House on 92Nd Street
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Marilyn Monroe and Niagara
Icons are all around us, and often we don’t even question it. So ingrained is their power their image becomes synonymous with what they represent. The Statue of Liberty, a gift from the French, has come to represent a cultural welcome, freedom from oppression. After thousands of immigrants arrivals and generations of hardship, the sighting of the Statue in New York harbor has become iconic. Fifteen minutes of fame does not an icon make. An icon requires survival of a multistep process, which pushes the image to its limits. Firstly, an icon needs to have common roots, at least one foot among the masses. This is what allows the spectator to take ownership and feel connected and makes them a viable icon. An icon cannot be a representative of a group if it is not one of what it stands for. Secondly, the icon while remaining at its base “common”, must have an exceptional, unique qualtiy whic makes it the best example of something. It is the fastest, the highest, or the furthest. After it gains popularity because of these two first qualities, it then must stand a rigorous litany of deconstruction, digestion, and interrogation, before it can reach the fourth phase of being praised, lauded and embraced as the quintessential one of its kind. The irony is that once it claims icon status, all that made it so interesting to begin with has been stripped away. It has been so contorted, manipulated as to be simplified for the masses that only that one outstanding unique quality remains, and everything else is ignored. -
Dean Martin, La Voce Di “That’S Amore”
Dean Martin, la voce di “That’s amore” Dean Martin, pseudonimo di Dino Paul Crocetti (Martin deriva da Martino, cognome della madre molisana), nasce a Steubenville, nello stato dell'Ohio, il 7 giugno 1917. Abbandonata la scuola a sedici anni, compie diversi lavori, compreso il pugile e il benzinaio, fino a quando, con il nome d'arte di Dean Martin, s'impone come cantante a New York. E' il 25 luglio 1946 quando Dean Martin si esibisce per la prima volta in coppia con Jerry Lewis al "Club 500" di Atlantic City. I due artisti danno vita ad un duo comico di successo, che dura per un decennio esatto, realizzando anche quindici film di successo, da "La mia amica Irma" di George Marshall (1949) a "Hollywood o morte!" (1956), passando per "Irma va a Hollywood", "Il sergente di legno", "Quel fenomeno di mio figlio" e "Attente ai marinai", tutti di Hal Walker, tra il 1950 e il 1951, quindi "Il caporale Sam", "Il cantante matto", "Occhio alla palla", "Più vivo che morto", "Il nipote picchiatello" e "Mezzogiorno di fifa", tutti di Norman Taurog, tra il 1952 e il 1955. Ancora: "Morti di paura" e "I figli del secolo" di George Marshall (1953-54), "Il circo a tre piste" di Joseph Pevney (1954), "Artisti e modelle" e "Hollywood o morte!" di Frank Tashlin (1955-56). La coppia è legata anche a programmi televisivi, come il varietà di successo "The Colgate Comedy Hour" (1950), di cui diventano anche conduttori. Il sodalizio artistico s'interrompe il 24 luglio 1956. La carriera di Martin, nonostante la rottura della coppia, continua a mietere successi. -
Announces: NIAGARA Composed by SOL KAPLAN RIVER of NO RETURN Composed by LIONEL NEWMAN, LEIGH HARLINE, and CYRIL MOCKRIDGE Intra
Announces: NIAGARA Composed by SOL KAPLAN RIVER OF NO RETURN Composed by LIONEL NEWMAN, LEIGH HARLINE, and CYRIL MOCKRIDGE Intrada Special Collection Volume ISC 157 Intrada's latest double-header from the 20th Century Fox catalog features two films starring Marilyn Monroe. The first, Niagara (1953), is a tight, nasty film noir, crisply directed by veteran Henry Hathaway and starring Monroe, Joseph Cotten as her tortured husband, and Jean Peters as an innocent young woman whose kindness entangles her with Monroe’s nefarious plans to get rid of her spouse. Composing duties fell to composer Sol Kaplan, whose music for Niagara features an aural landscape of fretfully circling strings, blaring brass, and rumbling percussion. There is unsettling thriller music aplenty here and even the occasional moment of overheated humor. The second score featured is to the 1954 film River of No Return, telling the tale of a rancher with a past (Robert Mitchum), his young son, and a dance hall girl (Monroe) who yearns for a better life – all thrown together by chance and forced to brave Indians, mountain lions, a host of scurvy Western no-accounts, and the vagaries of a wild and woolly river. Their efforts are supported by a delightfully varied and colorful score, delivered by no less than four composers. Lionel Newman wrote the main title song, “River Of No Return,” with lyrics by Fox mainstay Ken Darby, here sung by Tennessee Ernie Ford. This tune—along with another Newman/Darby composition, “Down in the Meadow”—gets considerable instrumental play in the score; both featuring charming pieces of gentle Americana. -
Hathaway Collection
Finding Aid for the Henry Hathaway Collection Collection Processed by: Yvette Casillas, 7.29.19 Finding Aid Written by: Yvette Casillas, 7.29.19 OVERVIEW OF THE COLLECTION: Origination/Creator: Hathaway, Henry Title of Collection: Henry Hathaway Collection Date of Collection: 1932 - 1970 Physical Description: 84 volumes, bound Identification: Special Collection #26 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interest in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Henry Hathaway, circa 1975 . BIOGRAPHICAL/HISTORY NOTE: Henry Hathaway (1898 – 1985) was born Henri Leopold de Fiennes on March 13, 1889, in Sacramento, California, to actress Jean Weil and stage manager Henry Rhody. He started his career as a child film actor in 1911. In 1915 Hathaway quit school and went to work at Universal Studios as a laborer, later becoming a property man. He was recruited for service during World War I in 1917, Hathaway saw his time in the army as an opportunity to get an education. He was never deployed, contracting the flu during the 1918 influenza pandemic. After being discharged from the army in 1918, Hathaway pursued a career in financing but returned to Hollywood to work as a property man at Samuel Goldwyn Studios and Paramount Studios. By 1924 Hathaway was working as an Assistant Director at Paramount Studios, under directors such as Josef von Sternberg, Victor Fleming, Frank Lloyd, and William K. Howard. Hathaway Collection – 1 In 1932 Hathaway directed his first film HERITAGE OF THE DESERT, a western. -
John Wayne at Fox — the Westerns
JOHN WAYNE AT FOX — THE WESTERNS ohn Wayne at Fox – not a lot of films, Bernstein’s music is as iconic and big as the federate who decides to burn his plantation but some extraordinarily entertaining Duke himself. (rather than leave it to the carpetbaggers) Jones. Interestingly, John Wayne’s first and take his people to Mexico. Wayne is a credited screen appearance, The Big Trail, A year earlier, the John Wayne Fox western Union soldier trying to sell horses – the two was for Fox. The 1930 western should have was North to Alaska, a big, sprawling comedy former enemies join up and there follows made him a star – but it didn’t. Wayne toiled western starring the Duke, Stewart Granger, much excitement, drunken brawls, a romance in all kinds of films for all kinds of studios enticing Capucine, Ernie Kovacs and teen between Wayne’s adopted Indian son and and it took John Ford and his smash hit film, heartthrob Fabian. The director was Henry Hudson’s daughter, and more excitement, all Stagecoach, to make Wayne an “overnight Hathaway, a regular at Fox, who’d helmed rousingly scored by Hugo Montenegro. sensation” and box-office star. Unlike many such classics as The House on 92nd Street, of the stars of that era, Wayne wasn’t tied to Call Northside 777, Kiss of Death, Fourteen Montenegro, born in 1925, began as an or- one studio – he bounced around from studio Hours, Niagara, Prince Valiant and many chestra leader in the mid-1950s, then going to studio, maintaining his independence. He others, as well as several films with Wayne, to Time Records, where he did several great returned to Fox in 1958 not for a western but including The Shepherd of the Hills, Legend albums in the early 1960s. -
The Birth of the Auteur – How the Studio Production Process Kept the Director Both in and Under
The Birth of the Auteur – How the Studio Production Process Kept the Director both in and Under Ronny Regev Working Paper #47, Spring 2012 The Birth of the Auteur – How the Studio Production Process Kept the Director both In and Under Control Ronny Regev Phd Candidate in History, Princeton University [email protected] During the golden age of the Hollywood studios, what was the difference between the creative status of a screenwriter and that of a director? Consider the production of Lives of a Bengal Lancer, a Paramount picture based on a novel by Francis Yeats-Brown that followed the struggles of three British soldiers in India. Initial work on the screenplay was assigned to two writers by the names of Malcolm Stewart Bailey and Harvey Gates in early 1932. As writer Grover Jones testified, “in those days we used to write scripts alphabetically as the sequence came, A, B, C and so on. Well, they wrote and wrote and got a little discouraged, and finally got down to F and said, ‘the hell with it,’ and quit.” Then the job was handed over to Jones and his partner William Slavens McNutt. They wrote a script but the studio decided not to pursue it. Afterwards, “two or three years went by, maybe four. Writers came from all over the world to work on Bengal Lancer. They were from every place. And the cost accumulated – I have forgotten the exact figure now – almost up to $300,000, $400,000 or half a million.” At that point director Henry Hathaway came on board. -
Download NOVEMBER 1945.Pdf
Confidential - Restricted to the use of Law Enforcement officials. november HEADQUARTERS OF THE FBI, DEPARTMENT OF JUSTICE BUILDING, Vol. 14 WASH I NG TON, D. C. No. 11 The Federal Bureau of Investigation, United States Department of Justice, is charged with the duty of investigating violations of the laws of the United States and collecting evidence in cases in which the United States is or may be a party in interest. The following list indicates some of the major violations over which the Bureau has investigative jurisdiction: Espionage, Sabotage, Violations of the Neutrality Act and similar matters related to Internal Security National Motor Vehicle Theft Act Interstate transportation of stolen property valued at $5,000 or more National Bankruptcy Act Interstate flight to avoid prosecution or testifying in certain cases White Slave Traffic Act Impersonation of Government Officials Larceny of Goods in Interstate Commerce Killing or Assaulting Federal Officer Cases involving transportation in interstate or foreign commerce of any persons who have been kidnaped Extortion cases where mail is used to transmit threats of violence to per· sons or property; also cases where interstate commerce is an element and the means of communication is by telegram, telephone or other carrier Theft, Embezzlement or Illegal Possession of Government Property Antitrust Laws Robbery of National Banks, insured banks of the Federal Deposit Insurance Corporation, Member Banks of the Federal Reserve System and Federal Loan and Savings Institutions National Bank and Federal Reserve Act Violations, such as embezzlement, abstraction or misapplication of funds Crimes on any kind of Government reservation, including Indian Reserva- tions or in any Government building or other Government property Neutrality violations, including the shipment of arms to friendly nations Frauds against the Government Crimes in connection with the Federal Penal and Correctional Institutions Perjury, embezzlement, or bribery in connection with Federal Statutes or ". -
Hathaway's Niagara
1 Niagara Reviewed by Garry Victor Hill Directed by Henry Hathaway. Produced by Charles Brackett. Screenplay by Charles Brackett, Richard L. Breen and Walter Reisch. Cinematography by Joseph Mac Donald. Art Direction by Maurice Ransford and Lyle Wheeler. Original Music by Sol Kaplan. Song ‘Kiss’ by Lionel Newman and Haven Gillespie. Edited by Barbara Mclean. Key Costumer: Dorothy Jenkins. Cinematic length: 88 minutes. Distributed by Twentieth Century Fox. Cinematic release: January 1953. DVD release 2006. Check for ratings. Rating 85%. Images are taken from the Public Domain and Wiki derivatives with permission. Written Without Prejudice 2 Cast Marilyn Monroe as Rose Loomis Joseph Cotten as George Loomis Jean Peters as Polly Cutler Casey Adams as Ray Cutler Denis O'Dea as Inspector Starkey Richard Allan as Patrick Don Wilson as Mr. Kettering Lurene Tuttle as Mrs. Kettering Russell Collins as Mr. Qua Will Wright as the boatman Harry Carey Jr. as the taxi driver 3 Review The filmmakers behind the suspense drama Niagara clearly learned a good deal from Hitchcock and the makers of earlier film noir efforts. That is no derogatory comment, for the film gains from the similarities. The themes here of obsessive love and the detection and pursuit of a murderer was frequently used by Hitchcock. The slow, sinister pacing, the depiction of a society where something below the surface normality is not right and an emerging danger appear very much in the Hitchcock mode. Also very much in Hitchcock’s style is the chase through the city of Niagara and then the carillon tower, the denouement and the slightly abrupt ending. -
Bill Wrobel's DVD Collection, Review & Music Analysis
Bill Wrobel’s DVD Collection, Review & Music Analysis A man is often known by the company he keeps. I suppose this applies not only to people routinely around him but also to the specific kinds of music and dvds he purchases as a personal collection to enjoy. As John Burroughs wrote in his poem, Waiting : “My own shall come to me.” This is the law of attraction (like attracts like). Now: Food for the soul to me includes music. Music for most people is obviously a pleasure, refined or not, ridiculous or sublime. Music can calm ones nerves in the stresses of life; reminds you of the heavenly; reminds you of beauty while sometimes involved in the ugliness or drudgery of daily life; helps you feel better when life gets you down, and restores harmony and peace (if only temporarily). I happen to love Golden Age and Silver Age music (music that I grew up with), and of course this includes Romantic era classical music especially (Tchaikovsky, Delibes, Wagner, etc.). As most people who read my site already know, my top favorite film composers are Bernard Herrmann and Max Steiner. Then I like Jerry Goldsmith in most cases, Miklos Rozsa, Dimitri Tiomkin, John Barry, and so forth. So obviously I will buy dvds (and cds) that contain their music. I tend to buy more dvds than cds because the music was intended to be paired with the images on the screen. I enjoy both mediums but music married with film is the best or most effective expression since it was meant for that particular art medium. -
A Film-Study Firm Indiana Univ., Bloomington. Audio-Visual Center. Audiovisual Ai
DOCUMENT RESUME ED 111 332 IR 002 321 TITLE From "A" to "Yellow Jack"; A Film-Study Firm ColleciiOn. INSTITUTION Indiana Univ., Bloomington. Audio-VisualCenter. PUB DATE 75 NOTE 88p. EDRS PRICE MF-$0.36 HC-$4.43 Plus Postage DESCRIPTORS Audiovisual Aids; *Catalogs; Film Libraries; Film Production; *Film Production Specialists; *Films; *Film Study; Glossaries; *InstructionalMaterials Cente'r-s; Video Tape Recorddn-gs IDENTIFIERS _ *Indiana University Audio Visual Center ABSTRACT Illustrative material in the area of filmstudy available from the Indiana University Audio-VisualCenter is listed and described. Over 250 selected filmsare included, representing experimental films, film classics, historicallyinteresting films, works of recognized directors, and films whichare models of film techniques. Recent film acquisitionsare also described, including featurefilm excerpts from the Teaching FilmCustodians collection .representing the work of recognized Hollywooddirectors. Each entry is summarized and its significance in filmstudy explained; length, color and rental price are given. Entriesare also indexed by subject and by director. A glossary of film terms isappended. (SK) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from othersources. ERIC makes every effort * * to obtain the best copy available. nevertheless,items of marginal * * reproducibility are often encountered and thisaffects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * * via the ERIC Document Reproduction Service (EDRS).EDRS is not * responsible for the quality of the original document.Reproductions * * supplied by EDRS are the best that can be madefrom the original. *****,o**************************************************************** lac "stbos or\ II 1 o Go\\eck\ \0 Genkei Ftoo" I\'A\0-Sod`iP,Nolo.\1\svet.\ \30ve(s\y ioac\a, 1 rOor ,ygg* ,oete II_ PP- .411111.- . -
Introduction
Introduction Crime Film and the Messy City Many a commercial film or television production is a genuine achievement besides being a commodity. Germs of new beginnings may develop within a thoroughly alienated environment. —Siegfried Kracauer, Theory of Film ❧ n 1974, Vincent Canby wrote a piece for the New York Times, titled “New York Woes Are Good For Box Office,” that puzzled over the Ispate of films that had been made in the city over the last few years. What confused Canby was why so many recent films that portrayed New York so unfavorably—he cites Serpico (1973), The Super Cops (1974), Law and Disorder (1974), Mean Streets (1973), Death Wish (1974), For Pete’s Sake (1974), and The Taking of Pelham One Two Three (1974)—were seemingly so popular: New York is a mess, say these films. It’s run by fools. Its citi- zens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic is impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip. (1) 1 © 2018 State University of New York Press, Albany 2 Welcome to Fear City Pointing out that New York has been a mess for much of its history, Canby was less fretful about the negative portrayal of the city in these films than curious as to why, at this moment, the mess of the city had become a subject of interest. -
100 Rifles Worldwide 11 Harrowhouse Worldwide 12
100 Rifles Worldwide 11 Harrowhouse Worldwide 12 Rounds Worldwide 12 Rounds 2: Reloaded Worldwide 127 Hours Italy 20,000 Men a Year Worldwide 23 Paces to Baker Street Worldwide 27 Dresses Worldwide 28 Days Later Worldwide 3 Women Worldwide 45 Fathers Worldwide 500 Days of Summer Worldwide 9 to 5 Worldwide 99 and 44/100% Dead Worldwide A Bell For Adano Worldwide A Christmas Carol Worldwide A Cool Dry Place Worldwide A Cure for Wellness Worldwide A Farewell to Arms Worldwide A Girl in Every Port Worldwide A Good Day to Die Hard Worldwide A Guide for the Married Man Worldwide A Hatful of Rain Worldwide A High Wind in Jamaica Worldwide A Letter to Three Wives Worldwide A Man Called Peter Worldwide A Message to Garcia Worldwide A Perfect Couple Worldwide A Private's Affair Worldwide A Royal Scandal Worldwide A Tree Grows in Brooklyn Worldwide A Troll in Central Park Worldwide A Very Young Lady Worldwide A Walk in the Clouds Worldwide A Walk With Love and Death Worldwide A Wedding Worldwide A-Haunting We Will Go Worldwide Abraham Lincoln: Vampire Hunter Worldwide Absolutely Fabulous Worldwide Ace Eli and Rodger of the Skies Worldwide Adam Worldwide Advice to the Lovelorn Worldwide After Tomorrow Worldwide Airheads Worldwide Alex and the Gypsy Worldwide Alexander's Ragtime Band Worldwide Alien Worldwide Alien Resurrection Worldwide Alien Vs. Predator Worldwide Alien: Covenant Worldwide Alien3 Worldwide Aliens Worldwide Aliens in the Attic Worldwide Aliens Vs. Predator - Requiem Worldwide All About Eve Worldwide All About Steve Worldwide All That