^Broker] R^;-Rfi#Jl

Total Page:16

File Type:pdf, Size:1020Kb

^Broker] R^;-Rfi#Jl ■ AMUSEMENTS. AMP8BMENT8. I _AMUSEMENTS._AMUSEMENTS.___AMUSEMENTS. AMUSEMENTS. The Passing Show Ses iCdVfiO 'Mr. Congressman' Company sing/fii Adjourns as Congress Meets By Jay Carmody Metro-Goldwyn-Mayer’s “Mr. Congressman” company turned over the Capitol of the United States to the 82d Congress yesterday, as grateful for the loan of it as it is humanly possible to be grateful, There was one hrief scene of the Dore Schary production still to be shot after Congress convened at noon. It was made unobtru- sively in the early aftemoo i. Immediately thereafter. Director- 1 wraer «od tirosn, Cameramar J John Citter Alton, Jack Dunning tag shots, bits we might need,” V' and the others folded their scripts Dunning explained. tripods, chairs and themselves anc ♦ * * * £ departed. If the Department of Defense With all its joys They did not leave town. Thej would like to know it, just for were too tired for that. Insteac adding sparkle to dinner table con- and all its melody they went back to their hotels tc versations, the most disconcerting rest up prior to picking up train: shot made by the “Mr. Congress- and all its heart and planes for the westward flight man” company was that at the today. Pentagon. , comes Warner BrosT. The company’s idea of this was ' Like an adjourning Congress it- that the scene, featuring Van self might do, the group inferen- story of songdom’s Johnson as the Mister Congress- tially passed a few final resolu- man, would be shot with a mini- Starts tions before leaving. Among these glorious Gus Kahn-and mum of disturbance to the defense { ] were be-it-resolveds to the effect effort. It was everybody’s idea that that: ATOMORROWJ the girl who put the love the Pentagon staff, so accustomed No city is the dramatic equal of to celebrities that it should be in his love sdngs! Washington. jaded by them, would hardly look No set in Hollywood, or any- up at a movie company at work. “It turned out that this was a where, else, can compare with the Charles s / From Chicago's North Side building in the gruesome sort of miscalculation,” LAUGHTOH-Eoris KUtOfF Capitol inspiration - it gives to the movie company Pirosh says. “There seemed to be Xy where he started, to the working on a picture. acres of people watching the whole thing. I got the feeling that the HBKST- tidonl STtfllT %/° No weather is more blessedly | Sallf Jj a / Southland's lovers lanes and audience was running into the whimsical than Washington’s thousands, an exaggeration no OPEN “THE STRANGE DOOR" IN which threatened the “Mr. Con- OUR LORRY- I from the boulevards of doubt, but you know how it is when WIN VALUARLE PRIZES! Hollywood gressman” project constantly and ^ you feel an unusual number of GET YOUR LUCKY KEYS AT GEORGE'S APPLIANCE < then,'on the climactic day (Mon- STORE, to the of eyes upon you when you’re work- 816 F ST., OR IN OUR LORRY J brightlights Broadway day) came through with vital and ing.” FIRST PRIZEi THOR AUTOMAGIC WASHER beautiful sunshine, his and his name are loved me spectators, nowever, were songs i No company, probably, ever got about generally pleasant being as others are. caught in a tighter race than the there, or anywhere else, the pic- jew “Mr. Congressman” one which had ture happened to be shooting I—^J to shoot its Washington location around Washington. They always ^ 1 "■■■■. 11 ■■■'■■ -. V t He's the scenes between December 26 and took their direction very well, in- wonderful fellow who 8 in order to clear the January deed, their direction (from Pirosh didn’t know how to 'I love Capitol by the time Congress con- and his associates) always being IN PARIS" say you* vened. be S5R RAIMU in "MIDNIGHT to quiet so they .would not to his own but wrote it in No company ever finished up a interefere with the scene. girl song location period more tired, more for all of happy, or with the feeling of hav- America's sweethearts! Jpg been made more at horns in Where and When the very heart of democracy. Current Theater Attractions * * * * And Time of Showing Next time Washington sees Stage. Pirosh, Van John- Alton, Dunning, Arena—“Twelfth Night”; 8:30 son, Patricia Neal, Louis Calhera, p.m. Ober, with Producer .)•; {.. Philip Schary New Gayety—Jose Greco and almost certain to be along, will be his Spanish Ballet; 2:30 and 8:30 In the summer. This is when “Mr. p.m. will be released and Congressman” Screen. It is Inconceivable that its world Premiere Ambassador—“Distant Drums”; Washington —Tomorrow Night premiere could be held anywhere 5:15, 7:20 and 9:30 p.m. Arthur Ranh presents else. 1:00, 3:05, J. Capitol—"The Flame of Araby”; “We’ll be back, more fit,” said in artJ 11:00 1:45, 4:30, 7:15 and A Masterpiece Performance Suspense Pirosh. a.m„ 10:00 p.m. Stage: 12:50, 3:30, “Less tired,” added Alton. 6:15 and 9:00 p.m. “More threw human,” Dunning 11:45 to. Columbia—“Elopement”; “POOL OF LONDON” * * * * a.m., 1:45, 3:45, 5:45, 7:45 and 9:50 with a great cast—including Pirosh, an old Baltimore boy, p.m. of Hoffmann”; BONAR COLLEANO e SUSAN SHAT but not so never Dupont—“Tales very old, had any ASHERSON • EARL CAMERON 1:00, 3:10, 5:20, 7:30 and 9:40 p.m. RENEE Question in his mind that the • Keith’s—“The MOIRA LISTER JOAN DOWLING essential scenes for the he Strange Door”; story Produced by Sir Michael Balcon wrote and directs in “Mr. Con- 11:35 a.m., 1:40, 3:45, 5:50, 7:55 Directed by Basil Dearden gressman” would have to be shot and 10:00 p.m. on location here. Little—“Midnight in Paris”; Through the generosity of Mr. Sam Roth and "They can do miracles in 6:15, 8:05 and 9:50 pjn. Holly- Universal-International Pictures, the entire pro- wood with sets,” he says, “but not Metropolitan—“The Big Night”; the miracle of reproducing the 11:25 a.m.; 1:05, 2:50, 4:20, 6:15, ceeds of tomorrow’s premiere performances for Capitol. It has been tried, but 8:00 and 9:45 p.m. the benefit of the National—"Smoky”; 11:15 aoa„ IQVEJOY PATRICE pmy one who is familiar with the WYMORE1 DAMON RUNYON MEMORIAL atmosphere of the real building 1:00, 2:45, 4:30, 6:15, 8:00 and JAMES GLEASON knows the sheer folly of it. What 9:45 p.m. CANCER FUND ^viuG^^ACKlye MICHAEL CURTIZ we have done here—and it all looks Ontario—"Darling, How Could See a Great Show! Help a Great Cause! fine in the rushes we have seen— You!”; 1:40, 3:45, 5:50, 7:55 and Last Times Ala inereaia in admission prim Gary COOPER could not have been done any- 10:00 p.m. | ' Palace — T where else.” “Quo Vadis”; 11:35 PRot/ib SPitUe PTAeafae — 9th St at F Today 'Distant Drums How about retakes? a.m., 2:45, 5:55 and 9:05 p.m. All three, Pirosh, Alton and Dun- Playhouse—“Caesar and Cleo- ning, doubted any retakes will be patra”; 11:00 ajn., 1:05, 3:15, 5:25, Becessary. 7:35 and 9:45 pjn. “Until we got that sun on Mon- Plaza — “The Lavender Hill I day, with the odds supposedly so Mob”; 10:35 a.m., 12:30, 2:25, 4:20, • much against it, I thought we 6:20, 8:15 and 10:15 pjn. I Opt* 10:4$ Last ftatart 9 P.M. might have to come back,” Alton Trans-Lux — “A Place in the DICK COE PICKED THE Said. “I think I was even hoping Sun"; 10:55 a.m., 1:05, 3:15, 5:30, WINNER LAST OCTOBER we 7:40 LlfeOiilSuOUSPMFOMSaS —a little might, but now I. don’t think and 9:55 p.m. I/ / Hi- el. 4. we’ll be back before the opening Warner — “Distant Drums”; love in v0ice oj"9 of the picture.” 11:15 a.m., 1:20, 3:30, 5:40, 7:45 life? J| "We took care of a lot of cover- and 9:45 p.m. your Ju THE WASHINGTON POST m MfSS WtdntUtr, OtUbw It, 11U -a little life L m A Tl-CIINICOI.OR One On the Aisle ROBERT TAYLOR KT APRIL Hollywood Diary | DEBORAH KERR J Dorothy McGuire Ready ‘Place in the Sun’ ^OGjNN-PETERUCTIN^ i I STEVEN^O For Picture Assignment El '**' i rc* By Sheilah Graham—. Hates That vJ2z*z!zr I Exactly Starts TOMORROW Opt* <9:48 HOLLYWOOD. days to star for Elia Kazan in | Richard L Co* TIE TWE-TI-UFl Dorothy McGuire, with a flop “Flight Into Egypt.” By 1 * * * * BEHIND-THE-SCENES ^a,*no Go to play in New York, is ready to lis- 441 PLXce in THE SUN,* at thk paint, Is Hollywood’s finest HoH 'll John O'Hara’s R[ STORY DEI ONE LOU! Hi ten to the Fidelity picture offer “Appointment in A drama of the year. In fact. the. new Trans-Lux arrival will Samara” will be done as a to star in “Gardenia,” by Vera play probably rank as a screen classic. 9 .u—THE first on Broadway. Skirball-Man- I the I * That Is a tat wen Tor her* A It will be nice to have sweeping statement, considered 9^[TE WAS I Caspary.
Recommended publications
  • 2018 Annual Report
    Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on.
    [Show full text]
  • 2017 Annual Report
    Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.
    [Show full text]
  • Bank of America Cinema: January
    BANK OF AMERICA CINEMA CLASSIC FILM SERIES JANUARY - JUNE 2010 FROM THE BOOTH The building is for sale, and who knows what the future will hold. What we can guarantee is at least another six months of great films. We’ve made sure this season will be one to remember, starting with G.W. Pabst’s silent masterpiece Pandora’s Box with live accompaniment by Jay Warren, and ending with Jane Russell’s, ah, assets in Howard Hughes’s notorious The Outlaw. In between, we’ve stocked up on films we’ve wanted to show for the past five years but couldn’t find through normal distributors—rare prints of such gems as Douglas Sirk’s weepie The First Legion, Anthony Mann’s scandalous God’s Little Acre, and John Cromwell’s elusive The Enchanted Cottage. Between March 13th and June 26th, blood pressures will rise and edges of seats will be perched on—we’re running the 1940 Republic serial The Mysterious Dr. Satan! And in April we have two radio films to celebrate the career of Chuck Schaden, who started this film series back in 1972. Thanks, Chuck. We literally wouldn’t be here without you. Film program: Michael W. Phillips Jr. (MP) Special print coordinator: Julian Antos (JA) Program design: Becca Hall With assistance from Kyle Westphal (KW) and Michael King (MK) PANDORA ’S BOX • 1929 DIRECTED B Y G. W. PA B ST G.W. Pabst did not “discover” Louise Brooks—teenage 2, 2010 Ziegfeld Follies chorine, Paramount contract player, and all-around magnetic embodiment of an inchoate sexual revolution.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Greer Garson
    Greer Garson Autor(en): [s.n.] Objekttyp: Article Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): 8 (1943) Heft 119 PDF erstellt am: 27.09.2021 Persistenter Link: http://doi.org/10.5169/seals-733725 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch de 36 heures par la semaine de 48 heures, cès du théâtre moderne et dont le rôle la découvrit pour le cinéma et lui donna ce qui, du point de vue européen, ne principal sera interprété à l'écran par sa aussitôt un contrat à long terme.
    [Show full text]
  • Book Reviews – June 2011
    Scope: An Online Journal of Film and Television Studies Issue 20 June 2011 Book Reviews – June 2011 Screening Sex by Linda Williams A Review by Caroline Walters ................................................................. 4 What Moroccan Cinema? A Historical and Critical Study, 1956-2006 by Sandra Gayle Carter A Review by Monika Raesch ................................................................... 7 Hollywood Independents: The Postwar Talent Takeover by Denise Mann 100 American Independent Films, 2nd edition by Jason Wood The Contemporary Hollywood Reader edited by Toby Miller A Review by Gareth James .................................................................. 13 Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beattie A Review by Jeffrey Gutierrez .............................................................. 20 Mabel Cheung Yuen-Ting's An Autumn's Tale by Stacilee Ford John Woo's The Killer by Kenneth E. Hall A Review by Lin Feng .......................................................................... 23 Film Festival Yearbook 1: The Festival Circuit edited by Dina Iordanova with Ragan Rhyne Dekalog 3: On Film Festivals edited by Richard Porton A Review by Linda Hutcheson............................................................... 29 1 Book Reviews Responses to Oliver Stone's Alexander: Film, History, and Cultural Studies edited by Paul Cartledge and Fiona Rose Greenland Screening Nostalgia: Populuxe Props and Technicolor Aesthetics in Contemporary American Film by Christine Sprengler A Review
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Documenting the Director: Delbert Mann, His Life, His Work, and His Papers
    http://spider.georgetowncollege.edu/htallant/border/bs10/fr-harw.htm Border States: Journal of the Kentucky-Tennessee American Studies Association, No. 10 (1995) DOCUMENTING THE DIRECTOR: DELBERT MANN, HIS LIFE, HIS WORK, AND HIS PAPERS Sarah Harwell Vanderbilt University Library The Papers of Delbert Mann at the Special Collections Library of Vanderbilt University provide not only a rich chronicle of the award-winning television and motion picture director's life and work, but also document the history of aspects of American popular culture and motion picture art in the latter half of the twentieth century. Delbert Mann was born in Lawrence, Kansas, in 1920. He moved to Nashville, which he considers his home town, as a young boy when his father came to teach at Scarritt College. He graduated from Hume-Fogg High School and Vanderbilt University, where Dinah Shore and Mann's future wife, Ann Caroline Gillespie, were among his classmates. Also in Nashville he developed a lifelong friendship with Fred Coe through their mutual involvement in the Nashville Community Playhouse. Coe would play a very important role in Mann's life. A few months after his graduation from Vanderbilt in 1941, Mann joined the Eighth Air Force, for which he completed thirty-five missions as a pilot of a B-24 bomber. After the end of the Second World War he attended the Yale Drama School, followed by two years as director of the Town Theatre of Columbia, South Carolina. In 1949, Fred Coe, already a producer at NBC television network, invited Delbert Mann to come to New York to direct live television drama on the "Philco Television Playhouse." Then in its infancy, television offered many fine original plays to its relatively small viewing audience.
    [Show full text]
  • Legal Protection for Literary Titles
    6 Legal Protection for Literary Titles A Marxist Case Study Terence P. Ross 946 was a great year for the motion Our Lives – are on the American Film In- picture industry in the United States and stitute’s list of the 100 Greatest Movies. But for movie goers. With the repeal of the at least ten more films from 1946 would be wartime excess profits tax, total net industry recognized by critics and film-goers of today 1profits after taxes soared from $89 million in as classics, still well worth viewing.2 These 1945 to $190 million in 1946. Equally impres- include: sive, 4.7 billion movie tickets were sold in the Alfred Hitchcock’s Notorious, starring United States, making 1946 Hollywood’s all- Cary Grant and Ingrid Bergman; time peak attendance year.1 And, although John Ford’s My Darling Clementine, some might be tempted to attribute these starring Henry Fonda; increases to the expansion of the movie- Charles Vidor’s Gilda, starring Rita going public with the return of soldiers, sail- Hayworth and Glenn Ford; ors and marines from overseas, the more Tay Garnett’s The Postman Always likely reason is simply the phenomenal qual- Rings Twice, starring Lana Turner and ity of movie offerings in 1946. John Garfield; Two films released in 1946 – Frank Cap- Clarence Brown’s The Yearling, starring Gregory Peck and Jane Wyman; ra’s Christmas classic, It’s A Wonderful Life, and William Wyler’s drama of war veterans King Vidor’s Duel in the Sun, starring Joseph Cotton, Gregory Peck and Lio- adjusting to civilian life, The Best Years Of nel Barrymore; Terence Ross is a partner in the Washington, DC, office of Gibson, Dunn s Crutcher LLP engaged in the practice of intellectual property law.
    [Show full text]
  • Movie Museum MAY 2009 COMING ATTRACTIONS
    Movie Museum MAY 2009 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY Hawaii Premiere! LAST CHANCE HARVEY Buddha Day Mother's Day THIRD MAN ON THE THREE MEN IN A BOAT (2008-UK/US) TRAVELLERS AND LAST CHANCE HARVEY MOUNTAIN (1956-UK) in widescreen MAGICIANS (2008-UK/US) (1959) (2003-Australia/Bhutan) in widescreen with Laurence Harvey, Jimmy with Dustin Hoffman, Emma in Dzongkha with English with Dustin Hoffman, Emma with Michael Rennie, James Edwards, David Tomlinson, Thompson, Eileen Atkins, subtitles & in widescreen Thompson, Eileen Atkins, MacArthur, Janet Munro, with Tsewang Dandup, Shirley Eaton, Lisa Gastoni, Kathy Baker, Liane Balaban, Kathy Baker, Liane Balaban, James Donald, Herbert Lom, James Brolin, Richard Schiff. Sonam Lhamo, Lhakpa Dorji, James Brolin, Richard Schiff. Laurence Naismith. Jill Ireland, Martita Hunt. Deki Yangzom, Sonam Kinga. Written and Directed by Directed by Directed by Written and Directed by Written and Directed by Joel Hopkins. Ken Annakin. Ken Annakin. Joel Hopkins. Khyentse Norbu. 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 & 8:30pm 7 & 8:30pm 8 & 8:30pm 9 & 8:30pm 10 & 8:30pm 11 QUARTET TRAVELLERS AND THE CURIOUS CASE OF TAKEN Hawaii Premiere! (1948-UK) MAGICIANS BENJAMIN BUTTON (2008-France) ACROSS THE BRIDGE (1957-UK) hosted by W. Somerset (2003-Australia/Bhutan) (2008) in English & in widescreen Maugham, with Dirk Bogarde, in Dzongkha with English in widescreen in widescreen George Cole, Honor Blackman, subtitles & in widescreen with Brad Pitt, Julia Ormond, with Liam Neeson, Famke with Rod Steiger, David Mai Zetterling, Basil Radford, with Tsewang Dandup, Sonam Cate Blanchett, Elias Koteas, Janssen, Leland Orser, Knight, Marla Landi, Noel Naunton Wayne, Cecil Parker, Lhamo, Lhakpa Dorji, Tilda Swinton, Taraji P.
    [Show full text]
  • Autograph Albums - ITEM 936
    Autograph Albums - ITEM 936 A Jess Barker Jocelyn Brando Lex Barker Marlon Brando Walter Abel Binnie Barnes Keefe Brasselle Ronald Adam Lita Baron Rossano Brazzi Julie Adams Gene Barry Teresa Brewer (2) Nick Adams John Barrymore, Jr. (2) Lloyd Bridges Dawn Addams James Barton Don Briggs Brian Aherne Count Basie Barbara Britton Eddie Albert Tony Bavaar Geraldine Brooks Frank Albertson Ann Baxter Joe E. Brown Lola Albright John Beal Johnny Mack Brown Ben Alexander Ed Begley, Sr. Les Brown John Alexander Barbara Bel Geddes Vanessa Brown Richard Allan Harry Belafonte Carol Bruce Louise Allbritton Ralph Bellamy Yul Brynner Bob “Tex” Allen Constance Bennett Billie Burke June Allyson Joan Bennett George Burns and Gracie Allen Kirk Alyn Gertrude Berg Richard Burton Don Ameche Polly Bergen Spring Byington Laurie Anders Jacques Bergerac Judith Anderson Yogi Berra C Mary Anderson Edna Best Susan Cabot Warner Anderson (2) Valerie Bettis Sid Caesar Keith Andes Vivian Blaine James Cagney Dana Andrews Betsy Blair Rory Calhoun (2) Glenn Andrews Janet Blair Corinne Calvet Pier Angeli Joan Blondell William Campbell Eve Arden Claire Bloom Judy Canova Desi Arnaz Ben Blue Macdonald Carey Edward Arnold Ann Blyth Kitty Carlisle Mary Astor Humphrey Bogart Richard Carlson Jean-Pierre Aumont Ray Bolger Hoagy Carmichael Lew Ayres Ward Bond Leslie Caron B Beulah Bondi John Carradine Richard Boone Madeleine Carroll Lauren Bacall Shirley Booth Nancy Carroll Buddy Baer Ernest Borgnine Jack Carson (2) Fay Bainter Lucia Bose Jeannie Carson Suzan Ball Long Lee Bowman
    [Show full text]
  • Cinema Showcase/James Whaley Archives
    Cinema Showcase/James Whaley Archives New Barcode Colln ID Item # Program Subject Date Taped Format 32108056262929 cineshow_ 0001 Patrick Swayze 8/87 3/4" 32108056262960 cineshow_ 0002 "Silverado" : Nichols, Brian Dennehy, Jake Kasden, Kevin Kline; Tom Hanks, Helen Slater 3/4" 32108056262937 cineshow_ 0003 Robert Goulet 10/87 3/4" 32108056262945 cineshow_ 0004 Dorothy McGuire [dub] 10/87 3/4" 32108056262952 cineshow_ 0005 Tom Selleck 3/4" 32108056262978 cineshow_ 0006 Dustin Hoffman 12/88 3/4" 32108056262986 cineshow_ 0007 Sasha Mitchell 3/4" 32108056262994 cineshow_ 0008 "Mississippi Burning" : Gene Hackman 3/4" 32108056263000 cineshow_ 0009 "Working Girl" : Harrison Ford 3/4" 32108056263018 cineshow_ 0010 "Cocoon II" : Don Ameche 1988 3/4" 32108056263026 cineshow_ 0011 "Last of the Mohicans" and "Glengarry Glen Ross" 9/23/92 3/4" 32108056263034 cineshow_ 0012 "Cousins"- Ted Danson, Lloyd Bridges, Joel Schumacher, et al 3/4" 32108056263042 cineshow_ 0013 Glenn Close; Anne Edwards 3/4" 32108056263067 cineshow_ 0014 Tim Conway; Eileen Heckart 1/17/86 3/4" 32108056263059 cineshow_ 0015 Patrick Swayze 3/4" 32108056263075 cineshow_ 0016 Keifer Sutherland, Lou Diamond Phillips & Preview 5/30/89 3/4" 32108056263083 cineshow_ 0017 "Whispers in the Dark"; "Bob Roberts", "Sneakers", "Singles"; 8/24/92; 9/17/92 8/24/92 3/4" 32108056263091 cineshow_ 0018 Alexis Smith [dub] 3/4" 32108056263109 cineshow_ 0019 "Batman" 6/22/89 3/4" 32108056263117 cineshow_ 0020 Jeff Daniels; "Star Trek IV" : William Shatner 3/4" 32108056263125 cineshow_ 0021 Pat Morita and Ralph Macchio 6/28/89 3/4" 32108056263133 cineshow_ 0022 "Parenthood" : Steve Martin, Mary Steenburgen, director Ron Howard 7/25/89 3/4" 32108056263141 cineshow_ 0023 "License to Kill" : Timothy Dalton, Robert Davi, Wayne Newton, director John Glen, Talisa7/11/89 Soto3/4" 32108056263158 cineshow_ 0024 "Casualties of War" : Michael J.
    [Show full text]