DOCSLIB.ORG

County Chairman’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
County Chairman’ Will Rogers Shows at Capitol Theater in ‘The County Chairman’ GENTLEMEN ARE BORN 'WILL PLAYS WILL ROGERS “COUNTY CHAIRMAN” ‘SHE LOVES ME NOT SMALL-TIME POLITICIAN He'f. donp It again, ladles and gen- tlemen. The ace male stir of the screen gives us another triumphant story l Your favorite actor—as well a* our* and the other fellow’s— has turned again to the rural American scene for one of the most human, trirthful and flavorsome films in years. All of which Is Just another w»V of saying thit Will Rogers Is with us once more, this time in the title role of pox Film's "The County Four years of happy, carefree college days come to an end. and theaa CTvilrrmn.” showlr Sunday. Mon- ; eager graduates are sent out into the world to put their c /lege de- d v and at Tuesday "your” Capitol, to the third that's the theme of Flrel Brownsville. grees degree. Incidentally, National's "Gentlemen Are Bom" the new drama showing Wednesday "The Countv Chairman” is a fine at Brownsville. The four ind atmospheric screen version of only "your” Capitol. cap-and_gownerg, reading from left, are Robert Franchot Nick Foran and Rosa the sime name, which thlrtr years Light, Tone, Alexander. a-o made the nave and fame of M?clvn *rhuckle as a «tace star It Is i swift-movin'* and awe-fire s»~ry viewed by a little dancer, who flees to1 musing quiet restored beneath But ifs nresept producer* have been escape held as a material Princeton's wise enou-h to ret->‘n both the ori- Bing Crosby and Miriam Hopkins in Paramount’s hilarious comedy, being wit-, dreamy spires. ginal locale a smab Wvomlng town, “She Loves Me Not.” with Kitty Carlisle, showing Sunday and Monday ness As the tow-headed, flamboyant, and the oH-inal date. the vear 1W2. at the Queen Theatre. Brownsville. She gets as far as Princteon, pen-' madcap little dancer who cauaea all a fact which nerm*ts th“ use of the niless and hungry, where she pre- the trouble, Miss Hopkins renders mlorfn1 tvoes °nd b’cVeround of had expected the to send vails upon the generosity and good one of the grandest performances these when oolitinl cam- has one the finest orphanage day*. Will Rogers of and most flavorsome roles of his career In Fox Film’s “The County nature of a group of college boys who of her career, while Crosby and were fierce and frenzied—and them a boy, she wins their hearts pal"P* Chairman," a grand and glorious version of the famou George Ade comedy. In featured roles, Evelyn Ven- disguise her as a student and hide Kitty Carlisle are equally delightful not lust talks bv radio! able and Kent Taylor take care of the romantic assi ;nment while Louise Dresser and Mickey Rooney lend and transforms their lives. While QUEEN SHOWS her in their dormitory. in both their singing and acting The star aonears as th° fioe-eatinc further support to the best-loved star on the American screen, showing Sunday, Mondav and Tuesday at doing so, however, she manages to A Crazy Publicity Scheme roles. bo*s of a smatt town "'bo kK*es all “our” Capitol. Brownsville. y get into many a harum-scarum The father of one of the students Four Hit Tunes the babies raptures all the votes and scrape. hits upon the ingenious plan of us- The picture has one advantage brines together two e*trarured voune j The story also traces her romance BING CROSBY ing her predicament as part of a which even the superb play lacked, lover* Tn a however, he’s too was Sam Heilman play written by with a schoolboy beau. This starts wild-eyed publicity scheme to save and that Is the quartet of new hit hot to hand>! ‘ANNE OF GREEX GABLES' and Gladys Lehman. with a spirited quarrel in which the one of his films which promises to numbers by Rlinger and Robin, and There is rare humor and oun- Don t wins with girl breaks her slate over the boy s An crack-brained and oe a lemon. He dispatches his demon Gordon and Revel which are sung i" tht* se**eep poHrait. a not- forget—Will again absurdly r fcpc*' head. When their private feud is press-agent to the university cam- throughout the film, including the able addition to the F"*»ers ®a’le"v this one; and—If you see It—so do delicious comedy, that even in its patched up. an old family quarrel pus where ha arrives together with hit tune “Love in Bloom." of recen* h*t* which ’nelude* “f>svid wildest moments seemed you! menaces their ensuing romance. Tom surprising- a gunman from Philadelphia who Appearing in the supporting rolee Hau’m." “Handy Andy” and “Judge — ■ Brown plays the boy of the youth- ly real. Paramount's "She Loves Me has come to silence Curly, and the are Henry Stephenson. Warren Hy- Priest" •GENTLEMEN ARE BORN* ful love affair. Not," starring Bing Crosby and Mir- dean who has just got wind of the mer, Lynne Overman. Judith Allen, Hi* sunnortinv cast nurber* manv TO SHOW AT CAPITOL Most of the humor of the story’ iam Hopkins in the film version of affair. George Barbier and Vince Barnett, plsvers who have been with him in Three distinct romances, although i is said to center about the whimsi- ;he season's greatest stage hit. shows TTie ludicrous mlx-up that results who render a series of excellent previous anecesse*. a mope them Fve- woven in the same plot, are together cal character of the heroine. The Sunday and Monday at the Queen almost causes the expulsion of the characterizations. lvp Vep-»HV Kept Tev'or. T OUlS-* unfolded in the First Nation- roles played by Brown. Helen West, Theatre. Brownsville. guilty student group, but the press Credit for an excellent directorial Dresser. B*rton Churchill, Frank "Gentlemen Are al production. ley. and O. P. Reggie also have The ludicrous account of what rallies to their defense and a happy performance gees to Elliott. Me't-n and B’enln Fetchlt. which shows Wednesday only Bom,” their comedy highlights, however, might have happened at Princeton solution is reached for all. with the Others olavlpe important roles tn at Brownsville. “your'’ Capitol. and Sarah Hadeh. character come- i but never did begins with a shoot- dancer in the movies. Crosby in love Five states observe Arbor Day “The Count*- Chairman" are aC'cVcv Robert Lee John- The story, by dienne, contributes a Charles many laughs. ing In a Philadelphia night club, with the dean's daughter and the twice year. Roonev. Robert MeWade. son. is a thrilling drama with plenty M'^dleton Fus*e!1 Bimnson WiMiam of lighter comedy touches and gay V Monr. Gay Seabrook and Endlle music, including familiar college the Al'iemon. songs and a new air written by John Blv*tone Fcx Film vetenn famous song team of Sammy Fain ha* directed the new Fo-er* veM-i. and Irving Kahal. entitled. "When W with unerring sklh and F*ward You Call the Roll. Alma Mater.” Another Treat for the Whole The screen Family Butcher la the producer The picture treats of the adventures and love affairs of four college grad- uates who encounter tremendous in a You Will Remember! — that make for Intensely — Tues. Wed. difficulties Story Always dramatic situations in their lives. back Brought by There is an all star cast headed He's the boss who owns the popular Request by Franchot Tone and three leading fire-eating CLARK ladies. Jane Muir, Margaret Lindsay town . but he more than he Anne Shirley, in the title role of “Anne of Green Gables.'* In gives and Ann Dvorak. Miss Lindsay has prays her own spontaneous and original manner, and so she . warm lovable the romantic lead opposite Tone in highly by doing takes This GABLE ruins both softens the heart of Manila, middle-aged spinster of the story, played % love tangle that nearly star will thrill once in this Helen Wesley in this RKO-Radio Picture, made from the L. M. you again Ahd their Uvea. by The two other romances are be- Montgomery classic, showing Thursday and Friday at “your'' Capitol. mirthful George Ade story of the tween Tone's pal. a part played by Brownsville. —“" Myrna LOY town war-horse with Ross Alexander, and Jean Muir, political and Ann Dvorak and Nick Foran. the wn a kiss for a striking performance as the chief Martha a line ideas,—and every latter the third of the college quar- Sleeper gives per- of the but he comes to tet. The fourth member of the renegades, formance as the girL warm in friendship, but hot no end. “MEN IN Robert good quartet Is played by Light The outdoor background of the to handle in a of the Tor the patriotically-minded, who fight! Other talented members is love to see the history of the picture breath-takingly beautiful cast Include Charles Stairett. Rus- stirring old west brought to life again, for at times, and has been well WHITE” sell Hicks, Arthur Aylesworth Henry photo, those who love action, dominated O'Neill. Addison Richards. Marjorie by graphed. with JF AN HEBSHOLT the virtues, this is an ideal Gnteson and Bradley Page homely •ANNE OF GREEN GABLES* Alfred E Green directed the pro. picture. — — One of the funniest of comics TO Thursday ductlon from the screen play by pair COME TO C AIM TOL teamed for in a time is Romance, humor and charm are Eugene Solow and Robert Lee John- pictures long n eat and Louise Beavers, both said to be combined in RKO-Radio's TARZAN son.
Load more

Recommended publications
  • Film Program
    /o^ Ihe Museum of Modern Art vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 103 Thiirsday, August I8, 1966 FOR imSDflM:^ BELCA3E FILM PRfXaRAM September 1-50, 1966 Series Days Hoiirs, unless otherwise noted (T) THE THIRTIES: U.S.A. Sundays 2:00 Ss 5:30 p.m. Part I: 1930-1955 Mondays 2:00 & 5:30 p.m. (through September 30) Tuesdays 2:00 & 5:30 p.m. Thursdays 2:00, 5:30 & 8:00 p.m. Fridays 2:00 & 5:30 Saturdays 11:30 a.m., 3:00 & 5:30 p.m. (W) WEDNESDAYS AT NOON (continuing) Wednesdays 12:00 noon (A) Fn^ FROM THE ARCHIVE(continuing)Wedne8days 2:00 & 5:30 p.m. Thurs. Sept. 1- (T) DaC3K SOUP (1933); directed by Leo McCarey, with the Marx Broth­ Fri. Sept. 2 ers and Miargaret Dumont. 70 min. Sat. Sept. 3 - (T) ROMAN SCANDALS (1933)> directed by Frank Tuttle, with Eddie Sun. Sept. k Cantor, Ruth Etting, Gloria Stijart. Distributed by Brandon Films, Inc. 92 min. Mon. Sept. 5 - (T) DAVID HARUM (l93^)/ directed by James Cruze, with Louise Tues. Sept. 6 Dresser, Will Rogers, Evelyn Venable. 85 min. Wed. Sept. T **(w) *ANAEMIC (ymmk (1926), by Marcel Duchamp. 7 min. LE MDNDE DE PAUL DELVAUX (l9^), directed by Henri Storck.lOmin. MAGRUTE - THE OBJECT LESSON (I965), produced and directed by Luc de Heusch. English narration by Alan Schmer. 15 min. ALBERTO GIACOMEITI (1966), produced by Sumner Glimcher, directed by S. Chasmar, music by Arnold Ganson. 15 min. (A) BILDDOKUMENTE (1935). A compilation of German newsreels from 1912 to 1918 edited by Frank Hensel during the Nazi regime, if5 min.
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • "Drums" Box-Office Music in South!
    R K 0 RADIO PICTURES ~;'{'4dlitli1.l!!.::;:::!:!1:1l11..li1l1111']:t~ Vol. XXII NEW YORK CITY, OCTOBER 20, 1951 No. 15 "DRUMS" BOX-OFFICE MUSIC IN SOUTH! By TERRY TURNER ATLANTA, October 16-With bands aplaying and gals aswaying the real core of the southern campaign for the King Brothers DRUMS IN THE DEEP SOUTH was reached when a street parade of southern beauties from 12 south- ern states, headed by Mayor Hartsfield, Franchot Tone and Barbara Payton, and six high school bands, swung down famous old Peachtree street to the Rialto Theatre with thousands lining the sidewalks. Among those thousands were Maurice and Hymie King, who appeared thrilled and lamented the fact that there were no newsreels present to re- cord the epic event. (Contina.ed on Page Five) SCOREBOARD SPECIAL CITATION "Racket" Prem. The world premiere for THE (our best grosser at the Capitol, BEHAVE YOURSELF! - Much FOR "ON THE LOOSE" f<ACKET has been set for the better than recent engagements toppinq EIFFEL TOWER by at Boston, Davenport, Cedar $2500, which had the benefit of American Youth Institute has Earle Theatre, Philadelphia, on Rapids, San Francisco, Waterloo, a world premiere as well as per- oiven Filmakers ON THE LOOSE October 5th. RKO Radio's usual Seol tle. Oakland (moveover), ccnel appearances of Franchot E; Special Citation for "excellence showmanship treatment for a fea- in faithfully mirroring one of the Philadelphia (held over), Miami, Tone and Burgess Meredith). Four ture of this character will be days topped week's gross on symptomatic causes of America's two theatres, Baltimore.
    [Show full text]
  • Westerns at The
    For immediate release: December 21, 2007 WEXNER CENTER GOES WEST FOR NINE-FILM SERIES IN JANUARY This January, the Wexner Center presents a five-night, nine-film series offering some of the best films from that most American of genres, the western. Though the western has been proclaimed dead or irrelevant numerous times in film history, the recent releases of 3:10 to Yuma, The Assassination of Jesse James by the Coward Robert Ford, and even the Coen brothers’ western update No Country for Old Men suggest that there is still plenty of life and contemporary relevance in the genre (see the New York The Searchers, showing January 10 Image courtesy Warner Bros. Times Magazine cover story “How the Western Was Won” on November 11 for more on this topic). The Western series at the Wexner Center—which kicks off January 10—presents a rare chance to revisit (or see on the big screen for the first time) some influential western classics. It features some of the genre’s iconic stars (including John Wayne, James Stewart, Randolph Scott, and Gary Cooper) in films by some of the genre’s masters (such as John Ford, Howard Hawks, Anthony Mann, and Budd Boetticher). While this series focuses on the postwar western cycle typified by flawed heroes and muddied morals (exemplified by Ford’s landmark The Searchers), it also includes lighter approaches (The Plainsman, Trail of the Vigilantes) and the clearly revisionist Little Big Man. This series was organized by the Wexner Center’s film staff. Tickets for each night of the series are $7 general public; $5 members, students, and senior citizens; $3 children under 12.
    [Show full text]
  • Stage Center Theatre JANUARY 2011
    SEASON 2010-2011 VOLUME 5 ISSUE 3 Stage Center Theatre JANUARY 2011 UPCOMIN G EVENTS MAIN STAGE 7:30PM From the Theatre Archives Reservations: (773) 442-4274 th Early 20 Century Theatre Companies Emma’s Child The Washington Square Players February 17-19, 24-26, March 3-5 Created in 1915 by amateurs, The Washington Square Players began producing one-act plays by Chekhov, Musset, Akins, Moeller and other obscure playwrights of the time in a Bleacher Bums small theatre seating of only 40 patrons. They moved to a 600 seat theatre and produced April 14-16, 21-23, 28-30 O’Neil’s In the Zone. The group disbanded in 1918, but re-formed in 1919 as The Theatre Guild. Some of the actors that performed with The Washington Square Players were Ro- As You Like It land Young, Rollo Peters, Frank Conroy, Helen Westley, and Katherine Cornel l. June 9-11, 16-18, 23-25 You Can’t Take It With The Theatre Guild You Founded in 1919 by Theresa Helburn, Philip Moeller, and Lawrence Langer (among oth- July 21-23, 28-30, August ers), The Theatre Guild was one of the first and most influential “Off-Broadway” theatre 4-6 companies in New York City during the first half of the 20th Century. The Theatre Guild had its heyday between the World Wars (1919-1939). In its first few years the majority of STUDIO SERIES 7:30PM F109 its work was in European expressionism. Later it provided an outlet for the work of such artists as Eugene O’Neil, Robert Sherwood, Maxwell Anderson, and Sidney Howard.
    [Show full text]
  • LINER NOTES Including the Show’S Transition from Radio to Make up for All That Had Been Stolen from Him
    Advise and Consent law Josey Wales, The Enforcer, Demon Seed, He assembled a starry cast: Henry Fonda, and many others. His scores were brilliant, and Charles Laughton (whose final film it was), Don he had a unique musical voice. He was a three- ADVISE AND CONSENT Murray, Walter Pidgeon, Peter Lawford, Gene time Oscar nominee. Tierney (who’d starred in Preminger’s break- Adapted from the 1959 novel by Allen Drury, out film, Laura), Franchot Tone, Lew Ayres, In Advise and Consent, Fielding’s great sense Otto Preminger’s 1962 film of Advise and Con- Burgess Meredith, Paul Ford, George Griz- of melody is apparent from the first notes of sent was a hard-hitting political drama with zard, Inga Swenson, Edward Andrews, and its main theme, a beautiful piece that never an all-star cast. Preminger, by this time, was in a small role, Betty White. The screenplay overplays its musical hand in the film – it’s a expert at these kinds of films, but also one of was by the wonderful writer Wendell Mayes gorgeous melody, so gorgeous in fact that a the most eclectic of filmmakers, tackling what- (who’d done the screenplay for Preminger’s prominently credited Frank Sinatra sings the ever genre came his way and if that project Anatomy of a Murder and would subsequently theme, which is playing on a jukebox in the had some controversy, Preminger embraced it write Preminger’s film of In Harm’s Way), and infamous gay bar sequence. The song was en- rather vociferously. In those days, he was a the cameraman was Sam Leavitt (who’d pho- titled “Heart of Mine” and the lyric was by Ned groundbreaker – hiring Dalton Trumbo to write tographed Preminger’s Carmen Jones, The Washington.
    [Show full text]
  • Films from the THIRTIES: PART II 1935-39
    t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
    [Show full text]
  • FILM ESTIMATES Progressive Teachers Will Find Dependable Advice in These Estimates on Current Film Releases
    68 THE VIRGINIA TEACHER [Volume 17, No. 3 FILM ESTIMATES Progressive teachers will find dependable advice in these estimates on current film releases. Recognizing that one man's meat may be another man's poison, the National Committee on Current Theatrical Films gives three ratings: A, for discriminating adults; Y, for youth; and C, for children. These estimates are printed by special arrangement with The Educational Screen, Chicago. Anything Goes (Bing Crosby, Ethel Merman) (Univ) Wistful, human, at times poignant story (Para) Fast, crazy, complex farce-comedy with of loyal young love suffering from force of cir- real "box-office" novelty. Usual "singing," ab- cumstances. Fine-grained, restrained, convincing surd "lyrics," spectacular dancing, "romance," and portrayal of three intelligent humans deeply in burlesque antics. Inoffensive except for chronic love. Flaws minor beside merits. Sullavan not- crook masquerading as priest Typical present- ably fine. 2-3-36 day taste in pictures. 2-11-36 (A) Excellent (Y) Very good (C) Beyond them (A) (Y) Very good of kind (C) Probably good Professional Soldier (Victor McLaglen, Fred- Atlantic Adventure (Nancy Carroll) (Colum- die Bartholomew) (Fox) Crude, tough Marine, bia) Fairly continuous excitement over assorted hired to kidnap boy king, turns friend, runs crooks on Atlantic liner trying to trick each other amuck in slaughter, and saves his little pal. Much out of valuable diamonds. Endless complications, strong human appeal, but _ largely rough-neck but breezy reporter-hero solves all, arrests all, and comedy and two-fisted heroics. Bad taste but wins back his lost job and the intermittently ter- good box-office.
    [Show full text]
  • The Effect of Censorship on American Film Adaptations Of
    THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Major Subject: English THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Douglas Brooks Committee Members, Anne Morey Arnold Krammer Head of Department, M. Jimmie Killingsworth May 2008 Major Subject: English iii ABSTRACT The Effect of Censorship on American Film Adaptations of Shakespearean Plays. (May 2008) Ruth Ann Alfred, B.A., Texas A&M University Chair of Advisory Committee: Dr. Douglas Brooks From July 1, 1934, to November 1, 1968, the Production Code Administration (PCA) oversaw the creation of American motion pictures, in order to improve Hollywood’s moral standing. To assist in this endeavor, the studios produced film adaptations of classic literature, such as the plays of William Shakespeare. In the first two years of the Code’s inception, two Shakespearean films were produced by major studios: A Midsummer Night’s Dream (1935) and Romeo and Juliet (1936). But were these classic adaptations able to avoid the censorship that other films endured? With the use of archived collections, film viewings, and an in-depth analysis of the plays, multiple versions of the scripts, and other available surviving documents, I was able to see how these productions were affected by the enforcement of film censorship and what it said about the position of Shakespeare’s work in society.
    [Show full text]
  • The Group Theatre: an Evaluation
    The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:29:25 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis.
    [Show full text]
  • Spain and the United States: a Cinematic Relationship, 1939-1953
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert Spain and the United States: a cinematic relationship, 1939-1953 Rafael de España When the Spanish Civil War ended, the political and ideological atmosphere of Spain changed a lot: for the new regime, democracy and freedom were synonimous with the «decadent and corrupt» republican years. The triumph of Franco's Army was due in great part to the support of Germany and Italy, and this inevitably led to a preponderance of the Fascist ideas represented by the Falange party. In fact, Franco was never a real Fascist, but at this moment he considered unavoidable to adopt a sympathetic attitude towards this ideology1. In the cinematic field this was reflected in a significant increase of German and Italian films shown on Spanish screens and a decrease in American films, that were seen as frivolous, banal and even immoral. The influence in American films of Roosevelt's «New Deal», with its emphasis on democracy, free speech, and capitalism, was regarded with special contempt by the rethorics of the new regime, who preferred the sober and virile atmosphere of Nazi films. Moreover, some famous Hollywoods actors had been involved in pro-Republican activities during the years 1936-1939; they were declared persona non grata by Franco, but curiously their films were not banned. The names of these players (James Cagney, Franchot Tone, Fredric March, Joan Crawford, Charles Chaplin, and many others) were eliminated in the ads, trailers and release prints of the films in which they appeared but nothing more, despite the fact that their scenes were preserved and everyone was recognized by the public! This absurd form of censorship shows very clearly Franco's hesitancy to disturb the Americans: the radical Falangists were satisfied with this childish penalty but the Hollywood producers were not affected in their economical interests2.
    [Show full text]
  • Gary Cooper ~ 51 Films
    Gary Cooper ~ 51 Films Frank James (later Gary) Cooper was born on 7 May 1901 in Helena, Montana. From the silent era through to 1961, Cooper built a solid reputation by playing strong, manly, distinctly American roles in a natural, understated manner. The son of English parents who had settled in Montana, in the years 1909-12 he lived and was educated in Dunstable, England. Otherwise, from the age of five, he spent his summers on his father's ranch in northern Montana and his winters in Helena, where for some time he was a near neighbour of Myrna Williams (later Loy). After finishing school he worked on the family ranch until 1922, when he enrolled at Grinnell College, Iowa to study art. After eighteen months of that, and some time in Chicago and Helena, fortune took his parents (and so him) to Los Angeles. After weeks of struggling to find gainful employment, he met two Montana friends, Jim Galeen and Jim Calloway, who were working as film extras and stunt riders in low-budget Westerns. They introduced him to another Montana cowboy, rodeo champion Jay "Slim" Talbot, who hooked Cooper up with a casting director. (Talbot later worked as Cooper's stuntman and stand-in for over thirty years, becoming a close friend and hunting companion in the process.) Cooper accepted work as a film extra for five dollars a day and a stunt rider for twice that amount with the intention of saving enough money to pay for a professional art course. But his appearance in 1926 Western The Winning Of Barbara Worth attracted sufficient notice that his acting career began to take off.
    [Show full text]