Of Particular Significance Is a Blow Struck at the Negro Actors Who Feared Mr

Total Page:16

File Type:pdf, Size:1020Kb

Of Particular Significance Is a Blow Struck at the Negro Actors Who Feared Mr VOL. 42, No. 6 Editorials 395 that one day, while the lesser man was yet with Brooks had the role of a dignified West Indian the people, that he did bow pleasantly to the physician. One of his lines was, "I received my lesser man. M.D. from Howard University." At the time this And the lesser man was overjoyed. He knotted was a new high for even an allusion and was so his kerchief tightly and shouted Hosannah and described in the weekly press.'Since the NAACP- cried aloud, Let us not oppose the great one, lest Hollywood discussions, most of the new-approach he be displeased. films which have appeared have been in some way Now the lesser man was old and his eyes were concerned with medical elements. LOST BOUN- dim so that he could not see far and he had never DARIES was based on the life of a physician who heard of David and Goliath. had practiced with race unidentified for many But the lesser man had a son and the son had years in a New Hampshire town. HOME OF THE thought deeply on David and Goliath and he said BRAVE is essentially a psychiatric study in which unto his father, I must follow the truth, for is it the personality illnesses of a Negro soldier which not written that the truth is the light and the have resulted from his racial experiences, are truth shall make you free. Wherefore the son brought out by an Army psychiatrist. PINKY, in gathered up his loins and, like David of old, less direct allusion, has a white physician as a went to lie up the hillside through the watches central character symbolizing the true friend of of the night, for he saw that his hour was upon the family, and, the mulatto heroine devotes her him. inheritance to the establishment of a clinic and nursing training school as symbolic of the highest "PROBLEM" MOVIES possible purpose to which her bequest could be A few years ago Dr. Lawrence D. Reddick, the devoted. able former curator of the Schomberg Collection NO WAY OUT is the most recent and con- of the New York Public Library who is now the troversial of the new productions. It has received librarian of Atlanta University, made a check list the attention of being banned in two major cities. of approximately 100 films which have included This is preeminently a medical film. The central Negro themes or characters of more than passing character is a Negro intern in a large city hospital significance released since 1900. Of these 75 were whose appointment has been obtained by political classed definitely anti-Negro, 13 neutral (having pressure. The film brings out the insults to which both favorable and unfavorable scenes) and 12 he is personally subjected and develops with stark pro-Negro, a number which Dr. Reddick's scholar- realism all the situations which could develop ship reduced to 5. around a man in his situation. There is nothing Most of our readers will remember the deter- in the picture which the informed observer of mined representations to Hollywood by Mr. Walter medical developments among the Negro could not White of the NAACP which this state of affairs identify with parallels from his own experience. prompted. Some will recall the protests of some Of particular significance is a blow struck at the Negro actors who feared Mr. White's zeal might tendency for the Negro sometimes to regard him. injure the careers of a few. self as requiring special attention. When the Negro Hollywood has attempted to do something. No intern, Dr Brooks, thanks his chief resident for effort has surpassed the simple, powerful story of the "special" interest he has shown him, the senior INTRUDER IN THE DUST based on the novel doctor promptly rebuffs with the statement "I by William Faulkner, in which the Puerto Rican, have no more interest in you than in any other Juano Hernandez, gave a magnificent performance good doctor on my staff." in the starring role. Physicians will find particular Mr. Darryl Zanuck, who also produced IN- interest in these new productions because of the TRUDER IN THE DUST, deserves greatest credit frequency with which medical themes provide a for this fine, bold presentation. Richard Widmark vehicle for the realistic approaches now being is unforgettable in his portrayal of the implacable attempted. hate of a prejudiced white. Co-star Linda Darnell At the beginning of the 30's in the film version also gives a distinguished performance. Sidney of Sinclair Lewis' ARROWSMITH, Clarence eoitier, as the young Negro intern, shows himself 396 JOURNAL OF THE NATIONAL MEDICAL ASSOCIATION NOVEMBER, 1950 to be an actor of great possibilities. The Negro The remaining three years of study were done at the component of the supporting cast acquitted them- Howard University College of Medicine from which he received the M.D. in 1928. He took a rotating internship selves most creditably. This picture, so well worth in Freedmen's Hospital in 1928-29 and went to Houston, seeing, has not been without box-office problems. Texas where he was engaged in the general practice of The producers say they cannot afford films of this medicine from 1929-41. He spent the years 1941-43 as a type if people are going to stay away. Julius Rosenwald Fellow in Dermatology and Syphilology Just as in the past the identification of the at the New York Skin and Cancer Hospital. He returned to Houston in 1944 and limited his practice to derma- medical profession with the vital concerns of tology and syphilology. In April 1946, he opened offices birth and death, has made it an easy medium for the practice of his specialty in Washington, D.C. at through which to deal with the fundamentals of his present address, 2027 11th St., N.W. race problems, so in the future we may expect its Dr. Gathings is a diplomate of the American Board of Dermatology and Syphilology and a fellow of the similar use. It would behoove Negro physicians American Academy of Dermatology and Syphilology. to make special efforts to see these films, advise From 1941-49, he served the NMA as a member of its the producers of their critical evaluations and en- Board of Trustees, being chairman, 1947-49. He was courage attendance at the showings. first vice-president of the NMA in 1949-50. He attended his first NMA convention while an intern (Baltimore, 28), and happily relates that he has missed but one DR. JOSEPH G. GATHINGS, THE PRESIDENT ELECT convention in the past seventeen years. Dr. Gathings was for four consecutive years chairman of the Creden- tials Committee of the House of Delegates and has served the NMA in numerous other capacities as a member of various committees. Dr. Gathings is a member and chairman of the Committee on Programs of the Medico-Chirurgical Society of the District of Columbia. He was one-time president of the Houston Medical Forum and a member of the Lone Star State Medical, Dental and Pharmaceutical Association, in which he served a term as chairman of its Board of Trustees. He has been affiliated with the John A. Andrew Clinical Society of Tuskegee for many .|:I :.._J. I | years and has been guest lecturer and clinician at the meetings of various state and regional societies. F,6: .... ... -~~~~~~~~~~~~~~~~~~~~~~~~~... In medical school, Dr. Gathings was a member of Kappi Pi Honorary Medical Society by reason of his scholastic standing and on graduation was awarded the Marshall Ross prize in gynecology. He received a special award for outstanding work upon the completion of his internship. In 1936, he was presented with a plaque, The Dogan Pemberton Award in Houston and in 1945 was chosen Man of the Year (medicine) by the Houston Chapter of the Omega Psi Phi Fraternity. Dr. Gathings is himself a member of the Kappa Alpha Psi and Chi Delta Mu Fraternities and is an Elk, a 33rd Degree Mason, and a Shriner. He is a member of the National Medical Committee of the NAACP. From 1944-48, he served as clinical assistant in derma- tology and syphilology at Baylor University, Houston, Texas. While in Houston, he was employed as a clinician in the City Health Department and served as At the 55th Annual Convention Dr. Joseph Gouver physician in charge of venereal disease clinics both at neur Gathings was chosen to become in 1951, fifty-first the Central Clinic and a sub-center (interracial). In president of the National Medical Association. Dr. 1946 he was appointed clinical assistant in dermatology Gathings was born July 11, 1898 in Richmond, Texas, and syphilology on the faculty of the Howard University and received his early education in public and private School of Medicine and is now assistant clinical pro- schools in his native state. He prepared for medicine in fessor in that field. the College of Liberal Arts of Howard University. He He was married in 1924 to the former Elizabeth Parr took his first year of medical work at Meharry Medical of St. Louis and Washington, D. C. Dr. and Mrs. Gath- College in 1924-25, where he was president of his class. ings have one son, Joseph G. Gathings, Ill..
Recommended publications
  • Darryl F. Zanuck's <Em>Brigham Young</Em>: a Film in Context
    BYU Studies Quarterly Volume 29 Issue 1 Article 2 1-1-1989 Darryl F. Zanuck's Brigham Young: A Film in Context James V. D'Arc Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation D'Arc, James V. (1989) "Darryl F. Zanuck's Brigham Young: A Film in Context," BYU Studies Quarterly: Vol. 29 : Iss. 1 , Article 2. Available at: https://scholarsarchive.byu.edu/byusq/vol29/iss1/2 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. D'Arc: Darryl F. Zanuck's <em>Brigham Young</em>: A Film in Context darryl F zanucks brigham young A film in context james V darc when darryl F zanucks brigham young was first released in 1940 president heber J grant of the church of jesus christ of latter day saints praised the motion picture as a friendmakerfriendmaker 1 I1 the prestigious hollywood studio twentieth century fox had spent more money on it than most motion pictures made up to that time its simultaneous premiere in seven theaters in one city still a world record was preceded by a grand parade down salt lake citescitys main street businesses closed for the event and the mayor proclaimed it brigham young day 2 not all reactions to the film however have been so favorable A prominent biographer of brigham young called the movie merely an interesting romance when a more authentic
    [Show full text]
  • G^Gjggg Tj«YI a As VAWT Nn MARTHA Possible
    out and Ronnie is in. But Mrs. Wil- And In real life she’s expecting a June. So Don took her to his swank the Hit liam Powell, as stated exclusively in baby, so it will all tie in very nicely. shop on the strip and outfitted her Ifs Always Just Plays this column, will still play the mer- The picture starts in April, with, it from tip to toe, including shoes! maid because she fits Pro- is exactly hoped, Cary Grant. Delmer Daves Guy Madison introduces Gail Rus- offend people for nine reels, and AMUSEMENTS ducer Johnson’s directs and And First Want Nunnally require- Jerry Wald produces. sell to bis pals as "the squaw.” Kid- have three big scenes, it's in the ments for the role. Peter Lind Ward Nights They Watching Bond dance at ding, or are they married? bag." John’s like a little boy ith a Hayes will supply the comedy. the Atwater Kent party, you’d never By Jay Carmody You can bet that Danny Kaye will new toy when he shows me Time 1 NATIONALS I Drama And here’s a switch for Walter know there was anything the mat- Editor of Thr Star free-lance after his next (the fifth) magazine’s very fAvorable revi I MIL * ERIN I NEW YORK Pidgeon. I’m told that Pidge will ter with his leg. "I hope to throw his and the Badman. and last picture on his Goldwyn "Angel • sometimes if New take over for Spencer Tracy in away the brace in a few HAMILTON OBRIEN-MOORE You wonder York’s theater press agents wish the entirely contract.
    [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]
  • Tyrone Power
    Tyrone Power 66638_Kelly.indd638_Kelly.indd i 227/11/207/11/20 11:15:15 PPMM International Film Stars Series Editor: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin Tyrone Power: Gender, Genre and Image in Classical Hollywood Cinema by Gillian Kelly www.euppublishing.com/series/ifs 66638_Kelly.indd638_Kelly.indd iiii 227/11/207/11/20 11:15:15 PPMM Tyrone Power Gender, Genre and Image in Classical Hollywood Cinema Gillian Kelly 66638_Kelly.indd638_Kelly.indd iiiiii 227/11/207/11/20 11:15:15 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance.
    [Show full text]
  • Twentieth Century Fox: 1935-1965
    The Museum of Modern Art For Immediate Release June 1990 Twentieth Century Fox: 1935-1965 July 1 - September 11, 1990 This summer, The Museum of Modern Art pays tribute to Twentieth Century Fox with a retrospective of over ninety films made between 1935 and 1965. Opening on July 1, 1990, TWENTIETH CENTURY FOX: 1935-1965 traces three key decades in the history of the studio, celebrating the talents of the artists on both sides of the cameras who shaped this period. The exhibition continues through September 11. Formed in 1915, the Fox Film Corporation merged in 1935 with the much younger Twentieth Century to launch a major new studio. Under the supervision of Darryl F. Zanuck, Twentieth Century Fox developed a new house style, emphasizing epic biographies such as John Ford's The Prisoner of Shark Island (1936) and Allan Dwan's Suez (1938) and snappy urban pictures such as Sidney Lanfield's Hake Up and Live (1937) and Roy Del Ruth's Thanks a Million (1935). The studio also featured such fresh screen personalities as Tyrone Power, Alice Faye, and Shirley Temple. From this time on, the studio masterfully anticipated and shaped the tastes of the movie-going public. During World War II, Twentieth Century Fox made its mark with a series of exuberant Technicolor musicals featuring such actresses as Betty Grable and Carmen Miranda. After the war, the studio shifted focus and began to highlight other genres including films noirs such as Edmund Goulding's Nightmare Alley (1947) and Otto Preminger's Where the Sidewalk Ends (1950), wry satirical films such as Joseph L.
    [Show full text]
  • Timid Tiger, Lusty Lamb Little Theatre on the Square
    Eastern Illinois University The Keep 1966 Shows Programs 1966 Summer 6-7-1966 Timid Tiger, Lusty Lamb Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1966_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Timid Tiger, Lusty Lamb" (1966). 1966 Shows Programs. 12. http://thekeep.eiu.edu/little_theatre_1966_programs/12 This Book is brought to you for free and open access by the 1966 at The Keep. It has been accepted for inclusion in 1966 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Equity Star Music and Drama Theatre" Tenth Season May 20-October 23, 1966 Sullivan, Illinois Guy S. Litle, Jr. Presents I John Payne in "Timid Tiger, Lusty Lamb" June 7 -12, 1966 Guy S. Little, Jr. PRESENTS JOHN PAYNE "TIMID TIGER, LUSTY LAMB"" The Premiere Production of a New Comedy by ARTHUR ALSBERG and JOHN O'DEA with Aviva Crane, John Kelso, Ralph Foody, Pamela Danwr Patti hider, Robert Gwaltney and RONALD ROGERS Directed by JOHN PAYNE and JOHN KELSO Production Stage Manager Assistant Stagr M.nauer RICHARD GIBSON E. JAh4ES ROSS ?.2 CAST '.. ' Shirley Frazer ................................................... AVlVA CRANE Harry Frazer ...................... .......................... JOHN PAYNE Mr. Newman ................................................. JOHN KELM) Miss Weston ............................................. KATHLEEN BROWN Peggy Hillman ...........................................
    [Show full text]
  • Karina Longworth on Howard Hughes's Hollywood
    SEDUCTION Karina Longworth on Howard Hughes’s Hollywood by Vince Keenan he Many Loves of Howard Hughes” was an essential early series of Karina Longworth’s acclaimed podcast You Must Remember This about “the secret and/or forgotten his- tory of Hollywood’s first century.” These episodes spotlighting several women involved with the renowned filmmaker and aviator form the foundation of Longworth’s new book “TSeduction: Sex, Lies, and Stardom in Howard Hughes’s Hollywood. Telling the story of the figure who personified the male gaze from the perspective of the women drawn into his orbit proved an ambitious undertaking; after two years of research, Longworth said, “I learned much more than I ever could have predicted.” She unearthed enough material to spawn a six-episode season of You Must Remember This diving deeper into subjects only touched on in Seduction, including the careers of director Rupert Hughes (Howard’s uncle) and actress Linda Darnell. NOIR CITY spoke with the former film editor at L.A. Weekly and critic at The Village Voice about Hughes’ life and work, beginning with his impact on film noir. 52 NOIR CITY I NUMBER 26 I filmnoirfoundation.org The tempest over Howard Hughes’ censor-baiting build-up of his discovery Jane Russell’s debut in The Outlaw (left) allowed Russell’s career to flourish, as did her sev- eral films with Hughes favorite Robert Mitchum, including 1951’s His Kind of Woman (right) NOIR CITY: Jane Russell emerges as Seduction’s secret heroine. boxer without ever actually working out. (laughs) He had effortless Many of the actresses Howard Hughes had under contract resembled virility.
    [Show full text]
  • A Letter to Three Wives and All About Eve
    Classic Hollywood Women in Focus: A Letter to Three Wives and All About Eve A Classic Film Study Guide Designed by the Educational Guidance Institute Classic Hollywood Women in Focus: A Letter to Three Wives and All About Eve Adapted from The Feminine Soul ©2020 Educational Guidance Institute Women’s Identity and Integrity: The Ideas Are in The Images The leading ladies in these two critically acclaimed films created by Joseph L. Mankiewicz help us focus on the timeless essence of women’s identity and integrity through the lens of classic cinema storytelling. As seen in these dramas, it is often very difficult to separate the actress herself from the character she plays. We love them both as one person. We are drawn to these women in a mysterious way through the characters they portray. The women in these film stories are on a journey of self-discovery. At every turn they use their gifts of intelligence, heart and free-will to make choices and life decisions in true freedom. These women do not appear to us as passive victims of a fate over which they have no control. They triumph over adversity with their personhood intact. With one exception, which is tragically portrayed in All About Eve, these women grow in their identity as persons of integrity. Classic Hollywood Women in Focus: A Letter to Three Wives and All About Eve Adapted from 1 The Feminine Soul ©2020 Educational Guidance Institute For Discussion Leaders: Taking Full Advantage of the Universal Appeal of Classic Films Different aspects of film artistry will appeal to each viewer in a unique way.
    [Show full text]
  • A Forgotten Gem: No Way out (1950) Les Friedman, Phd, and Therese Jones, Phd, Movie Review Editors
    From left, Sidney Poitier, Stephen McNally, and Richard Widmark in No Way Out, 1950. Credit: Twentieth Century Fox Film Coporation/Photofest Medicine on the big and small screen: A forgotten gem: No Way Out (1950) Les Friedman, PhD, and Therese Jones, PhD, Movie Review Editors No Way Out Staring Sidney Poitier, Richard Widmark, Linda Darnell, and that same year, won Oscars for both directing and writing Stephen McNally All About Eve. This now-classic backstage drama, winning Directed by Joseph L. Mankiewicz, released August 16, 1950, six Academy Awards including Best Picture, overshadowed 106 minutes Mankiewicz’s gritty medical story staring Poitier, Richard Widmark, Linda Darnell, and Stephen McNally. Reviewed by Les Friedman, PhD No Way Out (not to be confused with the 1987 Kevin Costner/Gene Hackman movie with the same name) opens ny film lover will tell you that one of life’s wonderful with Dr. Luther Brooks (Poitier) being congratulated for little pleasures is to discover a neglected movie gem passing his state licensing exam by his mentor, Dr. Dan thatA has, for whatever reason, been consigned to the dust- Wharton (McNally), who assigns Brooks to his first rota- bin of Hollywood history. As I was scouring through old tion on the hospital’s prison ward. movies in search of an early depiction of racism to screen When two wounded brothers, Ray (Widmark) and Johnny in my Medicine and Media class, I stumbled across No Way (Dick Paxton) Biddle, arrive on stretchers after a botched Out (1950), directed by Joseph L. Mankiewicz, and show- robbery attempt, Brooks decides that, besides being shot in casing Sidney Poitier’s first feature film role.
    [Show full text]
  • Sty? $ Ratri? Htgm Ifcgh
    Prairie View A&M University Digital Commons @PVAMU PV Week Academic Affairs Collections 7-30-1950 Official Announcement - July 30 -ugust A 5 - 1950 Prairie View A&M College Follow this and additional works at: https://digitalcommons.pvamu.edu/pv-announcement Recommended Citation Prairie View A&M College, "Official Announcement - July 30 - August 5 - 1950" (1950). PV Week. 113. https://digitalcommons.pvamu.edu/pv-announcement/113 This Conference Proceeding is brought to you for free and open access by the Academic Affairs Collections at Digital Commons @PVAMU. It has been accepted for inclusion in PV Week by an authorized administrator of Digital Commons @PVAMU. For more information, please contact [email protected]. Sty? $ratri? Htgm Ifcgh VOL VI July 30 - August 5, 1950 NO. 23 THIS WEEK i;-'e t- Sunday July 30. 1950 9:15 A M Sunday School in the Auditorium. Gymnasium. Plan to attend. 10;:00 A K Episcopal Services in the Guest House parlor. Father James Murray will be the celebrant. Students and family rubbers of the college community are cordially invited to attend. 11:00 A M Religious Worship Services in the auditorium Gymnasium. Speaker: Rev. Frederick Williams, of Dallas, Texas. Subject: "The Great Invitation". Music by the College Choir, Handel's "Holy Art Thou". 8:00 P M Cinema evening. Auditorium Theatre. "Dancing In The Dark" with William Powell, Betsy Drake, Mark Stevens. Short Subjects. All-Americ an News. Tuesday August 1, 1950 5:45 P M Intramural Softball Game. Principals vs High School Coaches on Field #1. Wednesday august 2, 1950 5:45 P M High School Coaches vs Ramblers on Field #1 P V Tigers vs Campus All Stars.
    [Show full text]
  • The Two Faces of John Ford
    84 The two faces of John Ford The Informer (1935) , The Prisoner of Shark Island, (1936), Stagecoach, Young Mr Lincoln, Drums Along the Mohawk (all 1939), The Grapes of Wrath, The Long Voyage Home (both 1940), My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), Wagon Master (1950), The Sun Shines Bright (1953), The Searchers (1956), The Horse Soldiers (1959), and The Man Who Shot Liberty Valance (1962) Ford will make one film which attacks the American equivalent of fascism – and then the next with a near-fascist message. He’ll make an open-eyed, truthful film one year, and, the next year, one awash with sentimentality and mendacity. For sentimentality and mendacity, The Informer is hard to beat. The problem is, that it’s also a riveting film to watch – in part because of the excellence of its photography (by Joseph H. August, later to photograph The Devil and Daniel Webster ), in part because of the barefaced audacity of its mendacious sentiments. In part, also, because of the way our jaws drop in wonder at the question, just how bad does a performance have to be before it’s deemed unworthy of an Oscar? Victor McLaglen is so clumsy as the film’s halfwit protagonist, he makes Lon Chaney jr.’s turn as Lenny in Of Mice and Men look like a Rembrandt. As with other cases of miscasting, the foolish argument seems to be that having the actor adrift gives a good idea of the character’s disorientation. 1 Betraying his best friend to the Black and Tans for £20, so that his prostitute girlfriend can buy a ticket to America (and happiness), McLaglen has spent £11 of it on booze and unsolicited charity before he knows what’s hit him.
    [Show full text]
  • Playing with Fire: a Counter-Factual History of Fallen Angel
    Playing with Fire: A Counter-Factual History of Fallen Angel Sam Roggen In his film noir Fallen Angel (1945), Otto Preminger depicts a passionate love triangle. Eric Stanton (Dana Andrews) is a stone-broke New York drifter and self-proclaimed press agent who reaches Walton, a small California beach town. There he hooks up with two local women: June Mills (Alice Faye) is an upright girl, who shares a house with her older sister, the dominant spinster Clara (Anne Revere); whereas Stella (Linda Darnell) is a part-time waitress and full-time femme fatale, firmly searching for a ticket out of Walton. On their first night out, Eric and Stella end up in a shady taproom, where he tries to seduce her by reading her palm lines. Eric: “You’ve got style. Beautiful style. You inherited that.” A cut to a reverse shot reveals Stella’s disparaging look. Eric: “Your father was a leading citizen. Rich.” She sniggers, as Eric continues. Eric: “He trusted people too much.” Stella: “And?” A cut to Eric. Eric: “Your mother … well, her line seems to run out.” Another reverse shot allows Stella to react. Stella: “Don’t scare me! She runs a boarding house in San Diego, and my old man came from a long line of drunks!” As she pronounces these last lines, Stella retains the scornful look that, over the years, would become one of Linda Darnell’s trademarks. This characteristic look always appeared intensely contemptuous, in line with the femme fatales she would inimitably portray throughout her career. As Jeanine Basinger explains, once Twentieth Century Fox had discovered the role that fitted her, Darnell would incessantly embody the “low-class, down-and-out babe who knew that her looks were her only bargaining chip.”[1] In this particular shot, however, her facial expression intrigues me more than usual.
    [Show full text]