January 28, 2014 (Series 28: 1) Josef Von Sternberg, UNDERWORLD (1927, 80 Minutes)

Total Page:16

File Type:pdf, Size:1020Kb

January 28, 2014 (Series 28: 1) Josef Von Sternberg, UNDERWORLD (1927, 80 Minutes) January 28, 2014 (Series 28: 1) Josef von Sternberg, UNDERWORLD (1927, 80 minutes) Academy Award—1929—Best Writing, Original Story: Ben Hecht Directed by Josef von Sternberg Written by Howard Hawks (scenario) and Ben Hecht (story) Produced by B.P. Schulberg Cinematography by Bert Glennon Second Unit Director Henry Hathaway Presenters Jesse L. Lasky and Adolph Zukor George Bancroft...'Bull' Weed Evelyn Brent...'Feathers' McCoy Clive Brook…Rolls Royce Wensel Fred Kohler...'Buck' Mulligan JOSEF VON STERNBERG (b. Jonas Sternberg, May 29, 1894 in Vienna, Austria-Hungary [now Austria]—d. December 22, 1969 (age 75) in Hollywood, Los Angeles, California) directed 35 films, including 1957 Jet Pilot, 1953 Ana-ta-han, 1952 Macao, 1946 Duel in the Sun, 1941 The Shanghai Gesture, 1939 Sergeant Madden, 1938 The Great Waltz, 1937 I, Claudius (unfinished), 1935 Crime and Punishment, 1935 The Devil Is a Favorite Sport?, 1962 Hatari!, 1959 Rio Bravo, 1955 Land of the Woman, 1934 The Scarlet Empress, 1932 Blonde Venus, 1932 Pharaohs, 1953 Gentlemen Prefer Blondes, 1952 Monkey Shanghai Express, 1931 An American Tragedy, 1931 Business, 1952 The Big Sky, 1949 I Was a Male War Bride, 1948 Dishonored, 1930 Morocco, 1930 The Blue Angel, 1929 A Song Is Born, 1948 Red River, 1946 The Big Sleep, 1944 To Thunderbolt, 1928 The Docks of New York, 1928 The Dragnet, Have and Have Not, 1943 The Outlaw, 1943 Air Force, 1941 1928 The Last Command, 1927 Underworld, 1927 Children of Ball of Fire, 1941 Sergeant York, 1940 His Girl Friday, 1939 Divorce, 1926 A Woman of the Sea, and 1925 The Salvation Only Angels Have Wings, 1938 Bringing Up Baby, 1936 Come Hunters. He produced 7 films: 1953 Ana-ta-han, 1935 The Devil and Get It, 1936 The Road to Glory, 1935 Barbary Coast, 1934 Is a Woman, 1934 The Scarlet Empress, 1932 Blonde Venus, Twentieth Century, 1932 Scarface, 1930 The Dawn Patrol, 1929 1931 An American Tragedy, 1928 The Docks of New York, and Trent's Last Case, 1928 A Girl in Every Port, and 1926 The Road 1925 The Salvation Hunters. He also edited 6 films—1934 The to Glory. He wrote 25 films, among them 1971 The French Scarlet Empress, 1932 Blonde Venus, 1931 Dishonored, 1928 Connection, 1952 Monkey Business (screenplay), 1951 The The Honeymoon, 1928 The Wedding March, and 1925 The Thing from Another World, 1943 The Outlaw, 1938 The Dawn Salvation Hunters—and was the cinematographer for 2—1953 Patrol (story), 1938 Test Pilot, 1932 Scarface, 1930 The Dawn Ana-ta-han and 1935 The Devil Is a Woman. Patrol (adaptation & dialogue), 1927 Underworld (scenario), 1925 The Road to Yesterday (titles), and 1924 Tiger Love, and HOWARD HAWKS (b. Howard Winchester Hawks, May 30, 1896 produced 22: 1970 Rio Lobo, 1966 El Dorado, 1965 Red Line in Goshen, Indiana—d. December 26, 1977 (age 81) in Palm 7000, 1964 Man's Favorite Sport?, 1962 Hatari!, 1959 Rio Springs, California) directed 47 films, among them 1970 Rio Bravo, 1955 Land of the Pharaohs, 1952 The Big Sky, 1951 The Lobo, 1966 El Dorado, 1965 Red Line 7000, 1964 Man's Thing from Another World, 1948 Red River, 1946 The Big Sleep, Bon Sternberg—UNDERWORLD—2 1944 To Have and Have Not, 1943 Corvette K-225, 1941 BERT GLENNON (b. Robert Lawrence Glennon, November 19, Sergeant York, 1940 His Girl Friday, 1939 Only Angels Have 1893 in Anaconda, Montana—d. June 29, 1967 (age 73) in Wings, 1938 Bringing Up Baby, 1934 Twentieth Century, 1933 Sherman Oaks, California) was the cinematographer on 133 Today We Live, 1932 Scarface, 1931 The Criminal Code, and films and television shows, including 1963 The Man from 1923 Quicksands. Galveston, 1963 “77 Sunset Strip” (TV Series), 1960-1963 “The Dakotas” (TV Series, 13 episodes), 1960-1962 “Lawman” (TV BEN HECHT (b. February 28, 1894 in New York City, New Series, 64 episodes), 1960 “Sugarfoot” (TV Series), 1960 York—d April 18, 1964 (age 70) in New York City, New York) Sergeant Rutledge, 1959 “Bonanza” (TV Series), 1956 Davy won 2 Academy Awards, in 1929 for Best Writing, Original Crockett and the River Pirates, 1955 “Walt Disney's Wonderful Story for Underworld (1927), and 1936, Best Writing, Original World of Color” (TV Series), 1953 Thunder Over the Plains, Story for The Scoundrel (1935), shared with Charles MacArthur. 1953 The Moonlighter, 1953 House of Wax, 1951 Operation He wrote 160 films and TV shows, but was often uncredited. Pacific, 1950 Rio Grande, 1950 Wagon Master, 1949 Red Light, Among them are 1964 7 Faces of Dr. Lao, 1963 Cleopatra, 1962 1947 Copacabana, 1947 Mr. District Attorney, 1946 Shadow of a Billy Rose's Jumbo, 1962 Mutiny on the Bounty, 1962 Walk on Woman, 1946 Night and Day, 1945 San Antonio, 1943 The the Wild Side, 1959 “The Ten Commandments” (TV Movie), Desert Song, 1943 Destination Tokyo, 1943 This Is the Army, 1957 Legend of the Lost, 1957 A Farewell to Arms, 1956 The 1943 Mission to Moscow, 1941 They Died with Their Boots On, Hunchback of Notre Dame, 1956 Trapeze, 1956 Miracle in the 1941 Dive Bomber, 1941 Virginia, 1940 Our Town, 1939 Swanee Rain, 1955 The Court-Martial of Billy Mitchell, 1955 The Man River, 1939 Drums Along the Mohawk, 1939 The Rains Came, with the Golden Arm, 1955 Guys and Dolls, 1954 Ulysses, 1953 1939 Young Mr. Lincoln, 1939 Stagecoach, 1937 The Prisoner of Indiscretion of an American Wife, 1952 Angel Face, 1952 Hans Zenda, 1936 Lloyd's of London, 1936 The Prisoner of Shark Christian Andersen, 1952 Monkey Business, 1951 Strangers on a Island, 1934 She Was a Lady, 1934 The Scarlet Empress, 1933 Train, 1951 The Thing from Another World, 1950 “The Billy Alice in Wonderland, 1933 Morning Glory, 1933 Gabriel Over Rose Show” (TV Series), 1950 September Affair, 1950 Edge of the White House, 1932 The Half Naked Truth, 1932 Blonde Doom, 1950 Where the Sidewalk Ends, 1949-1950 “The Front Venus, 1928 The Patriot, 1928 Street of Sin, 1928 The Last Page” (TV Series, 18 episodes), 1949 The Twentieth Century, Command, 1927 The City Gone Wild, 1927 The Woman on Trial, 1948 Portrait of Jennie, 1948 Rope, 1948 “The Front Page” (TV 1927 We're All Gamblers, 1927 Underworld, 1927 Barbed Wire, Movie), 1948 The Miracle of the Bells, 1947 The Paradine Case, 1927 Hotel Imperial, 1926 Good and Naughty, 1925 Wild Horse 1947 Ride the Pink Horse, 1947 Kiss of Death, 1946 Duel in the Mesa, 1924 Worldly Goods, 1924 Changing Husbands, 1923 The Sun, 1946 Notorious, 1946 Gilda, 1945 “The Front Page” (TV Ten Commandments, 1923 You Can't Fool Your Wife, 1922 The Movie), 1945 Spellbound, 1944 Lifeboat, 1943 The Outlaw, 1942 Woman Who Walked Alone, 1921 Nobody's Fool, 1921 The Roxie Hart, 1940 Comrade X, 1940 Angels Over Broadway, Torrent, and 1916 Ramona. 1940 Foreign Correspondent, 1940 I Take This Woman, 1940 The Shop Around the Corner, 1940 His Girl Friday, 1939 Some HENRY HATHAWAY (b. Henri Leopold de Fiennes, March 13, Like It Hot, 1939 Wuthering Heights, 1939 Stagecoach, 1938 1898 in Sacramento, California—d. February 11, 1985 (age 86) Angels with Dirty Faces, 1937 The Prisoner of Zenda, 1935 in Hollywood, Los Angeles, California) directed 67 films and Barbary Coast, 1934 The President Vanishes, 1934 Twentieth television shows, among them 1974 Hangup, 1971 Raid on Century, 1934 Viva Villa!, 1933 Design for Living, 1933 Queen Rommel, 1969 True Grit, 1968 5 Card Stud, 1966 Nevada Smith, Christina, 1932 Million Dollar Legs, 1932 Scarface, 1932 The 1965 The Sons of Katie Elder, 1960 North to Alaska, 1958 From Beast of the City, 1931 The Front Page, 1927 The American Hell to Texas, 1957 Legend of the Lost, 1956 23 Paces to Baker Beauty, 1927 Underworld, and 1926 The New Klondike. Street, 1954 Prince Valiant, 1953 Niagara, 1951 The Desert Fox: The Story of Rommel, 1951 Rawhide, 1951 You're in the B.P. SCHULBERG (b. Benjamin Percival Schulberg, January 19, Navy Now, 1949 Down to the Sea in Ships, 1948 Call Northside 1892 in Bridgeport, Connecticut—d. February 25, 1957 (age 65) 777, 1947 Kiss of Death, 1947 13 Rue Madeleine, 1945 The in Key Biscayne, Florida) produced 108 films and TV shows, House on 92nd Street, 1944 Wing and a Prayer, 1942 Ten including 1943 City Without Men, 1942 The Adventures of Gentlemen from West Point, 1940 Brigham Young, 1940 Johnny Martin Eden, 1937 Blossoms on Broadway, 1937 She Asked for Apollo, 1936 Go West Young Man, 1936 The Trail of the It, 1937 She's No Lady, 1937 Her Husband Lies, 1936 Meet Nero Lonesome Pine, 1935 The Lives of a Bengal Lancer, 1934 Come Wolfe, 1935 Crime and Punishment, 1934 Little Miss Marker, On, Marines!, 1933 Under the Tonto Rim, 1932 Wild Horse 1933 Jennie Gerhardt, 1933 Pick-up, 1929 The Virginian, 1929 Mesa, 1932 Heritage of the Desert, and 1930 Behind the Make- The Love Doctor, 1928 Sins of the Fathers, 1928 Street of Sin, Up. He was the second unit or assistant director for 19 films— 1928 Red Hair, 1927 The Rough Riders, 1927 Underworld, 1927 1930 Morocco, 1930 The Texan, 1929 The Virginian, 1929 The Rolled Stockings, 1927 Wings, 1927 Children of Divorce, 1927 Wolf Song, 1929 Redskin, 1929 The Love Doctor, 1928 The Fashions for Women, 1927 Blonde or Brunette, 1926 Man of the Shopworn Angel, 1928 The Awakening, 1927 The Rough Riders, Forest, 1926 We're in the Navy Now, 1926 The Eagle of the Sea, 1927 Hula, 1927 Underworld, 1927 The Way of All Flesh, 1926 1925 Free to Love, 1925 Capital Punishment, 1924 White Man, Mantrap, 1926 Bachelor Brides, 1925 Ben-Hur: A Tale of the 1923 April Showers, 1923 Are You a Failure?, 1923 Poor Men's Christ, 1925 Grounds for Divorce, 1925 The Dressmaker from Wives, 1923 The Hero, 1922 The Woman Conquers, and 1921 Paris, 1925 The Thundering Herd, and 1924 Open All Night— Get Your Man.
Recommended publications
  • Josef Von Sternberg, L'américain
    CINÉMA PROGRAMME Programmation de films muets en ciné-concert Visites Centre de recherche • Galerie des collections Visites guidées • Galerie des appareils Fondation Jérôme Seydoux-Pathé Josef von Sternberg, l’américain du 25 septembre au 18 octobreN°09 2019 73 avenue des Gobelins, 75013 Paris - 01 83 79 18 96 / www.fondation-jeromeseydoux-pathe.com Josef von Sternberg, l’américain du 25 septembre au 18 octobre 2019 La Fondation Jérôme Seydoux-Pathé revient sur les premiers pas de la carrière de Josef von Sternberg et plonge dans l'univers de ses films muets, d'une rare intensité. Cycle proposé et conçu par Théo Esparon, historien et programmateur, doctorant à l’Université Paris-Nanterre. Loin d’être seulement l’immigré autrichien sévère que l’on a bien voulu décrire, Josef von Sternberg fit ses premiers pas dans les studios de Fort Lee où il travaille avec les réalisateurs Emile Chautard et Maurice Tourneur. Après quelques épisodiques voyages à Londres, Berlin et Vienne, il réalise son premier film « The Salvation Hunters » en 1925, Theun Ring film © British écrit Film comme Institute une fable qui plonge dans la boue du port de San Pedro. C’est Chaplin qui, le premier, applaudit son travail ; il l’invite à écrire un scénario pour Mary Pickford et produit son film suivant, le seul pour lequel il n’est ni acteur ni réalisateur, « A Woman of The Sea ». Le premier film est abandonné et le second sera finalement détruit. La carrière de Sternberg, émaillée de faux départs, éclaire une histoire méconnue du cinéma. Elle naît dans le berceau cosmopolite de New York, se poursuit vers l’Ouest, croise la création de la Metro-Goldwyn-Mayer et le montage de la « Symphonie nuptiale » (« The Wedding March », 1928) d’Erich von Stroheim et s’assoit enfin à la Paramount avec l’immense succès des « Nuits de Chicago » (« Underworld », 1927).
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • GAILY, GAILY the NIGHT THEY RAIDED MINSKY's “In 1925, There
    The one area where it succeeded perfectly was So, Rosenblum began refashioning the film, in its score by Henry Mancini. By this time, using a clever device of stock footage that Mancini was already a legend. After toiling in the would lead into the production footage, rear - GAILY, GAILY music department at Universal (the highlight of ranging and restructuring scenes, and spend - his tenure there would be Orson Welles’ Touch ing a year doing so – the result was stylish and Of Evil) , he hit it big, first with his TV score to visually interesting and it transformed the film THE NIGHT Peter Gunn – which not only provided that from disaster into a hit. THEY RAIDED MINSKY’S Blake Edwards series with its signature sound, but which also produced a best-selling album The score for Minsky’s was written by Charles on RCA – and then in a series of films for which Strouse, who’d already written several Broad - “In 1925, he provided amazing scores, one right after an - way shows, as well as the score for the film other – Breakfast At Tiffany’s, Charade, Hatari, Bonnie and Clyde . The lyrics were by Lee there was this real The Pink Panther, Days Of Wine and Roses , Adams, with whom Strouse had written the religious girl” and many others. Many of those films also pro - Broadway shows Bye Bye Birdie, All-American, duced best-selling albums. Mancini not only Golden Boy, It’s A Bird, It’s A Plane, It’s Super - knew how to score a film perfectly, but he was man and others.
    [Show full text]
  • Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951
    Tob Control: first published as 10.1136/tc.2008.025445 on 25 September 2008. Downloaded from Research paper Signed, sealed and delivered: ‘‘big tobacco’’ in Hollywood, 1927–1951 K L Lum,1 J R Polansky,2 R K Jackler,3 S A Glantz4 1 Center for Tobacco Control ABSTRACT experts call for the film industry to eliminate Research and Education, Objective: Smoking in movies is associated with smoking from future movies accessible to youth,6 University of California, San Francisco, California, USA; adolescent and young adult smoking initiation. Public defenders of the status quo argue that smoking has 10 2 Onbeyond LLC, Fairfax, health efforts to eliminate smoking from films accessible been prominent on screen since the silent film era California, USA; 3 Department of to youth have been countered by defenders of the status and that tobacco imagery is integral to the artistry Otolaryngology – Head & Neck quo, who associate tobacco imagery in ‘‘classic’’ movies of American film, citing ‘‘classic’’ smoking scenes Surgery, Stanford University with artistry and nostalgia. The present work explores the in such films as Casablanca (1942) and Now, School of Medicine, Stanford, 11–13 California, USA; 4 Center for mutually beneficial commercial collaborations between Voyager (1942). This argument does not con- Tobacco Control Research and the tobacco companies and major motion picture studios sider the possible effects of commercial relation- Education and Department of from the late 1920s through the 1940s. ships between the motion picture and tobacco Medicine,
    [Show full text]
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • Nothing Sacred (United Artists Pressbook, 1937)
    SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians.
    [Show full text]
  • 1 Hollywood Misfits. Marilyn Monroe E Ben Hecht Sarebbe Curioso Se
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Research Information System University of Turin 1 Hollywood Misfits. Marilyn Monroe e Ben Hecht Sarebbe curioso se risultasse che sono un’autrice. Anita Loos, Gli uomini preferiscono le bionde. Ben Hecht, uno degli sceneggiatori più importanti e prolifici della storia del cinema americano classico, tra le tante cose che ha fatto nella sua poliedrica carriera, è stato anche ghostwriter di Marilyn Monroe, per un progetto abortito di autobiografia, intitolata My Story, che avrebbe trovato un esito editoriale solo nel 1974, dopo che sia la diva sia lo scrittore erano ormai morti da tempo (Hecht scompare poco meno di due anni dopo Marilyn, nell’aprile del 1964). In questa sede, intendo, da un lato, ricostruire la complessa vicenda della redazione e della pubblicazione del libro, uno «highly problematic text», lo definisce giustamente Sarah Churchwell nel suo The Many Lives of Marilyn Monroe1, basandomi sui documenti che ho esaminato alla Newberry Library di Chicago, dove sono conservati i “Ben Hecht Papers”2. Dall’altro lato, proverò a ragionare sul contenuto di My Story, inteso sia come opera di/su Marilyn Monroe, sia in quanto opera “di” Hecht. Per molti versi, My Story è il libro “onesto e feroce” su Hollywood che Hecht avrebbe potuto scrivere e che non scrisse mai, quanto meno non con il suo nome in copertina. Quando esce per la prima volta, su iniziativa di Milton Greene (fotografo e amico dell’attrice), My Story è a firma unicamente della Monroe. Solo con la riedizione del 2007, per i tipi di Taylor Trade, viene riconosciuto l’apporto dello sceneggiatore (questa volta, l’opera è attribuita a: «Marilyn Monroe with Ben Hecht»).
    [Show full text]
  • Jazz Im Film
    Jazz im Film »Jazz ist für mich eine Geistes- oder Lebenshaltung und Schwarze Musiker erscheinen in den Spielfilmen nur nicht so sehr eine bestimmte Musikrichtung. Ebenso wie als Randfiguren, in Kurzfilmen, die hauptsächlich Songs eine Filmvorführung im Kinosaal kann der Jazz eine Form illustrieren, müssen sie in klischeehaften Spielszenen des Sich-Lösens und des Sich-Entfernens vom Alltäglichen agieren, die diese Songs miteinander verbinden. Den- sein. Wenn ich ein bekanntes Stück wie z.B. ›Summertime‹ von Gershwin zum wiederholten Male höre und dennoch im- noch sind Filme wie ST. LOUIS BLUES (1929), A RHAP- mer wieder von der Interpretation berührt werde oder nicht SODY IN BLACK AND BLUE (1932) heute einzigartige mehr über die Grundmelodie nachdenke, dann ist das für Dokumente, in manchen Fällen die einzigen erhaltenen mich Jazz. Dieses Erlebnis kann ich sowohl auf die Musik als filmischen Aufnahmen legendärer Jazzgrößen, die die auch auf den Film übertragen.« Julian Benedikt ihnen auferlegten mitunter absurden Szenarien einfach überstrahlen. Am besten gelingt die Symbiose von Jazz »Im Gegensatz zu anderen Kunstformen ist der Film nie das Werk eines Einzelnen. Er basiert auf einem Kollek- und Film in einigen frühen Zeichentricktonfilmen: Ins- tiv, fast wie eine Jam-Session im Jazz. Der Bassist hat besondere Dave Fleischer konnte Exzentriker wie Cab zum Beispiel seinen eigenen Verantwortungsbereich, er Calloway und Louis Armstrong mit ihrer Musik mühelos liefert das rhythmische Rückgrat. Der Schlagzeuger ver- in das anarchistische Universum seines Zeichentrick- vollständigt das zusammen mit dem Pianisten – das har- filmvamps Betty Boop integrieren, MINNIE THE MOO- monisch-rhythmische Rückgrat. Diese Dinge lassen sich CHER (1932), I’LL BE GLAD WHEN YOU’RE DEAD, YOU auch auf den Film übertragen.
    [Show full text]
  • Folleto Ciclo Del Cine Descargar
    ORGANIZA Y COLABORA Y ORGANIZA PABLO DE MARÍA - ALFONSO PALACIO ALFONSO - MARÍA DE PABLO COORDINAN JULIO 2021 JULIO .) BERTO • BERTO (V.O.S castellano en en versión original con subtítulos con original versión en DL: AS-01003-2021 proyectarán se películas las Todas ENTRADA LIBRE HASTA COMPLETAR EL AFORO EL COMPLETAR HASTA LIBRE ENTRADA (CALLE SAN VICENTE, 3 - OVIEDO) - 3 VICENTE, SAN (CALLE MUSEO ARQUEOLÓGICO DE ASTURIAS DE ARQUEOLÓGICO MUSEO SALÓN DE ACTOS DEL ACTOS DE SALÓN 18 HORAS 18 . XVIII siglo el sobre Apuntes tiempo. el en vez una Érase DIÁLOGOS ENTRE EL CINE Y LA PINTURA (XIX). PINTURA LA Y CINE EL ENTRE DIÁLOGOS Diálogos entre el cine y la pintura (XIX). Érase una vez en el tiempo. Apuntes sobre el siglo XVIII Se dice del Siglo XVIII que con su transcurrir se dejó atrás la burguesía urbana ilustrada. El arte neoclásico, clave en la Edad Moderna para iniciar la Edad Contemporánea. este periodo, adopta la racionalidad y la sencillez como Durante esta centuria ocurrieron numerosos hechos elementos, además de tener presente una mirada hacia los que transformaron radicalmente diversas sociedades y valores humanistas y el progreso. Esta selección de pelícu- formas de vivir. Sólo por citar algunos: Primera Revolución las pretende acercar algunos momentos cruciales en la Industrial en Inglaterra, independencia de los Estados historia de este siglo marcado por convulsos cambios que, Unidos de América, estalla la Revolución Francesa, se sin duda, han contribuido a conformar lo que ahora es desarrollan los movimientos indígenas contra las autori- nuestro tiempo presente. dades coloniales en América… Alumbró también este siglo el nacimiento de celebres personajes que contribu- yeron al progreso del pensamiento y de las artes en diferentes ámbitos: Denis Diderot, David Hume, Immanuel Kant, Adam Smith, James Cook, Gaspar Melchor de Jovellanos, Jane Austen, Johann Wolfgang von Goethe, William Blake, Francisco de Goya, Jacques-Louis David, Joseph Haydn, Wolfgang Amadeus Mozart o Ludwig van Beethoven.
    [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]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]