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Nothing Sacred (United Artists Pressbook, 1937)
SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians. -
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. -
Gregory La Cava (1936, 94 Min.)
February 12, 2019 (XXXVIII:3) Gregory La Cava (1936, 94 min.) DIRECTED BY Gregory La Cava WRITING Morrie Ryskind & Eric Hatch (screen play), Eric Hatch (novel), Zoe Akins, Gregory La Cava, Robert Presnell Sr. (contributing writers, uncredited) PRODUCER Charles R. Rogers (executive producer) MUSIC Charles Previn, Rudy Schrager (uncredited) CINEMATOGRAPHY Ted Tetzlaff (photographer) FILM EDITING Ted J. Kent, Russell F. Schoengarth ART DIRECTION Charles D. Hall Academy Awards, USA 1937 The film was nominated for Oscars for Best Actor in a Leading Role (William Powell), Best Actress in a Leading Role (Carole Lombard), Best Actor in a Supporting Role (Mischa Auer), Best Actress in a Supporting Role (Alice Brady), Best Director (Gregory La Cava), and Best Writing, Screenplay (Eric Hatch, Morrie Ryskind). ventured to Hollywood where, in 1922, he would begin directing two-reel comedies, a production genre that was a direct National Film Preservation Board, USA 1999 competitor to animation. During this phase of his career, he The film was selected for preservation in the National Film worked with such comedy luminaries as Bebe Daniels (Feel My Registry. Pulse, 1928), Richard Dix, and W. C. Fields (So's Your Old Man, 1926 and Running Wild, 1927) He and Fields were also drinking CAST buddies. La Cava worked his way up to feature films in the silent William Powell...Godfrey era, but it is for his work in sound films of the 1930s—especially Carole Lombard...Irene Bullock comedies—that he is best known today. And though he did not Alice Brady...Angelica Bullock always get credit, he also often had a hand in creating the Gail Patrick...Cornelia Bullock screenplays for his films. -
Closest Equivalent to Restoration Comedy”
American Movies’ ”Closest Equivalent to Restoration Comedy” By Oliver Tilley Fall 2009 Issue of KINEMA ”IT MAY BE AMERICAN MOVIES’ CLOSEST EQUIVALENT TO RESTORATION COMEDY” (Pauline Kael on Bringing Up Baby) I will attempt to ascertain the accuracy of Pauline Kael’s comment. It is a difficult issue, demanding a telescoping of two distinctive cultures, nations and media as well as an exploration of the concept of genre and intertextuality. In many ways Kael’s assertion - written, as she herself attests ’hurriedly’, being ’frequently dependent on [her] old, spotty memories’(1) - is superficial and breaks down after analysis. Her comparison is flawed in its assumptions that genres can contain such diverse works as they denote, over a fifty-year period on the one hand and a 10 year period on the other; while the idea that these genres can then be parallelled with each other is yet further problematic. Despite this, Kael’s perhaps unthinking observation proves a worthwhile area to explore and reach beyond the surface qualities of tone and style on which she seems to base her assessment. Kael, in her conversation with Ann Geracimos in 1969 concerning the ’Woman Reading’, discusses how much she loves reading, how it is her ’favourite’ pastime and how she could ’live without movies much more easily than [she] could live without books’(2). During her conversation with Geracimos, Kael details a large variety of books, ranging from Nabokov to Synge, which she had read or which she had found compelling, with, significantly, no mention of Restoration Comedy. It is still possible that she had deeply exploredthe genre and simply not thought to mention her interest during this interview, but it offers the provocative suggestion that she has never read, and only cursorily seen, any of the plays. -
IT HAPPENED ONE NIGHT 1934, Columbia, 105 Minutes Academy Awards for Best Picture, Best Actor, Best Actress, Best Director, Best Writing (Adaptation)
The Buffalo Film Seminars 2/2/2000 Angelika 8 Theater IT HAPPENED ONE NIGHT 1934, Columbia, 105 minutes Academy Awards for Best Picture, Best Actor, Best Actress, Best Director, Best writing (adaptation) DIRECTOR Frank Capra SCREENPLAY Robert Riskin, based on Samuel Hopkins Adams story “Night Bus” CINEMATOGRAPHY Joseph Walker PRODUCER Harry Cohn EDITOR Gene Havlick Clark Gable (Peter Warne) Claudette Colbert (Ellie Andrews) Walter Connolly (Alexander Andrews) Roscoe Karns (Oscar Shapley—the traveling salesman) James Thomas (King Wesley) Alan Hale (Danker) Arthur Hoyt (Zeke) Blanche Frederici (Zeke’s wife) Charles C. Wilson (Joe Gordon—the editor) Ward Bond (bus driver) FRANK CAPRA (1897, Palermo, Sicily –1991 La Quinta, California) directed 52 films, beginning with Fultah Fisher’s Boarding House (1922) and ending with Pocketful of Miracles (1961). Along the way he directed Platinum Blonde (1931), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), You Can’t Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), Arsenic and Old Lace (1944), It’s a Wonderful Life (1946), and State of the Union (1946 ). During World War II, he produced “Why We Fight,” a series of propaganda films for the Roosevelt administration. Capra won two other Best Director Oscars—for You Can’t Take it With You and Mr. Deeds Goes to Town. In 1982, he received the American Film Institute’s Life Achievement Award. CLARK GABLE (1901-1960) is best known for Gone With the Wind (1939), but his two best acting jobs were It Happened One Night and The Misfits (1961, directed by John Huston, written by Arthur Miller, costarring Marilyn Monroe and Montgomery Clift). -
Clark Gable ~ 27 Films
3 Clark Gable ~ 27 Films William Clark Gable was born on 1 February 1901 in Cadiz, Ohio, to William Henry and Adeline Gable. When he was seven months old, his mother died and his father, an oil-well driller, sent him to live with his maternal aunt and uncle in Pennsylvania, where he stayed until he was two, after which his father fetched him back to Cadiz. At 16, Gable quit school and worked at an Akron, Ohio, tyre factory until, after seeing the play The Bird of Paradise, he decided to become an actor. He toured in stock companies, worked oil fields and sold neckties. In December 1924, he married his acting coach Josephine Dillon, fifteen years his senior. The pair moved to Hollywood so Gable could further his acting career. A number of small silent film and stage roles followed. In April 1930, the marriage ended in divorce. A year later, Gable married Maria Langham, also about seventeen years his senior. While working in the theatre, Gable became a lifelong friend of prominent and influential thespian Lionel Barrymore. Despite several failed screen tests for Barrymore and Darryl Zanuck, in 1930 Gable was signed by MGM. After a small part in The Painted Desert (1931), Joan Crawford asked for him as co-star with her in Dance, Fools, Dance (also 1931). In the same year, the public loved his manhandling of Norma Shearer in A Free Soul. His unshaven lovemaking with Jean Harlow in Red Dust (1932) made him MGM's most important star, after which his acting career flourished. -
RIVOU Rogers, Dick Powell and Way on I | I | MONDAY Monday Top Pat O’Brien
. ' ■■■— -,T»»- -,.-t-■ ,-wa^ — IMM ■■ I M——1^_ 1| With B Brownsville 51 and ° Valley 51 Theaters 11 * « ‘HELL CAT* STARS STARS SCORE BURNS, ALLEN I NEW TRIUMPH IN DIZZY FILM “It Happened One Night," the widely-touted romantic screen com- George Bums, masculine half of edy co-starring Clark Gable and the famous stage, screen and radio Claudette Colbert, together on the Bums and Allen la •creen for the first time in their team, rapidly distinguished careers, will show acquiring a reputation as the cruel- 8unday and Monday at the Queen eat t»*»n in America, and he’s happy theatre, Brownsville about it? The reason for this strange Gable, today, Is undoubtedly the state of affair* is Burns' belief tit most popular masculine stellar the phenomenal stagr success figure on the screen. He scored a Burns and Allen is due to the meteoric rise to film prominence growing conviction that Oracle Is with outstanding portrayals in “The actually ’’looney" and that he Is Easiest Way," "Strange Interlude", mistreating her. They are featured Hell Divers," and others, but his with Guy Lombardo and His Royal in “It Happened One Canadians in Paramount’s "Many esrformancelght" is said to top them all for Happy Returns" opening Sunday at artistry and effectiveness. the Rivolt theatre. San Benito, far Miss Colbert enjoys nearly as a two day run. _ peat a following as Gable's, for Millions of radio and film fans. her work in recent pictures has Bums asserts, have taken the team Doomed her stock immensely, and t to their hearts under the delusion she’s that streaking upward like a sky- they are protecting a slightly rocket. -
El Concepto De Matrimonio En Gregory La Cava
El concepto de matrimonio en Gregory La Cava José Alfredo Peris Cancioa y José Sanmartín Espluguesb 1. LA OPORTUNIDAD DE REFLEXIONAR SOBRE EL CONCEPTO DEL MATRIMONIO EN GREGORY LA CAVA La sección del blog sobre cine que ve- nimos desarrollando en la revista SCIO, publicada por la Universidad Católica de Valencia San Vicente Mártir, intenta res- ponder a un interrogante sin duda ambi- cioso: ¿qué nos enseña el Hollywood clá- sico sobre el matrimonio entendido como la unión en igualdad de varón y mujer? Gregory La Cava and Irene Dunn on the set of Un- Tejido con mimbres de cinéfilos y de pro- finished Business. fesores de filosofía, nos movemos entre un Fuente: <www.filmreference.com> Escila y un Caribdis que continuamente nos amenazan. Si nos ceñimos al texto gamos los excursus filosóficos, tememos fílmico (como nos gusta llamar a las pe- perder a los cinéfilos. lículas cuando las tomamos como objetos En el comentario filosófico de las fil- de lectura y estudio), tememos desalentar mografías de los directores que desarrolla- a los interesados en la filosofía; si prolon- mos en el citado blog, tenemos el riesgo a Universidad Católica de Valencia San Vicente Mártir. b Universidad Católica de Valencia San Vicente Mártir. FIDES ET RATIO 2 [Mayo 2017], 149-165, ISSN: 2444-961X 150 Críticas cinematográficas de inclinarnos más por lo primero –se do al cine, cuando le gusta una película, siente una especial sensación de privilegio cuando queda impactado por ella, suele cuando se describen producciones cine- tener una agradable sensación de nove- matográficas que se creían perdidas o que dad, de haber descubierto algo que hasta son poco visionadas… y pensamos que entonces no había visto, sentido, valo- ¡ojalá estemos haciendo un buen servicio rado… Sin embargo, una reflexión crítica a la cultura volviéndolas a poner en circu- sobre el cine pone de manifiesto que, des- lación a través del blog!–, por eso mismo de sus fases más tempranas, las películas se nos vamos a dedicar a lo segundo en este hicieron aprendiendo unas de otras. -
Screwball Comedies: Eine Filmographie, Eine Bibliographie 2003
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Screwball Comedies: Eine Filmographie, eine Bibliographie 2003 https://doi.org/10.25969/mediarep/12854 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Screwball Comedies: Eine Filmographie, eine Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 50). DOI: https://doi.org/10.25969/mediarep/12854. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0050_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 50, 2003: Screwball Comedy. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 17. Dezember 2002. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0050_03.pdf. Screwball Comedies: Eine Filmographie, eine Bibliographie Zusammengestellt v. Hans J. Wulff Inhalt: Angel (Engel); USA 1937, Ernst Lubitsch, D: Marle- I. Die Filme (A-Z) ne Dietrich, Herbert Marshall. II. Die Regisseure (A-Z) III. Die Stars (A-Z) Annabel Takes a Tour; USA 1938, Lew Landers, D: IV. Chronologie Jack Oakie, Lucille Ball. V. Bibliographie Another Thin Man (Noch ein dünner Mann; aka: [*] Für Hinweise danke ich Christine Noll Brinckmann, Dünner Mann, dritter Fall); USA 1939, W.S. Van Thomas Christen, Karl-Dietmar Möller, Jörg Schweinitz Dyke, D: William Powell, Myrna Loy. -
'MAN of Arani
MARCI-I 10, 1935. PART 7-PAGE' ~. CHICKGO SUNDAY TRIBUNE: ---...! 'k MOTION PICTURES MOTION PICTURES MOTION PICTURES \ MOTION PICTURES ere s Shirley DOWNTOWN NORTH DOWNTOWN DOWNTOWN & KATZ THEATERS ~AN&KATZ~~~~~~ Op.I:30. Late Feat. 10:30 STAGE-LAST DA Y as Captivating I~~f'h:with New Revue MISS LOMBARD ALKVALE Last Complete Show 10 :lii 'Little Colonel' and His ORCHESTRA BIG Stage FROLIC ALLEN I PAUL A Joy -lamboree with IN THE & KENT MALL FORSYTHE, SEAMON Mack Bros. & Bobby AND FARREL!. ~oun9 Miss Temple BOUFFANT 12 CAMPUS CUTlES "BACKYARD FOLLIES" Violet Three Gives Childhood SILHOUETTE Carlson * Cheers Danny & Eddie -:;jlE~E Classic Fresh Delights. tenmcd with ",rufl, lovahlr I LIONEL BARRY ORE. "THE LITTLE COLONEL" '{he1.itJ:leColonelao I Fox Film drama uvith. I I:.-:-:..::..~- Produced by Fox. Directed by Devid ( I I I Butler. Story by Annie Fellows John- I PARKING DEVOll: EVELYN VENABLE, BILL ROBINSON ON STAGE---.1 ston. Presented ot the Chico go theefer, Katharine HEPBURN "T~IM~,m~ Also LAUREL & HARDY & "PDPEYE" 2··Balaban & Katz Production.·.2 " THE CAST ~ "SPRJrlGTIME" Lloyd Sherman ...•..... Shirley Temple ~ "THE ARTIST'S SKETCH BOOK" Col. Lloyd .....•••... Lionel Berrymore VIVIAN DELLA CHIESA jaul Muni, Sette Davis "B~~~~~' EDWARD DAVIES, THREE SWIFTS Elizobeth ... '..•.••.•... Evelyn Veneble Extra! NEW "POPEYE" CAI~TOON I GIL LAMB & MARIAN BELETT Jock Sherman .••••.••..... John Lodge CLARK-DIVERSEY POWELL & NEDRI EVANS BALLET Swezey ..•..•..•••.•.. Sidney Bleckrner Doors Open 1:30 Extra ! ---....;.~ CENTURY STAGE-LAST DAYI ~r..,,-- A feature picture in itself 1 Hull ..•.•••••........•.. Alden Chose ON STAG E! 45 Stars Direct From Gay Paree MARCH ISSUE OF Dr. Scott .•..••....... -
Love's Final Irony
1 Love’s Final Irony John Barrymore and Carole Lombard in Twentieth Century But there is one side of acting that has always stirred me . This is the superiority of the actor over reality . Of the few actors that I have known who had the genius, I admired most Jack Barrymore . he was the greatest actor of my time. —Ben Hecht (A Child of the Century 431) • SPIRING ACTRESS MILDRED PLOTKA—Carole Lombard—is crying. Theatrical impresario Oscar Jaffe—John Barrymore—has broken A her down. Poor Mildred is to play Mary Jo Calhoun in Jaffe’s lat- est production, Hearts of Kentucky. In this play, she is to assume the stage moniker “Lily Garland,” the dreamt-up name of the star Jaffe would like Miss Plotka to become. But she can’t get the cry right. Blocking and directing her movements on the stage with zig-zagging chalk, Jaffe has made sure Mildred knows where to stand. But she doesn’t yet know how to project her voice and body theatrically. When her character’s character is to react to her father’s death, Lombard raises her hands to her throat and gazes up at the heavens with a subtlety only a film camera could register. And Howard Hawks’s camera does register Lombard’s 33 © 2017 State University of New York Press, Albany 34 Gestures of Love Figure 1.1. John Barrymore, Carole Lombard, and performance pedagogy: Twentieth Century (Columbia, 1934). perfectly expressed manifestation of what is, in the context of Jaffe’s theater, Mildred’s performative failure. -
Summer Classic Film Series Is Returning for Its 44Th Year, Bringing More Well-Preserved Film Prints and Dazzling Digital Restorations to Our Scorching Hot Town
Summers in Austin aren’t getting any cooler. Now for the good news: the Paramount Summer Classic Film Series is returning for its 44th year, bringing more well-preserved film prints and dazzling digital restorations to our scorching hot town. This summer, we are screening more than 125 films — from romance and comedy to thrillers and chillers — and we hope you will join us for this annual three-month-long celebration of the SUMMER CLASSIC FILM SERIES movies! Films screening at the Paramount will be marked with a ( ), Presented by: while films screening at Stateside will be marked with an ( ). Crazy in Love – Thurs, May 23 – Sun, May 26 Epic Sunday Matinee – Sun, June 2 Everyone can see these characters are in love — except them Clear your schedule for one of cinema’s greatest (and longest) movies OPENING NIGHT FILM! 85TH ANNIVERSARY 65TH ANNIVERSARY! Casablanca It Happened One Night Seven Samurai (1942, 102min/b&w, 35mm) (1934, 105min/b&w, DCP) Clark Gable, Claudette (1954, 207min/b&w/Japanese w/ English subtitles, 35mm) Toshiro Mifune, Humphrey Bogart, Ingrid Colbert, and Walter Connolly. Directed by Frank Capra. Takashi Shimura, and Keiko Tsushima. Directed by Akira Kurosawa. One of the Bergman, Paul Henreid, Claude Of all the road-trip movies, this is easily the swooniest. most astonishing epics of all time, this masterpiece from legendary filmmaker Akira Rains, Conrad Veidt, Sydney Clark Gable and Claudette Colbert come together like Kurosawa tells the story of a sixteenth-century village whose desperate inhabitants hire the titular warriors to protect Greenstreet, and Peter Lorre. fire and water, she an heiress who has eloped against them from invading bandits.