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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. -
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. -
Pepys Film Fantasy Card Game
PEPYS FILM FANTASY CARD GAME A little bit about the films depicted in the game THE HARDYS RIDE HIGH The Hardys Ride High was the 6th in the series of films about the Hardy family. In it the family move to Detroit and stay in a mansion awaiting news of a $2 million legacy. Once again, as in all the series of films, there is a moral to the plot. Life is best spent in helping each other and living in the “American Way”. TARZAN IN EXILE This film was to be called Tarzan in Exile, but before release it was changed to Tarzan Finds a Son. This was partly because the emphasis in the film was more on the boy than on Jane. Maureen O’Sullivan had been expressing doubts about playing Jane anymore and played a more minor role in this film than the previous releases. Johnny Weissmuller made 12 Tarzan films altogether but Maureen O’Sullivan, who had already made 3 with him before this one, made only 6 in all. The plot revolved around the discovery by Cheetah, Tarzan’s chimpanzee friend, of a young boy as the only survivor of an aircraft crash. Tarzan and Jane name him “Boy” and begin to teach him Jungle Craft. Five years later a search party turns up looking for the boy who is Lord Greystoke and the inheritor of a fortune. This is a big departure from Edgar Rice Burroughs books because in those Tarzan himself is Lord Greystoke. After defending Boy from murderous relatives Jane takes him safely back to civilization. -
Sexism and the Academy Awards
Tripodos, number 48 | 2020 | 85-102 Rebut / Received: 28/03/20 ISSN: 1138-3305 Acceptat / Accepted: 30/06/20 85 Oscar Is a Man: Sexism and the Academy Awards Kenneth Grout Owen Eagan Emerson College (USA) TRIPODOS 2020 | 48 This study analyzes the implicit bias of an to be nominated for a supporting the Academy Awards and Oscar’s his- performance in a Best Picture winner. toric lack of gender equity. While there This research considers these factors, are awards for Best Actor and Actress, identifies potential reasons for them, a comparative analysis of these awards and draws conclusions regarding the and the Best Picture prize reveals that decades of gender bias in the Academy a man is more than twice as likely as a Awards. Further, this study investigates woman to receive an Oscar for leading the dissolution of the Hollywood stu- work in a Best Picture. A man is also dio system and how, though brought nearly twice as likely to be nominated on in part by two of the film industry’s as a leading performer in a Best Pic- leading ladies, the crumbling of that ture winner. Supporting women in Best system ultimately hurt the industry’s Pictures fare a bit better with actual women more than its men. trophies, but, when considering nom- inations, a man is still more than one- Keywords: Oscars, Academy Awards, and-a-half times as likely as a wom- sexism, gender inequity, Best Picture. he Academy Awards have been given out annually for 92 years to, among others, the top actor and actress as voted on by the members of the film T academy. -
Mogambo (John Ford, 1953) and the Last King of Scotland (Kevin
1 AFRICA IN THE MOVIES: Red Dust (Victor Fleming, 1932); Mogambo (John Ford, 1953); Hotel Rwanda (Terry George, 2004); The Constant Gardener (Fernando Meirelles, 2005); The Last King of Scotland (Kevin Macdonald, 2006); Blood Diamond (Edward Zwick, 2006); and White Material (Claire Denis, 2009) Mogambo is very entertaining, as long as you abandon all memories of Jane Goodall and Jomo Kenyatta. (Clark Gable is taking Ava Gardner, Grace Kelly, and Donald Sinden on an expedition upcountry in East Africa. They’re in a canoe. He has just explained, by remote implication, what female circumcision is for). KELLY: Oh, I think I understand. GABLE: Sorry to be so blunt about it. KELLY: No, no, no – it was my denseness – I should have realised – GARDNER: Brother! I can take your Cook’s tour round the zoo, but when you come to this mental striptease and (glances at Kelly) hiding behind Louisa May Alcott, I wanna powder. GABLE: Watch it! Hippo! (Hippo attacks canoe. Gardner falls backwards with legs in air.) John Ford is interested in the natives in Africa the way he’s elsewhere interested in redskins in Monument Valley. African people are on a level with African animals. Gable’s a big game trapper (not hunter – he brings ’em back alive, for zoos and circuses) and Ford films the scores of men whom he employs the same way he films the elephants and gazelles: without making any distinction between the men and the animals. The animals are never seen in the same shots as the artistes. Often the artistes are acting against blue screens. -
A Survey of American Critical Reaction to the Film Career of Clarence Brown
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1973 A Survey of American Critical Reaction to the Film Career of Clarence Brown Deborah L. Oliver University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Theatre and Performance Studies Commons Recommended Citation Oliver, Deborah L., "A Survey of American Critical Reaction to the Film Career of Clarence Brown. " Master's Thesis, University of Tennessee, 1973. https://trace.tennessee.edu/utk_gradthes/2913 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Deborah L. Oliver entitled "A Survey of American Critical Reaction to the Film Career of Clarence Brown." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in Theatre. John L. Jellicorse, Major Professor We have read this thesis and recommend its acceptance: G. Allen Yeomans, Robert W. Glenn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) July 31, 1973 To the Graduate Council: I am submitting herewith a thesis written by Deborah L. -
The Careers of Burt Lancaster and Kirk Douglas As Referenced in Literature a Study in Film Perception
The Careers of Burt Lancaster and Kirk Douglas as Referenced in Literature A Study in Film Perception Henryk Hoffmann Series in Cinema and Culture Copyright © 2020 Henryk Hoffmann. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2020942585 ISBN: 978-1-64889-036-9 Cover design by Vernon Press using elements designed by Freepik and PublicDomainPictures from Pixabay. Selections from Getting Garbo: A Novel of Hollywood Noir , copyright 2004 by Jerry Ludwig, used by permission of Sourcebooks. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. To the youngest members of the family— Zuzanna Maria, Ella Louise, Tymon Oskar and Graham Joseph— with utmost admiration, unconditional love, great expectations and best wishes Table of contents List of Figures vii Introduction ix PART ONE. -
Spotlight Spotlight
MOVIES ARE A HIT Wacky comedies, lav- ish musicals, love stories, and gangster films all vied for the attention of the moviegoing public during the New Deal years. Following the end of silent films and the rise of “talk- ing” pictures, new stars such as Clark Gable, Marlene Dietrich, and James Cagney rose from Hollywood, the center of the film industry. These stars helped launch a new era of glamour and sophistication in Hollywood. Some films made during the 1930s offered pure escape from the hard realities of the Depression by presenting visions of wealth, romance, and good times. Perhaps the most famous film of the era, and one of ▼ the most popular of all time, was Gone With Clark Gable and Vivien Leigh starred in Gone With the Wind, a the Wind (1939). Another film, Flying Down sweeping drama about life among Southern plantation owners to Rio (1933), was a light romantic comedy during the Civil War. featuring Fred Astaire and Ginger Rogers, who went on to make many movies together, becoming America’s favorite dance partners. Other notable movies made during the 1930s include The Wizard of Oz (1939) and Snow White and the Seven Dwarfs (1937), which showcased the dazzling animation of Walt Disney. Comedies—such as Monkey Business (1931) and Duck Soup (1931), starring the zany Marx Brothers—became especially popular. So did films that combined escapist appeal with more realistic plots and settings. Americans flocked to see gangster films that presented images of the dark, gritty streets and looming skyscrapers of urban America. These movies fea- tured hard-bitten characters struggling to succeed in a harsh HISTORICAL environment where they faced difficulties that Depression-era audiences could easily understand. -
Theatres Alexandri
THE EVENING STAR, Washington, D. C ** WEDNESDAY, AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. A-42 DECEMBER 1«. I*S3 Where and When I _ The Passing Show Current Theater Attractions I sums TOMORROW And Time of Showing | ¦ MUMlmf Life Casts Bleak Shadow Stage. SCMM . Arena Stage “Charley’s SWAGE SPECTACLE Aunt"; 8:30 p.m. HOLDEN OF THE THOUSAND-MILE SAFARI# In Shubert's New Play Catholic University “Anti- IWILUAM gone”; 8:30 p.m. By Jay Carmody Sam S. Shubert—“ln the Sum- “In the Summer opened ¦1 HHMfPARKER House” which at the Shubert Theater mer House”; 2:30 and 8:30 p.m. last night is that “different” play again. It is so not different that Screen. all the agonized writing by Mrs. Jane Bowles, or the multi-flavored Ai| JOHN nm Ambassador “Hondo”; 1:30, acting by Judith Anderson, Mildred Dunnock and the others )n M-G M’t +/ made it comprehensible to at 14 3:30, 5:35, 7:40 and 9:40 p.m. least one spectator. Capitol “Escape From Fort | “IN THE SUMMER HOUSE." a new .J X- Like William Saroyan, Tenne- . play by Jane Bowles, produced by Oliver IflßnV* Bravo”; 11:25 a.m., 1:30, 3:35, Smith and the Playwright’s Company, Imm see Williams and fragmentary directed by Jose Quintero, scenery by 4:40, 7:45 and 9:50 p.m. O’Neill, per- . Smith, costumes by Noel Taylor, light- Eugene Mrs. Bowles ing by Peggy Clark, music by Paul Columbia “Take the High spective on life is unconventional. Bowles, associate producer. Lyn Austin. -
Year of the Living Dead: California Breathes New Life Into Celebrity Publicity Rights Rhett H
Hastings Communications and Entertainment Law Journal Volume 24 | Number 1 Article 4 1-1-2001 Year of the Living Dead: California Breathes New Life into Celebrity Publicity Rights Rhett H. Laurens Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rhett H. Laurens, Year of the Living Dead: California Breathes New Life into Celebrity Publicity Rights, 24 Hastings Comm. & Ent. L.J. 109 (2001). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol24/iss1/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Year of the Living Dead: California Breathes New Life into Celebrity Publicity Rights by RHETT H. LAURENS* I. Introduction ..................................................................................111 II. Digital Imaging Technology .......................................................112 I1. The Common Law Right of Publicity ........................................115 A . Its Scope and Lim its .............................................................115 B. Rights of the Deceased .........................................................117 -
Remembering Movie Stars
Remembering Movie Stars Fred Astaire and Ginger Rogers Fred Astaire and Ginger Rogers are considered the greatest dance team in history. Together, they established a new type of musical and dance comedy in Hollywood. Fred Astaire and Ginger Rodgers developed a dance style that incorporated vaudeville, ballroom dancing, tap dancing, soft shoe, and ballet. Fred Astaire was more accomplished, using his experience in ballet. Ginger Rogers perfectly followed Fred Astaire’s lead, allowing the duo to appear flawless. Fred Astaire and Ginger Rogers appeared in 10 films together, including: Flying Down to Rio, Top Hat, Swing Time, and Shall We Dance. Movies consisted of numerous dance numbers which were assimilated into the plot. Fred Astaire and Ginger Rogers were active in Hollywood after their dance partnership ended. Fred Astaire continued dancing and appeared in over 40 movies. A talented actress, Ginger Rogers accepted an Academy Award for Kitty Foyle in 1940. “Fred Astaire and Ginger Rogers.” Gale: Biography in Context. Web. 25 Jan. 2016. James Cagney James Cagney’s lasting image of twentieth-century film is of being a tough-guy. James Cagney played complex and multi-dimensional characters. James Cagney’s first starring role was as a gangster in The Public Enemy in 1931. Warner Brothers then changed the image of James Cagney to a common man trying to make it in the United States. During 1932-1939, James Cagney appeared in 25 films, including roles as a hardworking Irish American and as an outlaw who later reformed to do the right thing. During WWII, the image of James Cagney evolved into a positive American figure who supported the Allies against the Axis powers.