DOCSLIB.ORG

On the Beat Can’T Buy Me Love Originated

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the Beat Can’T Buy Me Love Originated Page 18 Thursday, August 10, 2000 The Westfield Leader and THE TIMES of Scotch Plains – Fanwood A WATCHUNG COMMUNICATIONS, INC. PUBLICATION Arts & Entertainment Star Gazing Cant Buy Me Love Screenwriter Michael Swerdlick Brings Pride Pen and Ink By MICHELLE H. LePOIDEVIN To Former Hometown of Scotch Plains The Strife Is Over! Robert Downey, Jr. By JOSH HAMERMAN receiving a law degree from Slayer,” in a supporting role. Finally Gets Jail Release He Deserves Specially Written for The Westfield Leader and The Times Pepperdine University and pass- Can’t Buy Me Love was released SCOTCH PLAINS — “He went ing the bar exam, he began work later that year and grossed $40 Now that Cell No. 17 at the California Substance Abuse Treatment from like, totally geek...to totally as a lawyer only to find that it was million in the United States and Facility in Corcoran, Calif. is void of actor Robert Downey, Jr., the world chic.” Sound familiar? That line not for him. $100 million worldwide. The Times is a better place to live. Welcome was uttered in the 1987 teen angst He then became employed by of Scotch Plains-Fanwood ran a ARTIST OF THE WEEK back to the actor who, despite his movie Can’t Buy Me Love which the William Morris Agency, one of front page story in honor of Mr. troubled past which he has con- included rising stars Patrick the largest talent agencies in the Swerdlick’s accomplishments on quered with flying colors, has de- Dempsey, Amanda Peterson and world, at its Los Angeles office first September 10, 1987. Bruce Willis lighted me in his roles in Chances Seth Green, among others. as an assistant and then as an After achieving success on the silver screen, Mr. Are, Only You, In Dreams, The Pickup But the true celebrity (1955- ) Artist and Home for the Holidays with associated with the flick Swerdlick signed on is traced to screenwriter as a writer for the By MICHELLE H. LePOIDEVIN that flair and gleam in his eyes that Michael Swerdlick who ABC TV series Specially Written for The Westfield Leader and The Times simply no one can duplicate. grew up in Scotch Plains “Doogie Howser, Wisecracking Bruce Willis made Somebody get Los Angeles County and penned Can’t Buy Me M.D.” under the su- female cheeks blaze and hearts Municipal Court Judge Lawrence Love. pervision of televi- skip beats with his flirtatious por- Mira a working calculator. Erring Anyone who has seen sion mogul Steven trayal of private eye David Addison miserably, Mira forgot to figure in the the movie, which takes Bochco. Later, he in ABC’s “Moonlighting” during the mid-1980s. But, he proved his some 323 days that the Oscar-nomi- place in a cliquey high joined the writing nated actor had already served in a school filled with nasty team of FOX TV se- ability to come back with a bang as ries “Parker Lewis well as his versatility when he lock-down drug rehabilitation facil- teenagers, has probably helped a youngster who claimed ity. Downey, who should have been asked the question, “Is the Can’t Lose” and wrote for the popu- “I see dead people” in The Sixth released in February, was, according plot of Can’t Buy Me Love Sense. based on the life and times lar teen drama to Mira’s miscalculations, supposed The big brother to three other to leave prison in November. of Mr. Swerdlick as a stu- “Beverly Hills, siblings, Willis was born in Idar- dent at Scotch Plains- 90210,” also on FOX. Oberstein, Germany. The family So, what did he do with those extra Fanwood High School Mr. Swerdlick also returned to the U.S. when Willis’ months he spent in prison? Accord- (SPFHS)?” produced the televi- father was discharged from the ing to a recent article in Vanity Fair, No way! He graduated sion films The Army in 1957. The family settled Downey slaved five days a week as from SPFHS in 1974 and Whereabouts of in Carneys Point and Willis, who a cafeteria worker or on dish- has only flattering memo- Jenny and The Com- suffered from a stutter, attended puter that Wore Ten- washer detail for about 3 1/2 hours ries of his experiences high school in nearby Penns Grove a day. His paycheck? Eight cents an there. Michael Swerdlick, seen here with his proud mother, Ruth, nis Shoes, and served where he was active in drama clubs “The Class of ’74 was a during her visit to Los Angeles, has enjoyed screenwriting as a writer on the and took on the role of student hour. Other sources have reported very special class,” he re- success on the big and small screens. ABC TV show “Boy council president. that an alleged sexual harassment called. “Everybody got Meets World.” When Willis discovered his and stabbings have been endured along and there was no friction agent. During his tenure at the His second movie script, Class flair for acting, it gave him the by Downey. He maintained his between anybody. It was a really agency, his clientele included Tyne Act, grew into a film that starred confidence to articulate himself spirits by drawing portraits and supportive group. SPFHS was the Daly, Robert Reed and Michelle rap duo Kid ‘N Play, and hit movie on stage and conquer the stub- born stutter. Before he was dis- writing to fans who sent their sup- complete opposite of the school in Phillips, as well as Janine Turner theaters in 1992. It earned $20 port and words of encouragement. and Sharon Stone, early in their million at home and $50 million covered, however, Willis was a Can’t Buy Me Love.” factory worker, band member, All this while, other actors and If SPFHS was golden for Mr. careers. globally. It was while working as a talent Mr. Swerdlick continues to write security guard and bartender. actresses with the same, if not worse, Swerdlick, where did he find the Though he attended Montclair types of narcotics and alcohol prob- inspiration to write a screenplay agent that Mr. Swerdlick received film screenplays and television pi- State College, he quit in the middle about an unpopular teenager who his calling to become a screen- lots, even though most of them are lems and offenses, are as free as of his junior year. When an audi- Robert Downey Jr. pays a girl in the popular crowd to writer. still in development. tion for a role in Desperately Seek- birds. Going to Hollywood parties, date him? “When you represent actors and “As a screenwriter, less than one ing Susan proved to be unsuccess- shopping on Rodeo Drive, taking in “I was working as a lowly assis- actresses,” he explained, “you read quarter of what you write gets ful, he landed the role of Addison a movie’s world premiere. It’s a slap on the wrist for Halle Berry, who should tant at the William Morris Agency a lot of scripts. Through osmosis, made,” he explained, “This occurs in “Moonlighting” instead. The be tripping over her conscience when she strides down the red carpet. It’s and, when I would go to Holly- I learned how to be a writer.” mostly as a result of studios either hard work paid off. the same for Darryl Strawberry, who despite his cancer diagnosis, jumped wood parties, nobody would give Mr. Swerdlick’s first screenplay not being able to sign big names to Many Die Hard and Look Who’s rehab sentences just like Downey with no excuses made to anyone. me the time of day,” he said. “Once, was originally called Boy Rents star in projects, losing interest, or Talking films later, plus a divorce Now that justice has been served, my thoughts are with the actor who I invited a friend of mine, who was Girl but he later changed the title not feeling that it is financially from brat packer Demi Moore, to Can’t Buy Me Love. He became sound to pursue them. You’re still Willis found his comeback in the has served more than enough time learning his lesson. I, just like many a beautiful model, to accompany of his other fans, pray that Downey will keep walking the straight and me to one of these parties. When a William Morris Agency client, paid, of course, even if your script role of a psychologist who aided a she was standing next to me, ev- and, with his agent’s help, the is not made into a movie or televi- young Haley Joel Osment. He was narrow and piece his life back together. eryone suddenly wanted to be my project received studio backing sion series.” also well-received during some As for Mira, can he give Downey back those months of life that he friend. I thought to myself, ‘What if from Walt Disney Pictures. Mr. Swerdlick’s film screenplay recent cameos in NBC’s “Friends.” unjustly served? Ah! Therein lies the true crime. this happened to a high school Production began early in 1987 Home Run, which has nothing to student?’” with Dempsey and Peterson cast do with baseball, was written for So, before the dawn of the 1990s, as the lead characters and Seth Paramount Pictures and took place Green, who can be seen in the in Scotch Plains. However, Home On The Beat Can’t Buy Me Love originated. WITH ANDY GOLDENBERG Mr. Swerdlick did not start out in Austin Powers movies and on the Run is still in development. the entertainment industry. After TV series “Buffy the Vampire Scotch Plains has left a lasting impression on the screenwriter.
Load more

Recommended publications
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • London Musicals 1920-1924.Pub
    1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original.
    [Show full text]
  • File Stardom in the Following Decade
    Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a .
    [Show full text]
  • Eric Blore Eric Blore Spillede I 1939 En Af Sine Få Hoved- Roller I Den Engelske Film a G E N Tle M a N S G E N Tle M a N
    I ØVRIGT MEDVIRKER Eric Blore Eric Blore spillede i 1939 en af sine få hoved- roller i den engelske film A G e n tle m a n s G e n tle m a n . Titlen er en meget rammende karakteristik af Blore, som nok er den bedst huskede af Hollywoods mange butlere (som også talte Robert Grieg, Halliwell Hobbes, Ian Wolfe, Alan Mowbray). Blore (1887-1959) fødtes i London. Han ar­ bejdede en tid som forsikringsmand men gik så til scenen: turnerede i Australien og med­ virkede i adskillige shows og revyer i Eng­ land. Han debuterede på film i 1920 i A Night Out and a Day In, og tog så i 1923 til USA, hvor han herefter på Broadway og i ca. 80 film i Hollywood spillede et væld af ka- rakterroller. „Allow us to introduce ourselves, sir. We are Bates”. På denne uforglemmelige vis præ­ senterer Blore sig for Fred Astaire i T op H a t, og her har vi ham i en nøddeskal: butle- Den succesrige Hollywood-instruktør Sullivan Sir Alfred M cGlennan-Keith (bedre kendt som (Joel M cCrea) forklæder sig som bums for at rej­ N år Edward Everett Horton og Eric Blore traf Pearlie) gifter sin „niece” (Barbara Stanwyck) se ud i verden og studere de almindelige fattige hinanden på det hvide lærred, var det en kon­ bort til ølkongens søn (Henry Fonda), mens den mennesker. „I think this one is sufficiently seedy, stant fornøjelse af overvære deres udvekslinger stolte far (hvem anden end Engene Pallette?) ser Sir. W hy overplay it?” spørger tjener Blore og af elegante uforskammetheder og sort snak.
    [Show full text]
  • MUSIC BOX THEATER, 239-247 West 45Th Street
    Landmarks Preservation Commission December 8, 1987; Designation List 197 LP-1359 MUSIC BOX THEATER, 239-247 West 45th Street. Built 1920; architects C. Howard Crane & E. George Kiehler. Landmark Site: Borough of Manhattan Tax Map Block 1017, Lot 11. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Music Box Theater and the proposed designation of the related Landmark Site (Item No. 55). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty -one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. Representatives of the two co-owners appeared at the hearing and indicated that neither had formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Music Box Theater survives today as one of the his to r ic playhouses that symbolize American theater for both New York and t h e nation. Constructed shortly after the end of World Wa r I, the Music Box was built by producer Sam Harri s to house Irving Berlin's ~usic Box Re ~ues . Sam Harris was a legendary Broadway producer, who first reached fame through his successful partnership with George M. Cohan, and the n collaborated with Irving Berlin and later with Kaufman and Hart. Irving Berlin is among the greatest and best-known Ame rican s ongwriters of t his cen t ury.
    [Show full text]
  • Torrance Herald
    TORRANCE HERALD. Torrance. California THURSDAY, OCTOBER .31, 1935 jFred Astaire and Ginger Rogers "David Copperfield" Now Playing Famous Radio Team Presents PEGGY WOOD TO STAR Hilarious Mixture of Fun Fare Are Co-Started In Merry Musica Return Engagement At Plaza Theatr IN "COUNTESS MARITZA" Hundreds of patrons of the Plaza Theatre, Hawthorn have requested p. return showing of the "masterpiece o 1935," states Manager Calvl as he announces the showih of "David Copperfield" on Thursday, Friday and Saturda of this week. "Take rip liberties with the* - : : players, headed by W. C. Fields This seems to be,ah unwritten Lionel Barrymore, Madge Evan law in the meteoric shower of Maureen O'Sullivan, Edna Ma Oliver, Lewis Stone, Frank La given the world in motion pic­ ton, Freddie Bartholqrnew, Ell ture form, and its' soundness is abeth. Allan and Roland Youn clearly manifested in "David have the principal roles. Copperfield," the Charles Dick­ ens :olassic which has been play- But the task of condensing Ing ta capacity houses for the one thousand pages of Dlcken past- several- months.' . ' .. story into standard motion pie- The story is filmed "exactly as Dickens wrote it," and its required almost a year of coi value is evidenced by the' fact stant ' effort on the part o David ; O. SelZnick, the Metre of the screen year, hailed every­ Goldwyn-Maycr producer; Georg where as an outstanding attrac­ Cukor, the director; :Hugh Wa tion. - pole, the eminent novelist an Dickonsiah authority, and How Sixty-five stars and featured ard Estabrook, noted scenarist George Burns is questioning Grade Alien's ^ability to write, in their new Paramount comedy, "Here Conies Wildness Costs Game Cookie." Even George Barbier looks mystified.
    [Show full text]
  • Gangsters, Fessos, Tricksters, and Sopranos: the Historical Roots of Italian American Stereotype Anxiety Jonathan J
    This article was downloaded by: [Tomsk State University Tul'skii gosudarstvennyi universitet] On: 15 March 2015, At: 03:03 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Popular Film and Television Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/vjpf20 Gangsters, Fessos, Tricksters, and Sopranos: The Historical Roots of Italian American Stereotype Anxiety Jonathan J. Cavallero & George Plasketes a a Auburn University Department of Communication and Journalism Alabama Published online: 07 Aug 2010. To cite this article: Jonathan J. Cavallero & George Plasketes (2004) Gangsters, Fessos, Tricksters, and Sopranos: The Historical Roots of Italian American Stereotype Anxiety, Journal of Popular Film and Television, 32:2, 50-73, DOI: 10.3200/ JPFT.32.2.49-73 To link to this article: http://dx.doi.org/10.3200/JPFT.32.2.49-73 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • The National Film Registry: Acquiring Our Film Heritage. INSTITUTION Southeast Missouri State Univ., Cape Girardeau
    DOCUMENT RESUME ED 390 451 IR 055 806 AUTHOR Ziegler, Roy A. TITLE The National Film Registry: Acquiring Our Film Heritage. INSTITUTION Southeast Missouri State Univ., Cape Girardeau. Kent Library. PUB DATE Oct 95 NOTE 48p. PUB TYPE Reference Materials Bibliographies (131) Reports Descriptive (141) EDRS PRICE MFOI/PCO2 Plus Postage. DESCRIPTORS Academic Libraries; Access to Information; Annotated Bibliographies; *Archives; Culture; *Film Libraries; *Filmographies; *Library Collection Development; National Libraries; Preservation; *Videotape Recordings IDENTIFIERS Classical Hollywood Films; Historical Background; Library of Congress; *National Film Registry; *Southeast Missouri State University ABSTRACT The National Film Registry, which is primarily a designated list of films to be preserved by the Library of Congress, is also a valuable tool for selecting "films that are culturally, historically, and aesthetically significant." Following a brief discussion of the history and selection process of the National Film Registry, Southeast Missouri State University's Kent Library's effort to provide access to the films using the VHS videotape format is described. An annotated "videography" of the Nat;onal Film Registry archives (1989-94) is then provided with 150 films listed under the following categories: animation; avant garde; comedy; detective and mystery; documentary; fantasy; horror; musical; science fiction; silent films; war; and westerns. A list of film distributors' addresses and phone numbers is also included. (Contains 19 references.)(AEF) * Reproductions supplied by EDRS are the best that can be made * * from the original document. * U S DEPARTMENT Of- E DU( Al IO'L EDUCATIONAL RESOURLLS INEORMAT ION E.ENTER 0 doc.umenln.v, :won eptotlig rd eeLL.,000 rout trq, 01191f1atirig It 0 Minor 1,00ff ff1,111, PorIs ci vio, i.f pu IfOO, .O flO.'1W11011 iii Ii t,..ir .
    [Show full text]
  • John Ford Films at Museum
    The Museum of Modern Art *>• ** FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart EARLY JOHN FORD FILMS AT MUSEUM Twenty-four early films by one of America's greatest directors, John Ford, will be shown from August 21 through September 28 at The Museum of Modern Art. Dating from 1917 to 1937, the pictures, some of which have not been seen publicly since their original release, have been selected from the Museum's film archive by Adrienne Mancia, Associate Curator, and Larry Kardish, Assistant Curator, Department of Film. John Ford directed more than 130 feature films between 1917 and 1966. He won four Academy Awards for best direction and was honored four times by the New York Film Critics. His credits include "The Iron Horse," "The Lost Patrol," "The Informer," "Stagecoach," "The Grapes of Wrath," "The Long Voyage Home," "My Darling Clementine," "How Green Was My Valley," "Rio Grande," "Mogambo," "Mister Roberts," and "The Man Who Shot Liberty Valence." Among the actors and actresses in "John Ford's Stock Company" were Maureen O'Hara, Henry Fonda, Jane Darwell, Ward Bond, George O'Brien, Anna Lee, Mae Marsh, and a young stunt man named Michael Morrison whom Ford later renamed John Wayne. The Museum's program focuses on Ford's early films, particularly those made for William Fox, which the Museum has preserved by arrangement with 20th Century- Fox. These include his first feature, "Straight Shooting" (1917) and his first Fox picture, "Just Pals" (1920), both films signed "Jack Ford." Also to be shown are "Cameo Kirby" (1923), the first film signed "John Ford"; "Four Sons" (1928), a story of mother love told against the background of World War I; "Up the River" (1930), with Humphrey Bogart and Spencer Tracy at the beginning of their careers.
    [Show full text]