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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. -
Jean Harlow ~ 20 Films
Jean Harlow ~ 20 Films Harlean Harlow Carpenter - later Jean Harlow - was born in Kansas City, Missouri on 3 March 1911. After being signed by director Howard Hughes, Harlow's first major appearance was in Hell's Angels (1930), followed by a series of critically unsuccessful films, before signing with Metro-Goldwyn- Mayer in 1932. Harlow became a leading lady for MGM, starring in a string of hit films including Red Dust (1932), Dinner At Eight (1933), Reckless (1935) and Suzy (1936). Among her frequent co-stars were William Powell, Spencer Tracy and, in six films, Clark Gable. Harlow's popularity rivalled and soon surpassed that of her MGM colleagues Joan Crawford and Norma Shearer. By the late 1930s she had become one of the biggest movie stars in the world, often nicknamed "The Blonde Bombshell" and "The Platinum Blonde" and popular for her "Laughing Vamp" movie persona. She died of uraemic poisoning on 7 June 1937, at the age of 26, during the filming of Saratoga. The film was completed using doubles and released a little over a month after Harlow's death. In her brief life she married and lost three husbands (two divorces, one suicide) and chalked up 22 feature film credits (plus another 21 short / bit-part non-credits, including Chaplin's City Lights). The American Film Institute (damning with faint praise?) ranked her the 22nd greatest female star in Hollywood history. LIBERTY, BACON GRABBERS and NEW YORK NIGHTS (all 1929) (1) Liberty (2) Bacon Grabbers (3) New York Nights (Harlow left-screen) A lucky few aspiring actresses seem to take the giant step from obscurity to the big time in a single bound - Lauren Bacall may be the best example of that - but for many more the road to recognition and riches is long and grinding. -
A Reappraisal of Three Character Actors from Hollywood’S Golden Age
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar. -
DINNERS ENROLL TOM SAWYER.’ at 2:40
1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd. -
MGM Studio News (January 14, 1939)
. STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly. -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
DGA Template
DGA 70YEARS The Early Show The founders of the Guild were not businessmen or labor leaders. They were active directors who understood the importance of protecting their creative rights. Here are some of them at their day jobs at the time. CONFEDERATE CON MEN: Roland V. Lee (bottom left) directing Jack Oakie (in top hat), Edward Arnold and Frances Farmer in The Toast of New York (1937), based on Photos: Photofest; (opposite) DGA Archives the life of Civil War-era speculator James Fisk. 82 dga quarterly GOING UP: Henry King (with glasses) directing the 1937 melodrama Seventh Heaven with James Stewart and Simone Simon (left) about a Parisian sewer worker who rescues a prostitute from the police. FRENCH KISS: Rouben Mamoulian’s stylish and tech- nically innovative musical fan- tasy, Love Me Tonight (1932), featured Jeanette MacDonald as a haughty princess courted by a Paris tailor (Maurice Chevalier). EMOTION PICTURES: Frank Borzage (far left), a two-time Oscar winner, gets the most out of a love scene in the rain between Gary Cooper and Helen Hayes in Hemingway’s A Farewell to Arms (1932). INDIANS AHEAD: Stagecoach (1939) was John Ford’s first sound Western and helped elevate the genre above shoot-’em-ups between good guys and bad guys. It also Photos: (top) DGA Archives; (bottom) AMPAS; (opposite) Archives made John Wayne a star. dga quarterly 85 BACKSTAGE: A comedic Marion Davies plays a Georgia beauty who comes to Hollywood to be a star in Show People (1928), King Vidor’s last silent film. HIGH FLYING: Howard Hawks’ unsentimental adventure Only Angels Have Wings (1939) featured his typical hardened professionals, with Cary Grant as a mail pilot in South America and Rita Hayworth as his ex-girlfriend. -
Looking at Hollywood with Ed Sullivan
P.~. Tw. Chic ••• Saaday Trihaae Looking at Hollywood with Ed Sullivan l DclYid Ni.•.•n Rudy Vcd1ee D. FClirbcmb Jr. RlchGrd Gr •• ne Jimmy St.wGrt Joe Sch.nck on the coast and he has loads brothers, three of them, are don't believe that there will be of dough. Or how about some- married. So are Jack Haley, Jack any reaction whatsoever. The thing in writers or directors- Benny, George Burns, Frank studio bosses are of the opinion Norman Krasna, Rouben Ma· McHugh, Al Jolson, Bert Wheel· that a performer who is married moulian, Bob Risklnd, Carl er, Bob Hope, Fred Allen, Frank happily is better liked by the Laemmle Jr., Eddie Sutherland, Morgan, George Jessel. Their public and gains solid prestige. Austin Fairman? Uh-huh, you marriage rating is high. want Gable or Robert Taylor- Perhaps we shouldn't indulge • • • you will have to take that up in any such broad generality. There are one hundred argu- with Miss Lombard or Miss W. C. Fields, Edgar Bergen, Mil· ments in support of this idea. Stanwyck, ma'am. Can I Inter- ton Berle, and Edward Everett Gable was tremendous at the est you in a nice, swingy band Horton are comics who are root- box office while he was married. leader? Guy Lombardo, Abe loose and fancy-free. So, too, is So was W1lliam Powell. Bing Lyman, Skinnay Ennis. Hal Ken Murray. Charlie Butter- Crosby as a married man and Kemp? No, a lady came and worth is getting a divorce, or a father has gained in popular- got him just the other day. -
On Location in Santa Cruz by Lisa Jensen
On Location in Santa Cruz By Lisa Jensen With Jane Seymour in the foreground, it's hard to pay attention to the background. But those of you who were to tear your eyes off the villainous starlet of East of Eden might have noticed that some of the locations looked familiar. They ought to—several scenes in the made-for-TV movie (telecast last winter) were shot at the Calvary Episcopal Church on Lincoln Street, the Hitchcock house on Ocean View Terrace and the Capitola pier. To the eyes of folks from Hollyweird, Santa Cruz looks more like Steinbeck's Salinas than Salinas does. The Eden crew was one of the most visible of the many TV and movie production companies that have come to Santa Cruz. Within the last five years, our town has also played host to crews of the 1976 telefilm The Entertainer starring Jack Lemmon, which filmed extensively at the Boardwalk and the movie Tilt with Brooke Shields which spent several weeks shooting principal footage in Capitola. (Although the movie fizzled, it received a marginal theatrical release in 1979 and was recently shown on local cable TV.) Last year portions of the upcoming science fiction comedy Heartbeeps with Andy Kaufman and Bernadette Peters, were shot in the meadows of UCSC, and scenes for the TV series The Gangster Chronicles came from the Capitola wharf. Shooting movies in Santa Cruz is not a new idea. We've had a colorful history as a film location that dates back to the silent era. Stars gracing the local scene have ranged from Tom Mix and Zasu Pitts to James Stewart, Jeanette MacDonald and Lassie. -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
'See It Big!' Series Celebrates Movie Musicals
FOR IMMEDIATE RELEASE ‘SEE IT BIG!’ SERIES CELEBRATES MOVIE MUSICALS Fourteen spectacular singing/dancing extravaganzas including All That Jazz, The Sound of Music, Pennies from Heaven, The Wiz, and more January 24–February 28, 2014 Astoria, New York, January 2, 2014—The Museum of the Moving Image’s popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed… big! Among the titles are two of the first films produced at the rejuvenated Astoria studio— across the street from the Museum—in the 1970s: Series opener All That Jazz (1979) is choreographer and director Bob Fosse’s largely autobiographical tour de force featuring a lithe and passionate Roy Scheider as Fosse’s alter ego (January 24); The Wiz (1978), directed by Sidney Lumet, reimagines The Wizard of Oz in a gritty urban fantasy land and stars Diana Ross, Michael Jackson, and Nipsey Russell (February 7). Production materials from The Wiz are currently on view at the Museum in Lights, Camera, Astoria!, an exhibition exploring the history of the Astoria studio (on view through February 9), and also in the core exhibition Behind the Screen. Two other 1970s musicals also feature in the series.