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Selling Masculinity at Warner Bros.: William Powell, a Case Study
Katie Walsh Selling Masculinity at Warner Bros.: William Powell, A Case Study Abstract William Powell became a star in the 1930s due to his unique brand of suave charm and witty humor—a quality that could only be expressed with the advent of sound film, and one that took him from mid-level player typecast as a villain, to one of the most popular romantic comedy leads of the era. His charm lay in the nonchalant sophistication that came naturally to Powell and that he displayed with ease both on screen and off. He was exemplary of the success of the new kind of star that came into their own during the transition to sound: sharp- or silver-tongued actors who were charming because of their way with words and not because of their silver screen faces. Powell also exercised a great deal of control over his publicity and star image, which is best examined during his short and failed tenure as a Warner Bros. during the advent of his rise to stardom. Despite holding a great amount of power in his billing and creative control, Powell was given a parade of cookie-cutter dangerous playboy roles, and the terms of his contract and salary were constantly in flux over the three years he spent there. With the help of his agent Myron Selznick, Powell was able to navigate between three studios in only a matter of a few years, in search of the perfect fit for his natural abilities as an actor. This experimentation with star image and publicity marked the period of the early 1930s in Hollywood, as studios dealt with the quickly evolving art and technological form, industrial and business practices, and a shifting cultural and moral landscape. -
PERUSAL SCRIPT © Susan Haley
Haley Productions’ Murder Mysteries 800-293-3302/510-235-0118 [email protected] www.haleyproductions.com PERUSAL SCRIPT © Susan Haley 2003 (Partial scripts; some explanations/details are missing but will be included with your script purchase) Worldwide copyright laws and conventions protect all Haley Production’s scripts. The buyer is allowed to use this script for one performance only. It's an infringement of copyright law to give a performance or reading of any such play or excerpt without prior consent of Haley Productions. It is also a violation of copyright law to copy part or all of a play by any means, including but not limited to typewriter, photocopy, videotape or computer, without express permission of Haley Productions. Please contact us for multiple usage rights. FINAL CUT YEAR: current (the 1950’s is also very fun era for this script). STORY: Director Eddie Cheek is looking for backers for his new movie so he’s throwing a gala shindig for interested parties. In return for their funding his movie, he’s promised them parts in the picture. PRIMARY SUSPECTS (these are the folks who will have full knowledge of the mystery; you’ll give them a complete script): COSTUMES: Suggestions provided in full script Eddie Cheek: A self-absorbed B-movie director whose movies tend to become cult classics more than mainstream films. His mentor is Ed Wood, Jr.* so that gives you an idea of the type of director he is. He claims authorship of his latest screenplay but he’s lying. He didn’t write it. He stole it when he was a script reader for TANTAMOUNT FILMS 3 years ago. -
Performing Resistance: Myrna Loy, Joan Crawford, and Barbara Stanwyck in Postwar Cinema
Performing Resistance: Myrna Loy, Joan Crawford, and Barbara Stanwyck in Postwar Cinema Asher Benjamin Guthertz Film and Digital Media March 23, 2018 Thesis Advisor: Dr. Shelley Stamp This thesis has been completed according to the Film and Digital Media department's standards for undergraduate theses. It is submitted in partial fulfillment of the degree of Bachelor of Arts in Film and Digital Media. Introduction: Performing Resistance In the sunny California town of Santa Lisa, amidst a round of applause, veteran Frank Enley (Van Heflin) hands his toddler to his wife and struts onto a makeshift stage. In front of a crowd gathered to celebrate the opening of a new housing complex, he declares: “It was you fellas, you and your families, that really put this thing over. You stuck together and you fought for what you wanted, and if I gave you any help at all, well believe me, I am very happy.” His wife, holding their young son, beams. Frank musters all the spirit of war time camaraderie, and expresses that American belief that with hard work and a communal effort, anything is possible. But as Act of Violence (1949) unfolds, Frank’s opening speech becomes sickeningly hypocritical. A former army comrade sets out to murder Frank, and halfway through the film, Frank tells his wife Edith (Janet Leigh) why. The revelation takes place on an outdoors stairway at night. The railing and fences draw deep angular shadows on the white walls, and the canted angles sharpen the lines of the stairs and floor. A sense of enclosure looms; Frank mutters that he betrayed his troop. -
UNSOLD ITEMS for - Hollywood Auction Auction 89, Auction Date
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 UNSOLD ITEMS FOR - Hollywood Auction Auction 89, Auction Date: LOT ITEM LOW HIGH RESERVE 382 MARION DAVIES (20) VINTAGE PHOTOGRAPHS BY BULL, LOUISE, $600 $800 $600 AND OTHERS. 390 CAROLE LOMBARD & CLARK GABLE (12) VINTAGE $300 $500 $300 PHOTOGRAPHS BY HURRELL AND OTHERS. 396 SIMONE SIMON (19) VINTAGE PHOTOGRAPHS BY HURRELL. $400 $600 $400 424 NO LOT. TBD TBD TBD 432 GEORGE HURRELL (23) 20 X 24 IN. EDITIONS OF THE PORTFOLIO $15,000 $20,000 $15,000 HURRELL III. 433 COPYRIGHTS TO (30) IMAGES FROM HURRELL’S PORTFOLIOS $30,000 $50,000 $30,000 HURRELL I, HURRELL II, HURRELL III & PORTFOLIO. Page 1 of 27 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 UNSOLD ITEMS FOR - Hollywood Auction Auction 89, Auction Date: LOT ITEM LOW HIGH RESERVE 444 MOVIE STAR NEWS ARCHIVE (1 MILLION++) HOLLYWOOD AND $180,000 $350,000 $180,000 ENTERTAINMENT PHOTOGRAPHS. 445 IRVING KLAW’S MOVIE STAR NEWS PIN-UP ARCHIVE (10,000+) $80,000 $150,000 $80,000 NEGATIVES OFFERED WITH COPYRIGHT. 447 MARY PICKFORD (18) HAND ANNOTATED MY BEST GIRL SCENE $800 $1,200 $800 STILL PHOTOGRAPHS FROM HER ESTATE. 448 MARY PICKFORD (16) PHOTOGRAPHS FROM HER ESTATE. $800 $1,200 $800 449 MARY PICKFORD (42) PHOTOGRAPHS INCLUDING CANDIDS $800 $1,200 $800 FROM HER ESTATE. 451 WILLIAM HAINES OVERSIZE CAMERA STUDY PHOTOGRAPH BY $200 $300 $200 BULL. 454 NO LOT. TBD TBD TBD 468 JOAN CRAWFORD AND CLARK GABLE OVERSIZE PHOTOGRAPH $200 $300 $200 FROM POSSESSED. -
The Making of a Classic
Saturday, October 22 at 2 & 8 pm only Ed D. Wood’s The Making of a Classic hortly before Bela Lugosi’s death in 1956, the actor had been working Swith poverty row Producer-Director Ed Wood on numerous half-realized projects variously titled Tomb of the Vampire or The Ghoul Goes West. According to Ed Wood, “Lugosi needed a thousand dollars, so I shot some footage of him.” Lugosi’s scenes were probably shot in the Spring of 1955 before Bela entered Norwalk hospital for treatment for his morphine addiction. until July 1959 through Valiant Pictures, These scenes featured Lugosi weep- the receiver of DCA. It went into general ing at a funeral, walking in front of release in the US in July, 1959, as Plan Tor Johnson’s house in the daytime, 9 from Outer Space, on the bottom of walking in and out of Johnson’s side a double bill with DCA’s Time Lock. door at night, and walking through a graveyard in daytime. Only the The original title is mentioned at the end first two sequences had reached any of Criswell’s opening narration when level of completion. When Lugosi he asks the audience, “Can your heart died, Wood shelved these projects. stand the shocking facts about grave 1959 – Black & White – 79 Minutes robbers from outer space?” Like many Shortly thereafter Wood developed independent films of the period,Plan Written, Produced & Directed by ...... Ed Wood Jr. the story and screenplay for Grave 9 was distributed under a states’ rights Executive Producer .................. J. Edward Reynolds Robbers from Outer Space planning to basis. -
Ben-Hur Trivia
IMDb All | IMDb Apps | Help Movies, TV Celebs, Events News & & & Photos Community Watchlist Login Showtimes Edit Ben-Hur: A Tale of the Christ (1925) Ben-Hur: A Tale of the Christ Trivia Did You Know? Trivia Goofs Crazy Credits Showing all 38 items Quotes Alternate Versions Connections Despite the fact that there is nudity in this film, it was passed by censors of that time Soundtracks because it dealt with Christianity, as it was originating. 9 of 10 found this interesting | Share this Explore More Share this page: The troubled Italian set was eventually torn down and a new one built in Culver City, California. The famed chariot race was shot with 42 cameras were and 50,000 feet of film consumed. Second-unit director B. Reeves Eason offered a bonus to the winning driver. Like You and 217 others like this.217 people like The final pile-up was filmed later. No humans were seriously injured during the US Like this. Sign Up to see what your friends like. production, but several horses were killed. 7 of 8 found this interesting | Share this User Lists Create a list » Future stars Gary Cooper, Clark Gable, Joan Crawford, and Myrna Loy were uncredited Related lists from IMDb users extras in the chariot race scenes. Crawford and Loy also played slave girls. (ebop) 2015 Seen Movies: 1925 7 of 8 found this interesting | Share this 5, v. Google a list of 35 titles on June created 31 May 2012 in Garcia According to The Guinness Book of World Records (2002), thearchived movie contains the most edited scene in cinema history. -
Bad for Good William D
Bad For Good William D. Routt Beyond good and evil [1] Even before Tim Burton made a movie based on his life, almost everyone knew two things about Edward D. Wood, Jr. The first was that he directed "the worst movie ever made", Plan 9 From Outer Space (1956). The second was that he was a transvestite. The two things seem to be linked in some way - or, at least, they often crop up together, as they did just now. And, when you think about it, that is strange.[2] But then, reactions to Ed Wood do tend towards the strange. I remember when I first saw Plan 9. It was on television. In fact, I cannot imagine seeing an Ed Wood movie anywhere else but on television; they were made-for-TV, direct-to-video, before such forms were invented. It was late at night (of course). I was tired and the experience was a hallucinatory one. The film did not seem to have a plot. It opened with "Criswell Predicts", for God's sake! Now and then there were shots of Bela Lugosi stalking with his cape over his eyes (not Lugosi at all, as I later learned) and Vampira staring through creepy branches and Tor Johnson menacing with his arms raised and his mouth open. Cadillac hubcaps (or paper plates or plastic models - anyhow, not flying saucers) spinning across the sky. A tremendous amount of stock footage. Meandering pointless dialogue. Nothing happened: it was a movie of pure effect. For years afterward I described this film of my imagining, whose title I had forgotten, to people who were not interested. -
Variety Club International Valenti Dinner, January 16, 1968
I Tuesday Evening January 16, 196S DAIS A (in order of seating) REV. JOHN M. CULKIN SCHUYLER CHAPIN JAMES F. GOULD ARTHUR TOLCHIN JEAN GOLDWURM MYRNA LOY H.H, MARTIN STANLEY ADAMS RODDY MC.DOWALL LEONARD GRUENBERG ARLENE FRANCIS MARTIN GABEL EUGENE PICKER IRVING DOLLINGER SALAH M. HASSANEIN SAMUEL SCHULMAN BERNARD MYERSON GEORGE STEVENS, JR. HERMIONE GINGOLD SAMUEL H. CLARK FREDERICK O'NEAL RALPH HETZEL DAIS B (in order of seating) ROGER VI. HURLOCK BURTON ROBBINS WALTER D. SCOTT S. H. FABIAN JAMES H. NICHOLSON JOSEPH M. SUGAR ELIOT HYMAN SPYROS P. SKOURAS SHERRILL C. CORWIN LEW R. WASSERMAN CHARLES G. BLUHDORN ARTHUR B. KRIM ROBERT H. O'BRIEN JACK J. VALENTI LOUIS NIZER RALPH PRIES JULIAN RIFKIN LEONARD H. GOLDENSON ABE LASTFOGEL JOSEPH E. LEVINE ANNA ROSENBERG HOFFMAN ROBERTS. BZNJAMIN JACK L. WARNER BARNEY BALABAN EDWIN L. WEISL RICHARD F. WALSH EMANUEL L. WOLF DAIS C (in order of seating) MANUEL A. CASIANO, JR. NAT NATHANSON FIELDER COOK KEIR DULLEA SEYMOUR POE SIMON SIEGEL VIRGIL GLADIEUX LEONARD C. LANE WILLIAM FORMAN DAVID N. JUDELSON OTTO PREMINGER CHARLES C. TILLINGHAST MO ROTHMAN HENRY FONDA EUGENE V. KLEIN GENE SAKS MARTIN DAVIS DUSTIN HOFFMAN MATTHEW POLON BENJAMIN MELNIKER GODREY CAMBRIDGE RICHARD BERLIN THOMAS MOORE MARTIN ACKERMAN T:C:RRY SAUl\TDERS REV. PATRICK J. SULLIVAN • Name Name Table A Abbott, Roy 16 Casiano, Mrs. Manuel A. 57 ABC Consolidated Corp 18 Cassar, Anthony 64 Ackerman, Martin Dais Century Theatres 42 Ackerman, ~~s. Martin 41 Chaiken, Howard 64 Adams, Stanley Dais Chapin, Schuyler Dais AGFA-Gevaert, Inc. 65 Chiocco, Louis 51 Alicoate, Charles 20 Cinerama, Inc. -
Keep It Down
COVER STORY..............................................................2 The Sentinel FEATURE STORY...........................................................3 SPORTS.....................................................................4 MOVIES............................................................8 - 22 WORD SEARCH/ CABLE GUIDE.......................................10 COOKING HIGHLIGHTS..................................................12 SUDOKU..................................................................13 tvweek STARS ON SCREEN/Q&A..............................................23 December 25 - 31, 2016 Keep it down Noah Wyle as seen in “The Librarians” Ewing Brothers 2 x 3 ad www.Since1853.com While the rest of the team sets out to recover the Eye of Ra and solve the mystery of the Bermuda Triangle, Flynn (Noah Wyle, “ER”) learns a great deal about himself in a new episode of “The Librarians,” airing Sunday, 630 South Hanover Street Dec. 25, on TNT. The series follows a group of Librarians tasked with retrieving powerful artifacts, solving Carlisle•7 17-2 4 3-2421 mysteries and battling supernatural threats to mankind. Rebecca Romijn (“X-Men,” 2000) and Christian Kane Steven A. Ewing, FD, Supervisor, Owner (“Leverage”) also star. 2 DECEMBER 24 CARLISLE SENTINEL cover story the other Librarians on their The other members of the many harrowing adventures. team each possess unique skills Stacks of thrills However, now that she and that help them on their many Carsen are romantically in- quests. Kane is Oklahoma-born Season 3 of ‘The Librarians’ in full swing on TNT volved, she struggles to keep cowboy Jacob Stone, the per- her feelings for him from get- fect combination of brains and By Kyla Brewer The big news this season is ting in the way of her duty to brawn, thanks to his knowledge TV Media the return of Noah Wyle, who protect the others. of art, architecture and history. -
Looking at Hollywood with Ed Sullivan Will the Movi'e Industry Return to Chicago? by ED SUWVAN Hollywood, Cal
Paae Two CJaicaao SUI1day TribuI1e Looking at Hollywood with Ed Sullivan Will the Movi'e Industry Return to Chicago? By ED SUWVAN Hollywood, Cal. FTIiURMAN ARNOLD, as- slstant United States attor- Iney general, Is as successful as the movie Industry fears he w1ll be In his anti-trust suits against the major companies, It means that moving picture corn- panles w1ll have to abandon or get rid of their theater chains. It means, too, that the movie field w1ll then be open to Inde- A FEW OF THE MOVIE COLONY OF CHICAGO A QUARTER OF A CENTURY AGO pendent movie companies, be- Be?erly Bayne. heroine of many of Believe it or notl This i. Wallace Franci. X. Bushman, idol of the film Clara Kimball Young. a celebrate cause Arnold's plan is to force the old Chicago productions. Beery of away back when. fan. of another generation. star of the early pictures. the movie magnates to get out I of distribution and exhibition of Beery could have made amend pictures. Under the plan an .for this social grievance whe open market for films would be he returned to Chicago year produced. It all sounds very later to make a personal appear involved, but actually It isn't at ahce at the Chicago theater. Th all involved. It simply means stagehands were prepared t that under such a setup Chicago forget all about his previou 1••aancters could very well estab- curtness. When he came back 11sh great movie studios right stage one of the veterans wh there in Hlfnois and add an Im- had worked at Essanay wit portant industry to that area. -
The Beast of Yucca Flats
Apocalypse Later Books by Hal C F Astell Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Filmography Series Velvet Glove Cast in Iron: The Films of Tura Satana Festival Series The International Horror & Sci-Fi Film Festival 2012 Apocalypse Later Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Apocalypse Later Press Phoenix, AZ Apocalypse Later Cinematic Hell Series Huh? An A-Z of Why Classic American Bad Movies Were Made ISBN-10: 0989461300 ISBN-13: 978-0-9894613-0-6 Apocalypse Later Press catalogue number: ALP001 Reviews by Hal C F Astell These reviews originally appeared, albeit in evolutionary form, at Apocalypse Later http://www.apocalypselaterfilm.com They evolved out of a series of reviews I wrote for Cinema Head Cheese http://cinemaheadcheese.blogspot.com Front cover art by Eric Schock http://www.evilrobo.com All posters and videocassette covers reproduced here are believed to be owned by the studios, producers or distributors of their associated films, or the graphic artists or photographers who originally created them. They are used here in reduced, black and white form in accordance with fair use or dealing laws. Published through CreateSpace https://www.createspace.com Typeset in Gentium http://scripts.sil.org/FontDownloadsGentium Licensed through Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) http://creativecommons.org/licenses/by-nc-sa/3.0/ Dedication This book is dedicated to three ladies and three gentlemen, all of whom had a hand in its evolution, however inadvertently. Pam Astell, you’ve put up with me longer than anyone else and, in doing so, taught me to read, to write and to think. -
I Look at This Slush and Try to Remember — at One Time I Made Good
54 SHOWGIRLS, TEEN WOLVES AND ASTRO ZOMBIES HOLY WOOD! Growing up, we were always a family of movie-watchers. When my mum passed away in 2006, I devoted my only Empire editorial to how her guiding me through early screenings of The Wizard Of Oz and Psycho greatly informed my appreciation of how cinema could be artistic, scary and funny all at once. Her simple advice — ‘If a movie doesn’t grab you within 10 minutes, it’s probably not going to’ — similarly has stuck with me, both as a reviewer and a would-be scriptwriter. Dad’s appreciation of movies was less theoretical but also resonant. Two decades of watching war movies with the retired army reservist — ‘Look at that, walking on a ridge in silhouette!’ was a favourite, followed by a machine-gun noise to indicate he’d just killed all of our heroes — bred an intolerance for flagrant inauthenticity. It was also Dad, who as a salesman for publishers Harper & Row, one night brought home J. Hoberman and Jonathan MARCH Rosenbaum’s fantastic 1983 book Midnight Movies, which expanded my film reading beyond Famous Monsters, Starlog and Fangoria and opened my eyes to — and created an appetite for — the alternative cinema of George Romero, John Waters, David Lynch and Ed Wood. A year later, through his connections, Dad put me forward for a ‘Kids rate the movies’ feature in the Sydney Morning Herald. My 300-word review, of an Aussie flick called Street Hero, wasn’t exactly Pauline Kael calibre (‘The only fault I could pick, in my opinion, is that some scenes are a little unrealistic …’) but it was a start and definitely helped chart my course.