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												  MAE Westjo | Pered, Lovable Second Week at the Soldier’ CircleMARCH 11, 1933 THE INDIANAPOLIS TIMES PAGE 5 MAE WEST, JOHN GILBERT AND DICK POWELL HEAD CASTS ‘Private Jones,’ ‘Fast Workers,’ “She Done Him Wrong’ Noel Coward Has Woven Three Romances Into the Pat- and *42nd Street’ Bid for Favor in the Downtown tern of His Story in ‘Cavalcade,’ Now Being Movie Theaters for a Week. Presented Twice Daily at English's. the laughs, tears, comedy and tragedy of olive drab doughboy “Cavalcade” which Fox Film Corporation is offering on the screen ALLdays arc said to accompany Lee Tracy in Universal’s new film, “Pri- INat English's, Noel Coward has woven three romances into the pattern vate Jones.’’ which is apeparing currently upon the screen of the Apollo. of his tapestry record of the march of the generation. The film will remain through Thursday next. The first romance is one between husband and wife, a rather unique Tracy, who has gained unusual popularity, through his recent fast- departure in these days when marital infidelities supply the theme for talking characterizations which live on the screen, as no other actor is so many dramas. It is this romance of the Marryots enduring through thought to have made them live, plays the title role of the new photo- the trials and vicissitudes of the chaotic past thirty years that is said to play, which is the screen adaptation of a widely discussed play, especially add much power and strength to "Cavalcade.” revamped for film purposes. The second romance starts with | The star, it will be recalled, ap- a boy and girl affair between the peared in 'Blessed Event,” “Wash- at the Terminal for a week’s en- older Marryot son and Edith, the ington Merry-Go-Round” and “Half gagement.
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												  P-26 Motion Picture Collection Repository: Seaver Center ForP-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.
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												  Sifwgng Ralph Bellamy, Shirley Grey Ball Confined to Frames on the Porches Board in the Dining Room Can Just Mentromising Pictures Feature Programs Of Local GAYNOR, AYRES IN POU CINEMA Starred To-day in “Ser- vant’s Entrance”; More Short Subjects Together again tor the first time since they made “State Fair” and which brought to them the honor of being the most popular roman- tic pair on the screen, Janet Gay- nor and Lew Ayres are again in town at Poll’s, the theater of the stars, in “Servant’s Entrance”, their latest co-starring picture and which will no doubt prove far more interesting and entertaining to their large following of fans. Janet Is in a new type of role for her and one in which you will love her more than ever. She is cast as the daughter of a million- aire, who loses her money, so she goes to work as a housekeeper and while there she meets Lew Ayie3 who is the chauffeur at the house. They fall in %ve and Janet as be- ing on his equal as far as money is concerned thinks that all is is a swell, but Ayres inventing OPENING SATURDAY NIGHT ATTRACTION part for motors and he gets it into a lot of dance of perfected and fails One o! the finest young dance bands In the state, selected to play the first Saturday night Tnit trouble and then and features Gone .M^nTTTiiiiiroTTiiii rrBnwMgiTnrr Trim—»«—■» money for his the new season at Humllton park. It is under the personal direction of Mr. Romano from then on the fun starts, and and DiLisio, accordionist. Is In “Now and Forever” at the State Holden, vocalist, “Sonny” Shirley Temple, who starring you will be afforded a lot of good today.
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											FILM CREDITS Last Update: 7/08KERN COUNTY FILM CREDITS Last Update: 7/08 (TV) Made for Television (D) Documentary (S) Serial TITLE RELEASED LOCATION CAST Keystone Cops unknown Red Rock Canyon The Keystone Cops Opportunity 1913 Taft Fatty Arbuckle Cowboy and the Lady, The 1915 Mojave S. Miller Kent, Hellen Case Back To God's Country 1919 Kern River Valley Nell Shipman, Wheeler Oakman Branded a Bandit 1924 Robbers Roost Yakima Canutt, Alys Murrell King of the Wild Horses, The 1924 Old Kernville Edna Murphy, Charley Chase Man From God's Country, The 1924 Kern River Valley William Fairbanks, Dorothy Revier Greed 1925 Mojave Desert Gibson Gowland, Zasu Pitts White Thunder 1925 Old Kernville Yakima Canutt Wild Horse Canyon 1925 Red Rock Canyon, Kernville Yakima Canutt, Helene Rosson Battling Butler 1926 Bakersfield, Kern River Buster Keaton, Sally O'Neil, Walter James Born to the West 1926 Red Rock Canyon Jack Holt, Margaret Morris Hands Up! 1926 Red Rock Canyon George A Billings, Virginia Lee Corbin Beau Sabreur 1928 Red Rock Canyon Gary Cooper, Evelyn Brent Hell's Heroes 1930 Mojave Desert Charles Bickford, Raymond Hatton Under a Texas Moon 1930 Red Rock Canyon Frank Fay, Myrna Loy Cimarron 1931 Kern River Valley Richard Dix, Irene Dunne Lightning Warrior, The (S) 1931 Old Kernville Rin Tin Tin Phantom of the West, The 1931 Old Kernville Tom Tyler, William Desmond Range Feud 1931 Kernville John Wayne, Buck Jones Vanishing Legion, The 1931 Old Kernville Harry Carey, Edwina Boothe Border Devils 1932 Kern River Valley Harry Carey, Gabby Hayes Flaming Guns 1932 Red Rock Canyon
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												  THE BOX OFFICE CHECK-UP of 19351 to tell the world!* IN 1936 THE BOX OFFICE CHECK-UP of 1935 An annual produced by the combined editorial and statistical facilities of Motion Picture Herald and Motion Picture Daily devoted to the records and ratings of talent in motion pictures of the year. QUIGLEY PUBLISHING COMPANY THE PUBLIC'S MANDATE by MARTIN QUIGLEY 1 The Box Office Check-Up is intended to disclose guidance upon that single question which in the daily operations of the industry over- shadows all others; namely, the relative box office values of types and kinds of pictures and the personnel of production responsible for them. It is the form-sheet of the industry, depending upon past performances for future guidance. Judging what producers, types of pictures and personalities will do in the future must largely depend upon the record. The Box Office Check-Up is the record. Examination of the record this year and every year must inevitably dis- close much information of both arresting interest and also of genuine im- portance to the progress of the motion picture. It proves some conten- tions and disproves others. It is a source of enlightenment, the clarifying rays of which must be depended upon to light the road ahead. ^ Striking is the essential character of those pictures which month in and month out stand at the head of the list of Box Office Cham- pions. Since August, 1934, the following are among the subjects in this classification: "Treasure Island," "The Barretts of Wimpole Street," "Flirta- tion Walk," "David Copperfield," "Roberta," "Love Me Forever," "Curley
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												  Film-Lovers AnnualiLM-TpV Digitized by the Internet Archive in 2015 https://archive.org/details/filmloversannual00dean_0 Dean & Son, Ltd. 6 LA BELLE SAUVAGE, LUDGATE HILL, LONDON, E.C.4. THIS BOOK MAY ONLY BE EXPORTED TO SOUTH AFRICA THROUGH THE SOLE AGENTS : PRINTED IN ENGLAND CENTRAL NEWS AGENCY. LTD. Loretta Young 6 The Police “Emil and tectives,” wishes Emil (RolfWenkhaus) good luck on his trip to Berlin. A film directed by Gerhard Lampretch. L. C. Pinner N discussing the art of the kinema, it becomes the art we mean to imply when we argue whether I necessary to arrive at some sort of definite it can be applied to the kinema. conclusion as to what is meant by that very — To my mind it is definitely not one of the fine elastic “art.” elusive and term arts, such as architecture, sculpture or painting, You have got to decide what exactly you because it relies basically on mechanics to produce mean when you apply it to the kinema in its effect. On the other hand, there is no reason order to estimate to what extent, and in what why it should not measure up to the definition degree, it can be applicable to pictorial presen- we have stated : that it can perceive and transcribe tation. the beautiful in nature ; for the term “nature” may well be considered to contain the depiction The dictionary’s first interpretation is “the of the dramatic in human nature. employment of means to the accomplishment of some end, "or “the skilful adaptation and appli- But, basically, it must be confessed that film cation to some purpose or use of knowledge or producers as a whole have very little regard for power acquired from nature.” the artistic in films.
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												![1936-07-04 [P C-8]](https://docslib.b-cdn.net/cover/5870/1936-07-04-p-c-8-10635870.webp)  1936-07-04 [P C-8]ENJOY A GAY, COOL FOURTH Show LOEWS FOR HOLIDAY SHOWS “Crime of Dr. Forbes” Play Leads in New Film at the Fox Lombard-M’Murray Now Playing at the Fox Is Fine Fare for Holiday “The Princess Comes Across” Contains Henry Armetta, Gloria Stuart and Robert Many Familiar Ingredients but is I Kent Featured in New Film-Ozzie Nelson, Bright and Amusing. Harriet Hilliard Star in Stage Show. BT ROBERT B. PHILLIPS, JR. Princess Comes Across’’ represents a touch of in theartical BY E. de S. MELCHER. (irT^HE genius booking for July Fourth. More fun than a firecracker, less brll- "THE CRIME OF DOCTOR FORBES," now playing at the Fox, Holly- \ I llant than a skyrocket, It is a sort ot comic plnwheel, slightly oil wood crusades In favor of “mercy killing.” At least It almost does—and the axle but amusing enough to behold on a hot holiday afternoon. then It decides to let the subject down gently, preferring to have Its audi- miss it will not a Those a Those who go to the beach and probably shed tear. ence and the medical fraternity make up Its own mind about subject IN who stay in town and visit the Earle will find it gayer than our ovet-popu- for and for years. -j— ■« — Which people have been crusading against A _ At anv rate, the new Fox film is not the wild-eyed mystery yarn which The ingredients of a transatlantic you might expect from the title. It is a moderately whore” and the collapse of the great in too well somber treatise (helped immeasurably by the comic melodrama in general Impersonation before the microphones, known to need Identification—scoun- * Mr.
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												  Lobby Cards Gift of Professor Rennard StricklandStrickland Collection of Law and Popular Culture Lobby Cards Gift of Professor Rennard Strickland Print Number Year of Image Movie Title Format Year Distributor Director Actors Notes Number in Set Gift Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 1 title card 2011 Card Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 2 2011 Card Print Number Year of Image Movie Title Format Year Distributor Director Actors Notes Number in Set Gift Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 3 2011 Card Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 4 2011 Card Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 5 2011 Card Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 6 2011 Card Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 7 2011 Card Print Number Year of Image Movie Title Format Year Distributor Director Actors Notes Number in Set Gift Lobby Abandon Ship! 1957 Columbia Richard Sale Tyrone Power 57/71 8 2011 Card Lobby Universal- Dennis O'Keefe; Abandoned 1949 Joe Newman 49/461 2011 Card International Gale Storm Paul Newman; Lobby Absence of Malice 1981 Columbia Sydney Pollack Sally Field; Bob 810169 2 2011 Card Balaban Spring Byington; According to Mrs. Lobby Jean 1951 Monogram Anthony Caruso; 51/166 2013 Hoyle Card Yarborough Brett King Spring Byington; According to Mrs. Lobby Jean 1951 Monogram Anthony Caruso; 51/166 2013 Hoyle Card Yarborough Brett King Print Number Year of Image Movie Title Format Year Distributor
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												  SNUB POLLARD ……………………………………………38 a Career Overview, Plus a Focus on His Laurel & Hardy-Style Films with Marvin Loback#13 1 WELCOME! Wherever you are, I hope this finds you well and keeping safe. I’ve certainly been finding that funny old films are the per- fect way to shut out the world outside… I hope this issue is able to provide a bit of entertainment to pass a few hours of winter, and hopefully help you discover some films and performers that are new to you. For the first time, I’ve launched a YouTube playlist showing selected films and clips mentioned in the articles so you can watch the films as well as reading about them (though probably not at the same time!) There’s more info on the following page. As always, please do get in touch with comments and constructive criticism, or just to say hello—it’s always great to hear from you. Email: movienightmag [AT] gmail.com, or @The_LostLaugh on Twitter. Keep Smiling! Matt CONTENTS This issue’s YouTube Playlist ………………..……. 3 Streaming Silents ………………………………………...4 The pick of silent comedy videos and live stream events from around the web. DVD NEWS & REVIEWS ………………………..……...5 Laurel & Hardy solo films, the light comedians and more LLOYD HAMILTON ………..……………………………...7 David Wyatt reports on the rediscovery of some rare Ham! LUPINO LANE ………………………………………………. 8 Behind the scenes of the new Lupino Lane Blu-Ray with Dave Glass, and a look at Lane’s book, HOW TO BECOME A COMEDIAN . WANDA WILEY……………………………………………..13 Discover the forgotten daredevil queen of silent comedy! JOHNNY HINES: A rediscovered comedy reviewed ….…... 23 WALTER FORDE………………...……………….………..25 His silent features and later career , plus Walter in his own words! CLOWNS IN COLOUR ……………………………………36 SNUB POLLARD ……………………………………………38 A career overview, plus a focus on his Laurel & Hardy-style films with Marvin Loback.
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												  Manhattan Melodrama W.S. Van Dyke, 1934Issue 8 | Movie: A Journal of Film Criticism | 23 Powell and Loy in Manhattan Melodrama – apparent from their first scene together – that resulted in their being cast as husband and wife in the long-running Thin Man series. Manhattan Melodrama was released in May 1934, towards the end of the so-called ‘pre-Code’ period. In fact, the term ‘pre-Code’ is a slight misnomer. Under the supervision of Will Hays, the Motion Picture Production Code was writ- ten in 1930, but at first it lacked an effective mechanism for enforcement. Although Hays hired Joseph I Breen as pub- lic relations man for the Code as early as October 1930 (Leff & Simmons 1990: 14), for some time Breen was unable to prevent Hollywood producers defying the Code. Between 1930 and 1934, Hollywood studios, seeking to counteract Manhattan Melodrama the slump in admissions brought about by the Depression, readily produced films whose content went beyond what W.S. Van Dyke, 1934 Hays and Breen considered suitable for American audiences – primarily in terms of sex and violence. These are the films General Slocum: Blackie takes Jim away from his reading. retrospectively referred to as ‘pre-Code’. It was the Legion a maturity that became rare as the PCA shifted films into Manhattan Melodrama has not received the recognition of Decency, a Catholic body, that brought an end to this more simplified good versus evil conflicts.San Francisco it deserves. It is famous, but for an unfortunate reason: it period of relative licence. In April 1934, it mobilised such an (W.S. Van Dyke, 1936) and Angels with Dirty Faces both have was the movie John Dillinger watched on 22nd July 1934 in outcry against the ‘excesses’ of Hollywood films that Hays the same basic premise as Manhattan Melodrama: two boys Chicago’s Biograph – before he walked out to be shot by was obliged to step in, committing the industry to proper who are childhood friends grow up to embrace very differ- the G-men of the Bureau of Investigation (the future FBI).
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												![Blackhawk 16Mm Films ~@@ Ilrnfr@L1')]]1&1'Fi@Rn](https://docslib.b-cdn.net/cover/0918/blackhawk-16mm-films-ilrnfr-l1-1-1fi-rn-12630918.webp)  Blackhawk 16Mm Films ~@@ Ilrnfr@L1')]]1&1'Fi@RnBlackhawk 16mm Films ~@@ Ilrnfr@l1')]]1&1'fi@rn We regret that rising costs of film stock, processing, reels, related supplies and transportation have required us to increase prices on 16mm Blackhawk films for many titles in the Fall, 1990 catalogue beginning after June 15, 1991. Orders received on or after June 17, 1991 are priced as follows: If the 1990 catalogue price is: The price after June 1 7, 1 991 is: $25 same $65 $75 $75 $85 $85 same $95 same $100 $110 $125 $145 $145 $160 $165 same $175 $195 $195 $230 $210 $230 $250 $275 $275 $310 $295 $325 $300 $325 $325 $350 $375 $395 $395 and up same No increases apply at this time to films listed in our 1991 supplements. Prices are subject to further change without notice. May 17, 1991 Prices guaranteed until 12-31-90 -:FILMI -== I - - PRESERVATION A.SSOCIA TES ----- -·--- 8307 San Fern,rndo Road Sun Valley, CA 91352 Telephone: 818 768-5376 Film# Restrict Film Title Acetate Estar Catalog 2500 Adventurer, The $145 $152.25 W90 2968 All Teed Up $145 $152.25 SS90 2118 Appeasement at Munich $75 $78.75 SS90 2440 Barney Oldfield's Race for a Lite $100 $105.00 SS90 2436 Battle at Elderbush Gulch, The $145 $152.25 F89 1091 Battleship Potemkin $375 $393.75 W90 2830 Beauty and the Bus $145 $152.25 SS90 2501 Behind the Screen $145 $152.25 F89 1318 Below Zero $145 $152.25 SS90 1 1 00 Berth Marks $145 $152.25 F89 2733 Big Business $145 $152.25 F89 1554 Big Ears $145 $152.25 W90 3128 Big Kick, The $145 $152.25 F90 1709 Big Moments fro m Little Pictures $145 $152.25 F89 1628 Blaze Busters $75 $78.
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												  MOVIE NIGHT, at Least in Its Current Form#9 silent comedy, slapstick, music hall. 1 ‘ and lots more! All articles © Matthew Ross, 2015 Subscriptions and article submissions to [email protected] 2 Welcome to issue 9, which will be the final edition of MOVIE NIGHT, at least in its current form. Don't panic, we're not going anywhere, but it's time for a bit of a shake up, including a new name. The next issue will be the tenth since we started in the summer of 2011, and that seemed as good a milestone as any to make some changes. First of all, the name. Originally, MOVIE NIGHT was named after the classic Charley Chase two-reeler of that name. That film is a love-letter to silent cinema spectatorship, in line with what I wanted to achieve. Further- more, Chase is one of my favourite of all the more forgotten comics, and one who this magazine aims to cele- brate. However... as a title and brand, MOVIE NIGHT also seems a bit generic. As time has gone on, I've become more aware of this, and have found that it is particularly hard to Google the mag effectively. In addition, I don't want to be restricted to movie comedy. What about music hall, vaudeville, radio and early television? All these had a part to play in the classic comedy era, both for the ca- reers of cinema stars and those of their own making. So, after umm-ing and ahh-ing, I’ve settled on a new name that I hope you’ll like.