DOCSLIB.ORG

GOSSIP Ji Today at Local Theaters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BRINGING UP FATHER By McManus HOLLYWOOD I WKWW rLL HOT VAM8N • l O'T OP GOSSIP [1 «V*«y MOANIN'- I U. SHOW THESE OTHER U tenants » err to work bright an’ WA 1—,/^^XTOO. INTIMATE GLIMPSES AND INSIDE STUFF UN THE MOVIE COLONY HYDANTHOMA8- Doug's Mustache Hollywood—Hitting and missing around the Aim village: Douglas Fairbanks, Jr, has acquired a mustache and a bright blue beret The beret came easily—all he had to do was pay for it But the mustache required a month of careful nursing. Peanut butter sandwiches now are all the rage around the First Kational lot. thanks to Kay Francis Kay got hungry one after* noon and didn’t want tea She tlnally decided upon the aand- wiches. e l»3J.Xln( r>l»m Syndicate, Inc,Greet Minin rl«*>ln rtncrwd. Director Archie Mayo thought that a couple wouldn't do his 60- Inch waistline any harm either so he tried them and liked them. But then, Archie would like anything In the way of food Any- how. the idea has spread all over the studio. THE NEW FANGLES (Mom’n Pop) Hank Lends a Hand! By Wood' Cowan Ann’s Can Opener Although Nt111 devoted to the sea, IS Warren William has sold his MURRY ANO 1 WNOW'.VMWY mot W-suqsWesTi schooner and given up yachting In orr into Nbua HAH*. UvtE TVS CORK.OMVft Kt IMOfetWK* OUT TME! favor of golf and tennis TO KFORE AMO M»S '• WKt; WHY ‘•Takes too long to get to the har- THINGS UC«HSt MtXJ CAft cwick, X «W bor,” he explained. y»wo is CHICK COMSft a wuwtcna MS MMOUJS 'MMtRt TouO Things look bad tor Leslie Fen- SUMUNG UP WlUYTMHG iS-tCNY N&U \N6Re ton His new bride, Ann GOING to iJvorak, was caught practicing wcBuvctns IN TMS ttOPE y with a can opener In her dressing room the other day—simply a pre- KVTCUSM. paratory step tp getting Leslie's TMIKlGS dinner, we suppose. M5E And now certain actresses are HfcPPENIWG. wondering what would bo a fit IN 1WE punishment for one of their num- ber who continually flnunts the TRONT luct that sho doesn’t have to diet ROC*A Practically everyone likes potatoes .Yet at least half our tw@-> actresses don’t dare cat them to whenever she Is around with other actresses, young Sheila Terry orders potatoes! Tip for Mothers •I U8t a Up for iom« would-be v> movie mother* Joan Bennett, T who hex not done ho bndly for a young girl, declare!) that ehe BOOTS AND HER BUDDIES On the Way! By Martin wouldn't permit her daughter to IP. Into the movlcx under any con- sideration until ehe Ih 18. After — 7 that, If the girl want* a acrcen Sheila .... she doesn't ■— Terry career, Joan will give her every —i wonow \r m* <so\u w k tr\p WWKW06, 60 6K \V TWIRK have to diet. poaHlble aid, n'WMKP Mi TOR * SfcNDOW — OR ML NO MW NtVi* 7ROM -\Wl Gloria Swanson, Mildred Lloyd and Ann Harding are others who ~ fcOtfTO •re keeping their children ns far away from etudloe as possible. VtOMfc w'uv»t ViCC* '*\ OR MiB8i *tk MRPOtiTC ’. SHOON.O There’s nothing like being Just for a u friend of tit HWJti MW obliging. gag, PtENfCV OOMViN 6tT MM2R\iO Wfc' VS> WMM&' VsOCX MWvm. — Eric Linden a box of turtle food Krlc wasn’t going to have any- HOW thing put over on him So he bought a turtle! Now the food BOTWtfcEO Mi WW TA' NlViS ????._ comes in T sil^/ handy. r/ ASotfT Tvwr ___ i/ There actually Is a movie actor named Hollywood'—Lyslc Holly- wood. Needless to say, It’s Lyslo Talbot now. W\RE , BROTHER Is Joan Mud? B\UN *>EKfT If you hear of a murder In the near Hollywood future, don't even / stop to read the story The victim will be Walter Catlett Joan Blondell Is "gunning” for him ... A few days ago Walter told Joun that If sho wanted something thut would make h*r feel extra good to put a heaping spoonful of blcurbonute of soda In a glass of grape- fruit Juice and drink It before breakfast The next morning Joan appeared on the set and took one look at Walter, who burst Into up- roarious laughter and then departed for parts unknown. He knew without waiting to ask that Joan had fallen for the gag. ji Today At Local Theaters WASH TUBBS Hidden Funds By Crane 6M6R6€(0Cy POMPS/ lAPOIE. ‘•Thu Mouthpiece" with Wurren Kirkwood, Morgun Galloway, Joyce PODNeS.—VTIU. GAME To FROM WfcV -mose FRENCH- C1 PON'T MIMP, <3000 SOYl MST MVGOSM! Y William Closing At Struml To- und Clur- / rtovo fcfcOUT'tT, U>TS Of FOOD Compton, Betty Blythe SHE* AS SHE FOR THAT I'LL OPEN I THOUGHT / GOING To NEED Thurs- unco Muse. «.ro\M PsWM ON TWM1 SWP? MAN GRvJE OS THE tRUOH, AS tOWCj day; ull-Ito(|iiost Program we wene mod water.. here,too get day. PROS'LL THE toughest old r^\ TAKES US HOME* me BANK. / -- i gather prift- Bast liuy of Miracle Man" at Poll Sime. TUB RFUORT. '"-‘■V eroke. / vomifi Performanceii this In- I’alacc Two A RAFT. evening Tomorrow Big lilts wvw MOT? VJSU.I 1 y \VJOOD FOR clude tho engagement of "The "The Tt:m of Vivienne Ware" OH, Mouthpicco” marring Warren WII- With Joan Bennett and llohcrl auess ru. swps /V ON Ham. now heading a double feature Montgomery In "But The i'lesli A\JL RR* TOUGH program at Warners' Strand the- la Weak." STOMJRNRVS. ater. tHartlng tomorrow another "All Today la tho lust day of tho Request" program will bo present- "Miracle Man" with Hylvlu Sidney ed to Inoludo “The Greeks Hud A and Cheater Morrla at Poll'a Pal- Word For Them," featuring Ina ace, starting tomorrow will offer Claire, Joan Blondell and Madge big double feature program with Evans. "Tho Trial of Vlvlenno Warn" They arc ably allied and abetted with Joan Bennett as tho leading In their wild scrumbleu through feature. penthouse ttpartmentM and oceun Dramatic and thrilling la "The liners by Lowell Sherman and Trial of Vlvlenno Ware,” tho Fox David Manners und Phillips Smal- production coming to Poll'a Pal- ley, tho veteran old-timer. It In one ace tomorrow. A startling story has of thuHe pictures you eun’t miss if been combined with a splendid cast you still figure a good laugh 1s under tho capable direction of Wil- worth having. liam K. Howard. Women will flock to “The "The Trial of Vlvlenno Ware” Greeks Had a Word for Them" If Is an entirely logical and powerful only to see tho gowriK, some thirty of tho far-reaching pos- Bloater depletion FRECKLES The Cave of the Oodles! By , of them, ranging ull the way from sibilities of circumstantial evidence. tailored eults to negligees, which It concerns a beautiful society girl Mile. Oabrlello Chanel, tho fam- who finds herself on trial for the V«AW...P»OFLg WILL ac tf-S-fiM.VHAT ous Parisian dress-designer, made murder of a millionaire architect DID you EVER SEC MSUEB DID, OSCAR, i! L*T* Mg WMXTg OO'WM specially to be worn In this pro- who hud boon her fiance. look HOW 7W' CRYSTALS TWI« WAV* WHy! Os/B« COMIM' FROM all OSWR THg DO XX) C'POSff duction. They are tho last word Joun Bennett demonstrates her TWC AMyTWlWS 60 WORLD TO *H 1Hlg...WHy ©WROUiSM sparkle,..AH' How THE Mlgg I* A menu** ROOM IT WA« In smartness In moving pictures exceptional ability us a dramatic BEAUTIFUL.,, r CALL IT 'TVlg CMf ■XCITBMEtJT WAIT'LL gVggyBooy IM and set off to perfection by tho actress In tho role of the prosecu- FRECKLES? ROOF HAKES LIKE 9\t Chic chnrms of tho threo ladles ted girl. She gives a vivid und con- O0 DlSOOVBBIWS ICICLES.... THIS IS *T»WKl UgARft WHAT who weur them. one leaves vincing portrayal thut THE C*HC, <SREAT!.' wiva fouud// It would be a pltty to tell the a lasting Impression. liIO, story of "The Greeks Had a Word As the hardholled district at- FBBCKLES of Huftlcn for Them” ahead lime. torney, Allan Dine hart Is perfectly HAS it to say that, at the beginning of cast. Ills work is an outstanding the picture, .loan Blondell has feature of the production. Donald Completely caught a wealthy old man, Madge Cook ns tho attorney for the de- FOBEOTTEM Evans has caught a still wealthier fense Is natural and convincing, young man, and Inn Claire, Just and Milan Bond, In the role of the ABOUT pooolE hack from Europe und stony broke night club entertainer, Is appeal- BE I NS hasn’t any kind of a man ill nil. ing to eye end ear. others con- Hho Immediately sots about remedy tributing to the success of the pic- LOST. ing this situation and tho hilarity ture are Howard Phillips, William commences, to lust down to tho Pawley, Ituth Welwyn, Noel Madi- final foot of film. son and Christian Hub. Tso companion feature Is to be Comedy roles arc played by SCssu "Devil's Lottery" with Ellssa La mil Pitts, Herbert Mundin, Hkeots Gal- Victor McLuglen, Beryl Mercer, lagher and Maudn Kliurne. es- Puul Itulph Morgan, Cavanaugh pecially am using Is tho recently and other favorites. discovered Mundin, last seen as tho "Devil’s IxtUery," bused on Nal- comical taxi driver In "The Hllent hro Burtley's most successful novel, Witness" Hnd the valet In "The embraces tho elements of romance, Devll’H l/ottery." mystery, struggle, palhos and "The trial of Vivienne Ware" has OUR BOARDING HOUSE Gene Abeam OUT OUR WAY By J.
Recommended publications
  • Black Soldiers in Liberal Hollywood

    Black Soldiers in Liberal Hollywood

    Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film.
  • The Transnational Sound of Harpo Marx

    The Transnational Sound of Harpo Marx

    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo.
  • Sun Valley Serenade Orchestra Wives

    Sun Valley Serenade Orchestra Wives

    Sun Valley Serenade Orchestra Wives t’s funny how music can define an entire come one of Miller’s biggest hits, “Chattanooga We also get some wonderful Harry Warren and era, and Glenn Miller’s unique sound did Choo Choo,” which, in the film, is a spectacu- Mack Gordon songs, including “At Last” (the Ijust that. It is not possible to think of World lar production number with Dandridge and The castoff from Sun Valley Serenade), “Serenade War II without thinking of the Miller sound. It Nicholas Brothers. Another great new song, “At in Blue,” “People Like You and Me,” and the was everywhere – pouring out of jukeboxes, Last,” was also recorded for the film, but wasn’t instant classic, “I’ve Got a Gal in Kalamazoo.” radios, record players. Miller had been strug- used, except as background music for several The latter was, like “Chattanooga Choo Choo,” gling in the mid-1930s and was dejected, but scenes. The song itself would end up in the nominated for an Oscar for Best Song. It knew he had to come up with a unique sound next Miller film. lost to a little Irving Berlin song called “White to separate him from all the others – and, of Christmas.” course, the sound he came up with was spec- “Chattanooga Choo Choo” hit number one on tacular and the people ate it up. His song the Billboard chart in December of 1941 and George Montgomery’s trumpet playing was “Tuxedo Junction” sold 115,000 copies in one stayed there for nine weeks. The song was dubbed by Miller band member, Johnny Best week when it was released.
  • Keeper of the Flame: Antifascist Feature Films and the Hollywood Popular Front, 1934-1941 Jacob T

    Keeper of the Flame: Antifascist Feature Films and the Hollywood Popular Front, 1934-1941 Jacob T

    Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2015 Keeper of the Flame: Antifascist Feature Films and the Hollywood Popular Front, 1934-1941 Jacob T. Sager Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the History Commons Recommended Citation Sager, Jacob T., "Keeper of the Flame: Antifascist Feature Films and the Hollywood Popular Front, 1934-1941" (2015). WWU Graduate School Collection. 411. https://cedar.wwu.edu/wwuet/411 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. KEEPER OF THE FLAME: ANTIFASCIST FEATURE FILMS AND THE HOLLYWOOD POPULAR FRONT, 1934-1941 By Jacob Sager Accepted in Partial Completion Of the Requirements for the Degree Master of Arts Kathleen L. Kitto, Dean of the Graduate School ADVISORY COMMITTEE Dr. Kevin A. Leonard, Chair Dr. Amanda Eurich Dr. Susan Costanzo MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others.
  • Hollywood Walk of Fame Master Plan Community Meeting Presentation

    Hollywood Walk of Fame Master Plan Community Meeting Presentation

    Hollywood Walk of Fame Master Plan Community Meeting Presentation November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN Welcome & Introductions Community Presentation Page 2 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE The Master Plan is being developed with consensus, guidance and advocacy from many parties Client Team Design Team Community & City Partners Neighborhood Councils Community Organizations City Deparments Central Hollywood Neighborhood Council Hollywood Partnership Los Angeles Bureau of Street Lighting Hollywood Hills West Neighborhood Council Hollywood Chamber of Commerce Los Angeles Bureau of Street Services Hollywood Studio District Neighborhood Council Hollywood Heritage Los Angeles Department of Transportation Hollywood United Neighborhood Council Hollywood Historic Trust Los Angeles County Metro Los Angeles Office of Historic Resources Los Angeles Police Department (LAPD) Los Angeles Fire Department (LAFD) Page 3 of 59 HOLLYWOOD AGENDA WALK OF FAME MASTER PLAN 1. Project Update 2. Vision 3. Traffic & Mobility 4. Street Design 5. Street Trees 6. Street Amenities Community Presentation Page 4 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN 1. Project Status Update Community Presentation Page 5 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT PURPOSE WALK OF FAME MASTER PLAN To improve the Walk of Fame experience for those who live in, work in and visit the area. THE STREET IS FOR EVERYONE! Community Presentation Page 6 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD COMMUNITY OUTREACH OVERVIEW WALK OF FAME MASTER PLAN Community Presentation Page 7 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT SCHEDULE WALK OF FAME MASTER PLAN WHERE WE ARE TODAY ARE WE WHERE DEC.
  • When the Latino Family Goes Hollywood

    When the Latino Family Goes Hollywood

    WHEN THE LATINO FAMILY GOES HOLLYWOOD Jaume Martí-Olivella Allegheny College Prepared for delivery at the 1997 meeting of the Latin American Studies Association, Continental Plaza Hotel, Guadalajara, Mexico, April 17-19, 1997. I. Introduction: Towards a historical and theoretical background I would like to start this paper paraphrasing my own title in the form of a question: Should the Latino Family go Hollywood? Or, from another angle, why is Hollywood interested in the Latino Family? Or even a more urgent question, should historical Latinos still have to rely on the "family metaphor" in order to achieve (mainstream) representation? The response to the second question is arguably the clearest one. The Chicano film critic and scholar Chon A. Noriega provides us with an answer that at the same time restates the question: Between 1987 and 1988, Hollywood released four Chicano-Latino feature films: La Bamba (1987), Born in East L.A. (1987), The Milagro Beanfield War (1988), and Stand and Deliver (1988). The success of these films, and La Bamba in particular, led studio executives and others to predict a "Hispanic Hollywood." The proof of that claim, however, was attributed to "Hispanic" demographics and market studies on "Hispanic" movie attendance, and not to the two-decade Chicano film movement. (147). Hollywood, therefore, had perceived a new market. There was no genuine concern regarding the emergent Chicano culture and its efforts to achieve a filmic representation. My paper will posit the same question almost a decade later. In 1992, three Latino films reached the mainstream: Like Water for Chocolate, El Mariachi and The Mambo Kings.
  • Jews and Hollywood

    Jews and Hollywood

    From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life Volume 14 Steven J. Ross, Editor Michael Renov and Vincent Brook, Guest Editors Lisa Ansell, Associate Editor Published by the Purdue University Press for the USC Casden Institute for the Study of the Jewish Role in American Life © 2017 University of Southern California Casden Institute for the Study of the Jewish Role in American Life. All rights reserved. Production Editor, Marilyn Lundberg Cover photo supplied by Thomas Wolf, www.foto.tw.de, as found on Wikimedia Commons. Front cover vector art supplied by aarows/iStock/Thinkstock. Cloth ISBN: 978-1-55753-763-8 ePDF ISBN: 978-1-61249-478-4 ePUB ISBN: 978-1-61249-479-1 KU ISBN: 978-1-55753-788-1 Published by Purdue University Press West Lafayette, Indiana www.thepress.purdue.edu [email protected] Printed in the United States of America. For subscription information, call 1-800-247-6553 Contents FOREWORD vii EDITORIAL INTRODUCTION ix Michael Renov and Vincent Brook, Guest Editors PART 1: HISTORIES CHAPTER 1 3 Vincent Brook Still an Empire of Their Own: How Jews Remain Atop a Reinvented Hollywood CHAPTER 2 23 Lawrence Baron and Joel Rosenberg, with a Coda by Vincent Brook The Ben Urwand Controversy: Exploring the Hollywood-Hitler Relationship PART 2: CASE STUDIES CHAPTER 3 49 Shaina Hammerman Dirty Jews: Amy Schumer and Other Vulgar Jewesses CHAPTER 4 73 Joshua Louis Moss “The Woman Thing and the Jew Thing”: Transsexuality, Transcomedy, and the Legacy of Subversive Jewishness in Transparent CHAPTER 5 99 Howard A.
  • Ambler Theater ART HOUSE

    Ambler Theater ART HOUSE

    A NONPROFIT Ambler Theater ART HOUSE Previews104A JUNE – SEPTEMBER 2018 Joan Crawford, Frederika Brown, and Norma Shearer in THE WOMEN THE and Norma Shearer in Frederika Brown, Crawford, Joan INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLERT HEATER.ORG 215 345 7855 Welcome to the nonprofit Ambler Theater The Ambler Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The Ambler Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* .............................$6.75 equipped with hearing enhancement headsets and closed You must present your membership card to obtain membership discounts. caption devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking – Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not How can you support AMBLER THEATER exist. Thank you for being a member. Contact us with your feedback the Ambler Theater? MEMBER or questions at 215 348 1878 x115 or email us at Be a member.
  • Rory Tell Undergraduate Seminar Shifting Attitudes On

    Rory Tell Undergraduate Seminar Shifting Attitudes On

    Rory Tell Undergraduate Seminar Shifting Attitudes on Masculinity in 1930s American Film Introduction: The interaction between politics and film in the 1930s is at the core of this work. In the thirties, the cultural significance of movies was strengthened by its connection to the political circumstances of the era. The year 1933 acts as a watershed moment: there was a Depression and a New Deal, there was a pre-code cinema (films made after the advent of sound in 1929, but before the enforcement of the Motion Picture Production Code censorship guidelines) and a self- censored cinema (films made during Motion Picture Production Code censorship guidelines), and therein lies the symbolic connection of political history and film. The connection of these events requires further investigation, as film studios were not passive participants of New Deal culture; instead, there was a similar ideological function, and an interchange, between politics and films. In the 1930s, Warner Brothers received worldwide recognition for the movies they had been producing. Harry Warner used his film’s success to expand the company so that by the end of the decade, Warner Bros. owned 51 subsidiary companies, including 93 film exchanges and 525 theaters in 188 American cities. Warner Bros. executives, and in specific, co-head of production and one of the founding members, Jack Warner, supported Franklin Roosevelt and the socially progressive platforms of the New Deal. The Warner brothers worked to help elect Roosevelt in 1932 by staging rallies for him in Los Angeles that they broadcasted over radio stations. They contributed to his campaign with financial and promotional support, and Roosevelt, in turn, promised to make Jack Warner the Los Angeles Chairman of the National Recovery Administration, which turned out to be a key component of Roosevelt’s New Deal.
  • American Culture and Submarine Warfare in the Twentieth Century

    American Culture and Submarine Warfare in the Twentieth Century

    The University of Southern Mississippi The Aquila Digital Community Master's Theses Summer 8-2011 Beneath the Surface: American Culture and Submarine Warfare in the Twentieth Century Matthew Robert McGrew University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Cultural History Commons, Military History Commons, and the United States History Commons Recommended Citation McGrew, Matthew Robert, "Beneath the Surface: American Culture and Submarine Warfare in the Twentieth Century" (2011). Master's Theses. 209. https://aquila.usm.edu/masters_theses/209 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi BENEATH THE SURFACE: AMERICAN CULTURE AND SUBMARINE WARFARE IN THE TWENTIETH CENTURY by Matthew Robert McGrew A Thesis Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved: Andrew A. Wiest ____________________________________ Director Andrew P. Haley ____________________________________ Michael S. Neiberg ____________________________________ Susan A. Siltanen ____________________________________ Dean of the Graduate School August 2011 ABSTRACT BENEATH THE SURFACE: AMERICAN CULTURE AND SUBMARINE WARFARE IN THE TWENTIETH CENTURY by Matthew Robert McGrew August 2011 Cultural perceptions guided the American use of submarines during the twentieth century. Feared as an evil weapon during the First World War, guarded as a dirty secret during the Second World War, and heralded as the weapon of democracy during the Cold War, the American submarine story reveals the overwhelming influence of civilian culture over martial practices.
  • Film Noir Database

    Film Noir Database

    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
  • The Transgressive Discourse of Rowland Brown's

    The Transgressive Discourse of Rowland Brown's

    Revista de Comunicación de la SEECI. (Julio 2016). Año XX (40), 133-153 ISSN: 1576-3420 INVESTIGACIÓN/RESEARCH Recibido: 26/04/2016 --- Aceptado: 19/05/2016 --- Publicado: 15/07/2016 THE TRANSGRESSIVE DISCOURSE OF ROWLAND BROWN’S CINEMA (1931-1933): A BRIEF CAREER IN PRE-CODE HOLLYWOOD Carmen Guiralt Gomar1: University of Valencia. Spain. [email protected] ABSTRACT: This article consists in the analysis of the Rowland Brown director’s film work and career, who was one of the first (if not the first) directors-screenwriters of Hollywood. He developed his career during Hollywood’s pre-Code era and he only directed three idiosyncratic films linked to the gangster genre: Quick Millions (1931), Hell’s Highway (1932) and Blood Money (1933). There were a great number of reasons why he was thrown out from Hollywood and he was not allowed to return to direct, among them the highly transgressive and critical discourse of his cinema. Despite of the singularity and originality of his film work, today Brown is a forgotten figure, only recognised by a prestigious group of film historians. His cinema has not been studied thoroughly yet. The final aim of this article it to contribute to filling this gap in the History of Cinema. KEY WORDS: Rowland Brown – Classical Hollywood cinema – Pre-Code period (1930-1934) –Quick Millions (1931) – Hell’s Highway (1932) –Blood Money (1933) – gangster genre 1 Carmen Guiralt Gomar: Phd in History of Art from the University of Valencia, BA in Art History from the same university and a Masters in History and Aesthetics of Cinematography from the University of Valladolid.