John Huston, the MALTESE FALCON (1941, 101 Min)
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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
TCM CFF 2012 Talent 1 and Passes on Sale Announcement Nov 2
For Release: November 2, 2011 TCM Classic Film Festival to Open with Gala Screening of Cabaret Passes Go on Sale Nov. 9 for Four-Day Festival, Coming to Hollywood April 12-15, 2012 Turner Classic Movies (TCM) will open the 2012 edition of the TCM Classic Film Festival with the world premiere of a new 40th anniversary restoration of Bob Fosse’s Cabaret (1972). TCM’s own Robert Osborne, who serves as official host for the festival, will introduce Cabaret to kick off the four-day, star-studded event, which will take pace Thursday, April 12 – Sunday, April 15, 2012, in Hollywood. Passes are set to go on sale Wednesday, Nov. 9, at 10 a.m. (ET) through the official festival website: http://www.tcm.com/festival. One of the most acclaimed films of its era, Cabaret stars Oscar®-winner Liza Minnelli as an American singer looking for love and success in pre-World War II Berlin. Michael York and Academy Award® winner Joel Grey co-star in the film, which earned Fosse an Oscar for Best Director and serves as a perfect showcase for his unique choreography and imaginative visual style. Cabaret will kick off an extensive roster of screenings for the 2012 TCM Classic Film Festival. As part of TCM’s ongoing commitment to supporting film preservation, the festival will showcase several new restorations, including three Best Picture Oscar winners, one of the greatest movie musicals of all time and a nearly forgotten gem ready to be rediscovered: Wings (1927) – 85th Anniversary Restoration Charles “Buddy” Rogers, Richard Arlen and Clara Bow star in William A. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
National Box Office Digest Annual (1940)
Ho# Ujjfice JbiaeAt Haui: «m JL HE MOST IMPORTANT NEWS of many moons to this industry is the matter-of-fact announcement by Technicolor that it will put into effect a flat reduction of one cent a foot on release prints processed after August 1st. "There is a great industrial story of days and nights and months and years behind the manner in which Dr. Kalmus and his associates have boosted the quality and service of color to the industry, beaten down the price step by step, and maintained a great spirit of cooperation with production and exhibition. TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, President , 617 North La Brea Avenue, Los Angeles, Subscription Rate, $10.00 Per ■Ml ^Ite. DIGEST ANNUAL *7lie. 1/ea>i WcM. D OMESTIC box office standings take on values in this year of vanished foreign markets that are tremendous in importance. They are the only ratings that mean anything to the producer, director, player, and exhibitor. Gone—at least for years to come—are the days when known box office failures in the American market could be pushed to fabulous income heights and foisted on the suffering American exhibitor because of a shadowy "for¬ eign value.” Gone are the days—and we hope forever—when producers could know¬ ingly, and with "malice aforethought,” set out on the production of top budgetted pictures that would admittedly have no appeal to American mass audiences, earn no dimes for American exhibitors. All because of that same shadowy foreign market. ^ ^ So THE DIGEST ANNUAL comes to you at an opportune time. -
Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated. -
THE DARK PAGES the Newsletter for Film Noir Lovers Vol
THE DARK PAGES The Newsletter for Film Noir Lovers Vol. 6, Number 1 SPECIAL SUPER-SIZED ISSUE!! January/February 2010 From Sheet to Celluloid: The Maltese Falcon by Karen Burroughs Hannsberry s I read The Maltese Falcon, by Dashiell Hammett, I decide on who will be the “fall guy” for the murders of Thursby Aactually found myself flipping more than once to check and Archer. As in the book, the film depicts Gutman giving Spade the copyright, certain that the book couldn’t have preceded the an envelope containing 10 one-thousand dollar bills as a payment 1941 film, so closely did the screenplay follow the words I was for the black bird, and Spade hands it over to Brigid for safe reading. But, to be sure, the Hammett novel was written in 1930, keeping. But when Brigid heads for the kitchen to make coffee and the 1941 film was the third of three features based on the and Gutman suggests that she leave the cash-filled envelope, he book. (The first, released in 1931, starred Ricardo Cortez and announces that it now only contains $900. Spade immediately Bebe Daniels, and the second, the 1936 film, Satan Met a Lady, deduces that Gutman palmed one of the bills and threatens to was a light comedy with Warren William and Bette Davis.) “frisk” him until the fat man admits that Spade is correct. But For my money, and for most noirists, the 94 version is the a far different scene played out in the book where, when the definitive adaptation. missing bill is announced, Spade ushers Brigid The 1941 film starred Humphrey Bogart into the bathroom and orders her to strip naked as private detective Sam Spade, along with to prove her innocence. -
John Garfield
John Garfield: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Garfield, John, 1913-1952 Title: John Garfield Papers Dates: 1932-2010, undated Extent: 4 document boxes, 2 oversize box (osb), 2 bound volumes (bv) (5.04 linear feet) Abstract: The John Garfield papers, 1932-2010, consist of production photographs and film stills, headshots, photographs, posters, sheet music, clippings, and press releases from his film and stage work; film contracts, articles, magazines, family photos, and correspondence donated by his daughter, Julie Garfield. Call Number: Film Collection No. FI-00074 Language: English Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Special Handling Special Handling Instructions: Most of the binders in this collection Instructions: have been left in an unaltered or minimally processed state to provide the reader with the look and feel of the original. When handling the binders with inserted materials, users are asked to be extremely careful in retaining the original order of the material . Most of the photographs and negatives in the collection have been sleeved, but patrons must use gloves when handling unsleeved photographic materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
Actor and Berkshire Parent Sydney Greenstreet's Letters from the Road
Fall 2011/ Winter 2012 BERKSHIRE BULLETIN Actor and Berkshire Parent Sydney Greenstreet’s Letters From the Road OPENING SHOT Big Buss for Brett MARLEE WALLINGFORD ’76 and BESS MALTZ ANDREWS ’81 welcomed BRETT PUTNAM ’81 to his thirtieth reunion last May. Brett is the son of the ever legendary Em Putnam, a former longtime administrator here. Berkshire Bulletin Fall 2011/Winter 2012 BERKSHIRE BULLETIN 2 Reaction 5 Under the Dome 24 College Essays 26 Alumni Events 28 Reunion Weekend 37 Alumni Authors 38 Our Man in Mexico During Reunion Weekend last spring, LUKE HARAN, president of “The Great Class of 1961,” presented Head of School Mike Maher with a plaque 44 As ever — Sydney formally naming the Great Room in Berkshire Hall, representing a fiftieth-reunion gift of $370,462. A great class, indeed: its members also established two scholar- 55 From Students to Heads ship funds: the Class of 1961 John F. Godman Fund in 1985 and the Class of 1961 Edward H. Hunt Scholarship Fund in 2006. 57 Class Notes 74 In Memoriam Cover: Sydney Greenstreet’s correspondence to Seaver Buck came from whichever city he happened to be appearing in at the time. 80 Of Rogers and Heart Rooted in an inspiring natural setting, Berkshire School instills the highest standards of character and citizenship and a commitment to academic, artistic, and athletic excellence. Our community fosters diversity, a dedication to environmental stewardship, and an enduring love for learning. STEPHEN P. NORMAN ’60, President, Board of Trustees DESIGN: Julie Hammill, Hammill Design Michael J. Maher, Head of School PRINTING: Quality Printing Company, Pittsfield, Mass. -
XXVI:7) John Huston, FAT CITY (1972, 100 Min.)
February 26, 2013 (XXVI:7) John Huston, FAT CITY (1972, 100 min.) Directed by John Huston Script by Leonard Gardner, based on his novel Produced by John Huston and Ray Stark Cinematography by Conrad L. Hall Edited by Walter Thompson Production Design by Richard Sylbert Set Decoration by Morris Hoffman Costume Design by Dorothy Jeakins Stunts: Nick Bullom and Rachel Schedler Music supervisor: Marvin Hamlisch Fight consultant: Al Silvani First aid: Brad Siniard Stacy Keach…Tully Jeff Bridges…Ernie Susan Tyrrell…Oma Candy Clark…Faye Nicholas Colasanto…Ruben Art Aragon…Babe Curtis Cokes…Earl Sixto Rodriguez…Lucero Billy Walker…Wes Freud, 1961 The Misfits, 1960 The Unforgiven, 1958 The Roots of Wayne Mahan…Buford Heaven, 1958 The Barbarian and the Geisha, 1957 A Farewell to Ruben Navarro…Fuentes Arms (uncredited), 1957 Heaven Knows, Mr. Allison, 1956 Moby Álvaro López…Rosales Dick, 1953 Beat the Devil, 1952 Moulin Rouge, 1951 The African Carl D. Parker…Paymaster Queen, 1951 The Red Badge of Courage, 1950 The Asphalt Jungle, Al Silvani…Referee at Tully-Lucero Fight 1949 We Were Strangers, 1948 Key Largo, 1948 On Our Merry Way (uncredited), 1948 The Treasure of the Sierra Madre, 1946 JOHN HUSTON (director) (b. John Marcellus Huston, August 5, Let There Be Light (documentary), 1945 San Pietro (documentary 1906, Nevada, Missouri – August 28, 1987, Middletown, Rhode short) (uncredited), 1944 Tunisian Victory (documentary) Island) won best screenplay and best director Oscars for The (replacement scenes), 1943 Report from the Aleutians Treasure of the Sierra Madre (1948). His other 48 films are: 1987 (documentary) (uncredited), 1942 Across the Pacific, 1942 The Dead, 1985 Prizzi's Honor, 1984 Under the Volcano, 1982 Winning Your Wings (short), 1942 In This Our Life, and 1941 The Annie, 1981 Victory, 1980 Phobia, 1979 Wise Blood (as Jhon Maltese Falcon. -
November 23, 1962
R. J. JEVi l S!l !l l STO~ ICAL ASSOC. 11 209 A~I GELL ST• PROV. b. R. I. THE ONLY ANGLO-JEWISH WEEKLY IN R. I. AND SOUTHEAST MASS. VOL. XLVI, No. 37 NOVEMBER 23, 1962 12 PAGES Reform Groups Abram Says Minorities Control Hold Assembly Legislatures Through Apportionment BOSTON - Legislatures in which a minority of the people In Providence all 50 states will be controlled have 'legall)I' imposed their by a m inority of voters because views, taxes and programs on J ews must take seriously the of mal-apportionment , Morris the majority." Standing behind their parents, Mr. and Mrs. Archie Smith, are "universal priestly vocation'' B. Abram. head of the American He predicted that reappor their four children, Hershel , Meryl, Arthur and Ea rl. which their religion requires of J ewish Committee's executive tionment cases now before the eve ry congregant. Rabbi W . board, recently stated here. courts in 35 states would give Gunther Plaut, senio r rabbi of Outmoded voting systems city and suburban voters their Archie Smith Receives Award Holy Blossom Congregation in have brought about this control, "first. fair political shake in 50 Toronto, Canada, told 500 it was rePQrted in the New years." For Work In Jewish Education Reform J ewish leaders from all York Times by Irving Spiegel, He said that reapportionment parts of New England at the By Celia Zuckerberg who covered Mr. Abram's speech also might weaken resistance to the abuse." These few men had Sheraton-Biltmore Hotel in delivered last week at the clos desegregation in the South. -
Marilyn Monroe's Star Canon: Postwar American Culture and the Semiotics
University of Kentucky UKnowledge Theses and Dissertations--English English 2016 MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM Amanda Konkle University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.038 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Konkle, Amanda, "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM" (2016). Theses and Dissertations--English. 28. https://uknowledge.uky.edu/english_etds/28 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.