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Evening Star. (Washington, D.C.). 1941-10-23 [P B-17]

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SEA his casting with James Cagney In produced, however, until Morgan formerly a eoncert and operatic FOOD PLATTER She’s Too Ahead first has finished the Busy Shipwreck "Captains of the Clouds,” now near- singing lead singer, and many fans, aware of that FRIDAY & lot it tits Dennis Morgan will be starred by in "The Desert Song,” the Sigmund fact, have writt4fn to Warners re- ^ ing completion, and it was his work To See Warners will soon that he be as the SPECFAI, Ptr Platter Filming Warner Bros, in "Robinson Crusoe” Romberg operetta questing cast Red "t^/^ in that which decided Warner ex* the screen. was Include* or bring tp Mojgan Shadow. soup tomato juice, two vege- Of Own Novel as the second step in a definite plan tables- salad, dessert, rolls, bererace. ecutives to star him in th# film OTHER DINNERS FROM 35c. to establish him with the movie- By the Associated Press. going public as an adventurous, version of the De Foe classic. / A. 1365 Kennedv N.W. HOLLYWOOD. LXLf G at Colorado dashing personality. The first was "Robinson Crusoe” "will not be ___C_GK.9571_ Mrs. Rebecca Yancey Williams wrote a book about her girlhood home at Lynchburg Va. or at home... KEEP FIT Now It's being made into a mo- In camp tion picture. "The Vanishing Vir- ginian,” with Frank Morgan in the E 3 WAYS role of her father, Spring Byington Whether it'* reveille as her mother, Kathryn Grayson or an alarm clock that calls yoi to duty, 35- I as Rebecca and other actors as three here'] the first step for health defense. A cool, fancy class of Sunsweet Prune I 6 P.M. younger children in the family. I TO 1 A.M. Juice. This pure fruit drink is packed The that Mrs. studio, thinking with three essentials for keeping St. Williams would like to see iCAPITAL GARAGEi naturally yiumfhi (B and G) for growth, energy 8 F 320 N. r. Are., Bet. 13th fr 14th! how she and her family were being — mntrsh to rebuild — Uxslh* tgtet to treated on the screen, invited her sweep sway poisons. to come to Hollywood and work on the script. Mrs. Williams declined. She’s too busy—writing a new novel. la Utility Jar, i*t a \\\\ What’s Accuracy Vacuum Isulud flN€ HOTfL ]))] In the Face of Youth’s Jeers? z PRIZES! AWARDS! CONTESTS! £ 0 Jill By the Associated Press. 2 GRAND AWARD SATURDAY NIGHT £ 0 Utk WK IILL HOLLYWOOD. If they wanted to be historically Si NEW 1942 PONTIAC CAR S ~ \ accurate in their next movie, Tyrone 2nd ANNUAL WASHINGTON ^ Power and Gene Tierney would ro- | Thursday Dinner mance by rubbing noses. That’s how Polynesians 3isplayed $1 affection in 1800, the era of “Son s FOOD ffIf Puree of of Fury,” in which Power is an SHOW! 'M Split Peo Soup English gentleman turned pearl 2 RIVERSIDE STADIUM o t Grilled Calf Liver diver and Miss Tierney is a South 26th and D | French Fried Omoni Sea Island maiden. Z Sts. N.W. g 7 | Goldenrod Potatoes, Broccoli But Director John Cromwell, after g Daily, 2 to 5 P.M.—7 to 10:30 P M. 5 7 an ardent bit of nose- Health Salad watching ... AUSPICES INDEPENDENT FOOD DISTRIBUTORS OF D C. '*7 1% Lemon Chiffon Pie rubbing. decided modern youth 2 FREE AND CUT-RATE TICKETS AT YOUR Coffee movie clientele would think it pretty Z 0 dull. So rbwer and will OTHER DINNERS Tierney NATION-WIDE GROCER r Tehle d'Hnte—A la Carte kiss when the time comes to put | \ FINEST PRINKS V across a love scene, just like the % FUN! SAMPLES! BEAUTY QUEENS 5 7 L\\>X na. Mill SA modern youth clientele. __AMUSEMENTS._ AMUSEMENTS. THESE PRICES EFFECTIVE UNTIL CLOSING SATURDAY, OCT. 25th " ..- NO PUBLICITY GAG—Stirling Hayden has left Hollywood be- ■ I ^ hind for reasons that are sincere, whatever they may be, Sheilah McCormick'* Banquet 0 Graham tells us today after talking with him in New York. MACARONI OR SPAGHETTI_3 pm*. 25c ORANGE PEKOE TEA_4 it>. tin 23c 4 it>. tm 45c 0 Flekorn Lipton'i Finest Orange Pekoe CORN MUFFIN MIX_pm. 12c TEA-4 it) 25e 4 ib. 49c a False Life of Hollywood Crosse fr Blackwell Salada Brown Label DATE & NUT BREAD___2 on. 25c TEA-4 ib. pi.*. 19c TEA BAGS is in pk* 17c Was Too Much for Him 0 All Time Schedules Given in Warner (Mueller's ACADEMYor Pcrf8th S»T cf sp^otopl*T- Bros. Ads Indicate Time Feature At- K. Lawrence Phillips' TheatrV Beantiful. tract ion Is Continuous from 5 P.M. Presented.__ Theaters Having Matinees._ So Who The MARX BROTHERS in Stirling Hayden, Prefers “THE BIG STORE,” AMBASSADOR 'RT Matinee 1 P.M. A Boat Is Off to With TONY MARTIN and VIRGINIA Any Day, War GREY Also FRED ASTAIRE RITA HAYWORTH _ EAST SIDE KIDS in ■ ■aMaaa in YOU LL NEVER GET RICH. At “PRIDE OF THE BOWERY.” 1 30. 3 30. 5:30. T:30. 0:36. To Drive an Ambulance tAth * e nx. ULTIilltilurvrRT v 48th A Mas*. Ave. N.W. LI. 3100 Mat I PM. By SHEILAH GRAHAM. WO. 4600. Parkin* Snare Available to Patron*. NEW YORK. Show Place of the Nation’s Capital. MELVYN DOUGLAS, RUTH HUSSEY Free Parkin* for Over 500 Cars in Rrar. in OUR WIFE A; 1:20. 3:25, 5:30, Stirling Hayden is thinking of the future and how best to get the T 30. Mn Special Matinee Every Wed.-Sat.-Sun. Comedv_ from life he wants. That is the blond sensation of things why “Virginia’’ ’11 Visit Out Kmbassy Room. r&I VFRT *3*4 Wis. Are. N.IV. HiU\V”JL TjT-1t 11 UHL. VE.ni and "Bahama has shaken the dust of Hollywood from his ^gLJL nffay J •MY LIFE >v Mat. 1 P.M. Passage" WITH CAROLINE,’ Parkin* Spare Available to Patron*. feet and is about to embark—around November 1. with the ■with RONALD COLMAN and ANNA LEE JOAN CRAWFORD. ROBERT TAY- restless Es’ra Pete Smith s FOOTBALL THRILLS LOR in "WHEN LADIES MEET." At American Field Service for the Middle East, where he will work as an Thursday—-Doors Open at 5:30 P.M. Fea- e 1. 3:111. A: 15. 7:25. !i 35. o _ ambulance driver. ture at 6:45. 7:43. 9.41. * CENTRAL \,T,h .?7,vw- I ran Mr. Hayden to earth at a rehearsal for his appearance on the an ac 1331 h st. ne. at. 8.300. 11 Opens 9:15 A M. VV Uic lauiu HllaHa jjiugiaiu. Mat. 1 P.M. 3 Q ERROL FLYNN FRED MacMURR AY " He has been in hiding for the past c in DIVE BOMBER (In Techni- and tell one the truth. Then •«. W every “MAN POWER,” color ) At 10:5(*. •2:15. 5 45 9 15. week in New York and I was sur- With EDWARD G ROBINSON. \#4RLENE March of Time. •‘Crime Doesn t Pay perhaps," he added with an eye on piised that the man who had re- Brewer Snyder Old Virginia \ DIETRICH and GEORGE RAFT. e n> the will leave me in ~ vririrrnv 4th n.w. door, "people HP ALnnLui nounced film fame and fortune Also on Sam* Proawim sg R r>r>00 Mat , PM POTATOCHIPS_%ib.pkg l8c PURE PRESERVES_iib.jarl9c? Parking peace." Space Available to Patrons. because of—among other reasons— Brer Green Label “WILD GEESE CALLING.” SPENCER TRACY LANA TURNER "Weren't tn Notion-Wide Rabbit 0 ■e = you happy Holly- With HENRY FONDA JOAN BENNETT BERGMAN in DR Hollywood's disruption of his pri- TNGRJD JEKYLL wood?" this reporter ^ and WARREN WILLIAM. ^2 AND MR HYDE At 1:35. 4:15, vate life, should brave the publicity persisted. MAYONNAISE-_% Pt 17c Pt 29c MOLASSES_n«. m 14c v a. 6:50. 9:25. “As happy as I'd be anywhere glare of a speech on the radio. French's Warchestershira Krumms A rURflV TN& nth A N. C. Ave. S.E. h, Dr PaTAve7at 7th S.E. I disliked,” he trtnULlHrt LADY FROM CHEY- rLnnIff Iff been nonsense doing things replied. FR ,v*00. Mat I P.M. "There's so much SAUCE_« oe hot 14c MACARONI OR SPAGHETTI_2 Pk*< 11c \ ENNE. with LORETTA YOUNG. ROB- "They treated me well according Parking Snace Available to Patrons. these few weeks about I 1 ERT PRESTON. Also ARKANSAS past why ANN SOTHEPN ROBERT YOUNG. their own but accord- i JUDGE to standards, ELEANOR POWELL. RED SKEI TON left Hollywood,” explained Stirling, A ing to the life out there Is SMALL, LEAN CRISP, CLEAN b in LADY BE GOOD. At 1. 3 10, "that I decided to do this broadcast mine, nur? r ***nna. Ave. at 21st St. 5:10. 7:‘2 5 P 35_ false. With the world in a state VinVLL Air-Conditioned. * CRrRTn&KI Ga. Ave. A Sheridan! of turmoil how can I stay in Holly- \ RUBY KEELER OZZIE NELSON In dllLIllUHIf P 2'b» v Mat P M. Fresh SHOULDERS 25* FRESH SPINACH 15‘ ■SWEETHEART OF THE CAMPUS wood all that stuff? MELVYN DOUGLAS RUTH HUSSEY The Irish are with you, doing phony New' Comedy. 1 w in OUR WIFE At ! 25. 3 30, 5:30, Mr. President: a BRIGGS SLICED BACON_n». 39c TENDER CELERY_,talk 10c 7:30. P 35._ 0 8 E" “They gave me a boat,” he con- i CM UrD Ga. Ave. Sc Colesville Pike. BRIGGS CARROTS_2 bunches 1 5c CONGRESS □ AMERICAN IRISH tinued. knew I liked boats SCRAPPLE_L_2u>s29c CALIFORNIA (i 29ni^c^T': llafCin SH 5500 Mat.
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  • The Effect of Censorship on American Film Adaptations Of

    The Effect of Censorship on American Film Adaptations Of

    THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Major Subject: English THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Douglas Brooks Committee Members, Anne Morey Arnold Krammer Head of Department, M. Jimmie Killingsworth May 2008 Major Subject: English iii ABSTRACT The Effect of Censorship on American Film Adaptations of Shakespearean Plays. (May 2008) Ruth Ann Alfred, B.A., Texas A&M University Chair of Advisory Committee: Dr. Douglas Brooks From July 1, 1934, to November 1, 1968, the Production Code Administration (PCA) oversaw the creation of American motion pictures, in order to improve Hollywood’s moral standing. To assist in this endeavor, the studios produced film adaptations of classic literature, such as the plays of William Shakespeare. In the first two years of the Code’s inception, two Shakespearean films were produced by major studios: A Midsummer Night’s Dream (1935) and Romeo and Juliet (1936). But were these classic adaptations able to avoid the censorship that other films endured? With the use of archived collections, film viewings, and an in-depth analysis of the plays, multiple versions of the scripts, and other available surviving documents, I was able to see how these productions were affected by the enforcement of film censorship and what it said about the position of Shakespeare’s work in society.