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Film Essay for "Midnight"
Midnight By Kyle Westphal Long-standing critical con- sensus and the marketing prowess of Turner Classic Movies have declared 1939 to be “Hollywood’s Greatest Year”— a judgment made on the basis of a handful of popular classics like “Gone with the Wind,” “The Wizard of Oz,” “Stagecoach,” and “Mr. Smith Goes to Washington,” and a rather large stable of films that represent studio craftsmen at its most competent and unpretentious. There is no finer product of that collabo- Two-page advertisement from May 1939 edition of Photoplay. rative ethos than Midnight” Courtesy Media History Digital Library. — a shimmering comedy that exemplifies the weary cosmopolitan style of its stu- dio, Paramount Pictures. It received no Academy The plot, such as it is, is pure screwball. Colbert Award nominations, but it can go toe-to-toe with any stars as Bronx-bred but lately itinerant showgirl Eve ’39 warhorse. Peabody, who awakes on a train and disembarks in Paris with nothing but the gold lamé dress on her Film critic Dave Kehr has affectionately described back. She winds up in the taxi of Tibor Czerny (Don Paramount’s ’30s output as an earnest examination Ameche), who willingly drives her from nightclub to of an imagined “Uptown Depression,” positing an nightclub in search of a gig. Recognizing the futility economic calamity that “seemed to have its greatest of this plan, Colbert sneaks away from Ameche and effect not on switchboard operators and taxi drivers, uses her Monte Carlo municipal pawn ticket as en- but on Park Avenue socialites, Broadway stars and trée to a society soirée hosted by society matron well-heeled bootleggers.” Coming late in the cycle, Hedda Hopper. -
Puvunestekn 2
1/23/19 Costume designers and Illustrations 1920-1940 Howard Greer (16 April 1896 –April 1974, Los Angeles w as a H ollywood fashion designer and a costume designer in the Golden Age of Amer ic an cinema. Costume design drawing for Marcella Daly by Howard Greer Mitc hell Leis en (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Travis Banton (August 18, 1894 – February 2, 1958) was the chief designer at Paramount Pictures. He is considered one of the most important Hollywood costume designers of the 1930s. Travis Banton may be best r emembered for He held a crucial role in the evolution of the Marlene Dietrich image, designing her costumes in a true for ging the s tyle of s uc h H ollyw ood icons creative collaboration with the actress. as Carole Lombard, Marlene Dietrich, and Mae Wes t. Costume design drawing for The Thief of Bagdad by Mitchell Leisen 1 1/23/19 Travis Banton, Travis Banton, Claudette Colbert, Cleopatra, 1934. Walter Plunkett (June 5, 1902 in Oakland, California – March 8, 1982) was a prolific costume designer who worked on more than 150 projects throughout his career in the Hollywood film industry. Plunk ett's bes t-known work is featured in two films, Gone with the Wind and Singin' in the R ain, in which he lampooned his initial style of the Roaring Twenties. In 1951, Plunk ett s hared an Osc ar with Orr y-Kelly and Ir ene for An Amer ic an in Paris . Adr ian Adolph Greenberg ( 1903 —19 59 ), w i de l y known Edith H ead ( October 28, 1897 – October 24, as Adrian, was an American costume designer whose 1981) was an American costume designer mos t famous costumes were for The Wiz ard of Oz and who won eight Academy Awards, starting with other Metro-Goldwyn-Mayer films of the 1930s and The Heiress (1949) and ending with The Sting 1940s. -
Leisen, Mitchell (1898-1972) by Craig Kaczorowski
Leisen, Mitchell (1898-1972) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com Mitchell Leisen was a noted director during Hollywood's Golden Age. He is credited with more than 40 feature films, which are celebrated for their stylishness and visual elegance. He excelled at witty, romantic comedies that are often tinged with a touch of melancholy, such as the classic "screwball" comedy Easy Living (1937) and the clever, cosmopolitan farce Midnight (1939). Leisen has also been hailed for his "gender role-reversal" films, where the male lead is cast as the sex object and the female lead as the aggressor. Not surprising for a bisexual director working in Hollywood, Leisen's other thematic obsessions included mistaken identity, role-playing, and deception. Leisen returned to the same performers film after film, developing strong working partnerships. Although he was instrumental in shaping the careers of such actors as Fred MacMurray and Ray Milland, Leisen became typed as a "woman's director" for the fastidious, detailed attention he paid to the costuming and art direction of his productions, as well as for the nuanced, spontaneous performances he coaxed from such actresses as Carole Lombard, Claudette Colbert, and Olivia de Havilland. Among many film historians, Leisen's artistic reputation has been tarnished somewhat by the stormy relationships he became embroiled in with some of his screenwriters, most notably Preston Sturges and Billy Wilder. After working on several films with Leisen, both writers demanded to be allowed to direct their own scripts, in part because they objected to the sophisticated veneer of Leisen's directorial style and to the changes he frequently made to their screenplays. -
1946-05-31, [P ]
Friday, May 31, 194(1 THE TOLEDO UNION JOURNAL Page Fiv< Stanwyck, Cummings A Ri$t In New Film A Love-ly Moment In Paramount’s Delight Newsmiiil o£ Siage Screen ■' ---------------------:---------------------- by Burny Zawodny ....................................................... ■ llobert Cummings hilariously strives to catch Barbara Stan Star Saves Place For wyck with her boots off throughout the entire running time of Ex-Boom mate Olivia de Havilland Pqramount’s modern comedy-romance, "The Bride .Wore Boots,” By Wiley Pattani which opened at lhe Paramount Theatre \ with Diana HOLLYWOOD — Before [ITS TRUE! the war took them away Gagg 5X ith Director Lynn also starred. In othef words, * Bob objects to sharing from the Hollywood scene Barbara’! affections with the r. *?*’*_* ^ ! ''' ' $£ i/'' HOLLYWOOD — Olivia de . six years ago, David Niven Havilland, where a joke is con tAtnrrz Ata-Svdrses she3UC adores,auuxco, andaiiw which he and Robert Coote shared cerned, can give it out and take Filming > . bachelor's abode at Santa (Hkors with equal zest.. He fi W: it with the best of them. MfLWIOR, Monica, their domicile be On the first day’s shooting of ME^EOPOLITAb nally succeeds Story Gigantic ing known as "Cirhossis by in proving Paramount’s "To Each His OPERA STAA himself the the Sea.” Own,” the star’s dressing room >4AS BtEN Hollywood Job Niven, resuming his NIG^TED BY more desirable was crammed with flowers. One American screen career in IN6 Oifc^TiAN of the two, but of the particularly striking bou HOLLYWOOD ,(jS p e c j a 1)— "The Perfect Marriage,” DEMARK only after a se quets bore the name of Sidney X One of the biggest production Hal Wallis production for Lanfield. -
Schweizer Film = Film Suisse : Offizielles Organ Des Schweiz
Objekttyp: Advertising Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): - (1934-1935) Heft 8 PDF erstellt am: 30.09.2021 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 4 SCHWEIZER FILM SUISSE La présence seule de l'inoubliable créatrice de Je ne suis pas un Ange a fait courir tout Paris, Le nouueau programme Paramount de la Saison 1934-35 Lady Lou et de Je ne suis pas un Ange constitue d'abord à l'Elysée-Gaumont, pendant six pour cette comédie d'action le plus précieux des semaines de suite, puis au Caméo, au cours de deux atouts. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
Dr. Strangelove's America
Dr. Strangelove’s America Literature and the Visual Arts in the Atomic Age Lecturer: Priv.-Doz. Dr. Stefan L. Brandt, Guest Professor Room: AR-H 204 Office Hours: Wednesdays 4-6 pm Term: Summer 2011 Course Type: Lecture Series (Vorlesung) Selected Bibliography Non-Fiction A Abrams, Murray H. A Glossary of Literary Terms. Seventh Edition. Fort Worth, Philadelphia, et al: Harcourt Brace College Publ., 1999. Abrams, Nathan, and Julie Hughes, eds. Containing America: Cultural Production and Consumption in the Fifties America. Birmingham, UK: University of Birmingham Press, 2000. Adler, Kathleen, and Marcia Pointon, eds. The Body Imaged. Cambridge: Cambridge Univ. Press, 1993. Alexander, Charles C. Holding the Line: The Eisenhower Era, 1952-1961. Bloomington, Indiana: Indiana Univ. Press, 1975. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. ——, and Warren Tallman, eds. Poetics of the New American Poetry. New York: Grove Press, 1973. Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge Univ. Press, 1997. Allsop, Kenneth. The Angry Decade: A Survey of the Cultural Revolt of the Nineteen-Fifties. [1958]. London: Peter Owen Limited, 1964. Ambrose, Stephen E. Eisenhower: The President. New York: Simon and Schuster, 1984. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood.” Life 3 Sept. 1945: 53. Anderson, Christopher. Hollywood TV: The Studio System in the Fifties. Austin: Univ. of Texas Press, 1994. Anderson, Jack, and Ronald May. McCarthy: the Man, the Senator, the ‘Ism’. Boston: Beacon Press, 1952. Anderson, Lindsay. “The Last Sequence of On the Waterfront.” Sight and Sound Jan.-Mar. -
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. -
1946-05-10, [P ]
Friday, May W, 1946 THE TOLEDO UNION JOURN AJ, Page Five Paramount’s Picture “Kitty Delightful Film Fare By Burny Zawodny Granddaddv Of Them A Hub! >a Hui .ba Girl Take a combination like Paulette Goddard and Ray Milland, Hewnomor Wins Vote New Acting Honors put them together in a spicy" story of Eighteenth Century vintage and top it all off with Mitchell Leisen at the directorial helm, Makas Movie Debut ? t For Peter Lawford and you have as entertaining a picture as moviegoers could hope HOLLYWOOD. — Douglas to see. Adapted from Rosamond Marshall’s sensational book, Dick, a new Hal Wallis find, HOLLYWOOD — Firmly Paramount’s “Kitty,” which whose discovery is one of those establishing him as one of the opened at the Paramount The- stories that makes Hollywood leading young actors of the 4re to an enthusiastic audience, Midgets Are the fabulous place that it is, has year. Peter Lawford has been is the kind of been handed a prize role in signed for a featured role in the film t h ■ t i “The Searching Wind,” the new Metro-Goldwyn-Mayer musical, breezes merri Real Live Wallis production at Paramount, “It Happened in Brooklyn,” co- ly along from with Robert Young, Sylvia Sid starring Frank Sinatra and start to finish '• ney and Ann Richards. Kathryn Grayson. with never a ^g Pixies To Star The sandy-haired youth !n his Young Lawford won the role dull moment, on the strength of his outstand An excellent early twenties, who has had no previous ew York or screen ex ing performance in the musical, supporting cast HOLLYWOOD (Special) — “Two Sisters From Boston,” includes Patrie perience, has been signed to play The life of a midget, in Holly Sam, the soldier-son and one of and his recent work in “My Knowles, Reg wood or anywhere else for that Brother Who Talked to Horses.” inald Owen, the five principals in the picturi- Cecil Kella- matter, has its advantages to zation o fthe Lillian Hellman “It Happened in Brooklyn,” is Burny Zawudtiy way, Constance gether with its probles. -
Films of Hedy Lamarr
During the 1930s and 1940s, Hollywood was truly the great dream factory. From the sound stages and produc-tion lots of its Studios, the directors, movie Stars, and technicians who labored on this gigantic production line sent forth a series of packaged dreams that seemed end-less. In those years of Depression and war, they were products we needed badly. And on this talented production line, not one of those packagers of dreams was more beautiful or ex- citing than Hedy Lamarr. Hers was the beauty and excitement that once made a Paris audience gasp „Ec- stasy!“ and so named her most famous movie. But after a galaxy of headaches and heartaches caused by six ill-starred marriages, the loss of a for- tune, and a well-publicized arrest on a shoplifting charge, Hedy Lamarr still believes that her beauty brought on most of her troubles. „Everywhere I find men who pay homage to my beauty and show no interest in me,“ she complained once. One foolish young man even killed himself when she refused to marry him, and her first husband was so jealous of her that he locked her up in his palace. When she arrived in the United States, Ed Sullivan wrote in his column that she was the most beautiful Out of a Dream“ to her. It seems an apt description of woman of the Century. Few could dispute that asser- the Viennese beauty who graced thirty European and tion. When you looked at the raven hair and sensuous American movies between 1930 and 1957. mouth, the upturned nose and tranquil dark eyes, you She was born Hedwig Eva Maria Kiesler on No- were trans-fixed by what you saw.