Sunshine Comedies to produce two-reel comedies under the brand name Mermaid Comedies, and began immediately taking further strides into the comedy market.4 The program for Educational’s 1920–1921 season, which represented the company’s first year of general commercial release, included four comedy series: the Mermaids, produced by White; C. -
Download File
Gale Henry Also Known As: "The Elongated Comedienne" Lived: April 15, 1893 - June 6, 1972 Worked as: film actress, producer, scenario writer, theatre actress Worked In: United States by Steve Massa Thought to be the prototype for Popeye’s girlfriend Olive Oyl, Gale Henry was tall and extremely skinny, with large eyes and a sharp nose. Known as “The Elongated Comedienne,” from 1914 to 1933 she entertained audiences with eccentric physical comedy. Like her contemporaries Alice Howell, Mabel Normand, Marie Dressler, and Louise Fazenda, Gale took many bumps and bruises in the name of laughter alongside her male comedian counterparts in an estimated two hundred fifty-eight shorts and features, some of the craziest of which she wrote. Her active female characters bear comparison with Pearl White and Helen Holmes, the “serial queens” of the 1910s, and she often spoofed the cliff-hanger genre in which they appeared. Henry’s performing style could be very broad, but she also had a gift for small, insightful gestures that could bring a moment of pathos and feeling into the knockabout. She often played put-upon slavies, but her unconventional looks also made her perfect as a lovelorn spinster, an overbearing wife, or a burlesque country girl. She wore a wide-brimmed hat, a tight, old-fashioned button-up blouse, a long plaid or checkered skirt, and clunky high-top shoes. The overall look had a feel of L. Frank Baum’s Scarecrow of Oz—as if she were put together from odd, mismatching parts. After growing up on a ranch in Bear Valley, California, Gale Henry began her stage career with the Temple Opera Company. -
Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
“I Want Music Everywhere” Music, Operetta, and Cultural Hierarchy at the Hal Roach Studios
4 “I Want Music Everywhere” Music, Operetta, and Cultural Hierarchy at the Hal Roach Studios In their 1928 stockholders’ report, the Hal Roach Studios’ board of directors anticipated the company’s conversion to sound with calm assuredness: The last few months has [sic] witnessed the advent of another element in the produc- tion field; that is, the talking or sound pictures. It is, of course, difficult to foretell what the eventual outcome of talking pictures will be or the eventual form they will assume. One thing is certain, however, that is that they are at the present time an element in the amusement field apparently having a definite appeal to the public, and properly handled, it promises to be a great addition to the entertainment value of pictures and a great aid to the producer in building up the interest in the picture intended. The company has placed itself in a position to gain by any and all new methods and devices introduced in the field.1 Confidence is to be expected in a stockholders’ statement, but for the Roach Studios such an attitude likely came easy, at least in comparison with the com- petition. Unlike the independent producer-distributor Educational—which had initially flubbed its transition by backing the Vocafilm technology—the Roach Studios enjoyed the luxury of a financing and distribution deal with industry powerhouse Loew’s-MGM and opted to follow the parent company’s lead in entering the uncertain waters ahead. The Roach organization was, for example, included in Loew’s-MGM’s initial contract with Electrical Research Products, Inc. -
Alphabetical Listing of All 106 Laurel & Hardy Films
Alphabetical listing of all 106 Laurel & Hardy films Air Raid Wardens Leave ʻEm Laughing Angora Love Liberty Another Fine Mess Live Ghost, the Any Old Port Love ʻEm and Weep Atoll K Lucky Dog, the Babes in Toyland Me and My Pal Bacon Grabbers Men OʼWar Battle of the Century, the Midnight Patrol, the Be Big Music Box, the Beau Hunks Night Owls Below Zero Nothing But Trouble Berth Marks Now Iʼll Tell One Big Business Oliver the Eighth Big Noise, the On the Loose Block-Heads On the Wrong Trek Blotto One Good Turn Bohemian Girl, the Our Relations Bonnie Scotland Our Wife Brats Pack Up Your Troubles Bullfighters, the Pardon Us Busy Bodies Perfect Day Call of the Cuckoos Pick a Star Chickens Come Home Putting Pants on Philip Chimp, the Rogue Song, the Chump at Oxford, a Sailorʼs Beware Come Clean Saps at Sea County Hospital Scram! Dancing Masters, the Second Hundred Years, the Devilʼs Brother, the Should Married Men Go Home? Dirty Work Slipping Wives Do Detectives Think? Sons of the Desert Double Whoopee Stolen Jools, the Duck Soup Sugar Daddies Early to Bed Swiss Miss Finishing Touch, the Thatʼs My Wife Fixer-Uppers, the Their First Mistake Flying Deuces, the Their Purple Moment Flying Elephants Them Thar Hills 45 Minutes From Hollywood They Go Boom From Soup to Nuts Thicker Than Water Going Bye-Bye! Tit For Tat Great Guns Towed in a Hole Habeas Corpus Tree in a Test Tube, the Hats Off Twice Two Haunting We Will Go, a Two Tars Helpmates Unaccustomed As We Are Hog Wild Way Out West Hollywood Party We Faw Down Hollywood Revue of 1929, the Why Girls Love Sailors Hoose-Gow, the Wild Poses Jitterbugs With Love and Hisses Laughing Gravy Wrong Again Laurel-Hardy Murder Case, the Youʼre Darn Tootinʼ http://www.wayoutwest.org/films/. -
The Cine-Kodak News; Vol. 8, No. 8;
MAY JUNE 1932 Happy Days for them will last forever ... if you make their gift a Cine-Kodak UNE WEDDINGS ... commencements. J What gift could be more fitting, more welcome than a Cine-Kodak? Unusual ... Useful. The means whereby the honey- mooners or graduate can capture happy days for all time. Model K, illustrated above, is recognized everywhere as a movie-making instrument that performs superbly. One could wish for nothing finer. Because of an interchangeable requires no focusing. It's light in weight lens feature it makes Kodacolor, telephoto ... so simple to operate that good pictures and wide angle movies as well as black and are assured from the start. white. Half speed at the press of a button. Any Cine-Kodak dealer will gladly Two finders. With the ultra-fast f.1.9 lens, show you these cameras. Many dealers Model K costs $150; with f.3.5 lens, $110. offer easy terms. Prices include carrying case. Another popular Cine-Kodak is the $75 EASTMAN KODAK CO MPANY Model "M." Equipped with an f.3.5 lens it ROCHESTER , NEW YORK MAY -JUNE 1932 C IN E -KO DA K Publ is hed Bi·M o nth ly in the inte resls o f Amateur Motion Pictures by the NEWS Eastman Kodak Company, Roch es ter, N Y, V olum e 8 . N um ber 8 CATCH-AS-CATCH-CAN MOVIE MAKING That's how I make movies- but not how I show them . by R. F. D A Y IFTHERE is any premeditated scheme of things behind my movie-making activity, I am unaware of it. -
The Time Traveler's Wife
When Henry meets Clare, he is twenty-eight and she is twenty. He is a hip librarian; she is a beautiful art student. Henry has never met Clare before; Clare has known Henry since she was six... “A powerfully original love story. BOTTOM LINE: Amazing trip.” —PEOPLE “To those who say there are no new love stories, I heartily recommend The Time Traveler’s Wife, an enchanting novel, which is beautifully crafted and as dazzlingly imaginative as it is dizzyingly romantic.” —SCOTT TUROW AUDREY NIFFENEGGER’S innovative debut, The Time Traveler’s Wife, is the story, of Clare, a beautiful art student, and Henry, an adventuresome librarian, who have known each other since Clare was six and Henry was thirty-six, and were married when Clare was twenty-three and Henry thirty-one. Impossible but true, because Henry is one of the first people diagnosed with Chrono-Displacement Disorder: periodically his genetic clock resets and he finds himself misplaced in time, pulled to moments of emotional gravity from his life, past and future. His disappearances are spontaneous, his experiences unpredictable, alternately harrowing and amusing. The Time Traveler’s Wife depicts the effects of time travel on Henry and Clare’s marriage and their passionate love for each other, as the story unfolds from both points of view. Clare and Henry attempt to live normal lives, pursuing familiar goals— steady jobs, good friends, children of their own. All of this is threatened by something they can neither prevent nor control, making their story intensely moving and entirely unforgettable. THE TIME TRAVELER’S WIFE a novel by Audrey Niffenegger Clock time is our bank manager, tax collector, police inspector; this inner time is our wife. -
LAMP POST July 2013
LAMP POST July 2013 HERITAGE AUCTIONS MOVIE POSTERS SIGNATURE AUCTION July 27-28, 2013 - Dallas, Texas ‘Nyuk Nyuk Nyuk!’ Largest group of Three Stooges posters and lobby cards ever offered at Heritage Auctions. “Playing the Ponies” may bring $20,000+, “Mutts to You” may hit $15,000+, “Hoi Polloi” lobby card makes first auction appearance, may realize $6,000+, July 27-28 in Dallas. A rare one sheet from The Three Stooges’ classic film “Playing the Ponies” may bring more than $20,000 to lead the largest collection of pre-1940s Three Stooges movie posters and lobby cards ever offered at auction in Heritages’ Movie Posters Signature® Auction July 27-28. “This is the largest and most diverse vintage Stooge poster and lobby card collection offered at one time that I can remember,” said Grey Smith, Director of Movie Posters at Heritage Auctions. “These are posters that really seldom turn up, to the tune of 17 different varieties, all relating to the golden age of the careers of the Stooges and some of their greatest comedy.” A scarce one sheet for the hilarious short “Mutts to You,” a rare pre- 1940 Three Stooges poster highly sought after by collectors, is expected to bring $15,000+. The short was directed by silent screen comedian Charley Chase and remains one of the most beloved of the threesome’s early work. A rare one sheet featuring a bold image of Curly Howard taken from the 1941 short “I'll Never Heil Again” is expected to bring $6,000+. A group of 13 lobby cards is expected to be led by a rare find from the 1935 classic “Hoi Polloi,” in which a professor bets that he can turn the Stooges into gentlemen, the rare title card is expected to bring $6,000+ in its first-ever appearance at Heritage. -
Jules White Papers
http://oac.cdlib.org/findaid/ark:/13030/c8j967vz No online items Jules White papers Special Collections Margaret Herrick Library© 2013 Jules White papers 203 1 Descriptive Summary Title: Jules White papers Date (inclusive): 1923-1990 Date (bulk): 1934-1958 Collection number: 203 Creator: White, Jules Extent: 12.5 linear feet of papers.7.2 linear feet of photographs. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Jules White papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Jules White, 1958-1975, with additions from Erwin Dumbrille, 2009 Biography Jules White was a Hungarian-born director and producer. His family came to America in 1904. He was a child actor and eventually followed his older brother Jack into the short comedy field, first as film editor and general assistant, finally becoming active as director from 1924 to 1958. From 1934 to 1958 he supervised the production of short comedies at Columbia Pictures, featuring, among others, a team of knockabout comics who'd been supporting comedian Ted Healy, helping to re-invent them as "The Three Stooges." White served on the Academy Board of Governors from 1945 to 1947. He was nominated by the Academy in the short subject category four times. Collection Scope and Content Summary The Jules White papers span the years 1923-1990 (bulk 1934-1958) and encompass 19.7 linear feet. -
Hollywood Cinema and American Modernity in the Jazz Age
Hollywood Cinema and American Modernity in the Jazz Age By Dr Michael Hammond Associate Professor of Film at the University of Southampton I took my BA in History at California State University Los Angeles, my MA in Film Studies at the University of East Anglia, and my PhD at Southampton Institute. I am currently a Senior Lecturer at the University of Southampton. The decade that followed the First World War witnessed considerable social upheavals one of which was the newly established social phenomenon of the cinema. From family recreation to dating rituals the cinema contributed to their ‘modernization’ often reflecting those changes in the films they produced. Harold Lloyd’s The Freshman (1925) built on the myths that had sprung up about college life that had been initiated by an expansion in higher education and called up a world of sexual liberation outlined in the jazz age stories of F. Scott Fitzgerald. Ernst Lubitch’s comedy/drama Forbidden Paradise (1924) depicted a vision of Old World royalty that was both spectacle and satire, confirming its passing. Where Lloyd’s comedy was restless and fast Laurel and Hardy’s was driven by sense of confusion at the rapid pace of modern life. Destroying machinery, upending the workplace and enraging those who they encountered, the two met the accelerating age with a lethargic resistance. In the 1920s for American audiences and for those outside of its borders from Europe to Latin America, from cinema was the harbinger of the American Century. At the end of the First World war Europe’s economies had been exhausted, the war had destroyed much of the confidence in the old order and throughout the 1920s each country sought to rebuild under clouds of political and social upheaval.