Cooßen [ Dancing Will Complete the Program
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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Selznick Memos Concerning Gone with the Wind-A Selection
Selznick memos concerning Gone with the Wind-a selection Memo from David O. Se/znick, selected and edited by Rudy Behlmer (New York: Viking, 1972) 144 :: MEMO FROM DAVID O. SELZNICK Gone With the Wind :: 145 To: Mr. Wm. Wright January 5, 1937 atmosphere, or because of the splendid performances, or because of cc: Mr. M. C. Cooper George's masterful job of direction; but also because such cuts as we . Even more extensive than the second-unit work on Zenda is the made in individual scenes defied discernment. work on Gone With the Wind, which requires a man really capable, We have an even greater problem in Gone With the Wind, because literate, and with a respect for research to re-create, in combination it is so fresh in people's minds. In the case of ninety-nine people out with Cukor, the evacuation of Atlanta and other episodes of the war of a hundred who read and saw Copperfield, there were many years and Reconstruction Period. I have even thought about [silent-fllm between the reading and the seeing. In the case of Gone With the director1 D. W. Griffith for this job. Wind there will be only a matter of months, and people seem to be simply passionate about the details of the book. All ofthis is a prologue to saying that I urge you very strongly indeed Mr. Sidney Howard January 6, 1937 against making minor changes, a few of which you have indicated in 157 East 8znd Street your adaptation, and which I will note fully. -
The Rocky Road to OZ Wicked Witch’S Fiery Exit
Saturday, April 9, 2011; 2 & 8 pm only E.Y Harburg tune “Over the Rainbow” (which was almost cut from the picture) became Garland’s theme and a song that has attained cult status. Casting was not the only problem. The script was labored over by 16 writers, 13 of whom went uncredited including cast members Jack Haley and Bert Lahr, poet Ogden Nash, and screenwriter Herman J. Mankiewicz, who authored Citizen Kane (1941). The picture went through five directors (Norman Taurog, Mervyn LeRoy, George Cukor, Richard Thorpe and Victor Fleming), a ton of extras and they almost fried Margaret Hamilton in the effects created for the The Rocky Road to OZ Wicked Witch’s fiery exit. the time The Wizard of Oz premiered at Sid Grauman’s Chinese Theater on a summer night Yet despite the difficulties, and the initial lackluster box By in 1939, it had been staged successfully as a office,The Wizard of Oz was Oscar®-nominated for Best Broadway musical and three silent film versions had already Picture, Color Cinematography, Interior Decoration, and been released. L. Frank Baum, creator of the Oz franchise did Special Effects and won awards for Best Song (“Over the his own production in 1914 and the 1925 version directed Rainbow”) and Original Score. It also placed tenth on the by silent film comedian Larry Semon featured Oliver ‘Babe’ list of the Greatest American Films of All Time. “There’s no Hardy as the Tin Woodman. Samuel Goldwyn, who had question that Steven Spielberg, George Lucas, Peter Jackson, acquired the film rights in 1933, sold them to M-G-M for almost any influential contemporary filmmaker you could $75,000 and the adventure began. -
Alumni News Most Poignant and Endur- a Person and on His Success
BTNAA Easter rings joy to the troubled world… PO Box 2 there is no need for fear, for tears, nor Boys Town, NE 68010 heartaches. These we have left behind us. (800) 345-0458 – Father Edward J. Flanagan www.boystownalumni.org LUMNI EWS BOYSA TOWN NATIONAL ALUMNI ASSOCIATION NSPRING 2009 – VOLUME 48, ISSUE 1 ALUMNI MISSION: We exist to unite and grow our alumni family, and champion the dream and values of Father Flanagan through leadership. IN THIS ISSUE: From The Executive Director 2 Alumni Profile. 2 Stoughton Left Mark . 3 From The BTNAA President . 4 From The Senior Advisor. 4 Alum Volunteer Gives Back. 5 Dinner With Father Flanagan 5 Convention Pre-Registration 6 Convention Maps. 7 Convention Schedule. 8-9 EASTER REFLECTIONS FROM OUR KIDS Home Campus Map. 10 In this Easter Season, our boys and girls share with us I still have a lot of work to do, but a resurrection has Convention Accommodations 11 how Boys Town helps provide them with an opportunity happened in my life. I am looking forward to the many for a new life. The following reflections highlight the opportunities that await me. I can pray, I will pray, I Convention Photo Memories 12 positive changes our youth experience as they embrace do pray. A Scrapbook Comes Home . 13 a fresh start. Drew, 14 Gift Shop Alumni Specials. 13 God has helped me become a person respected by When you put your faith in God, you no longer bear the From The Auxiliary President 13 other folks… folks who once knew me as a bad young burden of the troubles in your life. -
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). -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
National Delta Kappa Alpha
,...., National Delta Kappa Alpha Honorary Cinema Fraternity. 31sT ANNIVERSARY HONORARY AWARDS BANQUET honoring GREER GARSON ROSS HUNTER STEVE MCQUEEN February 9, 1969 TOWN and GOWN University of Southern California PROGRAM I. Opening Dr. Norman Topping, President of USC II. Representing Cinema Dr. Bernard R. Kantor, Chairman, Cinema III. Representing DKA Susan Lang Presentation of Associate Awards IV. Special Introductions Mrs. Norman Taurog V. Master of Ceremonies Jerry Lewis VI. Tribute to Honorary l\llembers of DKA VII. Presentation of Honorary Awards to: Greer Garson, Ross Hunter, Steve McQueen VIII. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mrs. Tichi Wilkerson Miles, chairman Mr. Stanley Musgrove Mr. Earl Bellamy Mrs. Lewis Rachmil Mrs. Harry Brand Mrs. William Schaefer Mr. George Cukor Mrs. Sheldon Schrager Mrs. Albert Dorskin Mr. Walter Scott Mrs. Beatrice Greenough Mrs. Norman Taurog Mrs. Bernard Kantor Mr. King Vidor Mr. Arthur Knight Mr. Jack L. Warner Mr. Jerry Lewis Mr. Robert Wise Mr. Norman Jewison is unable to be present this evening. He will re ceive his award next year. We are grateful to the assistance of 20th Century Fox, Universal studios, United Artists and Warner Seven Arts. DEPARTMENT OF CINEMA In 1929, the University of Southern California in cooperation with the Academy of Motion Picture Arts and Sciences offered a course described in the Liberal Arts Catalogue as : Introduction to Photoplay: A general introduction to a study of the motion picture art and industry; its mechanical founda tion and history; the silent photoplay and the photoplay with sound and voice; the scenario; the actor's art; pictorial effects; commercial requirements; principles of criticism; ethical and educational features; lectures; class discussions, assigned read ings and reports. -
Les Campagnes Électorales À Travers Le Cinéma Français Et Américain
Couverture : Affiche du film The Phantom President, 1932 Exposition « Élections » – Du lundi 10 avril au mardi 9 mai 2017 à la BU Paris Nanterre Les campagnes électorales à travers le cinéma français et américain Filmographie sélective Bibliothèque Universitaire ADAV, Allociné, IMDB, Première.fr, sens-critique.com, Télérama Les synopsis sont extraits des sites – Paris Nanterre consultés le 20 janvier 2017. Le cinéma… Un miroir le long de la route ... « Le cinéma nous apparaît comme un reflet du temps présent. On pourrait dire de lui ce que Stendhal disait du roman : c'est un miroir qu'on promène le long de la route ; l'époque s'y révèle avec ses façons de penser et de vivre, ses grandeurs et ses faiblesses, ses tourments, ses espoirs et ses rêves, sa physionomie enfin. Certes il est difficile de connaître son propre temps : l'homme d'aujourd'hui ne sera connu que par l'homme de demain qui pourra, grâce au recul historique, dessiner les traits définitifs de son visage, le reconstruire tel qu'il aura été, tel qu'il se sera fait par l'histoire. Pourtant bien des films portent déjà témoignage et ou pourrait dire qu'ils parlent davantage à notre esprit qu'ils ne le feront pour une postérité qui ne verra peut-être plus les choses comme nous et qui devra tenter d'abord de se comprendre elle-même. Le cinéma est capable de nous donner immédiatement et plus que les autres arts une idée de ce que nous sommes, nous les hommes de ce temps. Bien des films témoignent en effet des inquiétudes actuelles, du malaise de la conscience contemporaine, des difficultés du monde qui se fait sous nos yeux, de la crise que traverse une humanité à la recherche de son équilibre. -
Jackie Cooper
Jackie Cooper Titles: 49+ Sources: 10 Stills: 52 aka: Leonard Cooper Born: John Bigelow; Los Angeles, California; September 15th 1921/22 Son of studio production manager C.J. Bigelow; nephew of director Norman Taurog Homely puppy hits the Big Time – Cooper‟s big break was in “SKIPPY” Source: indeterminate “One day I‟ll be editor of the Daily Planet!” – Studio publicity shot Source: indeterminate website The snub-nosed tyke with truculent pout look was evidently a real winner in the thirties. Jackie Cooper had none of Coogan’s soulful vulnerability, none of Bartholomew’s precious decorousness. He hadn’t the sheer energy and vaudevillean versatility of Rooney, or the offhand prettiness of Dickie Moore and others. Analyising Cooper’s appeal is a puzzle. It cannot even in fairness be said of him that he was a talented child actor. In titles like “THE BOWERY” or “TREASURE ISLAND”, for example, his performance is servicable at best. Jackie Cooper was, as James Cagney famously characterised himself, a “bread and butter” actor, his everyman face and voice struck a chord with Depression-era audiences. He had few pretensions, worked hard, and put the bacon on the table. Behind him, as ever, a mother determined to get her son on the screen, in this case by a judicious fiddling of the studio books. In many of his best-remembered titles the young Cooper was teamed with burly aw-shucks Wallace Beery, and the studios obviously regarded them as something of an item, but in a revealing aside during a recent interview, Cooper indicated that Beery was actually quite offhand towards him when the cameras weren't turning, so they didn't hit it off at all so well as the screen gave out. -
Film and Politics Winter 2018
Political Science 410 Film and Politics Winter 2018 Professor Richard Davis 754 SWKT x2-7503 [email protected] Office Hours: Tuesdays 9-10: 45 am or by appointment Course Description This course explores the use of a mass medium - film - as a vehicle for communicating messages about political institutions and processes and the elites (primarily politicians) who are associated with them. Film is a new medium in the history of the world. One hundred years ago, film was a newly created vehicle for communicating with the mass audience. Today, mass market films reach hundreds of millions of people worldwide. This class is designed to analyze how directors use film to affect or reinforce political views or how they intentionally or unconsciously reflect certain ideas about politics in their films. We will address film’s portrayal of politicians, political institutions, political organizations, and political processes. The films we will survey primarily are feature films designed for a mass market. All have been released for theatre viewing. The questions we will answer over the semester center on the political motives of the film's director and then the ways these motives are transmitted through plot line, dialogue, music, visual images, camera angles, and various other cinematic techniques. Some questions we will continually ask throughout the semester include: What are the unstated assumptions of the film? What is the purpose of the film? From whose perspective is the story told? What other perspectives are not shown? Who is the hero (heroes) of the film? What political points does the director make? What is the historical and political context shaping the film? To what extent did the film affect the larger political environment? Course Objectives Students will be able to discern the existence of political messages of film, both intentional and unintentional. -
En Gros Plan : Jerry Lewis
Document généré le 29 sept. 2021 13:56 Séquences La revue de cinéma En gros plan Jerry Lewis Suzanne Gignac Rire et délire Numéro 38, octobre 1964 URI : https://id.erudit.org/iderudit/51849ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Gignac, S. (1964). En gros plan : Jerry Lewis. Séquences, (38), 32–34. Tous droits réservés © La revue Séquences Inc., 1964 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ en gros plan JERRY LEWIS Suzanne Gignac Je cherche à amuser, à faire rire, à divertir. Rien d'autre. Le cinéma, ce n'est pas fait pour faire pleurer mais pour faire rire... Le monde a un besoin pressant de rire. Quand je fais un film, c'est avec l'espoir qu'il amusera un nom bre infini de gens, encore plus que le film précédent. Je veux que le nom "Jerry Lewis" sur la marquise soit sy nonyme de rire ! . Jerry Lewis — Fais-nous rire, Joseph ! professeurs. Au sortir du collège, il exerce divers métiers pour se re A cinq ans, Joseph Levitch ap trouver, en 1946, sur le pavé new- prend son métier. -
American MUSICAL WEST SIDE STORY 787
THE OXFORD COMPANION TO THE American MUSICAL WEST SIDE STORY 787 GAME (1949), THREE LITTLE WORDS (1950), plays and musicals, such as A La Broadway and SUMMER STOCK (1950). In the 1950s he also (1911), Vera Violetta (1911), A Winsome produced a number of feature films, includ- Widow (1912), and The Mimic World (1921}. ing the musicals Dangerous When Wet (1953) West developed her satiric vamp persona and Jupiter's Darling (1955), and both writing singing ribald songs in vaudeville and was and producing the musicals Everything I Have already becoming well known by the time Is Yours (1952) and I Love Melvin (1953). His she made headlines in 1926 for the play Sex, other writing credits include the musicals THE which she wrote, produced, directed, and TOAST OF NEW ORLEANS (1950), Texas Carnival starred in. Her infamy was established and (1951), LOVELY TO LOOK AT (1952), and Where she starred on Broadway in her own shows, the Boys Are most memorably DiamondLil (1928), which she reprised in New York in 1949 and 1951. ii WE'RE A/or DRESSING (Paramount 1934). West made her screen debut in 1932, usually BING CROSBY moved from crooner to light writing her own dialogue for her vehicles comic leading man with this silly but agreeable and always battling over the censors over film in which he was charmingly offbeat as the what she could say and do on screen. Most carefree outsider, a persona he would perfect of her movies were musicals and she got to over the years. Horace Jackson, Frances Martin, introduce some standards such as "My Old and George Marion, Jr.