Directed by Billy Wilder Based on the Play by Agatha Christie Adapted By
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THE MUSIC of HENRY MANCINI the Boston Pops Orchestra During Arthur Fiedler’S Tenure, Providing Special Arrangements for Dozens of Their Hit Albums and Famous Singles
557825 bk ManciniUS 2/11/05 09:48 Page 4 Richard Hayman LIGHT CLASSICS DDD One of America’s favourite “Pops” conductors, Richard Hayman was Principal “Pops” conductor of the Saint 8.557825 Louis, Hartford and Grand Rapids symphony orchestras, of Orchestra London Canada and the Calgary Philharmonic Orchestra, and also held the post with the Detroit Symphony Orchestra for many years. His original compositions are standards in the repertoire of these ensembles as well as frequently performed selections by many orchestras and bands throughout the world. For over thirty years, Richard Hayman served as the chief arranger for THE MUSIC OF HENRY MANCINI the Boston Pops Orchestra during Arthur Fiedler’s tenure, providing special arrangements for dozens of their hit albums and famous singles. Under John Williams’ direction, the orchestra continues to programme his award- winning arrangements and orchestrations. Though more involved with the symphony orchestra circuit, Richard Moon River • The Pink Panther • Charade Hayman served as musical director and/or master of ceremonies for the tour shows of many popular entertainers: Kenny Rogers, Johnny Cash, Olivia Newton-John, Tom Jones, Englebert Humperdinck, The Carpenters, The The Days of Wine and Roses • Beaver Valley ’37 Osmonds, Al Hirt, Andy Williams and many others. Richard Hayman and His Orchestra recorded 23 albums and 27 hit singles for Mercury Records, for which he and many others served as musical director for twelve years. Dozens of his original compositions have been recorded by various artists all over the world. He has also arranged and conducted recordings for more than 50 stars of the motion Richard Hayman and His Orchestra picture, stage, radio and television worlds, and has also scored Broadway shows and numerous motion pictures. -
Notas Sobre El Estilo El Último Entuerto Que Conviene Desfacer Es El Que Habla De King Como De Un Cineasta “Sin Estilo”
Notas sobre el estilo El último entuerto que conviene desfacer es el que habla de King como de un cineasta “sin estilo”. Si por estilo se entiende llamar la atención sobre la cámara, forzar los ángulos, montar aparatosos encuadres y hacer notar el trabajo del director, King es, en efecto, un director sin estilo. Algunas de sus películas, como Deep Waters, adoptan además una forma visual aparentemente anodina, que puede pasar por impersonal si a la carencia de atractivos externos se une una extrema funcionalidad narrativa, como sucede en dos de sus obras fundamentales, I’d Climb the Highest Mountain y Wait Till the Sun Shines, Nellie. Un examen detallado de estas y otras películas revela la existencia de una personalidad cinematográfica muy acusada, aunque no llamativa ni evidente. Más que afanarse en la búsqueda de un estilo propio, King intentó desarrollar a lo largo de su carrera un lenguaje que se correspondiese, visual y narrativamente, con los modos de sus personajes, por lo general inteligentes y discretos, observadores y dinámicos, inconformistas y sensibles a los cambios que se producen en su entorno. Conforme avanzaba su obra, películas y personajes fueron haciéndose progresivamente más complejos, sin que King violentara por ello su estilo, cada vez más refinado y transparente, permeable a los avances técnicos (el sonido, el color, la pantalla ancha) pero no a las modas ni a retóricas pasajeras. Tal vez por ello, o por una fidelidad a su propia visión, las bases del estilo visual de King apenas experimentaron variaciones significativas a lo largo del tiempo, de hecho Tol’able David podría haberse rodado en 1951 y I’d Climb the Highest Mountain treinta años antes sin que el espectador hubiera notado el menor desajuste. -
Highlands Cleaners and Laundry
THE GAUX W S AUGUST 35 1967 PAGE 17 Highlands Cleaners and Laundry Phone 526--2136 GOOD CLEANING GIVES A SMART APPEARANCE LOWEST PRICES FOR QUALITY FURNITURE "THE FORTUNE COOKIE" EARLY AMERICAN REPRODUCTIONS "The Fortune Cookie", a MLrisch Cor poration presentation in Panavision play IN Cherry - Maple - P i n e ing Wednesday, August 9th, at the GALAX THEATRE, is six-time-Academy-Ai^ard winning ANTIQUE GLASS PATTERNS Billy Wilder's latest comedy caper. Starring Jack Lemmon and Walter Mat thau, the fun-for-all starts when a TV SPRINGS AND MATTRESSES cameraman gets tran^led by a galloping football player — then sues everybody he LAMPS - GIFTS can think of for a million dollars 1 Ron Rich and Cliff Osmond are featured PICTURES - RUGS in the farce, which introduces Judi West. Wilder both produced and directed and al so co-authored the script with longtime partner, I.A.L. Diamond, Andre Previn, (ROTARY OTS, CONTINUED MIOM PAGE FIVE) who earned one of his three Academy A- programs before, and they are always ex wards for the music in another Wilder cellent. On the final Tuesday of August, film, "Irma La Douce," scored "The For the 29th, Rotarian Nathan Sharp, of Nash tune Cookie", ville, Tennessee, who is spending some time at Highlands Country Club, iid.ll pre sent a program on Rhodesia, August 3! 3sOO p.m. - Tour of the Botan With programs of this magnitude, the ical Garden. Miss fc'tin Wadeqitz, High August meetings should produce record at- lands Biological Station, leader# tnedance in both local members and visit ing Rotarians. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Cr3v05 Maquetación 1
CAMINO REAL 2:3 (2010): 11-33 Celluloid Conquistadors: Images of the Conquest of Mexico in Captain from Castile (1947) STEPHEN A. COLSTON ABSTRACT The Spanish Conquest of Aztec Mexico (1519-21) forever transformed greater North America, Europe, and regions beyond. In spite of this significance, there is only one extant motion picture that has attempted to portray features of this epic event. Re- leased in 1947 by Twentieth Century-Fox, Captain from Castile was based on a novel of the same title and offers images of the Conquest that are intertwined with fact and fic- tion. Drawing upon the novel and elements of the Conquest story itself, this study se- parates and examines the threads of fact and fantasy that form the fundamental fabric of this film’s recounting of the Spanish Conquest. This analysis is enhanced by infor- mation found in unpublished documents from several collections of motion picture pro- duction materials. Ultimately, the images of the Spanish Conquest that emerge in Captain from Castile reveal some elements of genuine historicity but they more often reflect, in typical Hollywood fashion, the aspirations of a studio more concerned with achieving box office success than historical accuracy. Keywords: film, Hollywood, Conquest, Mexico, Cortés, Aztecs. Stephen A. Colston is an Associate Professor of History at San Diego State University. Colston, S. “Celluloid Conquistadors: Images of the Conquest of Mexico in Captain from Castile (1947).” Camino Real. Estudios de las Hispanidades Norteamericanas. Alcalá de Henares: Instituto Franklin - UAH, 2:3 (2010): 11- 33. Print. Recibido: 27/10/2010; 2ª versión: 26/11/2010 11 CAMINO REAL RESUMEN La conquista española del México azteca (1519 - 1521) transformó para siempre América del Norte, Europa y más allá. -
February 2018 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Power and Paranoia
Power and Paranoia: The Literature and Culture of the American Forties Course instructor: PD Dr. Stefan Brandt Ruhr-Universität Bochum Winter term 2009/10 Bibliography (selection) “A Life Round Table on the Pursuit of Happiness” (1948) Life 12 July: 95-113. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood” (1945) Life 3 Sept.: 53. Asimov, Isaac. “Robbie.” [Originally published as “Strange Playfellow” in 1940]. In: I, Robot. New York: Gnome Press, 1950. 17-40. ---. “Runaround.” [1942]. In: I, Robot, 41-62. Auden, W.H. The Age of Anxiety: A Baroque Eclogue. New York: Random House, 1947. Auster, Albert, and Leonard Quart. American Film and Society Since 1945. London and Basingstoke: Macmillan, 1984. Balio, Tino. The American Film Industry. Madison: University of Wisconsin Press, 1976. Barson, Michael, and Steven Heller. Red Scared: The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001. Behlmer, Rudy, ed. Inside Warner Brothers 1935-1951. New York: Viking, 1985. Belfrage, Cedric. The American Inquisition: 1945-1960. Indianapolis and New York: Bobbs-Merrill, 1973. Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960. An Exhibition and Catalogue. New Brunswick, N.J.: Rutgers Univ. Art Gallery, State Univ. of New Jersey, 1981. Birdwell, Michael E. Celluloid Soldiers: The Warner Bros. Campaign Against Nazism. New York: New York University Press, 1999. Boddy, William. “Building the World’s Largest Advertising Medium: CBS and Tele- vision, 1940-60.” In: Balio, ed., Hollywood in the Age of Television, 1990. -
Cleveland Stadium
Coordinates: 41°30′24″N 81°41′50″W Cleveland Stadium Cleveland Stadium, commonly known as Municipal Stadium or Cleveland Stadium Lakefront Stadium, was a multi-purpose stadium located in Cleveland, Ohio. It was one of the early multi-purpose stadiums, built to Lakefront Stadium accommodate both baseball and football. The stadium opened in 1931 and Municipal Stadium is best known as the long-time home of the Cleveland Indians of Major League Baseball, from 1932 to 1993, and the Cleveland Browns of the National Football League (NFL), from 1946 to 1995, in addition to hosting other teams, sports, and being a regular concert venue. The stadium was a four-time host of the Major League Baseball All-Star Game, one of the host venues of the 1948 and 1954 World Series, and the site of the original Dawg Pound, Red Right 88, and The Drive. Through most of its tenure as a baseball facility, the stadium was the largest in Major League Baseball by seating capacity, seating over 78,000 Final baseball season, September 1993 initially and over 74,000 in its final years. It was superseded only by the Location 1085 West 3rd Street Los Angeles Memorial Coliseum from 1958 to 1961, while it was the Cleveland, Ohio 44114 temporary home of the Los Angeles Dodgers, and by Mile High Stadium in 1993, the temporary home of the expansion Colorado Rockies. For Owner City of Cleveland football, the stadium seated approximately 80,000 people, ranking as one Operator Cleveland Stadium of the larger seating capacities in the NFL. -
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. -
Ethics and the Law School: the Confusion Persists
Marquette University Law School Marquette Law Scholarly Commons Faculty Publications Faculty Scholarship 1-1-1995 Ethics and the Law School: The onfC usion Persists Peter K. Rofes Marquette University Law School, [email protected] Follow this and additional works at: http://scholarship.law.marquette.edu/facpub Part of the Law Commons Publication Information Peter K. Rofes, Ethics and the Law School: The onfC usion Persists, 8 Geo. J. Legal Ethics 981 (1995). Posted with permission of the publisher, The Georgetown Journal of Legal Ethics © 1995. Repository Citation Rofes, Peter K., "Ethics and the Law School: The onfC usion Persists" (1995). Faculty Publications. Paper 291. http://scholarship.law.marquette.edu/facpub/291 This Article is brought to you for free and open access by the Faculty Scholarship at Marquette Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Marquette Law Scholarly Commons. For more information, please contact [email protected]. ESSAY Ethics and the Law School: The Confusion Persists PETER K. ROFES* Why we should not be surprised when a former student calls to ask why a grievancehas been filed againsthim just because he borrowed money from his firm's client trust account to purchaseproperty in the Caribbean. The American law school discovered ethics at about the same time the rest of America discovered how rare a commodity ethics was in our national leaders, most of whom happened to be lawyers. In fact, despite trailblazing work by scholars such as Monroe Freedman, Geoffrey Hazard, and others, it is no stretch of the historical record to conclude that the place and status of ethics in the law school owes more to Richard Nixon and his three legal Johns (Dean, Ehrlichman, and Mitchell) than to any law professor.' Yet, two decades after the culmination of Watergate, the law school remains confused about the role ethics plays in its mission of preparing students for practice.