Jerry Lewis Est Le Seul, À Hollywood, À Ne

Total Page:16

File Type:pdf, Size:1020Kb

Jerry Lewis Est Le Seul, À Hollywood, À Ne 1 Jerry Lewis est le seul, à Hollywood, à ne pas tomber dans les catégories et normes établies." Lorsqu'il écrit cette louange, en 1963, Jean-Luc Godard vient de tourner Le mépris. Un sentiment que portent, précisément, les critiques américains au "génie" vanté par JLG. "Vivre aux États- Unis, constate l'historien du cinéma David Thompson, c'est affronter l'incrédulité des gens quand on leur parle avec sérieux de Jerry Lewis. Peu de griefs peuvent être retenus ici contre les Français qui soient aussi graves 2 que leur amour pour lui." Le petit juif de Newark aurait ainsi vécu sa vie d'artiste dans l'incompréhension de ses compatriotes, tandis qu'il serait une valeur comique prisée de ce côté-ci de l'Atlantique ? Méfions-nous des raccourcis, même si la condescendance des médias new-yorkais pour ses réalisations accentua la schizophrénie d'un créateur à la fois primitif et complexe, enfantin et malin, cool et névrosé. Né en 1926 dans le New Jersey, Joseph Levitch observe, dès son plus jeune âge, 3 ses parents faire la tournée des cabarets. Il n'est pas rare que sa mère, Rae Brodsky, accompagne au piano son père, Danny Lewis, dans ses numéros de clown et de vaudeville... loin de leur fils élevé, pendant ce temps, par mamie Brodsky. "Toute ma vie, j'ai eu peur d'être seul", racontera plus tard Jerry. Redoutant d'être abandonné et désireux d'imiter ses parents, Joey a 6 ans lorsqu'il monte, pour la première fois, sur scène afin de chanter. Cinq ans plus tard, il met au point un gag avec une amie, lui faisant remuer la 4 bouche en play-back sur un disque de chansons interprétées par des célébrités. Peu après, Joey quitte l'école et aborde, à 15 ans, le one-man show avec ce même sketch de pantomime sur de la musique enregistrée. Rebaptisé Jerry Lewis, le jeune homme de 17 ans, maigre et rongé par l'ambition, multiplie les engagements. "Si Jerry avait du génie pour faire l'idiot, se souviendra son agent Abby Greshler, c'était aussi un gamin terrorisé, avec une petite voix haut perchée. Il avait peur de s'exprimer. En 5 faisant un numéro de play-back, il n'était pas obligé de parler, les disques le faisaient à sa place." Il est cependant un domaine où Lewis se surpasse. En 1944, après une cour effrénée, Jerry épouse Patti Palmer, chanteuse dans des orchestres de jazz. Quelque temps plus tard, le mime en play-back fait une autre rencontre décisive. Celle d'un crooner qui ne tarde pas à remplacer le frère qu'il n'a pas eu. Fasciné par l'aisance et l'allure de Dean Martin, Jerry décèle en lui un don 6 inexploité: "Il avait un sens de l'humour qui tombait juste à chaque fois." La paire improvise, un soir, un numéro d'après- spectacle, durant lequel les grimaces et le jeu outré de Lewis s'opposent à la nonchalance et aux chansons sucrées de Martin. Ils mettent pourtant deux ans avant d'exploser en duo, à Atlantic City, en 1946. "Il suffisait que j'écrive l'ossature d'un sketch, expliquera Jerry, et Dean me suivait, personne ne sachant à partir de quel moment on improvisait! " Au public enamouré de Martin s'ajoute celui, 7 plus enfantin, conquis par les pitreries de Lewis. Ayant acquis la protection des propriétaires mafieux des plus grands cabarets de la côte Est, Jerry et Dean séduisent bientôt Hollywood, sans pour autant faire l'unanimité. "Le Rital est pas mal, mais qu'est-ce que je fais du singe? ", demande ainsi Louis B. Mayer à ceux qui le poussent à les engager. Doublant la MGM, Hal Wallis fait signer Lewis et Martin à la Paramount. Alors qu'il tourne Le soldat récalcitrant, le duo affiche complet dans 8 toutes les salles du pays et anime ses propres shows à la radio et sur NBC. Installé avec Patti et leurs six fils à Los Angeles, Lewis partage ses journées entre un travail acharné et la drague compulsive de starlettes. "Jerry venait chez nous moins souvent que Dean, se rappellera le propriétaire du Ciro's Herman Hover. Il était impétueux et aimait tirer la couverture à lui. Tout le monde aimait Dean et quasiment personne n'appréciait Jerry. " Pourtant, si l'affabilité de Martin 9 recouvre une profonde indifférence, l'ego surdimensionné de Lewis n'est que la traduction d'un besoin insatiable d'être aimé. Perfectionniste intervenant de plus en plus dans la production de leurs films, Jerry devient l'élément dynamique du duo. Celui, également, qui fait rire le public. Le déséquilibre s'accentue dans les œuvres de Frank Tashlin qui permettent au comique visuel et burlesque de Lewis de s'exprimer au détriment d'un Martin chantant, mais réduit aux utilités. Après Artistes et modèles et Un vrai cinglé de 10 cinéma, le tandem s'autodétruit. Jerry s'affranchit en créant, en 1959, sa propre maison de production puis en abordant, après Cendrillon aux grands pieds, la réalisation. Premier essai et coup de maître, Le dingue du palace est un merveilleux hommage au slapstick, virtuose et abstrait, dans lequel Jerry se réserve un rôle muet. "Dans leur profusion même, notera Jacques Lourcelles, les gags de Lewis produisent une double impression de plénitude et d'inquiétude." Revenant pour Le tombeur de ces dames à son 11 personnage d'ado frustré, plongé dans l'univers coloré et criard d'un matriarcat hystérique, Jerry "fait, selon Jean-Pierre Coursodon, de sa mise en scène un jeu et un exercice de pouvoir" et livre une vision décapante de l'Amérique. Plus tard, l'artiste s'en défendra: "Je ne me suis jamais lancé dans la moindre satire de l'american way of life! " Mais comment ne pas voir, dans l 'expérimental Zinzin d'Hollywood, un démontage de l'usine à rêves, le cinéma y étant réduit à sa plus simple mécanique? Et comment ne pas 12 relever, avec Docteur Jerry et Mister Love, où s'affrontent pulsions et raison, une critique acerbe du show-biz et d'une société pratiquant le culte de la jeunesse et de la beauté ? Que Lewis y parodie Dean Martin n'empêche pas le public et, pour une fois, la critique d'adhérer. Mais après Jerry souffre-douleur, qui souligne ses désillusions, Lewis amorce un déclin. Les thèmes de la régression infantile et de la folie tournent au procédé. Ses gags perdent en qualité. Et l'Amérique, plongée dans le drame du 13 Vietnam et l'explosion des ghettos, ne s'accepte plus dans le miroir grimaçant que lui tend son clown schizo. D'autant que ce dernier souffre aussi dans sa chair. Victime, en 1965, d'un tassement des vertèbres, suite à une cascade sur scène, Jerry devient accro aux antidouleurs, qui en font un drogué, et à la rancœur. L'impossibilité d'achever The Day the Clown Cried, dans lequel il incarne, avant Benigni, un clown accompagnant des enfants dans les chambres à gaz, renforce sa dépression. 14 Lewis traverse les années 70 sans repères, suicidaire, pour se retrouver divorcé de Patti, puis remarié. Il ne sait toujours pas où il en est, tient le cap grâce au Téléthon, auquel il participe depuis 1951 et dont il devient l'ambassadeur, mais sans renoncer à tourner quasi simultanément dans d'affligeantes comédies françaises et pour Martin Scorsese. La valse des pantins, face à De Niro, le voit, en clone glaçant de lui-même, tomber le masque. "Il y a une grande colère en lui, racontera Scorsese. Je l'entends encore marmonner: 15 "Tu veux être une star? Alors tu en baves pendant quarante ans ou tu descends dans la rue abattre quelqu'un de célèbre! " "Jerry est un dur! " Il est surtout résistant, alternant prestations télé, apparitions chez Seidelman et Kusturica, rechutes de santé... pour finir par décrocher, en 1995, le rôle du diable dans Damn Yankees, avec le plus gros cachet de Broadway. Et si Lewis avait été plus méconnu qu'incompris? Le clown en colère de Newark âgé de 87 ans mais déclarant 16 "9 ans d'âge mental", a inspiré des comiques aussi différents que le Français Michel Leeb, le Canadien Jim Carrey et, dans son propre pays, Adam Sandler et les frères Farrelly. De quoi rendre ce grand mégalo encore plus schizo... 17 A 80 ans, vous voilà maintenant écrivain. C'est pour vous une manière de faire défiler votre vie, et d'abord d'évoquer la mémoire de votre ami Dean Martin, avec qui vous aviez formé ce duo comique légendaire. Ecrire m'a rendu heureux. J'ai vraiment ouvert mon cœur à chaque page. En écrivant, j'avais le sentiment que Dean était à mes côtés, qu'il approuvait ce que je faisais. Cela a donné à l'enfant qui est en moi de la force, de la fierté, de 18 l'innocence. L'écriture m'a servi de thérapie. Si je revenais déprimé d'un spectacle, elle me remettait en selle. J'ai envoyé mon manuscrit à Elie Wiesel, qui est un très bon ami, avant de me décider à le publier. Il m'a dit qu'il y avait retrouvé ma voix, mon amour, ma souffrance, aussi... Dean Martin me manque aujourd'hui autant que lorsque nous nous sommes séparés il y a cinquante ans. Pendant dix ans, de 1946 à 1956, votre duo Martin & Lewis s'est produit sur 19 scène, à la radio, à la télévision, au cinéma J'ai revu récemment quelques sketchs de l'émission télé Martin & Lewis Colgate Comedy Hour.
Recommended publications
  • Copyright by Jodi Heather Egerton 2006
    Copyright by Jodi Heather Egerton 2006 The Dissertation Committee for Jodi Heather Egerton Certifies that this is the approved version of the following dissertation: “Kush mir in tokhes!”: Humor and Hollywood in Holocaust Films of the 1990s Committee: _________________________ Mia Carter, Co-Supervisor _________________________ Ann Cvetkovich, Co-Supervisor _________________________ Pascale Bos _________________________ John Ruszkiewicz _________________________ Phillip Barrish “Kush mir in tokhes!”: Humor and Hollywood in Holocaust Films of the 1990s by Jodi Heather Egerton, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2006 Dedication For Grandma Gertie and Grandma Gert, for filling me with our stories. For Owen, my beloved storyteller. For Arden, the next storyteller. Acknowledgements Thank you to Ann Cvetkovich and Mia Carter, for your unending support and insight, to Sabrina Barton and Phil Barrish, for guiding me especially in the early stages of the project, to Pascale Bos, for the scoop, and to John Ruszkiewicz, for helping me to discover who I am as a teacher and a scholar. Thank you to my early academic mentors, Abbe Blum, Nat Anderson, Alan Kuharski and Tom Blackburn, and my early academic colleagues Rachel Henighan, Megin Charner, and Liza Ewen, my Swarthmore community who continue to inspire me. Thank you to Joyce Montalbano, my second and fifth grade teacher, who honored the spark she saw in me and showed me the excitement of an intellectual challenge. Thank you to Eliana Schonberg and Ashley Shannon, because I can’t imagine any of this without you.
    [Show full text]
  • The Last Laugh
    THE LAST LAUGH A Tangerine Entertainment Production A film by Ferne Pearlstein Featuring: Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Susie Essman, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Abraham Foxman, Lisa Lampanelli, David Cross, Roz Weinman, Klara Firestone, Elly Gross, Deb Filler, Etgar Keret, Shalom Auslander, Jake Ehrenreich, Hanala Sagal and Renee Firestone Directed, Photographed and Edited by: Ferne Pearlstein Written by: Ferne Pearlstein and Robert Edwards Produced by: Ferne Pearlstein and Robert Edwards, Amy Hobby and Anne Hubbell, Jan Warner 2016 / USA / Color / Documentary / 85 minutes / English For clips, images, and press materials, please visit our DropBox: http://bit.ly/1V7DYcq U.S. Sales Contacts Publicity Contacts [email protected] / 212 625-1410 [email protected] Dan Braun / Submarine Janice Roland / Falco Ink Int’l Sales Contacts [email protected] [email protected] / 212 625-1410 Shannon Treusch / Falco Ink Amy Hobby / Tangerine Entertainment THE LAST LAUGH “The Holocaust itself is not funny. There's nothing funny about it. But survival, and what it takes to survive, there can be humor in that.” -Rob Reiner, Director “I am…privy to many of the films that are released on a yearly basis about the Holocaust. I cannot think of one project that has taken the approach of THE LAST LAUGH. THE LAST LAUGH dispels the notion that there is nothing new to say or to reveal on the subject because this aspect of survival is one that very few have explored in print and no one that I know of has examined in a feature documentary.” -Richard Tank, Executive Director at the Simon Wiesenthal Center SHORT SYNOPSIS THE LAST LAUGH is a feature documentary about what is taboo for humor, seen through the lens of the Holocaust and other seemingly off-limits topics, in a society that prizes free speech.
    [Show full text]
  • The Parkes Institute for the Study of Jewish
    The Parkes Institute for the study of Jewish/non-Jewish relations Annual Review 2015 - 2016 In summer 2016, Kathrin Pieren and Tony Kushner organised the first Parkes International Workshop on 1 Jewish Heritage, generously supported by the Rothschild Foundation Europe (Hanadiv). See page 13 for the full report. Here, the value of the hand-in-hand of museum work and academic research was illustrated by the excellent talk by Dr Alla Sokolova, Curator at the State Museum of the History Religions in St Petersburg and Lecturer at the European University of St Petersburg. She presented the results of a field study related to an exhibition of Jewish family heirlooms that she organised a few years ago. The exhibits, many of them everyday items such as photographs or pieces of clothing, were charged with meaning by the lenders, Jewish individuals, some of whom are shown in the pictures on this page. 3 3 4 7 2 1. Natalia F. shows her 2 father’s tallit 2. Boris F. with a Kiddush glass 3. Ulia O. with candlesticks and a wine decanter 4. The Holy Union Temple in Bucharest 5. Mrs. L. during the interview 6. Mr Futeran at his home in Tomash’pol 7. INGER Hersh (cover), KHASHCHEVATSKY M. (text), In Shveren Gang, Kharkov, 1929 5 In this review Report of the Director of the Parkes Institute, Professor Joachim Schlör 4 The Parkes Jubilee Celebrations 7 In memoriam David Cesarani (1956 to 2015) 8 Parkes Institute Outreach Report 2015-16 10 Conferences, Workshops, Lecturers and Seminars 13 Journals of the Parkes Institute 16 Development 17 Internationalisation
    [Show full text]
  • Pacific Palisades
    Palisadian-Post Serving the Community Since 1928 20 Pages Thursday, August 24, 2017 ◆ Pacific Palisades, California $1.50 LAPD Using ‘Al Capone’ Playbook to Thwart Ruthless Ryderz By GABRIELLA BOCK and have to pay hefty fines […] Reporter they’ll tell their friends—a few rounds of this and they’ll go out n an effort to make Sunset seek out someplace else to ride.” Boulevard safer, the Los An- Spearheaded by Alphabet Igeles Police Department has for- Streets resident Paula Leonhaus- mulated a back-door approach to er, the task force was devised in crackdown on illegal motorbike the wake of the fatal crash on activity in Pacific Palisades. April 2 between members of the On Thursday, Aug. 17, Ruthless Ryderz and a vehicle LAPD made a guest appear- carrying four teenagers at the ance at the Sunset Corridor Task intersection of Sunset Boulevard Force’s commemorative meet- and Chautauqua Avenue. ing, revealing its plan for action. The incident, which is still Instead of focusing on speed under investigation, took the life crimes, which often don’t go to of 38-year-old Ruthless Ryder trial if not clocked by a radar David “Babyface” Babylon and gun, LAPD officers are citing injured four others. motorbike riders with equipment Since April, LAPD has con- violations. ducted 10 task force nights on This, say Palisadians, is in- Wednesday and Sunday eve- ventive thinking: “When the nings, most recently on Aug. cops could not arrest Al Capone 16, where officers issued several Pictured, from left, back row: Officers O’Dea and Basaker, and Sergeant Eun; front row: Jill Smith, Nina Madok and Paul Leonhauser for murder, they used tax eva- equipment violation citations, Rich Schmitt/Staff Photographer sion to bring him down.
    [Show full text]
  • Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust
    Bellarmine University ScholarWorks@Bellarmine Undergraduate Theses Undergraduate Works 4-28-2017 Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust Audrey M. Hehman Bellarmine University, [email protected] Follow this and additional works at: https://scholarworks.bellarmine.edu/ugrad_theses Part of the United States History Commons Recommended Citation Hehman, Audrey M., "Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust" (2017). Undergraduate Theses. 22. https://scholarworks.bellarmine.edu/ugrad_theses/22 This Honors Thesis is brought to you for free and open access by the Undergraduate Works at ScholarWorks@Bellarmine. It has been accepted for inclusion in Undergraduate Theses by an authorized administrator of ScholarWorks@Bellarmine. For more information, please contact [email protected], [email protected]. 1 Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust Discussion Audrey Hehman Bellarmine University Honors Thesis Advisor: Dr. Fedja Buric 2 Part I: There’s No Business Like Shoah Business “It’s a truism… that we never directly encounter events, only representations of events, which offer different versions of events. The more highly charged the event, the more evocative it is, the greater the incentive to become invested in different versions of it.”1 This is true of any historic event, but quite possibly the best event to fit this description is the Holocaust of the Jews in Europe. Those of us who did not endure the concentration camps have no way to know exactly how it felt to be in that situation. Elie Wiesel said this while criticizing the acclaimed mini-series Holocaust.2 We only know what we have seen in the representation of the event, so we have seen different versions of the Shoah3.
    [Show full text]
  • 1 42.347 Dr. Stallbaumer-Beishline Holocaust Through Hollywood's
    1 42.347 Dr. Stallbaumer-Beishline Holocaust through Hollywood's Eyes Holocaust Films: “Imagining the Unimaginable” The average American's most extensive exposure to the Holocaust is through popular filmic presentations on either the "big screen" or television. These forums, as Ilan Avisar points out, must yield “to popular demands and conventional taste to assure commercial success."1 Subsequently, nearing the successful completion of this course means that you know more about the Holocaust than the average American. This assignment encourages you to think critically, given your broadened knowledge base, about how the movie-television industry has treated the subject. Film scholars have grappled with the unique challenge of Holocaust-themed films. Ponder their views as you formulate your own opinions about the films that you select to watch. Annette Insdorff, Indelible Shadows: Film and the Holocaust (1989) "How great a role are films playing in determining contemporary awareness of the Final Solution? . How do you show people being butchered? How much emotion is too much? How will viewers respond to light-hearted moments in the midst of suffering?" (xviii) "How do we lead a camera or a pen to penetrate history and create art, as opposed to merely recording events? What are the formal as well as moral responsibilities if we are to understand and communicate the complexities of the Holocaust through its filmic representations?" (xv) Ilan Avisar, Screening the Holocaust: Cinema's Images of the Unimaginable (1988) "'Art [including film making] takes the sting out of suffering.'" (viii) The need for popular reception of a film inevitably leads to "melodramatization or trivialization of the subject." (46) Hollywood/American filmmakers' "universalization [using the Holocaust to make statements about contemporary problems] is rooted in specific social concerns that seek to avoid burdening a basically indifferent public with unbearable facts of the Nazi genocide of the Jews.
    [Show full text]
  • Der Clown MITTWOCH, 3
    DasErste.de Der Clown MITTWOCH, 3. FEBRUAR 2016, 22:45 UHR 1 „ When you rule by fear, laughter is the most frightening sound in the world. „ aus dem Originaldrehbuch „The Day The Clown Cried“ Der Clown Deutschland 2016 Kurzinhalt Der Film „The Day The Clown Cried“ unter der Regie von Hollywood-Ikone Jerry Lewis ist ein Film-Phantom. 1972 in Schweden und Frankreich gedreht, kam das Werk nie in die Kinos. Mythen und Legenden ranken Stab sich um seine Entstehung und die Gründe für sein Verschwinden. Gemeinsam mit sechs alten Schau- Regie Eric Friedler spielern, die damals an dem Projekt beteiligt waren, Buch Eric Friedler, Silke Schütze nähert sich Regisseur Eric Friedler einem der meist- Regieassistenz Leonhard Koppelmann gesuchten Filme der Kinogeschichte. Kamera Thomas Schäfer, Frank Groth, James Stoltz, Georgij Pestov Ton Marten van de Voort, Christoph Klein Schnitt Andrea Schröder-Jahn, Sophie Kill Mischung Sascha Heiny Fachberater Wolfgang Jacobsen Produktionsleitung Katja Theile, Tim Carlberg, Angelika Brix Redaktion Patricia Schlesinger Produktionsangaben Länge 115 Minuten Format HD, 16mm Drehorte Berlin, Las Vegas, Paris, Stockholm „Der Clown“ ist eine Produktion des NDR. Der Clown Inhalt „The Day The Clown Cried“ ist einer der meistgesuchten Gaskammer bringen. Er entscheidet sich, sie in den War die Filmstory, 27 Jahre nach Kriegsende, am Ende zu Bildern von eigener Kraft, spannt einen Bogen Filme Hollywoods, ein Filmphantom: nie gesehen, viel Tod zu begleiten. Dieser Film hätte ein „Meilenstein in zu radikal? Einige dieser Schauspieler leben noch – zwischen Gegenwart und Vergangenheit und lässt diskutiert, weltweit seit mehr als 40 Jahren vergeb- der Filmgeschichte“ werden können, so die Experten- und besitzen ihre Drehbücher.
    [Show full text]
  • Up from the Borscht Belt: Jerry Lewis, Jewish Geniusan Historical Review/J
    Up from the Borscht Belt: Jerry Lewis, Jewish GeniusAn Historical Review/J. Dorinson 144 Up from the Borscht Belt: Jerry Lewis, Jewish Genius An Historical Review Joseph Dorinson1 ABSTRACT The French love Jerry Lewis because he fused hysteria, regression, and physical comedy on both stage and screen while American audiences were more ambivalent in response to our “sacred monster.” This revisionist study attempts to show Mr. Lewis in a more positive light as modern Renaissance Man—actor, comedian, auteur, director, teacher, philanthropist-- who wrestled with knotty issues of cultural identity, physical pain, family dysfunction, and a roller-coaster career in comedy. Rediscovering his Jewish roots, Jerry Lewis found inner-peace, fruition in creativity, and that the French were right after all. Keywords: Sacred Monster, psychic splitting, Putz and the Playboy, male bonding, Tzadakah, tumbler, Borscht Belt Introduction The Early Life of Joseph Levitch If Jesus saves, then Moses invests. And that's a six-percent difference; advantage to our tribe. Jews are funny people: funnier in fact than highly serious followers of Christ. Jerry Lewis ne Joseph Levitch, the principal subject of this paper, was born into the culture of Moses in 1926. But early in the game of life, he discovered that mainstream America preferred a white Christmas to a happy 1 Joseph Dorinson is a professor in the History Department at Long Island University, [email protected] Israeli Journal for Humor Research, June 2014, Issue 5 Up from the Borscht Belt: Jerry Lewis, Jewish GeniusAn Historical Review/J. Dorinson 145 Chanukah (or "Happy Harmonica" in the self-mockery of Groucho Marx); so he changed his name, his partner, his associates, and married a snub-nosed shiksa named Patti.
    [Show full text]
  • A Will for Willa Cather
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri School of Law Missouri Law Review Volume 83 Issue 3 Article 7 Summer 2018 A Will for Willa Cather Thomas E. Simmons Follow this and additional works at: https://scholarship.law.missouri.edu/mlr Part of the Law Commons Recommended Citation Thomas E. Simmons, A Will for Willa Cather, 83 MO. L. REV. (2018) Available at: https://scholarship.law.missouri.edu/mlr/vol83/iss3/7 This Article is brought to you for free and open access by the Law Journals at University of Missouri School of Law Scholarship Repository. It has been accepted for inclusion in Missouri Law Review by an authorized editor of University of Missouri School of Law Scholarship Repository. For more information, please contact [email protected]. Simmons: A Will for Willa Cather A Will for Willa Cather Thomas E. Simmons* ABSTRACT ........................................................................................................ 642 I. INTRODUCTION .............................................................................................. 642 II. DISCUSSION.................................................................................................. 647 A. Artistic Sensibilities and the Desire to Preserve and Obscure ............. 648 B. Origins and a Brief Introduction to Trust Architecture ........................ 665 C. Types of Trusts: A Proposed Taxonomy ............................................... 671 1. Charitable Purpose Trusts .............................................................
    [Show full text]
  • Holocaust Filmography & Tvography
    1 Holocaust through Hollywood's Eyes Dr. Stallbaumer-Beishline Hollywood is being defined here as produced in or by Americans or distributed to American audiences. Subsequently, most of the films are in English. The Holocaust may refer narrowly to the extermination of European Jews or more broadly victims of Nazi racism; perpetrators; bystanders; and post-war trials and tribulations of survivors, perpetrators, or bystanders. The Holocaust may be used as a plotting device that explains character motivations which raises question about the potential use or abuse of history in film. The list is divided into films or movies (Filmography) and made for television films or episodes (TVography). Wikipedia maintains a useful list: https://en.wikipedia.org/wiki/List_of_Holocaust_films organized chronologically into films and documentaries. Filmography1 Adam Resurrected "In the aftermath of WWII, a former circus entertainer who was spared from the gas chamber becomes the ringleader at an asylum for Holocaust survivors." 2008. Amen "During WWII SS officer Kurt Gerstein tries to inform Pope Pius XII about Jews being sent to concentration camps. Young Jesuit priest Riccardo Fontana gives him a hand." Dir. Costa- Gavras. 2002. Apt Pupil “A boy blackmails his neighbour after suspecting him to be a Nazi war criminal.” 1998. The Aryan Couple (or The Couple) "A WWII Drama about a German/Jewish industrialist who, in order to ensure his family's safe passage out of Germany, is forced to hand over his business to the Nazis." 2004. The Assisi Underground "Based on the best-selling documentary novel, this film sheds light on the work done by the Catholic Church and the people of Assisi to rescue several hundred Italian Jews from Nazi execution following the German occupation of Italy in 1943." Dir.
    [Show full text]
  • MICHAEL D. MORTILLA - BMI / American Federation of Musicians Chronology of Premieres, Significant Performances & Events Since 1976
    MICHAEL D. MORTILLA - BMI / American Federation of Musicians Chronology of Premieres, Significant Performances & Events since 1976 Title/Event/Activity Producer / Commissioner / Venue Location 2014 Library of Congress Online Project The Library of Congress, Washington, DC International Too Much Johnson (Orson Wells) National Film Preservation Foundation International Upstream Motion Picture Association of America Washington, D. C. The Tomorrow Show with Ron Lynch The Steve Allen Theater - guest music director/numerous appearances Los Angeles, CA Schloptz with Helen Hunt The Working Stage, Rob Watzke, director Los Angeles, CA Schloptz with Jason Alexander The Working Stage, Rob Watzke, director Los Angeles, CA Hollywood Home Movies Turner Classic Movies LA Film Festival Los Angeles, CA Too Much Johnson (Orson Wells) LA County Museum of Art & AMPAS Los Angeles, CA Faust LA County Museum of Art & AMPAS Los Angeles, CA People On Sunday LA County Museum of Art & AMPAS Los Angeles, CA The Reel Thing Sony Pictures & AMPAS Los Angeles, CA Brookside Movie Night Brookside Community Assoc. Los Angels, CA Silent Salon (curator/composer) Villa Auora, Margit Kleinman, Director Pacific Palisades, CA Silent Salon (composer) Villa Auora and Flicker Alley, Jeff Masino, Director Pacific Palisades, CA CALARTS - guest lecturer CALARTS, Craig Smtih, Instructor of Record Valencia, CA The Letter (music director) Santa Barbara Dance Institute Santa Barbara, CA Safety Last UCSB Arts & Lectures/Granada Theater Santa Barbara, CA Lloyd, Keaton, Chaplin UCSB Arts
    [Show full text]
  • Julien's Auctions Announces Property from the Estate
    For Immediate Release JULIEN’S AUCTIONS ANNOUNCES PROPERTY FROM THE ESTATE OF JERRY LEWIS Late Comedy Legend’s “The Nutty Professor” Costume, Iconic Prop Teeth and Glasses, Patek Phillipe, Le Coultre and Cartier Watches and Gold Jewelry to Dazzle the Auction Stage at Planet Hollywood Resort & Casino in Las Vegas FRIDAY, JUNE 22, 2018 Los Angeles, California – (May 8, 2018) –Julien’s Auctions, the world-record breaking auction house, will celebrate the life and career of the late “King of Comedy” in PROPERTY FROM THE ESTATE OF JERRY LEWIS, an exclusive presentation of the legendary entertainer as part of their two day HOLLYWOOD LEGENDS auction event with day one featuring Jerry Lewis on June 22nd and historical items by other Hollywood stars (to be announced later) on June 23rd live at Planet Hollywood Resort & Casino in Las Vegas—his longtime home and the city where he made his mark as one of Las Vegas’ greatest nightclub performers—and online on juliensauctions.com. (photo left to right: Lewis’ Cartier watch, Damn Yankees costume and glasses) Comedian, actor, singer, humanitarian, film director, film producer and screenwriter, Jerry Lewis was one of Hollywood’s greatest comic geniuses and a pop culture icon revered by millions around the world. Born March 16, 1926 in Newark, New Jersey, into a vaudeville family, Lewis made his stage debut at the age of 5 at a Borscht Belt hotel singing “Brother Can You Spare a Dime?” At 15, he dropped out of high school and began performing a mime act in a burlesque house in Buffalo. However, it was his pairing with singer Dean Martin in July of 1946 that made Lewis a household name.
    [Show full text]