DOCSLIB.ORG

Foreign Correspondent (United Artists Pressbook, 1940)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Foreign Correspondent (United Artists Pressbook, 1940) •II* PRESENTS The thrill spectacle of the year. In this magnificent production you will see scene after scene of a magni¬ tude rarely equalled on the screen. For this is the exciting story of the lives and loves of the greatest adventurers of our time. Masterfully directed by the man who gave you "Rebecca ALFRED HITCHCOCK S ‘Production of STARRING JOELMcCREA LARAINE DAY • HERBERT MARSHALL - GEORGE SANDERS ALBERT BASSERMAN • ROBERT BENCHLEY Directed by ALFRED HITCHCOCK • Released thru United Artists his ye; r Walter Wanger concentr. his effo diking two great pi tures. A Hitchcock’s productioi ofKoH^N CORRESPONDS^ is the thrill spectacle of the ye Watch frvi <3 „ «h* Br..« •* * ih„ *‘ ‘“'J w—^ M — •* ‘ ‘ ’ de„. JL. - , tr„.^- • •' „i#' forre^P0®* 8B"‘*mT err®®4’ Cote^® . t , H : re«#r^e „„aet«,.i>-''*’e’ ,...*>'*“l,‘ tfc . .«.».*• l”w" „ae..«*w“,,‘ 4^*- 1 • " Mill «*'“"** '“ , *. ««—** ”*’ ' > »> CV- a 4ir4i%J. •* 4o»“h‘ ,r»®s - WW .« "bi4 l‘ * # Tbe th * Ut. •»»*** * „ 4.-«^o«d 11 ^ . sv,«., •*«-' e“C °* h S *!•** ^ " b^ „tl oi »*tioWS h4S SM ,J< vrai,.a» “i*ht* fBde" 0< Wat' a,tU^ •* Sia“ Sn‘““ «“* 04 “ ol tl»c ' l ,.„lorf‘l 1 »»d ¥oreig« . *,«.* 4„, „,,.». “'”r' ««'*”’ re ,»« ' „ , „.o.<»>- i «rr‘ * . „ lioiti**1'* id by This it his >thers Risheds ibo rail- TO full Hstudios VaO play- hummer m2 sets Stchcock fen Cor- |»spense fetches Rrch de¬ ll British pet was H25 feet Bbar 00 I and a ■ a good Is ever picture, ice ap- ninutes |ed pic- fp intro- t types rea and ther as HERE IS •finding reaches British cted in ACTION ROMANCE inicians from the first frame to the final fadeout ... in the in the adventurous exploits of 1940's most glamorous year's thrill spectacle. Action — plus suspense as soldier of fortune ... a character as irresistible to only Alfred Hitchcock, director of "Rebecca," can today's fans as a Bengal Lancer or a Beau Geste was give it to palpitating audiences who love to be car¬ to yesterday's public. Joel McCrea as the Foreign ried along to excitement and surprises at a swift box- Correspondent making love to beautiful Laraine Day, office pace. sensational new star of "My Son, My Son!" , IMPORTANCE PERFORMANCE in every department of production with big scene all the elements that magnetize attendance in hold¬ after big scene . the Peace Conference . the over numbers. First step in this performance is yours assassination in the public square . the search of to contribute the initiative of showmanship in making clues across Europe in a worldwide diplomatic con¬ a big picture bigger. Increase your exploitation effort! spiracy . typical Hitchcock thrill scenes atop the Step up your ad budget! Use to the fullest the com¬ Tower of London . and finally the pulsing climax plete practical and different campaign outlined in this of the giant Seaplane brought down in mid-ocean! pressbook! * THERE IS REASON PLUS FOR PRESENTING WALTER WANGER1S "FOREIGN CORRESPONDENT" TO THE PUBLIC AS TRADE—THE PRODUCER PRESENTS FOREIGN CORRESPONDENT AS THE SHOWMANf S PROFIT SPECTACLE OF THE YEAR. IS WAITING FOR — AMD IS WHAT EVERY AUDIENCE IS WAITING FOR - LIKE THAT SAME STOP-PRESS DISPATCH. BOLD-FACE TYPE OF SHOWMANSHIP — EXPLOITATION. EACH OF THE LINEUP OF AUDIENCE APPEAL^IN WHITMAN BOOKS, MAGAZINES TIE IN NATION'S MASS PUBLISHING DEALERS For your top-ranking tieup on “Foreign Correspondent” peg for one of your most important local exploitation —for a promotion which moves out to your audience in efforts. Also, Whitman is planning to market the magazine blocs of millions and registers at your boxoffice in terms as a monthly series, thus affording all exhibitors of “For¬ of millions—the Whitman Publishing Company joins in eign Correspondent” a constant showmanship asset and on your showmanship campaign with a specially published opportunity. series of “Foreign Correspondent” publications! 5|: * Whitman’s tiein on “Foreign Correspondent” means big boxoffice business! As a publishing house which reaches Whitman’s “Foreign Correspondent”—as a book—may the American mass market, Whitman is without parallel be published in more than one price. For all groups in in this country. Their products, which are developed in your audience, therefore, this tieup reaches smash show¬ print orders of huge proportions, provide reading mate¬ selling proportions. Merchandising of the book will be rial—and its show-selling influence—for exactly those mil¬ through the nation’s most important book stores, chain lions who constitute the most important audiences for stores and department stores. These, together with the “Foreign Correspondent.” newsstands selling the “Foreign Correspondent” comic magazine, provide you with a tremendous showmanship Your tieup with Whitman Publishing Company involves opportunity. Follow through on all promotional angles! two high-powered, hard-hitting publications: Join with outlets carrying the book through displays, stills, % cooperative exploitation and advertising. On the news¬ First, Whitman is publishing “Foreign Correspondent” stands, set your boxoffice boost through such cooperative as a very popular-priced book—with illustrations. Whit¬ efforts as tack cards, flashes and truck posters. man editors have taken the script of “Foreign Correspond¬ ent”, together with a series of the most dramatic stills Whitman’s tiein also presents a great bet—and material from the production, and are translating that material —for special lobby and theatre promotions! into an entertaining, eye-catching volume. In every way, Whitman’s “Foreign Correspondent” will capture the Set your campaign on the Whitman tieup on a scale to thrills and suspense and drama which Alfred Hitchcock match its full value to your showing. Set it big—and cash has so expertly woven into your great current attraction. in big! Price, production and distribution of the book are calcu¬ For dealer details in your situation, write immediately lated to reach Whitman’s largest market. to: Second, the publisher is marketing—with the first na¬ tional release of “Foreign Correspondent”—a completely WHITMAN PUBLISHING CO. new “comic” magazine. The magazine will be titled “For¬ 200 Fifth Avenue eign Correspondent”, thus affording you a direct tiein. New York, New York Priced at ten cents a copy, Whitman’s new magazine will be merchandised on the nation’s newsstands. An impor¬ or tant comic strip artist has been engaged to develop the story of your show in this highly entertaining medium, and WHITMAN PUBLISHING CO. the first issue of the new Whitman magazine will be the Racine, Wisconsin SMOOTH, SOFT SKIN IS * SO VERY important! THAT'S WHY I NEVER LARAINE DAY "LUX" ADS NEGLECT MY DAILY Lux Soap active- lather FACIALS ON NATIONAL SCHEDULE A selected list of important metropolitan daily news¬ papers will feature this eye-catching Lux tieup ad— featuring Laraine Day as one of Hollywood’s new sen¬ ' THEY'RE A GRAND sations and a star of “Foreign Correspondent”! The | BEAUTY AID-MAKE I MY SKIN FEEL SO I FRESH AND SMOOTH important circulation involved in this tieup is only one phase of the showmanship opportunities in this tieup. Follow through in your situation by joining with the Try this gentle Laraine Day beauty care for 30 days great number of Lux outlets in displays and co-op pro¬ Hollywood motions. This tieup is streamlined for showmanship in Foreign Correspondent fresher, too! Th< beauty aid. See your situation! Add your own theatre promotions for i stay lovely, app / 9 out of 10 Screen Stars use Lux Toilet Soap fullest boxoffice results! Page Two QUOTE THE THRILL SPECTACLE OF THE YEAR UNQUOTE. AND FOR EVERY EXHIBITOR EVERYWHERE — FOR THE LIKE A DYNAMITE-LADEN STORY COMING OFF THE WIRES, FOREIGN CORRESPONDENT HAS WHAT EVERY AUDIENCE FOREIGN CORRESPONDENT REGISTERS ITS FULL BOX-OFFICE WEIGHT ONLY WITH THE SMASH HEADLINING AND Fv%IGN CORRESPONDENT DEMANDS LEADOFF POSITION, IS IN ITSELF BASIS FOR A COMPLETE CAMPAIGN. Cutouts, Standees, Easels to Drive Home DISPLAYS Top Campaign Angles on Your Showing ""‘XVES" "'ip-cocKi *>»E/GIV ?°RrespoNi Master of Suspense Director of “REBECCA’ THE THRILL SPECTACLE OF THE YEAR THE THRILL SPECTACLE OF THE YEAR! c Plant the Hitchcock-“Rebecca” slant with the display above, featuring Stills Nos. RS-1 (the famous “Rebecca” silhouette), 12A and 12 (McCrea). Right: Use Still No. 19 for a dramatic display—using real light over the still’s lighting effect. His Sensational Story Becomes the THRILL SPECTACLE OF THE YEAR 'FOREIGN CORRESPONDENT FOREIGN CORRESPONDENT Exploit the character gallery with the easel above, using copylines indicated and Mr. ROBERT BENCHLEY (reading clockwise, starting with McCrea) Stills Nos. 36, 85, 26, 179, 112, 123, 46, it featured in WALTER WANGER’S 134, 5 and Still No. 83 for Laraine Day. Right: The giant marquee display uses Stills Nos. 21A (action still), Exp.-l (drawing), 78 (McCrea-Day), 92 (Sanders), 52 (Marshall) and 9 (Benchley). The radio tower signals selling copy for your FOREIGN CORRESPONDENT show; offer guest tickets to lobby translators. Directed by ALFRED HITCHCOCK Get across the gay adven¬ ture note with a cutout dis¬ They Lived the play (left) using Still No. P-53 of Joel McCrea and GREATEST Laraine Day; a Hitchcock * head still rounds it out. And ADVENTURE showmanship demands a socko still display (right) on of our time! Bob Benchley, using (1. to r., in three rows from top down) Stills Nos. 5, 1, 28, 13, 15A, P-7, along with copy lilalteA. 'WanCf/M. lines indicated. ALFRED HITCHCOCK'S P A 0 0 U C T I 0 N Of foreignMi CORRESPONDENT Page Three THE ACTUAL LINEUP AFFORDS AN UNPARALLELED SHOWMANSHIP OPPORTUNITY.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Academy Committees 19~5 - 19~6
    ACADEMY COMMITTEES 19~5 - 19~6 Jean Hersholt, president and Margaret Gledhill, Executive Secretary, ex officio members of all committees. EXECUTIVE COMMITTEE SPECIAL DOCUMENTARY Harry Brand COMMITTEE lBTH AWARDS will i am Do z i e r Sidney Solow, Chairman Ray Heindorf William Dozier Frank Lloyd Philip Dunne Mary C. McCall, Jr. James Wong Howe Thomas T. Moulton Nunnally Johnson James Stewart William Cameron Menzies Harriet Parsons FINANCE COMMITTEE Anne Revere Joseph Si strom John LeRoy Johnston, Chairman Frank Tuttle Gordon Hollingshead wi a rd I h n en · SPECIAL COMMITTEE 18TH AWARDS PRESENTATION FILM VIEWING COMMITTEE Farciot Edouart, Chairman William Dozier, Chairman Charles Brackett Joan Harrison Will i am Do z i e r Howard Koch Hal E1 ias Dore Schary A. Arnold Gillespie Johnny Green SHORT SUBJECTS EXECUTIVE Bernard Herzbrun COMMI TTEE Gordon Hollingshead Wiard Ihnen Jules white, Chairman John LeRoy Johnston Gordon Ho11 ingshead St acy Keach Walter Lantz Hal Kern Louis Notarius Robert Lees Pete Smith Fred MacMu rray Mary C. McCall, Jr. MUSIC BRANCH EXECUTIVE Lou i s Mesenkop COMMITTEE Victor Milner Thomas T. Moulton Mario Caste1nuovo-Tedesco Clem Portman Adolph Deutsch Fred Ri chards Ray Heindorf Frederick Rinaldo Louis Lipstone Sidney Solow Abe Meyer Alfred Newman Herbert Stothart INTERNATIONAL AWARD Ned Washington COMM I TTEE Charles Boyer MUSIC BRANCH HOLLYWOOD Walt Disney BOWL CONCERT COMMITTEE wi 11 i am Gordon Luigi Luraschi Johnny Green, Chairman Robert Riskin Adolph Deutsch Carl Schaefer Ray Heindorf Robert Vogel Edward B. Powell Morris Stoloff Charles Wolcott ACADEMY FOUNDATION TRUSTEES Victor Young Charles Brackett Michael Curtiz MUSIC BRANCH ACTIVITIES Farc i ot Edouart COMMITTEE Nat Finston Jean Hersholt Franz Waxman, Chairman Y.
    [Show full text]
  • Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
    BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing.
    [Show full text]
  • Mark Glancy: When Hollywood Loved Britain. the Hollywood 'British' film 2000
    Repositorium für die Medienwissenschaft Drew Bassett Mark Glancy: When Hollywood loved Britain. The Hollywood 'British' film 2000 https://doi.org/10.17192/ep2000.2.2765 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Bassett, Drew: Mark Glancy: When Hollywood loved Britain. The Hollywood 'British' film. In: MEDIENwissenschaft: Rezensionen | Reviews, Jg. 17 (2000), Nr. 2, S. 204–206. DOI: https://doi.org/10.17192/ep2000.2.2765. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • 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]
  • Kipling, Masculinity and Empire
    Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J.
    [Show full text]
  • Joe Breen's Oscar
    Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2005 Joe Breen's Oscar Stephen Weinberger Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Film Production Commons Recommended Citation Weinberger, Stephen. "Joe Breen's Oscar." Film History 17, no. 4 (2005), 380-391. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Film History, Volume 17, pp. 380–391, 2005. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America Joe Breen’s Oscar Joe Breens Oscar Stephen Weinberger t the twenty-sixth Academy Awards ceremo- A raconteur par excellance, Breen delighted in nies held on the evening of 25 March 1954, relating, often to people who had heard the stories Asomething quite remarkable occurred, al- before, and in various forms, how he had bested the though it attracted little attention at the time. Hollywood moguls. How, for example, at a meeting As often happens at this event, one film swept most with Harry Warner to discuss the Catholic boycott of ofthe awards. From HeretoEternity won eightOscars, Warner theaters in Philadelphia, the stressed-out including those for best picture, best supporting actor president of Warner Brothers began ‘shedding tears and actress, best director, and best screenplay. the size of horse turds and pleading for someone to In addition to the usual categories, there were get him off the hook’.2 Or how, at his first meeting four honorary Oscars awarded that night.
    [Show full text]
  • The Companion Film to the EDITED by Website, Womenfilmeditors.Princeton.Edu)
    THE FULL LIST OF ALL CLIPS in the film “Edited By” VERSION #2, total running time 1:53:00 (the companion film to the EDITED BY website, WomenFilmEditors.princeton.edu) 1 THE IRON HORSE (1924) Edited by Hettie Gray Baker Directed by John Ford 2 OLD IRONSIDES 1926 Edited by Dorothy Arzner Directed by James Cruze 3 THE FALL OF THE ROMANOV DYNASTY (PADENIE DINASTII ROMANOVYKH) (1927) Edited by Esfir Shub Directed by Esfir Shub 4 MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM) (1929) Edited by Yelizaveta Svilova Directed by Dziga Vertov 5 CLEOPATRA (1934) Edited by Anne Bauchens Directed by Cecil B. De Mille 6 CAMILLE (1936) Edited by Margaret Booth Directed by George Cukor 7 ALEXANDER NEVSKY (ALEKSANDR NEVSKIY) (1938) Edited by Esfir Tobak Directed by Sergei M. Eisenstein and Dmitriy Vasilev 8 RULES OF THE GAME (LA RÈGLE DU JEU) (1939) Edited by Marguerite Renoir Directed by Jean Renoir 9 THE WIZARD OF OZ (1939) Edited by Blanche Sewell Directed by Victor Fleming 10 MESHES OF THE AFTERNOON (1943) Edited by Maya Deren Directed by Maya Deren and Alexander Hammid 11 IT’S UP TO YOU! (1943) Edited by Elizabeth Wheeler Directed by Henwar Rodakiewicz 12 LIFEBOAT (1944) Edited by Dorothy Spencer Directed by Alfred Hitchcock 13 ROME, OPEN CITY (ROMA CITTÀ APERTA) (1945) Edited by Jolanda Benvenuti Directed by Roberto Rossellini 14 ENAMORADA (1946) Edited by Gloria Schoemann Directed by Emilio Fernández 15 THE LADY FROM SHANGHAI (1947) Edited by Viola Lawrence Directed by Orson Welles 16 LOUISIANA STORY (1948) Edited by Helen van Dongen Directed by Robert Flaherty 17 ALL ABOUT EVE (1950) Edited by Barbara “Bobbie” McLean Directed by Joseph L.
    [Show full text]
  • OVIEDO + CINE OVIEDO 17:00H Y 20:00H Jueves Y Domingos
    CICLO JOHN FORD + CINE DE AUTOR | CICLO PARANOIA CONTEMPORÁNEA / HITCHCOCK | www.semanasaco.com OVIEDO + CINE Teatro 17:00h y 20:00h Filarmónica Jueves y domingos Octubre 2020 Teatro Filarmónica 17:00h y 20:00h Jueves y domingos 08/10 EL ESPÍA QUE SURGIÓ DEL FRÍO 11/10 MOGAMBO 15/10 DOBLES VIDAS 18/10 FAMILIA SUMERGIDA 22/10 UN MINUTO DE GLORIA Se ruega la máxima puntualidad. No se permitirá el acceso una vez iniciada la sesión. Está prohibido cualquier tipo de filmación, grabación o realización de fotografías en el interior de la sala. 08/10 11/10 EL ESPÍA QUE TEATRO MOGAMBO TEATRO FILARMÓNICA FILARMÓNICA SURGIÓ DEL FRÍO 17:00 H Y John Ford 17:00 H Y 20:00 H 20:00 H THE SPY WHO CAME EE. UU. | 1953 | Color | 116’ IN FROM THE COLD Reparto: Clark Gable, Martin Ritt Ava Gardner, Grace Kelly, EE. UU. | 1965 | Blanco Donald Sinden, Eric Pohlmann, y negro | 112’ Denis O’Dea, Philip Stainton, Laurence Naismith. Guion: John Lee Mahin Richard Burton, Claire Reparto: (obra: Wilson Collison). Bloom, Oskar Werner, Peter Van Fotografía: Bruce Surtees, Eyck, Sam Wanamaker Freddie Young. Guion: Paul Dehn, Guy Trosper Montaje: Frank Clarke. (novela: John Le Carré). Música: Robert Burns (canción). Fotografía: Oswald Morris. Producción: Metro-Goldwyn- Anthony Harvey. Montaje: Mayer (MGM). Música: Sol Kaplan. Producción: Paramount Pictures. Versión original en inglés con subtítulos en castellano. Versión original en inglés con subtítulos en castellano. No recomendada para menores de 18 años. No recomendada para menores de 14 años. Las novelas de John Le Carré, adaptadas al cine en multitud de ocasiones, Diferentes localizaciones de Kenya, Tanzania o Uganda son una absoluta referencia dentro del género de espionaje.
    [Show full text]
  • Dr. Strangelove's America
    Dr. Strangelove’s America Literature and the Visual Arts in the Atomic Age Lecturer: Priv.-Doz. Dr. Stefan L. Brandt, Guest Professor Room: AR-H 204 Office Hours: Wednesdays 4-6 pm Term: Summer 2011 Course Type: Lecture Series (Vorlesung) Selected Bibliography Non-Fiction A Abrams, Murray H. A Glossary of Literary Terms. Seventh Edition. Fort Worth, Philadelphia, et al: Harcourt Brace College Publ., 1999. Abrams, Nathan, and Julie Hughes, eds. Containing America: Cultural Production and Consumption in the Fifties America. Birmingham, UK: University of Birmingham Press, 2000. Adler, Kathleen, and Marcia Pointon, eds. The Body Imaged. Cambridge: Cambridge Univ. Press, 1993. Alexander, Charles C. Holding the Line: The Eisenhower Era, 1952-1961. Bloomington, Indiana: Indiana Univ. Press, 1975. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. ——, and Warren Tallman, eds. Poetics of the New American Poetry. New York: Grove Press, 1973. Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge Univ. Press, 1997. Allsop, Kenneth. The Angry Decade: A Survey of the Cultural Revolt of the Nineteen-Fifties. [1958]. London: Peter Owen Limited, 1964. Ambrose, Stephen E. Eisenhower: The President. New York: Simon and Schuster, 1984. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood.” Life 3 Sept. 1945: 53. Anderson, Christopher. Hollywood TV: The Studio System in the Fifties. Austin: Univ. of Texas Press, 1994. Anderson, Jack, and Ronald May. McCarthy: the Man, the Senator, the ‘Ism’. Boston: Beacon Press, 1952. Anderson, Lindsay. “The Last Sequence of On the Waterfront.” Sight and Sound Jan.-Mar.
    [Show full text]
  • GENE TIERNEY, LA DIVA FRAGILE FEMMINA FOLLE John M
    LEAVE HER TO HEAVEN GENE TIERNEY, LA DIVA FRAGILE FEMMINA FOLLE John M. Stahl, 1945 Gene Tierney? Chi era costei? C’è da scommettere che pochi dei nostri affezionati cinefili l’abbiano già Sceneggiatura: Jo Swerling, dal romanzo omonimo di Ben Ames Williams; fotografia: Leon Shamroy; montaggio: James B. Clark; scenografia: Lyle Wheeler, Maurice Ransford; musica: Alfred Newman. sentita nominare. Tutti conoscono le dive dei tempi d’oro del cinema: Greta Garbo, Ava Gardner, Rita Interpreti: Gene Tierney, Cornel Wilde, Jeanne Crain, Vincent Price, Ray Collins, Mary Philips… Hayworth, Ingrid Bergman, Marlène Dietrich…, ma di Gene Tierney rimangono poche e flebili tracce nella Produzione: William A. Bacher per Twenty Century Fox. memoria collettiva. Colore, v.o. inglese, st. it., 110’ Eppure quella che fu “la più bella donna della storia del cinema” (secondo il produttore Darryl F. Zanuck) Una donna bellissima e passionale (Tierney) coltiva una gelosia morbosa nei confronti del marito (Wilde) e non si ferma da- ha ispirato, a partire dal 1940, i più grandi registi del cinema hollywoodiano: Fritz Lang, John Ford, Henry vanti a niente pur di averlo tutto per sé: annega il cognato handicappato, si precipita dalle scale per uccidere il bambino che Hathaway, Joseph von Sternberg, Rouben Mamoulian, Ernst Lubitsch, Otto Preminger, Joseph Mankiewicz… aspetta e, quando scopre di aver perso l’amore del coniuge, arriva ad avvelenarsi per dare la colpa alla donna di cui è gelosa. Eppure il suo fascino ha scatenato l’amore appassionato di uomini illustri: John Kennedy, Clark Uno dei melodrammi più neri e tragici di Stahl, che utilizza al meglio l’ambigua bellezza della Tierney per scandagliare le contraddizioni di una felicità cercata con tale Gable, Howard Hughes, il principe Ali Kahn… foga da diventare impossibile.
    [Show full text]
  • The High and the Mighty
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 3rd August 2020 FREESAT 306 | VIRGIN 445 The High and the Mighty on Talking Pictures TV Stars: John Wayne, Claire Trevor, Laraine Day, Robert Stack, Jan Sterling, Robert Newton, Julie Bishop, Paul Fix, Julie Mitchum Douglas Fowley. Directed by William A. Wellman in 1954. On a flight from Hawaii to California, the engine dies on the plane Dan, (John Wayne), is flying. As he prepares for a crash landing, the passengers reassess their lives. The film set the standard for disaster movies with an Oscar-winning score by Dimitri Tiomkin and a full cast of popular of 1950s actors. Airs Sunday 9th August 6:00pm. Monday 3rd August 7:10am Tuesday 4th August 5:00pm The Ghost of Monk’s Island (1966) A Canterbury Tale (1944) Family adventure. War. Directors: Michael Powell and Director: Duncan Wood. Emeric Pressburger. Stars: Pierre Bedenes, Lucinda Jackson, Stars: Eric Portman, Shelia Sim, Peter Bartlett, Robert Bartlett, Dennis Price. A Land Girl, a GI and Beryl Cooke. The Robinson children a British soldier find themselves are marooned on a deserted Island. together on the road to Canterbury. Monday 3rd August 9:30am Wednesday 5th August 6:00am All Over The Town (1949) Love In Pawn (1953) Drama. Director: Derek N. Twist. Comedy. Director: Charles Saunders. Stars: Norman Wooland, Stars: Bernard Braden, Barbara Kelly, Sarah Churchill, Bryan Forbes & James Reg Dixon and John Laurie. Hayter. After serving in the RAF during Penniless couple Roger and Jean will WWII Nat Hearn struggles to return to get £10,000 if Roger can live a sober his pre-war job.
    [Show full text]