Boomerang] I OLIVIER I 1 I JANE WYATT I B in William Shakespeare's 9G§ WAYNE I LEE J

Total Page:16

File Type:pdf, Size:1020Kb

Boomerang] I OLIVIER I 1 I JANE WYATT I B in William Shakespeare's 9G§ WAYNE I LEE J 1 All Is Now Relaxation Now for Next Best Years Happiness Reigns at RKO Because Dore Schary Is No ‘New Broom’ Mimicry of Prize Screen Play Will Find By Sheilah Graham Way Full of Pitfalls HOLLYWOOD. We’ll make between 8 and 10 big When a new boss takes over a pictures,” says the producer. Among By Jay Carmody Hollywood studio, every one there the latter will be some biggies for It came as no surprise that the Academy of Motion Picture Arts gets very nervous because it’s an old Barbara Bel Geddes, who tees off custom for the new with the lead in "I Remember and Sciences agreed with every one, including the public, that Hollywood guy to off the heads of the boys Mama.” “The Best Years of Our Lives" was the best motion picture of 1946. chop appointed by his predecessor. Likes Jane Greer. The academy has not always been so acquiescent, but it could hardly “But I’m leaving every one as I have been otherwise this time without making a great fool of itself. “I’m planning a big build-up for found them,” says Dore Schary, new it stood there and in effect conferred knighthood Jane Greer,” says Dore. Jane, the So, up manfully executive vice president in charge he is a notorious non- upon Samuel Goldwyn, despite the fact that of production at the RKO Studio^ ex-wife of Rudy Vallee, has the lead conformist and sometimes talks as if he owned the one is s place. And maybe that’s why every with Robert Mitchum in “Out of the is Even stars The ceremony, indeed, was fairly alive with harmony. This relaxed and pleased. Past.” Schary is tremendously im- not in a world as as this one, but stranger still like Dick Powell and Cary Grant, only strange seething pressed* with her potentialities. In Hollywood where every sleeve is presumed to sheath a dirk, and who don’t have to worry about like Watch for her to go places under where the brotherhood of man exists on a scale of 1 inch to 10,000 miles. "small things” being fired, stopped me after Dore took over his banner. Picture Made Sweep of Prizes. to say, “Isn’t it wonderful that he’s Pat O’Brien is another star who was not it was also The Goldwyn victory only cheering, complete, the new boss!” will get good pictures under the Lives” won so of the best It was “The Best Years of Our many prizes. Cary has Just finished making Schary banner. His next is “Fight- March voted not only the best picture of the year, but earned Fredric “The Bachelor and the Bobby Sox- ing Father Dunne.” the story of a the best actor prize, William Wyler the accolade as best director and er” for RKO with Shirley Temple Catholic priest who founded the Robert E. Sherwood another as the finest writer. Prom there, it went and Myma Loy. And he liked the Newsboys Home in 1909. He has now on to establish Harold Russell as the best supporting male player. treatment he received. Laraine Day recently signed a deal to do another with Dore, one a This bagful of Oscars had not picked up its first speck of dust signed with RKO to make picture “Mr Blandings Builds His Dream year for the next five years. She is before speculation was rife as to the meaning of all these honors for House,” again with Myma Loy. now in with John “The Best Years of Our Lives.” starring “Tycoon” When you can pull off two pictures Wayne. Dore and I discuss her can mean and wonderful Clearly they something bright, shining in a row with these two stars, you marital problems, and I wonder for the movies. must be good! , aloud whether they will hurt her at The clear-cut and sweeping victory oi me Best Years oi uur “My two main ideas,” Dore tells the box office. “It can’t,” says Dore, Lives” hardly can fail to be a good thing. Certainly it must show, me, “is to make money for RKO “because she is a very good person, even a less imitative community than the cinema capital, that there and to make pictures that have a in the good sense of the word. And she’s a fine actress.” He seems to is honor and profit in making screenplays which have the intelligence point to them. ‘The Bachelor and the for instance, is a be right because shortly after the and courage to deal with the contemporary scene in terms of honest Bobby Soxer,’ the modern spirit case broke, Laraine, whose picture realism. f comedy reflecting in nice, normal kids. There’s no price had been $100,000, started get- This, beyond argument, is the best quality of the prize picture. juvenile delinquency in the picture! ting offers at $150,000! of the ones movie audiences and even those who It faces the facts life, —just happy kids of today with Dore is 41, has three children and are It does not to do not go to the movies, facing. try capture Utopia their foibles, love for jive music and a calm disposition. He has been by sprinkling stardust on its tail. Instead, it makes a picture about lack of discipline.” married to the same girl for 15 years. servicemen who went back to a called Boone He started in as a writer three discharged place A Problem Handler. Hollywood a the with in hand. Right: Paul Crabtree ducks a City, and, in doing so, it apparently forgets there is another place A MATTER OF LIFE AND THE “ICEMAN”—Being few of taproom, glass and rose to be a producer at Metro, blow Carl Benton Reid. The comes to the Hie Blandings picture kids the for whom called where life distorted and fantastic. who take part in the happenings in the broken-down threatened by play then with David Selznick, Hollywood gets players of building a house today. which is the setting for the Eugene O’Neill play, “The National Theater for two weeks, starting March 24. problem he kicked off with “I’ll Be Seeing Little Story, Big Picture.. sfiloon If Dore can make a comedy of and Jo- Morton L. a man in a You,” with Ginger Rogers Iceman Cometh.” Left: Stevens, happy he’s a This is how it came to be that a comparatively simple little story *_l-— that, genius. seph Cotten. He likes Selznick. as a as “The Best Years of Our Lives.” I think he because here is how turned Into big picture is, “David treated me better than any a much It had no history of success in the book marts such as other prize- Schedules he handled tougher prob- one else I’ve ever been mixed up Tarzan’s Ex-Mate Returns Today’s lem with Sam Goldwyn. Dore winning movies, say “Gone With the Wind,” or “The Lost Week-End.” CAPITOL—“13 Rue Made- with in Hollywood,” says Dore. “He's Hollywood: signed Loretta Young for the lead Few realize even now that it ever was in the book stalls. But it was. 7:15 and a good friend because I had a year leine”: 1:45, 4:30, of Love.” Then he bor- in "Memory to go on contract with him and It was a verse narrative, than which there is nothing more anonymous, 10:05 pjn. Stage shows: 1:05, my And Maureen O’Sullivan Wishes She Gould rowed Dana Andrews from Goldwyn he released me.” Kantor. Its title in that form was 3:50, 6:40 and 9:25 pjn. Frank Sinatra written by MacKinlay "Glory for the lead opposite her. He was (Released by the North American not so a one as COLUMBIA—“The Beginning for Me,” which is a line title, but perhaps winning Be Known for Other Roles. all ready to start production. Newspaper Alliance.) The latter is catchier. or the End”: 1, 3:10, 5:20, 7:30 "The Best Years of Our Lives.” certainly Again Fights At this Teresa Wright an- Harold Heffernan and 9:40 p.m. point, After all, few humans see anything with which to identify themselves By that she not work in EARLE—“Nora Prentiss”: 1, Intolerance nounced could In but one is entitled to have a best year, or years, in "The because she glory, every HOLLYWOOD. 3:10, 5:20, 7:35 and 9:45 p.m. Bishop’s Wife,” Bob Thomas The his life. Maureen O'Sullivan arose early HIPPODROME—“The Woman By was expecting a baby. picture Because here think had started and Sam was BSBa The change then is wise and easily understandable. It is admirable, that all-important Monday morning I Loved Most”: 2:05, 3:50, many people already the intolerance is more He asked Schary if he too. in that it does nothing fancy to the basic idea such as maybe in late February. The rest of the 5:50, 7:50 and 9:45 p.m. fight against desperate,- now Loretta from Best Years of important than ever, Holly- could borrow Young making it a Hollywood thing. household, including the four O’Sul- KEITH’S—“The u TRUMAN WARNS L 6:30 wood will produce another short him. Dore said “Yes” because he Boone should be for Hollywood’s recent acute ingrowing- Our Lives”: 12:20, 3:25, City good livan children, was still asleep. Mau- subject to combat racial and re- was grateful for the loan of Dana.
Recommended publications
  • Parking Who Was J 60P NAMES WARREN Gary Cooper
    Metro, is still working on the same tator state that she was going to thing cute.” He takes me into the day,* had to dye her brown hair is his six- contract she signed when she was marry Lew Ayres when she gets her television room, and there yellow. Because, Director George wife. Seems to year-old daughter Jerilyn dining Mickey Rooney’s freedom from Ronald Reagan. She Seaton reasoned, "They wouldn't me she rates something new in alone, while at the same time she Hollywood: that’s because have a brunette daughter.” the way of remuneration. says quite interesting, watches a grueling boxing match on Back in Film is from Business, Draft May Take Nancy Guild, now recovered from she hasn’t yet had a date with Lew. the radio. Charles Grapewin retiring Hughes, making pictures when he finishes her session with Orson Welles in John Garfield is doing a Bing Gregory Peck gets Robyt Siod- Kay Thompson’s into two his present film, "Sand,” after 52 “Cagliostro,” goes pictures for his Franchot Tone. mak to direct him in "Great Sinner.” Minus Brilliance of Crosby pal, years in the business. And they Schary Williams Bros. —the Clifton Webb “Belvedere Goes That's a break for them both. He in a bit role in Fran- used to the movies were a By Jay Carmody to College,” and “Bastille” for Wal- appears Celeste Holm and Dan Dailey are say pre- carious ferocious whose last Hollywood Sheilah Graham ter Wanger. chot's picture, “Jigsaw.” both so their Coleen profession! Howard Hughes, the independent By blond, daughter North American Richard under (Released by sensation was production of the stupid, bad-taste "The Outlaw," has Burt Lancaster, thwarted in his Conte, suspension Nina Foch is the only star to beat Townsend, in "Chicken Every Sun- Newspaper Alliance.) at 20thtFox for refusing to work in come up with another that has the movie capital talking.
    [Show full text]
  • John Huston's "The Red Badge of Courage" (1951) Revisited Author(S): Guerric Debona Source: Cinema Journal, Vol
    Society for Cinema & Media Studies Masculinity on the Front: John Huston's "The Red Badge of Courage" (1951) Revisited Author(s): Guerric DeBona Source: Cinema Journal, Vol. 42, No. 2 (Winter, 2003), pp. 57-80 Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies Stable URL: http://www.jstor.org/stable/1566516 Accessed: 09-05-2018 09:34 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/1566516?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of Texas Press, Society for Cinema & Media Studies are collaborating with JSTOR to digitize, preserve and extend access to Cinema Journal This content downloaded from 62.18.253.91 on Wed, 09 May 2018 09:34:53 UTC All use subject to http://about.jstor.org/terms Masculinity on the Front: John Huston's The Red Badge of Courage (1951) Revisited by Guerric DeBona John Hustons Red Badge of Courage (1951) is a marvelous example of literary capital under the strain of Cold War politics, the changing face of MGM, and a maverick director.
    [Show full text]
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [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]
  • The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood
    The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Andrew Paul IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Lary May, Tracey Deutsch March 2014 © Andrew Paul 2014 Acknowledgements Writing this dissertation would not have been possible without the support of countless others. First, I acknowledge the generosity of my dissertation committee. My advisors, Lary May and Tracey Deutsch offered enthusiastic guidance, criticism, and support. Lary’s own contributions to the historiography of the blacklist were second in value only to his personal attention to my work, and his questions yielded important research leads. Tracey helped me to think across sub-fields and pushed me to improve my writing. Both of them encouraged me to take intellectual risks and to make bold claims and interventions. Elaine Tyler May, Riv-Ellen Prell, and Malinda Lindquist all shaped my development as a scholar as well. With thoughtful and critical attention to my writing, they challenged me to clarify my ideas and helped me to see how my work was entering different conversations, and how it might stand to enter others. It was a privilege to be able to discuss my ideas with this committee. I was awarded generous financial sums from the University of Minnesota’s Harold Leonard Memorial Film Studies Fellowship and the University of Minnesota Foundation, which allowed me travel to archives in California, Wisconsin, and New York. In these locales, at the Charles Young Research Library at the University of California Los Angeles, the Margaret Herrick Library and the Paley Center for Media, both located in Beverly Hills, the Wisconsin State Historical Society in Madison, and at the Center for Jewish History in New York City, numerous archivists assisted me in my work., and for this I owe them my gratitude.
    [Show full text]
  • MGM: Hollywood's Greatest Backlot a Lavish Illustrated History of Ho
    MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ AUTHORS BIBLIOGRAPHY EVENTS LETTERS PREVIEW QUIZ Once upon a time, long ago, there existed a vast and magical empire, ruled by money and power and fueled by imagination, talent and ambition. This magical place was not a work of fiction and its location was not a far away mountain top or a remote tropical island. It was found in Culver City, California and was known through out the world as Metro-Goldwyn Mayer Studios. 1 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ Through the M-G-M gates passed the greatest stars of filmdom from the Silent Era (Buster Keaton, Lon Chaney, Ramon Novarro, John Gilbert, Norma Shearer, Greta Garbo, and Marion Davies) to the Golden Era, (Jean Harlow, Joan Crawford, Clark Gable, Lana Turner, James Stewart, Judy Garland, Mickey Rooney, Hedy Lamarr, Fred Astaire, Ava Gardner and Elizabeth Taylor) and beyond (Debbie Reynolds, Glenn Ford, Rod Taylor, Elvis Presley, George Hamilton, and Doris Day). 2 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ The finest creative artists of show business, the world’s most beautiful women, kings and queens, presidents and princes, titans of industry, the great and the near-great from all nations and generations of movie lovers from around the world found their way to this Movieland institution. As the premiere movie factory, M-G-M Studios was a self-sufficient, self proclaimed “city within a city” built on six separate lots and spread across 185 fenced and gated acres.
    [Show full text]
  • SS Library Anthologies
    Titles An Anthology of Greek Drama: First Series (Edited by C.A. Robinson Jr.) Aeschylus: Agamemnon Sophocles: Oedipus the King, Antigone Euripides: Medea, Hippolytus Aristophones: Lysistrata An Anthology of Greek Drama: Second Series (Edited by C.A. Robinson Jr.) Aeschylus: Prometheus Bound, Choephoroe, Eumenides Sophocles: Philoctetes, Oedipus at Colonus Euripes: The Trojan Women, The Bacchae Aristophanes: The Clouds, The Frogs Greek Drama (Edited by Moses Hadas) Aeschylus: Agamemnon, Summary of Choephoroe, Eumenides Sophocles: Antigone, Oedipus the King, Summary of Oedipus at Colonus, Philoctetes Euripides: Medea, Hippolytus, The Trojan War Aristophanes: The Frogs Greek Tragedies, Volume I (Edited by Grene & Lattimore) Aeschylus: Agamemnon, Prometheus Bound Sophocles: Oedipus the King, Antigone Euripides: Hippolytus Classical Comedy, Greek and Roman (Edited by Robert W. Corrigan) Aristophones: Lysistrata, The Birds Menander: The Grouch Plautus: The Menaechmi, Mostellaria Terence: The Self-Tormentor Masters of Ancient Comedy (Edited by Lionel Casson) Aristophenes: The Acharnians Mendander: The Grouch, The Woman of Sarnos, The Arbitration, She Who Was Shorn Plautus: The Haunted House, The Rope Terence: Phormio, The Brothers Farces, Italian Style (Edited by Bari Rolfe) The Phantom Father Dr Arlecchino or the Imaginary Autopsee The Dumb Wife The Kind Father in Spite of Himself The Lovers of Bologna Commedia Dell'Arte (Edited by Bari Rolfe) 20 Lazzi 35 Scenes The Lovers of Verona Drama of the English Renaissance (Edited by M.L. Wine) Christopher Marlowe: Doctor Faustus Thomas Dekker: The Shoemaker's Holiday, A Pleasant Comedy of the Gentle Craft Ben Jonson: Volpone or The Foe Francis Beaumont: The Knight of the Burning Pestle Ben Jonson: The Masque of Blackness Francis Beaumont & John Fletcher: Philaster John Webster: The Duchess of Malfi Thomas Middleton & William Rowley: The Changeling John Ford: The Broken Heart Four English Tragedies (Edited by J.M.
    [Show full text]
  • CORT THEATER, 138-146 West 48Th Street, Manhattan
    Landmarks Preservation Commission November 17, 1987; Designation List 196 LP-1328 CORT THEATER, 138-146 West 48th Street, Manhattan. Built 1912-13; architect, Thomas Lamb . Landmark Site: Borough of Manhattan Tax Map Block 1000, Lot 49. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Cort Theater and the proposed designation of the related Landmark Site (Item No. 24). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Cort Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912- 13, the Cort is among the oldest surviving theaters in New York. It was designed by arc hi teet Thomas Lamb to house the productions of John Cort , one of the country's major producers and theater owners. The Cort Theater represents a special aspect of the nation's theatrical history. Beyond its historical importance, it is an exceptionally handsome theater, with a facade mode l e d on the Petit Trianon in Versailles. Its triple-story, marble-faced Corinthian colonnade is very unusual among the Broadway theater s.
    [Show full text]
  • The Inventory of the Jose Ferrer Collection #1596
    The Inventory of the Jose Ferrer Collection #1596 Howard Gotlieb Archival Research Center Jose Ferrer (1912-1992) Inventory 2001 Most of the materials in the collection are related to the stage plays, musicals, and televisions productions with which Jose Ferrer was associated :from 1948-1988 as producer, director, author, and/or actor. Scripts, contracts, agreements, records of negotiations, and financial matters, together with related correspondence form the bulk of the content for theatre and film productions, scripts alone for those in television. The files for_ two 1958 musicals, "Oh Captain" and "Edwin Booth" are extensive. Jose Ferrer's business affairs were handled by his lawyer Edwin W. Reiskind. Almost all related correspondence involving Jose Ferrer is channeled through Reiskind. Two further notable items in the collections are: 1) the text of Jose Ferrer's testimony or the Hearings on Un-American Activities in May, 1951, and 2) a group of personal autograph letters to Ruth Gordon and Garson Kanin written :from 1952-1987. Ferrer. Jose 1912-1992 fuventozy Outline I. Materials regarding Plays and Musicals, 1951-1978: fucludes Plays and Musicals Proposed, 197-1972 II. Materials regarding Films, 1948-1980: fucludes Film Proposals, 1952-1975. ill. Materials regarding TV Productions N. Other Media: A. Radio: "Jose Ferrer Presents Shakespeare," 1951-1952 B. Opera: Proposal for Jose Ferrer to stage VOLPONE, 1952-1953 V. Materials By and About Jose Ferrer: A. Printed quotes by Jose Ferrer, 1956-1959 B. About Jose Ferrer: 1. Biographical Essay, June 1952 2. Role in New York Memorial Service for President Kennedy, Dec. 22, 1963 3.
    [Show full text]
  • LONGACRE THEATER, 220-228 West 48Th Street , Manhattan
    Landmarks Preservation Commission December 8, 1987; Designation List 197 LP-1348 LONGACRE THEATER, 220-228 West 48th Street , Manhattan. Landmark Site: Borough of Manhattan Tax Map Block 1019, Lot 50. Built 1912-13; architect, Henry B. Herts. On June 14 and 15, 1982 , the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Longacre Theater and the proposed designation of the related Landmark Site (Item No.44). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Longacre Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Constructed in 1912-13, the Longacre was built to house the productions of Broadway producer and baseball magnate Harry H. Frazee . Designed for Frazee by Henry Herts, prominent theater architect, the Longacre is among the earliest surviving Broadway theaters, and has an exceptionally handsome facade. Like most Broadway playhouses built before World War I, the Longacre was designed by a leading theater architect to house the offices and theatrical productions of its owner. Though known as a baseball magnate, and at one time the owner of the Boston Red Sox, Frazee was also an influential Broadway producer who, besides building the Longacre theater, at one time also owned two other Broadway houses (the Harris and the Lyric).
    [Show full text]
  • Adrian Scott and the HUAC Hearings Samuel G. Leifeld History
    “Someday We’ll Uphold the Right to Have Ideas”: Adrian Scott and the HUAC Hearings Samuel G. Leifeld History 489: Research Methods November 2018 Copyright for this work is owned by the author. The digital version is published in McIntyre Library, University of Wisconsin – Eau Claire with the consent of the author. i Contents Abstract iii List of Figures iv Introduction 1 Life Before the Hearings: Adrian Scott, Pre-HUAC 4 The Red Scare of the Silver Screen: The Hearings of 1947 11 The Blacklist: Adrian Scott and Hollywood after the Hearings 18 Conclusion 24 Works Cited 27 ii Abstract In 1946 the 79th congress passed, public law 601 which mandated that the House un- American Activities Committee (HUAC) would be able to investigate that of which threatens “the principle of the form of government as guaranteed by our own constitution.” In 1947 HUAC turned its attention to flushing out communism in Hollywood, and with it ushered in the “blacklist era”. In this essay I will explore HUAC’s investigation of blacklisted artist Adrian Scott in specific focusing on how his ideas should be considered American. iii List of Figure Figure 1: Political Cartoon published in “Who’s un-American” pamphlet. 1 Figure 2: Bio of Robert Adrian Lawry Scott taken from the Amherst College Yearbook. 4 Figure 3: Photo of Adrian Scott as a young man. 15 Figure 4: Photo of Adrian Scott from “Someday We’ll Uphold the Right to Have Ideas”. 25 iv Introduction In October of 1947, the House un-American Activities Committee was established to investigate domestic communism in the U.S.
    [Show full text]
  • Screenwriting: Theory, History, Practice Claus Tieber • [email protected] Timetable
    Screenwriting: Theory, History, Practice Claus Tieber • [email protected] Timetable Mo, 26 October, 12.30-15.45 12.30-14:00 Unit 1: Screenwriting Research/ Studies, Theory, Field, Definition 14:00-14:30: break 14:30-15:45 Unit 2: History 1: Silent Cinema Tue, 27 0ctober, 12.30-15.45 12.30-14:00 Unit 3: Story Conferences, Classical Hollywood Cinema 14:00-14:30: break 14:30-15:45 Unit 4: Black List Thursday, 29 October, 9.10-12.25 9:10-10:40 Unit 4: Narratology, Screenwriting Manuals 10:40-11:00 Break 11-12:25: Unit 5: Discussion, recent and alternative practices PD Mag. Dr. Claus Tieber Contents Definition of screenwriting studies, fields, approaches, methods Formats and Development of screenplay mode of production working conditions American film history: silent film, classical Hollywood, blacklist Goals filmhistorical knowledge introduction into a new field of film studies new approaches to screenwriting and filmmaking/ analyzing historical practice learn how to deal with archival material, historical documents Methods Lecture Discussion Group works Expectations Screenwriting Studies Narratology Production Culture Film History, Screenwriters as Auteurs Screen Idea Screen Idea Screen Idea Working Group Auteur-Theorie Stephen Crofts: 1. „ Author as expressive individual“ 2. „Author as constructed from film or films“ 2.1. as thematic or stylistic properties impressionistically and unproblematically read off from film to film 2.2. a set of structures identifiable within a body of films by the same author 2.3. as a subject position within the film 3. Author as social and sexual subject 4. Author as author-name, as function of the circulation of the film or films Screenplay: Definitions The script of a movie, including acting instructions and scene directions.
    [Show full text]