George Seaton Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)

Total Page:16

File Type:pdf, Size:1020Kb

George Seaton Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨) George Seaton 电影 串行 (大全) 36 Hours https://zh.listvote.com/lists/film/movies/36-hours-227532/actors Chicken Every https://zh.listvote.com/lists/film/movies/chicken-every-sunday-2963389/actors Sunday What's So Bad About https://zh.listvote.com/lists/film/movies/what%27s-so-bad-about-feeling-good%3F-3204274/actors Feeling Good? Little Boy Lost https://zh.listvote.com/lists/film/movies/little-boy-lost-3225457/actors Showdown https://zh.listvote.com/lists/film/movies/showdown-3282975/actors For Heaven's Sake https://zh.listvote.com/lists/film/movies/for-heaven%27s-sake-3352342/actors Anything Can https://zh.listvote.com/lists/film/movies/anything-can-happen-4000927/actors Happen Where Do We Go https://zh.listvote.com/lists/film/movies/where-do-we-go-from-here%3F-4244332/actors from Here? Apartment for Peggy https://zh.listvote.com/lists/film/movies/apartment-for-peggy-4779186/actors The Big Lift https://zh.listvote.com/lists/film/movies/the-big-lift-495924/actors Diamond Horseshoe https://zh.listvote.com/lists/film/movies/diamond-horseshoe-5270833/actors The Hook https://zh.listvote.com/lists/film/movies/the-hook-562304/actors Junior Miss https://zh.listvote.com/lists/film/movies/junior-miss-6313371/actors Williamsburg: the https://zh.listvote.com/lists/film/movies/williamsburg%3A-the-story-of-a-patriot-8021151/actors Story of a Patriot The Counterfeit https://zh.listvote.com/lists/film/movies/the-counterfeit-traitor-908713/actors Traitor 蓬門淑女 https://zh.listvote.com/lists/film/movies/%E8%93%AC%E9%96%80%E6%B7%91%E5%A5%B3-1305029/actors 34街的奇蹟 https://zh.listvote.com/lists/film/movies/34%E8%A1%97%E7%9A%84%E5%A5%87%E8%B9%9F-1467214/actors åƒ​ æ– https://zh.listvote.com/lists/film/movies/%E5%8D%83%E6%96%B9%E7%99%BE%E8%A8%88%E8%AA%A4%E4%BD%B3%E6%9C%9F- ¹ç™¾è¨ˆèª¤ä½³æœŸ 1660685/actors 玉手生香 https://zh.listvote.com/lists/film/movies/%E7%8E%89%E6%89%8B%E7%94%9F%E9%A6%99-1759395/actors 教師之戀 https://zh.listvote.com/lists/film/movies/%E6%95%99%E5%B8%AB%E4%B9%8B%E6%88%80-1781998/actors 国际机场 https://zh.listvote.com/lists/film/movies/%E5%9B%BD%E9%99%85%E6%9C%BA%E5%9C%BA-409022/actors 骄傲与亵渎 https://zh.listvote.com/lists/film/movies/%E9%AA%84%E5%82%B2%E4%B8%8E%E4%BA%B5%E6%B8%8E-758583/actors.
Recommended publications
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • 0813122023.Pdf
    Engulfed Page ii Blank ? Engulfed The Death of Paramount Pictures and the Birth of Corporate Hollywood BERNARD F. DICK THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508–4008 05 04 03 02 01 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Dick, Bernard F. Engulfed: the death of Paramount Pictures and the birth of corporate Hollywood / Bernard F. Dick. p. cm. Includes bibliographical references and index. ISBN 0-8131-2202-3 (cloth : acid-free paper) 1. Paramount Pictures Corporation–History. 2. Title. PN1999.P3 D53 2001 384'.8’06579494 00012276 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Contents Preface ix 1 Mountain Glory 1 2 Mountain Gloom 44 3 Barbarians at the Spanish Gate 85 4 Charlie’s Boys 109 5 The Italian Connection 126 6 The Diller Days 149 7 Goodbye, Charlie 189 8 Sumner at the Summit 206 Epilogue 242 End Titles 245 Notes 247 Index 259 Photo insert follows page 125 Page vi Blank For Katherine Page viii Blank Preface In Mel Brooks’s Silent Movie (1977), Sid Caesar nearly has a heart attack when he learns that a megaconglomerate called “Engulf and Devour” has designs on his little studio.
    [Show full text]
  • World War Ii and Us Cinema
    ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances.
    [Show full text]
  • A Film-Study Firm Indiana Univ., Bloomington. Audio-Visual Center. Audiovisual Ai
    DOCUMENT RESUME ED 111 332 IR 002 321 TITLE From "A" to "Yellow Jack"; A Film-Study Firm ColleciiOn. INSTITUTION Indiana Univ., Bloomington. Audio-VisualCenter. PUB DATE 75 NOTE 88p. EDRS PRICE MF-$0.36 HC-$4.43 Plus Postage DESCRIPTORS Audiovisual Aids; *Catalogs; Film Libraries; Film Production; *Film Production Specialists; *Films; *Film Study; Glossaries; *InstructionalMaterials Cente'r-s; Video Tape Recorddn-gs IDENTIFIERS _ *Indiana University Audio Visual Center ABSTRACT Illustrative material in the area of filmstudy available from the Indiana University Audio-VisualCenter is listed and described. Over 250 selected filmsare included, representing experimental films, film classics, historicallyinteresting films, works of recognized directors, and films whichare models of film techniques. Recent film acquisitionsare also described, including featurefilm excerpts from the Teaching FilmCustodians collection .representing the work of recognized Hollywooddirectors. Each entry is summarized and its significance in filmstudy explained; length, color and rental price are given. Entriesare also indexed by subject and by director. A glossary of film terms isappended. (SK) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from othersources. ERIC makes every effort * * to obtain the best copy available. nevertheless,items of marginal * * reproducibility are often encountered and thisaffects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * * via the ERIC Document Reproduction Service (EDRS).EDRS is not * responsible for the quality of the original document.Reproductions * * supplied by EDRS are the best that can be madefrom the original. *****,o**************************************************************** lac "stbos or\ II 1 o Go\\eck\ \0 Genkei Ftoo" I\'A\0-Sod`iP,Nolo.\1\svet.\ \30ve(s\y ioac\a, 1 rOor ,ygg* ,oete II_ PP- .411111.- .
    [Show full text]
  • The Hollywood Political Thriller During the Cold War, 1945
    The Hollywood Political Thriller During the Cold War, 1945 - 1962 Submitted by Deena Bowman to the University of Exeter as a Thesis for the Degree of Doctor of Philosophy in Film Studies, December 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 ACKNOWLEDGEMENTS The past four years have presented enumerable challenges, but my family and friends have remained by my side, helping me to move forward. Thanks go to the University of Exeter for providing me an opportunity to pursue my love of film and history. To Dr. Tomas Williams and Dr. Gábor Gergely for stimulating conversations over dinner and football. Sincere thanks go to Professor William Higbee for agreeing to supervise me in the final days of this project. Lastly, I am forever grateful to Professor Susan Hayward, a mentor and friend. 3 ABSTRACT This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007).
    [Show full text]
  • Αφηγηση Και Εστιαση Στισ Επικιν∆Υνεσ Σχεσεισ Του Choderlos De Laclos Kai Τισ Τεσσερισ Κινηματογραφικεσ Μεταφορεσ Του Μυθιστορηματοσ
    ΑΦΗΓΗΣΗ ΚΑΙ ΕΣΤΙΑΣΗ ΣΤΙΣ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ ΤΟΥ CHODERLOS DE LACLOS KAI ΤΙΣ ΤΕΣΣΕΡΙΣ ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΕΣ ΜΕΤΑΦΟΡΕΣ ΤΟΥ ΜΥΘΙΣΤΟΡΗΜΑΤΟΣ Της ∆έσποινας Κακλαµανίδου ∆ιδακτορική διατριβή που υποβλήθηκε στο Τµήµα Αγγλικής Γλώσσας και Φιλολογίας, της Φιλοσοφικής Σχολής του Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης, Ελλάδα Η διατριβή ολοκληρώθηκε σύµφωνα µε τις απαιτήσεις του διπλώµατος του ∆ιδάκτορα Φιλοσοφίας 2005 2 ΠΕΡΙΕΧΟΜΕΝΑ ΠΡΟΛΟΓΟΣ ......1 1. ΜΕΤΑΦΟΡΑ ΜΥΘΙΣΤΟΡΗΜΑΤΩΝ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ 1.1. Εισαγωγή ......6 1.2. Σχέσεις µεταξύ κινηµατογράφου-λογοτεχνίας ......12 1.2.1. ∆ιαφορές µεταξύ κινηµατογράφου-λογοτεχνίας ......13 1.2.2. Οπτική γωνία ......28 1.3. Σύντοµη ιστορική αναδροµή µεταφοράς µυθιστορηµάτων στον κινηµατογράφο ......30 1.4. Μεταφορά µυθιστορηµάτων στον κινηµατογράφο ......33 1.5. Σοβαρή και µαζική τέχνη ......40 2. ΑΦΗΓΗΣΗ – ΕΣΤΙΑΣΗ: ΠΟΙΟΣ ΜΙΛΑ (ΑΦΗΓΗΤΗΣ) – ΠΟΙΟΣ ΒΛΕΠΕΙ (ΕΣΤΙΑΣΤΗΣ); 2.1. Εισαγωγή ......43 2.2. Η αφηγηµατολογική προσέγγιση των Greimas και Genette ......45 2.3. Αφηγητής και εστιαστής στη λογοτεχνία ......50 2.4. Αφήγηση και εστίαση στον κινηµατογράφο ......59 2.5. Επιλογή θεωρητικού εργαλείου ......67 3. ΕΠΙΛΟΓΗ ΚΕΙΜΕΝΩΝ 3.1. Εισαγωγή ......70 3.2. Παρατηρήσεις µε βάση το corpus ......72 3.3. Κριτήρια επιλογής του έργου του Laclos ......79 4. ΟΙ ΕΠΙΚΙΝ∆ΥΝΕΣ ΣΧΕΣΕΙΣ: ΤΟ ΜΥΘΙΣΤΟΡΗΜΑ 4.1. Choderlos de Laclos (1741-1803) και η γαλλική κοινωνία του . 18ου αιώνα .....86 4.2. Η πορεία των Επικίνδυνων Σχέσεων ......90 4.3. Σύντοµη περίληψη των Επικίνδυνων Σχέσεων ......95 4.4. Η χρήση των επιστολών ......96 4.5. Ανάλυση της Γραµµατικής των Επικίνδυνων Σχέσεων: ......101 Πρόσωπα ......107 4.5.1. Συνταγµατική ανάλυση των Επικίνδυνων Σχέσεων . 4.5.2. Τα αφηγηµατικά προγράµµατα των πρωταγωνιστών των .....125 Επικίνδυνων Σχέσεων ......129 4. 6. Αφήγηση και εστίαση στις Επικίνδυνες Σχέσεις ......133 ......144 4.6.1.
    [Show full text]
  • Boxoffice Barometer (April 15, 1963)
    as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.
    [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]
  • The Face of a Saint
    one The Face of a Saint From the beginning, Montgomery Clift was hailed as exceptional. In December 1948, Life magazine featured an earnest Clift on its cover over the title “New Male Movie Stars.” While the other candidates for stardom (including Richard Widmark, Ricardo Montalban, Louis Jourdan, Peter Lawford, and Farley Granger) were presented as a group, Clift had already been singled out. 1 “Clift, 28, heads the list of new male movie discoveries,” Life proclaimed. 2 This pronouncement was widely seconded at the time and would be reiterated for decades. One critic, comparing him with con - temporaries Marlon Brando and James Dean fifty years later, asserted that Clift was “the purest, and least mannered of these actors, perhaps the most sensitive, certainly the most poetic. He was also remarkably beautiful.” 3 Spencer Tracy put it more bluntly: “He makes most of today’s young play - ers look like bums.” 4 One distinct advantage Clift had over the other newcomers in Decem - ber 1948 was the recent release of his first two films, The Search and Red River. The first appeared in March, the second in September. As with much of Clift’s legend, the question of which film should be considered his first is subject to debate. Although The Search was the first to appear in theaters, Red River was the first film Clift made, having been produced two years earlier and its release delayed. Choosing to begin with one film over the other has important conse - quences, not least raising the question of whether we give precedence to the actor’s experience or to that of the viewer.
    [Show full text]
  • Ape Chronicles #035
    For a Man! PLANET OF THE APES 1957 The Three Faces of Eve ARMY ARCHERD WHO IS WHO ? 1957 Peyton Place FILMOGRAPHY 1957 No Down Payment 1958 Teacher's Pet (uncredited) FILMOGRAPHY (AtoZ) 1957 Kiss Them for Me 1963 Under the Yum Yum Tree Compiled by Luiz Saulo Adami 1957 A Hatful of Rain 1964 What a Way to Go! (uncredited) http://www.mcanet.com.br/lostinspace/apes/ 1957 Forty Guns 1966 The Oscar (uncredited) apes.html 1957 The Enemy Below 1968 The Young Runaways (uncredited) [email protected] 1957 An Affair to Remember 1968 Planet of the Apes (uncredited) AUTHOR NOTES 1958 The Roots of Heaven 1968 Wild in the Streets Thanks to Alexandre Negrão Paladini, from 1958 Rally' Round the Flag, Boys! 1970 Beneath the Planet of the Apes Brazil; Terry Hoknes, from Canadá; Jeff 1958 The Young Lions (uncredited) Krueger, from United States of America; 1958 The Long, Hot Summer 1971 Escape from the Planet of the Apes and Philip Madden, from England. 1958 Ten North Frederick 1972 Conquest of the Planet of the Apes 1958 The Fly (uncredited) 1959 Woman Obsessed 1973 Battle for the Planet of the Apes To remind a film, an actor or an actress, a 1959 The Man Who Understood Women (uncredited) musical score, an impact image, it is not so 1959 Journey to the Center of the Earth/Trip 1974 The Outfit difficult for us, spectators of movies or TV. to the Center of the Earth 1976 Won Ton Ton, the Dog Who Saved Really difficult is to remind from where else 1959 The Diary of Anne Frank Hollywood we knew this or that professional.
    [Show full text]
  • Cinema and Berlin's Spectacle of Destruction: the 'Ruin' Film, 1945-50 Author(S): Ralph Stern Source: AA Files, No
    Cinema and Berlin's Spectacle of Destruction: The 'Ruin' Film, 1945-50 Author(s): Ralph Stern Source: AA Files, No. 54 (Summer 2006), pp. 48-60 Published by: Architectural Association School of Architecture Stable URL: https://www.jstor.org/stable/29544634 Accessed: 26-03-2019 08:47 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Architectural Association School of Architecture is collaborating with JSTOR to digitize, preserve and extend access to AA Files This content downloaded from 95.183.184.51 on Tue, 26 Mar 2019 08:47:31 UTC All use subject to https://about.jstor.org/terms Cinema and Berlin's Spectacle of Destruction The 'Ruin' Film, 1945-50 Ralph Stern The new reality. The sign of our time is the ruin. She surrounds our life. She lines the streets of our cities. She is our reality. In her burned-out fagades blooms not the blue flower of the Romantics but the demonical spirit of destruction, collapse and Apocalypse. The ruin is the outer sign of the inner insecurity of the people of our age. The ruin lives in us as we live in her. She is our new reality, one which wants to be designed.
    [Show full text]
  • By Doug Mcclelland (From Film Fan Monthly, October 1973)
    by Doug McClelland (from Film Fan Monthly, October 1973) I have written about many film actresses in my time, but never about one as anonymous as Mary Field . I also have never written about one who has been in more movies. It is a testament to the overflow wealth of the screen's peak years that in preparing this article (with not inconsiderable t research resources) I was unable to unearth any biographical material on Field, an accomplished character woman in probably a couple of hundred films from the 1930s to the 1960s. Obviously taken for granted not only by writers but by studios and fans, Field just may have been the medium's most ubiquitous female during that epoch—excepting, of course, "Queen of the Hollywood Extras" Bess Flowers, inevitable and distinguished in her feather-cut fringes . Field, however, was an actress, and while her parts sometimes were so small she went unbilled, they were polished with a rare skill that has not tarnished. The slender Field, of indeterminate age and as plain-featured as her name, had a rather parroty nose and a none-too-prominent chin, with dark hair plainly coiffed . Understandably, prim 1 types became her specialty, yet she brought to all such immac- ulate diction and Stanislaysky-like immersion—without sacrificing Mar Field 153 the parade of Irish servants dispatched by father William Powell's bluster; in Where There's Life (1947), the Bob Hope–frightened hotel help who shrieked "Love fiend!" ; and in Top o' the Morning (1949), the Irish maid who sang a duet with Bing Crosby.
    [Show full text]