DOCSLIB.ORG

American MUSICAL WEST SIDE STORY 787

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American MUSICAL WEST SIDE STORY 787 THE OXFORD COMPANION TO THE American MUSICAL WEST SIDE STORY 787 GAME (1949), THREE LITTLE WORDS (1950), plays and musicals, such as A La Broadway and SUMMER STOCK (1950). In the 1950s he also (1911), Vera Violetta (1911), A Winsome produced a number of feature films, includ- Widow (1912), and The Mimic World (1921}. ing the musicals Dangerous When Wet (1953) West developed her satiric vamp persona and Jupiter's Darling (1955), and both writing singing ribald songs in vaudeville and was and producing the musicals Everything I Have already becoming well known by the time Is Yours (1952) and I Love Melvin (1953). His she made headlines in 1926 for the play Sex, other writing credits include the musicals THE which she wrote, produced, directed, and TOAST OF NEW ORLEANS (1950), Texas Carnival starred in. Her infamy was established and (1951), LOVELY TO LOOK AT (1952), and Where she starred on Broadway in her own shows, the Boys Are most memorably DiamondLil (1928), which she reprised in New York in 1949 and 1951. ii WE'RE A/or DRESSING (Paramount 1934). West made her screen debut in 1932, usually BING CROSBY moved from crooner to light writing her own dialogue for her vehicles comic leading man with this silly but agreeable and always battling over the censors over film in which he was charmingly offbeat as the what she could say and do on screen. Most carefree outsider, a persona he would perfect of her movies were musicals and she got to over the years. Horace Jackson, Frances Martin, introduce some standards such as "My Old and George Marion, Jr. adapted J. M. Barrie's Flame." Her screen musicals are SHE DONE Edwardian comedy The Admirable Crichton HIM WRONG (1933), I'm No Angel (1933), into a musical comedy about the spoiled heir- Belle of the Nineties (1934), Gain' to Town ess Doris Worthington (Carole Lombard) (1935), Klondike Annie (1936), Go West, who is sailing the South Seas with some of Young Man (1936), Every Day's a Holiday her friends when they are shipwrecked on a (1937), and The Heat's On (1943). After desert island and it is the lowly sailor Stephen decades of being out of the public eye (but Jones (Crosby) who is the only one with the not forgotten), West returned to the lime- wherewithal to take charge. Doris resents him light in the 1970s doing concerts in America at first, but after a few songs and walks along and England and making the nonmusical the moonlit beach, she succumbs to his charms. movies Myra Breckinridge (1970) and Sextet Also on board were ETHEL MERMAN, LEON (1978). Autobiographies: Good Had Nothing ERROL, and Ray Milland, with naturalists to Do With It (1959); Life, Sex and ESP GRACIE ALLEN and GEORGE BURNS studying (1975); biographies: Mae West: It Ain't No flora and fauna on the island and providing Sin, Simon Louvish (2006); Becoming Mae most of the jokes. It was a daffy adventure and West, Emily Wortis (1997). one, under NORMAN TAUROG'S direction, that worked effortlessly. HARRY REVEL (music) and /^ WEST SIDE STORY inter Garden Theatre MACK GORDON (lyrics) penned the songs and i95?X_AJarnilia£ favorite, the they were equally expert: the touching ballads powerful musical play by ARTHUR LAURENTS "She Reminds Me of You" and "Once in a Blue (book), LEONARD BERNSTEIN (music), and Moon," the sly "May I?," the merry "Love STEPHEN SONDHEIM (lyrics) was quite bold Thy Neighbor," and the lullaby "Goodnight, and daring in its day, breaking from conven- Lovely Little Lady," which Crosby sang to his tion and utilizing dance in new and exciting pet bear. ways. Plot: The street rivalry between the gang of WEST, MAE [born Mary Jane West] (1893- Puerto Rican immigrants known as the Sharks 1980). Stage and film performer and writer. and the native-New York gang called the The celebrated busty, blonde sex symbol Jets has intensified over the summer. The Jet who was more a parody than a seriously leader Riff tries to get Tony, who co-founded enticing siren, she found fame on Broadway the gang with him, to get more involved but and in Hollywood and then remained an Tony is restless and is outgrowing street fight- American icon for decades afterwards. ing. Riff plans to challenge the Sharks at the West was born in Brooklyn, the daughter dance where the two gangs and their girls will of a heavyweight boxer, and was on the be together and it is there that Tony sees Maria, stage at the age of five, later touring in kid the newly arrived immigrant who is the sister roles in melodramas such as Little Nell of of Bernardo, the leader of the Sharks. The two the Marchioness, Mrs. Wiggs of the Cabbage are immediately drawn to each other and that Patch, and East Lynne. By 1911 she was night they meet on the fire escape outside her on Broadway playing supporting roles in bedroom window and profess their love for American WEST SIDE STORY 789 WEST SIDE STORY ences for 732 performances. After touring the ith country, the same cast returned to Broadway in 1960 for another 249 performances. In 1964 the tragic tale in the form of a Broadway musical. New York Light Opera Company and direc- Instead of an overture, the piece opened with tor Gerald Freedman recreated the staging and a danced prologue that showed how the gang design of the original and the cast included rivalry developed and grew. The first act ended Julia Migenes (Maria), Don McKay (Tony), not with a musical number but with two dead Luba Lisa (Anita), James Moore (Riff), and Jay bodies on stage and police sirens blaring. The Norman (Bernardo). LEE THEODORE recreated dancing was sometime joyous but just as often Jerome Robbins's choreography and direc- was filled with tension and frustration. The score tion for the 1968 Lincoln Center revival that utilized opera techniques, such as the complex featured Kurt Peterson and Victoria Mallory "Tonight Quintet" that contained the separate as the tragic lovers. The most popular revival musical thoughts of various characters before was the 1980 Broadway production in which the rumble. There are no musical numbers for Jerome Robbins recreated his original staging the last portion of the show, relying instead on and choreography with television star DEBBIE dialogue in order to avoid a neatly concluded ALLEN featured as Anita. The production ran finale. "Maria," "Tonight," and "Somewhere" 333 performances. West Side Story remains a were the most popular numbers from the score frequently produced musical not only in the but several of the other songs became just as States, but around the world, with the show well known even if they could not work out- having an international appeal and a story that side of the context of the musical. The score translates well for different cultures. allows for some relief from the grim events tak- (it West Side Story (Mirisch/United ing place, but even the mocking "Gee, Officer Artists 1961) has been mockingly called "the Krupke" and "America" have a bitter subtext Ben-Hur of movie musicals" and there is a big- to them, with the wisecracking and mockery ness and majesty about the film that clamors just a cover for truly deep frustration. JEROME for greatness. But it took such confidence to ROBBINS'S masterful direction and choreogra- pull off a screen version that relied on dance West Side Story. Theatre dance had been used to illustrate many emotions over the years but never phy were major factors in making the problem- and operatic-like singing to tell its story. tension and pent-up frustration as it was seen in West Side Story. The number "Cool" (pictured above) atic show effective. There was so much dance Co-director ROBERT WISE worked with co- allowed the street gang known as the Jets to explode into modern jazz dance as they tried to hide the anger in the piece that PETER GENNARO was brought director and choreographer Robbins to create and bitterness within them. Under Jerome Robins' direction and choreography, dance was used to explore on as co-choreographer. HAROLD PRINCE a movie that was gritty and real and yet was feelings usually reserved for dialogue or song. The photo shows the replacement cast of the Broadway and Robert E. Griffith produced the musical, very stylized. Parts of the film were shot on production with original cast member Lee Theodore (fourth from the right) as the tomboy Anybodys. which did not receive unanimous raves but was location in Manhattan, other parts in the studio, (Photofest) much talked about and was able to find audi- yet there is a consistent sense of style through- out the movie that works. ERNEST LEHMAN'S screenplay sticks close to the stage libretto and (^_West Side Story Musical Numbers * the entire stage score was used, although some Casts for West Side Story ^ "Prologue" numbers changed positions in the story and ^^M^^^^^^""^*1*" were sung by different characters. The very Character 1957 Broadway f 96 f film 1980 Broadway "Jet Song" non-Hispanic NATALIE WOOD played Maria Maria CAROL LAWRENCE NATALIE WOOD Josie de Guzman "Something's Coming" effectively (her singing was dubbed by MARNI Tony LARRY KERT Richard Beymer Ken Marshall "Dance at the Gym" NIXON), but Richard Beymer (singing dubbed Anita CHITA RIVERA RITA MORENO DEBBIE ALLEN "Maria" by Jim Bryat) was a bland Tony and the love Riff Mickey Calin Russ TAMBLYN James J. Mellon "Tonight" scenes never reached the heights that they had Bernardo Keti LeRoy GEORGE CHAKIRIS Hector Jaime Mercado "America" on Broadway.
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Selznick Memos Concerning Gone with the Wind-A Selection
    Selznick memos concerning Gone with the Wind-a selection Memo from David O. Se/znick, selected and edited by Rudy Behlmer (New York: Viking, 1972) 144 :: MEMO FROM DAVID O. SELZNICK Gone With the Wind :: 145 To: Mr. Wm. Wright January 5, 1937 atmosphere, or because of the splendid performances, or because of cc: Mr. M. C. Cooper George's masterful job of direction; but also because such cuts as we . Even more extensive than the second-unit work on Zenda is the made in individual scenes defied discernment. work on Gone With the Wind, which requires a man really capable, We have an even greater problem in Gone With the Wind, because literate, and with a respect for research to re-create, in combination it is so fresh in people's minds. In the case of ninety-nine people out with Cukor, the evacuation of Atlanta and other episodes of the war of a hundred who read and saw Copperfield, there were many years and Reconstruction Period. I have even thought about [silent-fllm between the reading and the seeing. In the case of Gone With the director1 D. W. Griffith for this job. Wind there will be only a matter of months, and people seem to be simply passionate about the details of the book. All ofthis is a prologue to saying that I urge you very strongly indeed Mr. Sidney Howard January 6, 1937 against making minor changes, a few of which you have indicated in 157 East 8znd Street your adaptation, and which I will note fully.
    [Show full text]
  • The Rocky Road to OZ Wicked Witch’S Fiery Exit
    Saturday, April 9, 2011; 2 & 8 pm only E.Y Harburg tune “Over the Rainbow” (which was almost cut from the picture) became Garland’s theme and a song that has attained cult status. Casting was not the only problem. The script was labored over by 16 writers, 13 of whom went uncredited including cast members Jack Haley and Bert Lahr, poet Ogden Nash, and screenwriter Herman J. Mankiewicz, who authored Citizen Kane (1941). The picture went through five directors (Norman Taurog, Mervyn LeRoy, George Cukor, Richard Thorpe and Victor Fleming), a ton of extras and they almost fried Margaret Hamilton in the effects created for the The Rocky Road to OZ Wicked Witch’s fiery exit. the time The Wizard of Oz premiered at Sid Grauman’s Chinese Theater on a summer night Yet despite the difficulties, and the initial lackluster box By in 1939, it had been staged successfully as a office,The Wizard of Oz was Oscar®-nominated for Best Broadway musical and three silent film versions had already Picture, Color Cinematography, Interior Decoration, and been released. L. Frank Baum, creator of the Oz franchise did Special Effects and won awards for Best Song (“Over the his own production in 1914 and the 1925 version directed Rainbow”) and Original Score. It also placed tenth on the by silent film comedian Larry Semon featured Oliver ‘Babe’ list of the Greatest American Films of All Time. “There’s no Hardy as the Tin Woodman. Samuel Goldwyn, who had question that Steven Spielberg, George Lucas, Peter Jackson, acquired the film rights in 1933, sold them to M-G-M for almost any influential contemporary filmmaker you could $75,000 and the adventure began.
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]
  • Leonard Bernstein
    chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins.
    [Show full text]
  • West Side Story
    The United States Air Force Academy Bluebards Theatre Troupe Credits Proudly Presents Officer in Charge Lt Col Michelle Ruehl Master Carpenter Jandy Viloria Audio Technician Stan Sakamoto WEST Stage Crew RATTEX Dramaturg Dr. Marc Napolitano SIDE Support Team Flute/piccolo Erica Drakes STORY Bassoon Micaela Cuneo Based on a Conception of Trombone Sam Voss JEROME ROBBINS Violin Jared Helm French Horn Claire Badger Trumpet Josiah Savoie Trombone Braxton Sesler Percussion Matt Fleckenstein Musicians Piano Megan Getlinger Music by Lyrics by Trumpet Sean Castillo Clarinet Rose Bruns Trumpet Tom McCurdy Violin Kat Kowar Violin Matt Meno Entire Original Production Violin Nishanth Kalavakolanu Book by Directed and Choreographed by Bluebards offers its thanks to DFENG, RATTEX, and the Falcon Theater Founda- tion; without their support, this production would not have been possible. The videotaping or other video or audio recording of this production12 is strictly prohibited. 1 Who’s Who in the Cast and Crew “WEST SIDE STORY” not sing or dance, he decided to try out for the spring musical! After Based on a Conception of JEROME ROBBINS taking a year off to search the moon for the secret to great singing and dancing, Kevin has returned to Bluebards (unfortunately, people on the moon dance differently than the people of Earth). He is an avid reader who enjoys nerding-out with fellow nerds about the nerdiest subjects. Book by ARTHUR LAURENTS Kevin would like to thank the cast/crew, with a special nod to Lt Col Music by LEONARD BERNSTEIN Ruehl for ensuring USAFA’s drama nerds have a home in Bluebards.
    [Show full text]
  • Alumni News Most Poignant and Endur- a Person and on His Success
    BTNAA Easter rings joy to the troubled world… PO Box 2 there is no need for fear, for tears, nor Boys Town, NE 68010 heartaches. These we have left behind us. (800) 345-0458 – Father Edward J. Flanagan www.boystownalumni.org LUMNI EWS BOYSA TOWN NATIONAL ALUMNI ASSOCIATION NSPRING 2009 – VOLUME 48, ISSUE 1 ALUMNI MISSION: We exist to unite and grow our alumni family, and champion the dream and values of Father Flanagan through leadership. IN THIS ISSUE: From The Executive Director 2 Alumni Profile. 2 Stoughton Left Mark . 3 From The BTNAA President . 4 From The Senior Advisor. 4 Alum Volunteer Gives Back. 5 Dinner With Father Flanagan 5 Convention Pre-Registration 6 Convention Maps. 7 Convention Schedule. 8-9 EASTER REFLECTIONS FROM OUR KIDS Home Campus Map. 10 In this Easter Season, our boys and girls share with us I still have a lot of work to do, but a resurrection has Convention Accommodations 11 how Boys Town helps provide them with an opportunity happened in my life. I am looking forward to the many for a new life. The following reflections highlight the opportunities that await me. I can pray, I will pray, I Convention Photo Memories 12 positive changes our youth experience as they embrace do pray. A Scrapbook Comes Home . 13 a fresh start. Drew, 14 Gift Shop Alumni Specials. 13 God has helped me become a person respected by When you put your faith in God, you no longer bear the From The Auxiliary President 13 other folks… folks who once knew me as a bad young burden of the troubles in your life.
    [Show full text]
  • West Side Story"
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-6-2014 12:00 AM Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story" Andrew M. Falcao The University of Western Ontario Supervisor Paul Coates The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Andrew M. Falcao 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Falcao, Andrew M., "Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story"" (2014). Electronic Thesis and Dissertation Repository. 2091. https://ir.lib.uwo.ca/etd/2091 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. TRAGEDY, ECSTASY, DOOM: MODERNIST MOODS OF “WEST SIDE STORY” (Thesis format: Monograph) by Andrew Michael Falcao Graduate Program in Global Film Cultures A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Andrew M. Falcao 2014 i Abstract This thesis looks to reposition West Side Story (Jerome Robbins/Robert Wise, 1961) as an example of (neo-)modernist art. Placing the film within its context of Hollywood musicals, I see West Side Story as a particularly rich locus in which to study the genre’s modernist impulses.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • National Delta Kappa Alpha
    ,...., National Delta Kappa Alpha Honorary Cinema Fraternity. 31sT ANNIVERSARY HONORARY AWARDS BANQUET honoring GREER GARSON ROSS HUNTER STEVE MCQUEEN February 9, 1969 TOWN and GOWN University of Southern California PROGRAM I. Opening Dr. Norman Topping, President of USC II. Representing Cinema Dr. Bernard R. Kantor, Chairman, Cinema III. Representing DKA Susan Lang Presentation of Associate Awards IV. Special Introductions Mrs. Norman Taurog V. Master of Ceremonies Jerry Lewis VI. Tribute to Honorary l\llembers of DKA VII. Presentation of Honorary Awards to: Greer Garson, Ross Hunter, Steve McQueen VIII. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mrs. Tichi Wilkerson Miles, chairman Mr. Stanley Musgrove Mr. Earl Bellamy Mrs. Lewis Rachmil Mrs. Harry Brand Mrs. William Schaefer Mr. George Cukor Mrs. Sheldon Schrager Mrs. Albert Dorskin Mr. Walter Scott Mrs. Beatrice Greenough Mrs. Norman Taurog Mrs. Bernard Kantor Mr. King Vidor Mr. Arthur Knight Mr. Jack L. Warner Mr. Jerry Lewis Mr. Robert Wise Mr. Norman Jewison is unable to be present this evening. He will re­ ceive his award next year. We are grateful to the assistance of 20th Century Fox, Universal studios, United Artists and Warner Seven Arts. DEPARTMENT OF CINEMA In 1929, the University of Southern California in cooperation with the Academy of Motion Picture Arts and Sciences offered a course described in the Liberal Arts Catalogue as : Introduction to Photoplay: A general introduction to a study of the motion picture art and industry; its mechanical founda­ tion and history; the silent photoplay and the photoplay with sound and voice; the scenario; the actor's art; pictorial effects; commercial requirements; principles of criticism; ethical and educational features; lectures; class discussions, assigned read­ ings and reports.
    [Show full text]
  • West Side Story Previous Recordings
    WEST SIDE STORY PREVIOUS RECORDINGS 1957 Original Broadway Cast Recording 1CD (Columbia Masterworks) Carol Lawrence, Larry Kert (songs only) Prologue (3:50), "Jet Song" (2:06), "Something's Coming" (2:37), The Dance at the Gym (3:02), "Maria" (2:37), "Tonight" (3:53), "America" (4:32), "Cool" (3:58), "One Hand, One Heart" (3:02), "Tonight (Quintet)" (3:38), The Rumble (2:44), "I Feel Pretty" (2:46), "Somewhere (Ballet)" (7:33), "Gee, Officer Krupke" (4:02), "A Boy Like That" / "I Have a Love" (4:15), Finale (1:59) 1961 Original Motion Picture Soundtrack 1CD (Sony/Columbia/Legacy) Natalie Wood, Russy Tamblyn (songs only) Overture (4:39), "Jet Song" (2:06), "Something's Coming" (2:32), "Dance at the Gym" (9:24), "Maria" (2:34), "America" (4:59), "Tonight" (5:43), "Gee, Officer Krupke" (4:14), "I Feel Pretty" (3:35), "One Hand, One Heart" (3:02), "Quintet" (3:22),"The Rumble" (2:39), "Somewhere" (2:02), "Cool" (4:21), "A Boy Like That / I Have a Love" (4:28), End Credits (5:05) 1985 Leonard Bernstein Recording 2CD (Deutsche Grammophon) Te Kanawa, Jose Carreras (full score) 77:08 mins. Cast recording. Includes 21:38 mins. symphonic suite from "On the Waterfront” 1993 London Studio recording 1CD (Warner Classics) Michael Ball, Barbara Bonney (songs only) Prologue (4:42), "Jet Song" (2:47), "Something's Coming" (2:29), The Dance at the Gym: Blues (2:03) / Promenade (0:20) / Mambo (2:19) / Cha-Cha (1:01) / Meeting Scene (1:29) / Jump (1:00), "Maria" (3:03), Balcony Scene ("Tonight") (5:55), "America" (5:01), "Cool" (5:01), "One Hand, One
    [Show full text]