1933-08-24 [P C-4]

Total Page:16

File Type:pdf, Size:1020Kb

1933-08-24 [P C-4] Movies Pictures for New Week “Secrets” of the The “Stronger Sex” in the New Week’s Pictures And a Cruise to Catalina Bring Hollywood’s Stars {The Star's Dramatic Critic Continues His Explora- Katherine Hepburn, Leslie Howard, Marlene tion of the West Coast and Sends in Another Dietrich, Ann Harding, Lee Tracy and Wil- Installment of His “Hollywood Diary." liam Powell Have Stellar Roles. fare at the local theaters Hermann Sudermann'a literary classic E. de S. Melcher. spurts to a new high in quality The story pictures the life of a beauti- By this week with the simultaneous ful, innocent young country girl who FILMpresentation of three outstanding jilted by her artist lover, marries a rich NINTH DAY. productions of the immediate man she doesn’t love, leaves him and season. gains notoriety in Berlin’s night life. HOLLYWOOD, Calif., August 24, 1933. RKO-Keith's will show the new Brian Aheme makes his screen debui Katharine Hepburn picture, “Morning as Miss Dietrich’s leading man. He u Bros, sneak us in to Is the day when the Earner places Glory”; Warner Brothers’ Earle has best remembered for his recent effort; where the “secrets” of the business are maintained. Behind booked Leslie Howard in “Captured!” as Katherine Cornell’s leading man iti and Loew’s Palace will bring to town the "Barretts of Wampole Street.’ barred and bolted doors what is known as shots” are THIS “process Marlene Dietrich in “Song of Songs.” Lionel Atwill, Alison Skipworth, Hardic being taken. Here you may see a boat heaving up and down In addition to this diversified menu Albright and Helen Freeman are in th« of entertainment, there will be found cast. on the waves in a roaring gale. Actually, the boat is “heaving” on at the Metropolitan a return engage- "Song of Songs’’ was adapted for rollers and behind it is a screen on which the camera is flashing ment of "Double Harness,” featuring screening by Leo Birinski and Samuci Ann and William at Hoffenstein. It is the first Mar- water pictures. We have seen Jack Pearl Harding Powell; picture the Fbx, Lee Tracy in a comedy called lene Dietrich has appeared in that ha: “rock” in his new film. Instead, however, “Turn Back the Clock” and. next Mon- not been directed by Josef von Stern- of the boat rocking, the water behind him day, Victor McLaglen in “Laughing at berg. A program of short subjects, com- Life.” edy and news is also slated. on the screen rocks. All he has to do is The new attractions are as follows: AT Loew’s Fox this week, beginning to look unhappy and say his inevitable, AS the salvo of its opening greater tomorrow. "Turn Back the Clock’ show season RKO-Keith’s is to “Vass you der, Sharlie?” is the cinematic attraction that en- offer the new Katharine corner Hepburn deavors to answer that hearc In a of the Warner Bros, set with frequently picture, "Moming Glory.” Doug- query of "What would you do if yov we have come las Fairbanks, and Menjou upon Paul Muni. He is sit- jr., Adolpe had your life to live over again.” With as the featured be- in the back of an supporting players, Lee Tracy in the starring role, this story ting automobile. Made up tomorrow. ginning written by Ben Hecht and Edgar Sel- to look a In this first of a series of feature thousand, he sits beside Aline wyn, is said to bring one of the funniest productions Keith’s has in the MacMahon, who also looks a thousand. Hepburn ideas screen patrons have seen in many vehicle a of those that win sue- story j years. Their make-up is uncanny. Miss MacMahon but can’t hold it. are the cess, They Due to the fact that Joe Laurie, jr.'s of and tells us that she has had on 6 "moming glories" Broadway Lane’’ revue has been held k it since in "Memory' Hollywood, the actors and actresses who over at a New York theater for anothei the morning. Her face is a flash into mahogany prominence and as swiftly week, the Fox stage this week will fade into The is said color, with lines stitched in and veins run- obscurity. story substitute Herman Timberg and com- to Katharine her give Hepburn greatest pany in a revue, Joe May and Dotty; ning here and there and everywhere. Muni, screen role to date. and Everett Marshall, former singer in In addition to Mr. Miss MacMahon, Jean Muir and a “juve- Where and When Fairbanks and George White’s "Scandals.” Mr. the cast In- nile” Menjou. supporting "Turn Back the Clock” is a Metro- sit in a “taxi” and look out of the eludes Mary Duncan, C. Aubrey Smith, Goldwyn-Mayer production, directed by window. The “taxi” Richard Carle and Brooke. is set up on rollers Current Theater Attraction! Tyler Edgar Selwyn. Mae Clarke, Peggy and “Moming Olory" was directed by Lowell Shannon. Otto Kruger, Barbiei shakes a bit. It is meant to be speed- and Time of Sherman. George Showing and C. Henry Gordon support Lee Tracy ing through New York. As you look through <1 in the cast. smile. She hasn't time A PRE-SEASON release of Cap- j the back of it you see Manhattan steaminc Very popular. to say much. They are •'shoot.ng’’ Earte—“She Had to Say Yea.'* at tured!" with Leslie Howard, Doug' VL7ARNER BROS. METROPOLITAN by. This ts the sereen which Fairbanks, Paul Lukas and Mar- arranged by hangs behind the car what looks like a canteen sequence. 11:15 am, 1:55, 4:40. 7:20 and 10:05 Jr.; THEATER for the week com- garet in the roles and by a camera on the other side which is Hundreds of extras are in It. The p.m. Stage shows 'Tom Howard in Lindsay important jiencing tomorrow w ill present a special flashing the back- will be the screen attraction at Warner French soldiers speak French. person) at 1. 3:45. 6 25 and 9:05 p.m. repeat engagement of "Double Harness.’ ground onto it. Bros.’ Earle Theater tomor- Dinner with Joan Crawford at her Palace—“Tugboat Annie,” at 11:25 starting in which two favorites of film fans, Ann mum is an She a row. Hal LeRoy, with his own revue, inaeraug&oie worser. fie snam. who has suddenly landed a house. appears in burnt gold a.m., 1:25, 3:30, 5:35, 7:40 and 9:45 p.m. Harding and William Powell, are seen will head the stage program, which also will do a scene over 100 times rather "empire'’ dress. We stand looking at Loew’s Fea—‘The Devil s in Love,” at together for the first time. In this | screen contract. Went to school with includes Fro06, and Whit- her with our mouth open. Something 11 a.m.. 1:45, 4 35, 7:20 and 10.10 p.m. Sylvia Barry R-K-O-Radio comedy-drama of love in- than not have it He will nun. At the age and and right. stay has come over her. Then we know'. She shows ledge Violet, Ray Norman. and of 12 he Stage (All-Washington Revue) trigues matrimonial complications lip all arguing with himself about appear- has taken off most of her 12 30. 3:15. 6 05 and 8:50 "Captured!” is the story of two men. night 1 make-up. at p.m. Miss Harding is seen as a girl who in- ed as a small, comrades in both war and peace, whose aome small point. He Is known to have She stands there with a kind of a "well. ! Columbia—"Life in the Raw,” at 1135 tends to make marriage her career, and t rather scrawny 1 love for the same you didn’t like me with on a.m., 3, 4:45, 6:30, 8:15 and 10' English girl precipi- j sets out to snare her with a director to take a whole in make-up 1:20, calmly prospective pleaded wench the an- — tates a crisis in the lives and fortunes before what-do-vou-think-of-me-now life Powell a debonaii nual school p.m. of of partner. portrays acene over again—an unheard-of thing play expression?” It isn't true that she is at 11:15 the hundreds prisoners herded — Metropolitan—“Voltaire.'’ Lothario who is enthusiastic about love Gilbert and into a prison camp. An exceptional cast after the director has said "0. K.” ugly without paint. a.m., 1, 2:45. 4:20, 6:15, 8 and 9:45 p.m. I but distinctly of marriage. In Mis.' Sullivan's "Trial is assembled around Leslie Howard, shy sits him. She looks a little R-K-O Keith's—‘Her First Mate,” at j Harding's and Powell's support art Mrs. Muni watching She \ by Jury." He has young Fairbanks and Paul Lukas. Mar- like the new por- 12 06, 2:05, 4:02, 5:59, 7:56 and Henry Stephenson. Reginald Owen Is most cordial to us. our I improved. garet Lindsay, as the girl; Frank remembering trait of her as 9:53 p.m. George Meeker and Lillian Bond. John After lunch a Reicher, Arthur Hohl, Philip Faversham, Washington ••interview" when we were “Mary Queen of Central—"Professional Sweetheart," Cromwell directed from Jane Murfin’s visit on the Joe Robert Barrat, William LeMaire ana \ lasted Scots.” that hangs from 11 a.m. to 11 p.m. screen Special short subjects, in- meant to stay 10 minutes and E.
Recommended publications
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • 1985 Commencement Program, University Archives, University Of
    UNIVERSITY of PENNSYLVANIA Two Hundred Twenty-Ninth Commencement for the Conferring of Degrees PHILADELPHIA CIVIC CENTER CONVENTION HALL Monday, May 20, 1985 Guests will find this diagram helpful in locating the Contents on the opposite page under Degrees in approximate seating of the degree candidates. The Course. Reference to the paragraph on page seven seating roughly corresponds to the order by school describing the colors of the candidates' hoods ac- in which the candidates for degrees are presented, cording to their fields of study may further assist beginning at top left with the College of Arts and guests in placing the locations of the various Sciences. The actual sequence is shown in the schools. Contents Page Seating Diagram of the Graduating Students 2 The Commencement Ceremony 4 Commencement Notes 6 Degrees in Course 8 • The College of Arts and Sciences 8 The College of General Studies 16 The School of Engineering and Applied Science 17 The Wharton School 25 The Wharton Evening School 29 The Wharton Graduate Division 31 The School of Nursing 35 The School of Medicine 38 v The Law School 39 3 The Graduate School of Fine Arts 41 ,/ The School of Dental Medicine 44 The School of Veterinary Medicine 45 • The Graduate School of Education 46 The School of Social Work 48 The Annenberg School of Communications 49 3The Graduate Faculties 49 Certificates 55 General Honors Program 55 Dental Hygiene 55 Advanced Dental Education 55 Social Work 56 Education 56 Fine Arts 56 Commissions 57 Army 57 Navy 57 Principal Undergraduate Academic Honor Societies 58 Faculty Honors 60 Prizes and Awards 64 Class of 1935 70 Events Following Commencement 71 The Commencement Marshals 72 Academic Honors Insert The Commencement Ceremony MUSIC Valley Forge Military Academy and Junior College Regimental Band DALE G.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Feiern Und Alltag Bei Raimund Und Nestroy
    „Wahre Festivitäten“ und „abgeschmacktes Alltagsleben“ Feiern und Alltag bei Raimund und Nestroy Balthasar Wigand: „Wien zu sehen von der Brigittenau zur Zeit der Kirchweihe“, um 1820, Gouache, Wien Museum In Wien ist der Sonntag nach dem Vollmonde im Monat Juli jedes Jahres samt dem darauf folgenden Tage ein eigentliches Volksfest, wenn je ein Fest diesen Namen verdient hat. Das Volk besucht es und gibt es selbst, und wenn Vornehmere dabei erscheinen, so können sie es nur in ihrer Eigenschaft als Glieder des Volks. Da ist keine Möglichkeit der Absonderung; wenigstens vor einigen Jahren noch war keine. An diesem Tage feiert die mit dem Augarten, der Leopoldstadt, dem Prater in ununterbrochener Lustreihe zusammenhängende Brigittenau ihre Kirchweihe. Von Brigittenkirchtag zu Brigittenkirchtag zählt seine guten Tage das arbeitende Volk. Lange erwartet, erscheint endlich das saturnalische Fest. Da entsteht Aufruhr in der gutmütig ruhigen Stadt. Eine wogende Menge erfüllt die Straßen. Geräusch von Fußtritten, Gemurmel von Sprechenden, das hie und da ein lauter Ausruf durchzuckt. Der Unterschied der Stände ist verschwunden, Bürger und Soldat teilt die Bewegung. [...] Die zu Wagen Gekommenen steigen aus und mischen sich unter die Fußgänger, Töne entfernter Tanzmusik schallen herüber, vom Jubel der neu Ankommenden beantwortet. Und so fort und immer weiter, bis endlich der breite Hafen der Lust sich auftut und Wald und Wiese, Musik und Tanz, Wein und Schmaus, Schattenspiel und Seiltänzer, Erleuchtung und Feuerwerk sich zu einem pays de cocagne, einem Eldorado, einem eigentlichen Schlaraffenlande vereinigen, das leider, oder glücklicherweise, wie man es nimmt, nur einen und den nächst darauffolgenden Tag dauert, dann aber verschwindet, wie der Traum einer Sommernacht, und nur in der Erinnerung zurückbleibt und allenfalls in der Hoffnung.
    [Show full text]
  • American Music Research Center Journal
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • Gold on Talking Pictures TV Stars: Roger Moore, Susannah York, Ray Milland, Bradford Dillman and John Gielgud
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 7th December 2020 FREESAT 306 | VIRGIN 445 Gold on Talking Pictures TV Stars: Roger Moore, Susannah York, Ray Milland, Bradford Dillman and John Gielgud. Directed by Peter R. Hunt in 1974. Roger Moore plays Rodney “Rod” Slater, general manager of a South African gold mine, who is instructed by his boss to break through an underground dike into what he is told is a rich seam of gold. The mine-owner’s son-in-law and director plan to destroy the mine so that foreign syndicate members can profit from share-dealing and raise the price of gold on world markets. This will be done by drilling through a deep underground greenstone wall or ‘dyke’ which prevents an adjacent reservoir of water from flooding the mine. When the final breach is made a wall of ocean water roars into interconnected mazes of tunnels and shafts and the mine floods, trapping a thousand workers. Based on the 1970 novel Gold Mine by Wilbur Smith. Airs Saturday 12th December 8:10pm. Monday 7th December 8:55am Wednesday 9th December 8:05am The Secret Tunnel (1948) I’ll Turn To You (1946) Family. Director: William C. Hammond. Drama. Director: Geoffrey Faithfull. Stars: Tony Wager, Ivor Bowyer, A soldier returning home finds Murray Matheson. Two boys set out readjusting to married life and civvy to bring justice to the thieves of a street very difficult. Stars Irene Handl, Rembrandt painting. Don Stannard, Terry Randall, Harry Welchman, Ann Codrington Monday 7th December 10:30am and George Merritt.
    [Show full text]
  • Here's Looking at You
    SCANDINAVIAN REVIEW | Denmark | Finland | Iceland | Norway | Sweden | Here’s Looking at You, Kid INGRID BERGMAN AT 100 Summer 2015 INGRID BERGMAN AT 100 Another look at the luminous Swede, one of the finest stage and screen Here’s actors of the mid-20th century. Looking By Donald Dewey ER G This is where Humphrey Bogart delivers the classic line to Ingrid Bergman in Casablanca (1942). at You, Kid GRAN 30 SCANDINAVIAN REVIEW SCANDINAVIAN REVIEW 31 Ingrid Bergman at 26 HAT IS THERE LEFT TO SAY ABOUT INGRID BERGMAN? Journalists and biographers and film historians have been dipping W into Bergman’s life (1915–1982) so relentlessly for so long that it is easy to forget that it wasn’t always in the public domain. The woman’s career, off and on screen, started being dissected so minutely so many decades ago that just about the only survivors from all those labors are her children and a hand- ful of actors from the already-41-year-old Murder on the Orient Express. In short, and though many of us are loath to admit it, the world of Ingrid Bergman seems to have warp-sped away from us to distances we might not have thought possible. It may not be as remote as Planet Garbo, but it is still out there, back in that century they used to call the 20th with an air of self-satisfaction making it sound like the tiniest of steps before infinity. (“My God, man, it’s the 20th century!”) There is, of course, the record of her many performances—filmed, kinescoped, taped, digitized, hologrammed, whatever technical development preserves them next.
    [Show full text]
  • Bc. Petra Vaclíková
    Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Magisterská diplomová práce 2013 Bc. Petra Vaclíková Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Překladatelství německého jazyka Bc. Petra Vaclíková Rückübersetzung am Beispiel der Tragikomödie von Leo Birinski: Narrentanz - Mumraj - Mummenschanz Magisterská diplomová práce Vedoucí práce: PhDr. Jaroslav Kovář, CSc. 2013 Prohlášení Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. Erklärung Hiermit erkläre ich, dass ich die vorliegende Diplomarbeit selbstständig schrieb und nur die im Quellenverzeichnis angeführten Quellen verwendete. Brünn, den 28. 6. 2013 ………………………………………… Bc. Petra Vaclíková An dieser Stelle möchte ich mich bei dem Leiter dieser Diplomarbeit Herrn PhDr. Jaroslav Kovář, CSc., für seine wertvollen Ratschläge und Empfehlungen herzlich bedanken. Weiter möchte ich Herrn Dušan Hübl für seine fachliche Konsultation und seine Zeit, die er mir widmete, meinen Dank ausdrücken. Und schließlich möchte ich auch Herrn Stephan Stroux für seine Antworten auf meine zahl- reiche Fragen und seine Zeit danken. INHALTSVERZEICHNIS 1 Einleitung ........................................................................................................................... 7 2 Rückübersetzung ................................................................................................................ 8 2.1 Übersetzung als Experiment ..........................................................................................
    [Show full text]
  • Filmdoc Numero 69
    P ERIODICO DI I NFORMAZIONE C INEMATOGRAFICA Anno 14 N.69 TARIFFA REGIME LIBERO: “POSTE ITALIANE S.P.A. - S.P.A. REGIME LIBERO: “POSTE ITALIANE TARIFFA - 70% DCB GENOVA” SPEDIZIONE IN ABBONAMENTO POSTALE SETTEMBRE - OTTOBRE 2006 VENEZIA e altri festival IL CASO MARIA ANTONIETTA IL CINEMA E IL MONDO DEL LAVORO Franco Ferrini racconta I R C U I T I O C N Cinema L d'essai I E ASSOCIAZIONE G U R GENERALE ITALIANA L DELLO SPETTACOLO SERVIZIO SPETTACOLO DELEGAZIONE REGIONALE LIGURE Questa pubblicazione, ideata nel quadro della collaborazione tra Regione Liguria - Servizio Spettacolo - e la Delegazione Regionale Ligure dell’AGIS, contie- ne i programmi delle sale del Circuito Ligure Cinema d’Essai e viene distribuita gratuitamente, oltre che in dette sale, anche nei circoli cultura- li e in altri luoghi d’in- (dis. di Elena Pongiglione) contro e di spettacolo. IN QUESTO NUMERO FILM D.O.C. 3-7 FESTIVAL: VENEZIA - CANNES - BOLOGNA - 15 QUANDO IL CINEMA ENTRA IN FABBRICA Periodico di informazione LOCARNO - GENOVA - GIFFONI - TRENTO - 16 QUEL POLIEDRICO REGISTA INGLESE cinematografica TELLARO - PESARO 17 LIBRI & RIVISTE Anno 14 - Numero 69 8 L’AMICO ARCHITETTO - GIFFONI 18 SACILE - RICORDO DI RENATO MAZZOLI Settembre - Ottobre 2006 9 IL CASO MARIA ANTONIETTA 19 I CLASSICI - OMBRE 10 INTERVISTA A FRANCO FERRINI 20 LA POSTA DI D.O.C. HOLLIDAY - QUIZ c/o A.G.I.S. LIGURIA via S. Zita 1/1 11 DONNE DI IBSEN 21 IN MEZZO SCORRE IL FIUME - EVENTI 16129 Genova 12 PERCORSI SONORI - OCCHIO AI FILM D.O.C. 22-23 USCITI IN LIGURIA (GEN.
    [Show full text]
  • Original Writer Title Genre Running Time Year Director/Writer Actor
    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,
    [Show full text]
  • AFI PREVIEW Is Published by the Age 46
    ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors.
    [Show full text]
  • Films from the THIRTIES: PART II 1935-39
    t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
    [Show full text]