DOCSLIB.ORG

Mark Sandrich TOP HAT (1935, 100 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mark Sandrich TOP HAT (1935, 100 Min) September 1, 2009 (XIX:1) Mark Sandrich TOP HAT (1935, 100 min) Directed by Mark Sandrich Produced by Pandro S. Berman Screenplay by Dwight Taylor Based on the play by Sándor Faragó and Aladar Laszlo Produced by Pandro S. Berman Cinematography by David Abel Film Editing by William Hamilton Songs by Irving Berlin Fred Astaire... Jerry Travers Ginger Rogers... Dale Tremont Edward Everett Horton... Horace Hardwick Erik Rhodes... Alberto Beddini Eric Blore... Bates Helen Broderick... Madge Hardwick Lucille Ball... Flower Clerk (uncredited) Dennis O'Keefe... Elevator Passenger (uncredited) Mark Sandrich (26 October 1901, New York City, New York, USA-- 4 March 1945, Hollywood, California, USA, heart disease) Blue Skies (1946), So Proudly We Hail! (1943), Holiday Inn that he quit school and sell newspapers to help support the family. (1942), Buck Benny Rides Again (1940), Shall We Dance (1937), A When he turned fourteen, he left home and began living on the Woman Rebels (1936), Follow the Fleet (1936), Top Hat (1935), streets of the Bowery. After a few years of doing odd jobs, he Everything's Ducky (1934), The Gay Divorcee (1934), Cockeyed found work as a singing waiter in saloons, deriving most of his Cavaliers (1934), Hips, Hips, Hooray! (1934), Aggie Appleby income from tips. He taught himself to play piano by picking out Maker of Men (1933), The Druggist's Dilemma (1933), Hokus tunes in the back after the bars closed for the night. While working, Focus (1933), Private Wives (1933), Thru Thin and Thicket; or, he would sometimes sing patriotic songs to the patrons—his Irish Who's Zoo in Africa (1933), The Iceman's Ball (1932), Strife of the boss calling him a "Yiddishe Yankee Doodle!" Party (1931), False Roomers (1931), The Wife o' Riley (1931), His talent was first noticed by an employee of a New Moonlight and Monkey Business (1930), General Ginsberg (1930), York music publisher who often visited the saloon, later telling his Gunboat Ginsberg (1930), Two Gun Ginsberg (1929), Runaway boss, "I have discovered a great kid." By the time he turned twenty Girls (1928), Hello Sailor (1927), Monty of the Mounted (1927), he was hired as a staff lyricist with the Ted Snyder Company. Brave Cowards (1927), A Midsummer Night's Steam (1927), Big From this early position he began a "meteoric rise as a songwriter" Business (1926), Napoleon, Jr. (1926). in Tin Pan Alley and then on Broadway, with his first world- famous hit song, "Alexander's Ragtime Band", in 1911. The song Irving Berlin (Israel Isidore Baline. Mogliev, Belarus, Russian sparked an international dance craze in places as far away as Empire, May 11, 1888 – September 22, 1989). From Wikipedia: Russia, which also "flung itself into the ragtime beat with an American composer and lyricist widely considered one of the abandon bordering on mania." As his music developed over the greatest songwriters in history…. His father, a Jewish cantor at the years, he made every effort to write lyrics in the American synagogue, had to uproot the family when he was five because of vernacular: uncomplicated, simple and direct, with his stated Russia's pogroms which destroyed their village. They settled in ambition being to "reach the heart of the average American", New York City's Lower East Side in 1893, but a few years later, whom he saw as the "real soul of the country." when he was eight years old, his father died suddenly, requiring Sandrich—TOP HAT—2 In his early Suit (1979, "Battlestar Galactica” (1 episode, 1979), The Amazing years he wrote Dobermans (1976, The Towering Inferno (1974, "It Takes a Thief” hundreds of songs, (5 episodes, 1968-1970), Finian's Rainbow (1968), "Dr. Kildare (4 many of which became episodes, 1965), The Pleasure of His Company (1961), On the major hits, making him Beach (1959), "General Electric Theater" (2 episodes, 1957-1959), "a legend" before he Silk Stockings (1957), Funny Face (1957), Daddy Long Legs turned thirty. During (1955), The Band Wagon (1953), The Belle of New York (1952), his 60-year career he Royal Wedding (1951), Let's Dance (1950), Three Little Words wrote an estimated (1950), The Barkleys of Broadway (1949), Easter Parade (1948), 1,500 songs, including Blue Skies (1946), Yolanda and the Thief (1945), The Sky's the the scores for 19 Limit (1943), You Were Never Lovelier (1942), Holiday Inn Broadway shows and (1942), You'll Never Get Rich (1941), Second Chorus (1940), 18 Hollywood films, Broadway Melody of 1940 (1940), Story of Vernon and Irene with his songs Castle (1939), A Damsel in Distress (1937), Shall We Dance nominated eight times (1937), Follow the Fleet (1936), Top Hat (1935), Roberta (1935), for Academy Awards. The Gay Divorcee/The Gay Divorce (1934), Flying Down to Rio Besides "Alexander's (1933). Won Oscar: Honorary Award “For his unique artistry and Ragtime Band", he his contributions to the technique of musical pictures.” (1950); wrote songs like Nominated Oscar: Best Actor in a Supporting Role- The Towering "Cheek to Cheek", Inferno (1975); Won AFI Life Achievement Award (1981). "Blue Skies", and "Puttin' On the Ritz". Ginger Rogers (16 July 1911, Independence, Missouri, USA--25 Some of his songs have April 1995, Rancho Mirage, California, USA, congestive heart become popular themes and anthems, such as "Easter Parade", failure) "Hotel" (1 episode, 1987), "The Love Boat" (2 episodes, "White Christmas", "Happy Holiday", "This is the Army, Mr. 1979), Harlow (1965/II), “Bob Hope Presents the Chrysler Jones", and "There's No Business Like Show Business". In 1917, Theatre" (1 episode, after being drafted by the army to write patriotic songs during 1965), "The Red Skelton World War I, he composed an all-soldier musical revue as a Show" (3 episodes, 1963- patriotic tribute to the army. Twenty-five years later, during World 1964), The Confession War II, it was remade into a hit Broadway musical and film, This (1964), "Zane Grey is the Army. It co-starred Ronald Reagan and had Kate Smith Theater" (1 episode, again singing Berlin's "God Bless America", which had already 1960), "The DuPont Show become the unofficial national anthem after she first sang it on the with June Allyson", The radio in 1938. After 9-11, it again became the #1 song after Celine First Traveling Saleslady Dion recorded it as a tribute. (1956), Black Widow Berlin's songs have reached the top of the charts 25 times (1954), Forever Female and been re-recorded countless times by singers including Frank (1954), Not Married! Sinatra, Barbara Streisand, Linda Ronstadt, Rosemary Clooney, (1952), The Groom Wore Diana Ross, Bing Crosby, Al Jolson, Nat King Cole, Billie Spurs (1951), The Holiday, and Ella Fitzgerald. Composer Douglas Moore sets Berlin Barkleys of Broadway apart from all other contemporary songwriters, and includes him (1949), It Had to Be You instead with Stephen Foster, Walt Whitman, and Carl Sandburg, as (1947), Magnificent Doll (1946), Heartbeat (1946), Week-End at a "great American minstrel" – someone who has "caught and the Waldorf (1945), I'll Be Seeing You (1944), Lady in the Dark immortalized in his songs what we say, what we think about, and (1944), Tender Comrade (1943), Once Upon a Honeymoon (1942), what we believe." Major and the Minor (1942), Tales of Manhattan (1942), Roxie Composer George Hart (1942), Tom Dick and Harry (1941), Kitty Foyle: The Natural Gershwin called him History of a Woman (1940), The Story of Vernon and Irene Castle "the greatest songwriter (1939), Stage Door (1937), Shall We Dance (1937), Swing Time that has ever lived", and (1936), Follow the Fleet (1936), In Person (1935), Top Hat (1935), composer Jerome Kern Roberta (1935), The Gay Divorcee (1934), Change of Heart concluded that "Irving (1934), Flying Down to Rio (1933), Sitting Pretty (1933), Chance Berlin has no place in at Heaven (1933), Rafter Romance (1933), A Shriek in the Night American music - he is (1933), Don't Bet on Love (1933), Gold Diggers of 1933 (1933), American music." 42nd Street (1933), You Said a Mouthful (1932), Hat Check Girl (1932), The Tenderfoot (1932), Suicide Fleet (1931), Follow the Fred Astaire (10 May Leader (1930), Office Blues (1930), Queen High (1930), The Sap 1899, Omaha, from Syracuse/ The Sap from Abroad (1930), Young Man of Nebraska, USA-- 22 Manhattan (1930), Sweethearts (1930), A Night in a Dormitory June 1987, Los (1930), A Day of a Man of Affairs (1929). Won Oscar: Best Angeles, California, Actress in a Leading Role- Kitty Foyle: The Natural History of a USA, pneumonia) The Woman (1941) Man in the Santa Claus Sandrich—TOP HAT—3 Edward Everett Horton (18 March 1886, Brooklyn, New York, We Dance (1937), Swing Time (1936), Seven Keys to Baldpate USA-- 29 September 1970, Encino, California, USA, cancer) Cold (1935), Diamond Jim (1935), Top Hat (1935), Old Man Rhythm Turkey (1971), "The Governor & J.J." (2 episodes, 1970), "Nanny (1935), Folies Bergère de Paris (1935), The Gay Divorcee (1934), and the Professor" (1 episode, 1970), "Love, American Style" Flying Down to Rio (1933), The Great Gatsby (1926), Night Out (segment "Love and Las Vegas") (1 episode, 1970), "It Takes a and a Day In (1920). Thief" (1 episode, 1969), "Batman" (2 episodes, 1966), "F Troop" (6 episodes, 1965), "Burke's Law (2 episodes, 1963-1965), It's a Helen Broderick (11 August 1891, Philadelphia, Pennsylvania, Mad Mad Mad Mad World (1963), Pocketful of Miracles (1961), USA-- 25 September 1959, Beverly Hills, Los Angeles, California, "Damon Runyon Theater" (1 episode, 1955), "The Colgate USA, natural causes) Because of Him (1946), Honor and Goodbye Comedy Hour" (1 episode, 1954), "I Love Lucy" (1 episode, (1945), Three Is a Family (1944), Father Takes a Wife (1941), No, 1952), Down to Earth (1947), The Ghost Goes Wild (1947), No, Nanette (1940), The Captain Is a Lady (1940), Naughty But Faithful in My Fashion (1946), Cinderella Jones (1946), Lady on a Nice (1939), The Road to Reno (1938), Rage of Paris (1938), Train (1945), Brazil (1944), Arsenic and Old Lace (1944), The Smartest Girl in Town (1936), Swing Time (1936), Love on a Bet Gang's All Here (1943), Springtime in the Rockies (1942), I (1936), Top Hat (1935), Cold Turkey (1931), 50 Million Married an Angel (1942), Here Comes Mr.
Load more

Recommended publications
  • “White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell
    “White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell Crosby’s 1945 holiday album Original release label “Holiday Inn” movie poster With the possible exception of “Silent Night,” no other song is more identified with the holiday season than “White Christmas.” And no singer is more identified with it than its originator, Bing Crosby. And, perhaps, rightfully so. Surely no other Christmas tune has ever had the commercial or cultural impact as this song or sold as many copies--50 million by most estimates, making it the best-selling record in history. Irving Berlin wrote “White Christmas” in 1940. Legends differ as to where and how though. Some say he wrote it poolside at the Biltmore Hotel in Phoenix, Arizona, a reasonable theory considering the song’s wishing for wintery weather. Some though say that’s just a good story. Furthermore, some histories say Berlin knew from the beginning that the song was going to be a massive hit but another account says when he brought it to producer-director Mark Sandrich, Berlin unassumingly described it as only “an amusing little number.” Likewise, Bing Crosby himself is said to have found the song only merely adequate at first. Regardless, everyone agrees that it was in 1942, when Sandrich was readying a Christmas- themed motion picture “Holiday Inn,” that the song made its debut. The film starred Fred Astaire and Bing Crosby and it needed a holiday song to be sung by Crosby and his leading lady, Marjorie Reynolds (whose vocals were dubbed). Enter “White Christmas.” Though the film would not be seen for many months, millions of Americans got to hear it on Christmas night, 1941, when Crosby sang it alone on his top-rated radio show “The Kraft Music Hall.” On May 29, 1942, he recorded it during the sessions for the “Holiday Inn” album issued that year.
    [Show full text]
  • Hollywood Musicals
    i HOLLYWOOD MUSICALS Hollywood Musicals offers an insightful account of a genre that was once a main- stay of twentieth- century fi lm production and continues to draw audiences today. What is a fi lm musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss defi nitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat , Holiday Inn , Stormy Weather, The Gang’s All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin’ in the Rain , Gentlemen Prefer Blondes, The Band Wagon , Seven Brides for Seven Brothers , and Jailhouse Rock as well as later fi lms, such a s Cabaret , All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and fl exibility, its long and distinguished history, its special appeal, and its cultural signifi cance. Clear and accessible, this guide provides students of fi lm and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood’s most beloved genres. Steven Cohan’s books include Masked Men: Masculinity and the Movies in the Fifties, Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical , and Hollywood by Hollywood: The Backstudio Picture and the Mystique of Making Movies.
    [Show full text]
  • CINEVENT 47, Held May 2015
    24 Hour Voice Mail: Comedy, Drama, 866 - 785 - 7687 Westerns, Musicals, e-mail : Mysteries, Animation [email protected] & Horror films - web : www.cinevent.com Features & Shorts ! Coming FRIDAY MAY 22 through MONDAY MAY 25, 2015 MEMORIAL DAY WEEKEND! THE GREAT CELEBRATION OF SILENT AND SOUND FILMS in COLUMBUS, OHIO! Now Scheduled in the Cinevent Screening Room: PLUS TILLIE WAKES UP (1917) Marie Dressler and Johnny Hines in this Coney Island set comedy. M'LISS (1918) Mary Pickford is a spunky mining camp lass who falls for Thomas Meighan. LAUREL & HARDY, THE WHISTLE (1921) Lambert Hillyer directs Wiiliam S. Hart in a rare non-Western role. CHARLEY CHASE, other OLIVER TWIST (1922) Lon Chaney is Fagin and Jackie Coogan is the hungry title orphan. assorted shorts, & THE PRAIRIE KING (1926) Hoot Gibson is one of three who have been left a gold mine by a our ANNUAL ANIMATION deceased prospector, but only if conditions can be met... PROGRAM THE NERVOUS WRECK (1926) Harrison Ford, Phyllis Haver, and Chester Conklin in this Arizona-set Christy comedy feature. AND THE SHIELD OF HONOR (1928) Can Neil Hamilton, the first flying policeman on the force, save his dad from stop-at-nothing jewel thieves? Cinevent has DEALERS: SHOOTING STARS (1928) A sinister plot at a film studio – will an on-screen/married over 100 tables of all kinds off-screen couple be broken up by – MURDER? of movie related collectibles, WIDE OPEN (1930) Edward Everett Horton and Patsy Ruth Miller as the usual befuddled including Posters, Lobby bachelor and his potential love interest. Cards, Stills, Books, THE DRUMS OF JEOPARDY (1931) Warner Oland is mad doctor Boris Karlov(!), looking for Pressbooks, CD's, Records, revenge on those he thinks caused his daughter’s death.
    [Show full text]
  • Mervyn Leroy GOLD DIGGERS of 1933 (1933), 97 Min
    January 30, 2018 (XXXVI:1) Mervyn LeRoy GOLD DIGGERS OF 1933 (1933), 97 min. (The online version of this handout has hot urls.) National Film Registry, 2003 Directed by Mervyn LeRoy Numbers created and directed by Busby Berkeley Writing by Erwin S. Gelsey & James Seymour, David Boehm & Ben Markson (dialogue), Avery Hopwood (based on a play by) Produced by Robert Lord, Jack L. Warner, Raymond Griffith (uncredited) Cinematography Sol Polito Film Editing George Amy Art Direction Anton Grot Costume Design Orry-Kelly Warren William…J. Lawrence Bradford him a major director. Some of the other 65 films he directed were Joan Blondell…Carol King Mary, Mary (1963), Gypsy (1962), The FBI Story (1959), No Aline MacMahon…Trixie Lorraine Time for Sergeants (1958), The Bad Seed (1956), Mister Roberts Ruby Keeler…Polly Parker (1955), Rose Marie (1954), Million Dollar Mermaid (1952), Quo Dick Powell…Brad Roberts Vadis? (1951), Any Number Can Play (1949), Little Women Guy Kibbee…Faneul H. Peabody (1949), The House I Live In (1945), Thirty Seconds Over Tokyo Ned Sparks…Barney Hopkins (1944), Madame Curie (1943), They Won't Forget (1937) [a Ginger Rogers…Fay Fortune great social issue film, also notable for the first sweatered film Billy Bart…The Baby appearance by his discovery Judy Turner, whose name he Etta Moten..soloist in “Remember My Forgotten Man” changed to Lana], I Am a Fugitive from a Chain Gang (1932), and Two Seconds (1931). He produced 28 films, one of which MERVYN LE ROY (b. October 15, 1900 in San Francisco, was The Wizard of Oz (1939) hence the inscription on his CA—d.
    [Show full text]
  • Best Picture of the Yeari Best. Rice of the Ear
    SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex­ perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz­ ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.
    [Show full text]
  • Lexington's Taste of Broadway Grand Night Just Getting Better at 24
    OPERALEX.ORGbravo lex SPRING! 2016 Lexington's taste of Broadway Grand Night just getting better at 24 Big. Bold. Exciting. A Lexington tradition. All this and more can describe University of Kentucky Opera Theatre’s annual presentation of It’s A Grand Night For Singing. Now in its 24th year, it is bigger and It's a Grand Night better than ever. for Singing! Dr. Everett McCorvey says that WWhere: Singletary Center he and colleague ffor the Arts, UK campus Jim Rodgers started WWhen: June 10,11,17,18 Grand Night as a aat 7:30 p.m. way to give students JJune 12,19 at 2 p.m. an idea of what it’s TTickets: Call 859.257.4929 like to prepare a oor visit Broadway show. uukoperathheatre.org That process added high level choreography to the musical is complicated, numbers. More dancing is added each year. A few intricate and moves quickly. “I wanted students years ago, professional Broadway choreographers to experience the fast-paced preparation and Jeromy Smith and Lyndy Franklin Smith joined the performance of a Broadway show. “ In the early production team, increasing the complexity and years of Grand Night, they allowed four weeks to quality of the dancing. rehearse; now pushed up to five. The extra week became necessary when, several years in, they See Page 4 zhttps://www.facebook.com/UKOperaTheatre FOLLOW UKOT! zhttps://twitter.com/UKOperaTheatre on social media zhttps://instagram.com/ukoperatheatre Page 2 Jenna Day was a poised Pam Miller and big bidder Ben Kaufman. mistress of ceremonies. Having fun, raising money Encore! crowd wowed by food, wine, music OperaLex President Pam Miller offered this account of the annual fundraising gala, Encore! “That was the best fund-raising party I have ever Cathy Jacobs, Everett McCorvey and been to in Lexington,” said Gloria Rie, who attended our Beverly Fortune enjoy a laugh together.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • Films from the THIRTIES: PART II 1935-39
    t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
    [Show full text]
  • 'DJ.M~ ~ WORLD's GREATEST SELECTION of THINGS to SHOW
    WINTER 1984 SUPPLEMENT I -'DJ.m~ ~ WORLD'S GREATEST SELECTION OF THINGS TO SHOW SCROOGE 2 (1935) SEYMORE HICKS, DONALD CALTHROP, ROBERT COCHRAN, MARY GLYNNE It's the one and only "Bah­ Humbug" story as told by Charles Dickens. From the irascible old Scrooge, through Bob Crotchet's misery, old Marlye's ghost and the new and loveable Scrooge, we and Tiny Tim again enjoy that most wonderful spirit of Christmas. 77 min . BW We are pleased to present the classic version of this Dickens Christ­ mas classic to all our customers. Merry Christmas to you all! 506-30-0599 - Beta 525-30-0599 - VHS. .. .. .. .................... $29.98 BLACKHAWK CHRISTMAS PRICE ....... ... $23.88 (Sale ends December 31, 1983) A CHRISTMAS CAROL, here called SCROOGE, was the first of Charles Dickens "Christmas Books" written' in 1845 and we are pleased to announce on page 3 his third "Book" called THE CRICKET ON THE HEARTH. (order blank p. 33) 1983 Blackhawk f ilms, Inc ., One Old Eagle Brewery, Davenport, Iowa 52802 Special Delivery Services United States: Guarantee 16mm Film - Special Order Most 16mm format film is special order. Please UPS BLUE LABEL $2 .00 per item POSTAL EXPRESS OVERNITE $8.00 (1 only) If after receivin!;l an item you are not allow 12 weeks for printing and delivery. satisfied, return 11 to us within 10 days. {Limit 1 tape or 1 Disc only) We'll allow full credit on some other Running Time Conversion Table UPS NEXT DAY AIR $10.00 per item FEDERAL EXPRESS $28.00 per item purchase or give you a full refund.
    [Show full text]
  • Many Roads, One Journey
    Many Roads, One Journey There are probably hundreds of streets named for various individuals, some obscure, some noted. There are certainly far more than could ever be included in a single exhibit. What we have tried to do is offer a representative sampling of the diverse and fascinating people and their stories, those who created and developed Los Angeles. Although we say these names almost daily, we never stop to consider where they came from, yet we owe them a debt of gratitude. There are certainly many more, who, for various reasons or no reason at all, are not commemorated in this way. That doesn't make them less important, just not as obvious to the casual observer; but by learning the stories behind street names, we honor their contributions and history. In the early days, as now, people came to Southern California for opportunities which didn't exist elsewhere, due then to the social structure of East Coast Society, which was still rigid and traditional: the lower and middle classes stayed lower and middle class and the upper class treated them both as second class. Even financial success didn't always buy social acceptance. The Nouveau riche—those who made big money in industry or earned money rather than inherited it—might have been tolerated, but they were not considered in the same league as those born with a Silver Spoon. Life—and status—was circumscribed from birth. But in California, and especially Southern California, it was different. Far enough away from class distinctions and restrictions, a man was free to reinvent himself in a society that had no such confines.
    [Show full text]