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Leisen, Mitchell (1898-1972) by Craig Kaczorowski
Leisen, Mitchell (1898-1972) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com Mitchell Leisen was a noted director during Hollywood's Golden Age. He is credited with more than 40 feature films, which are celebrated for their stylishness and visual elegance. He excelled at witty, romantic comedies that are often tinged with a touch of melancholy, such as the classic "screwball" comedy Easy Living (1937) and the clever, cosmopolitan farce Midnight (1939). Leisen has also been hailed for his "gender role-reversal" films, where the male lead is cast as the sex object and the female lead as the aggressor. Not surprising for a bisexual director working in Hollywood, Leisen's other thematic obsessions included mistaken identity, role-playing, and deception. Leisen returned to the same performers film after film, developing strong working partnerships. Although he was instrumental in shaping the careers of such actors as Fred MacMurray and Ray Milland, Leisen became typed as a "woman's director" for the fastidious, detailed attention he paid to the costuming and art direction of his productions, as well as for the nuanced, spontaneous performances he coaxed from such actresses as Carole Lombard, Claudette Colbert, and Olivia de Havilland. Among many film historians, Leisen's artistic reputation has been tarnished somewhat by the stormy relationships he became embroiled in with some of his screenwriters, most notably Preston Sturges and Billy Wilder. After working on several films with Leisen, both writers demanded to be allowed to direct their own scripts, in part because they objected to the sophisticated veneer of Leisen's directorial style and to the changes he frequently made to their screenplays. -
II. Remembrance Representation
II. Remembrance & Representation Figure 1. Benson Fong, Beulah Quo, and George Takei on the set of My Three Sons. 2016 Amerasia Journal Amerasia 96 Amerasia Journal 42:2 (2016): 96-117 10.17953/aj.42.1.96 The Asian American Next Door Enfiguring the Model Minority on the Domestic Melodrama Melissa Phruksachart In the years between the mass incarceration of Japanese Americans (1942-1946) and the 1965 Immigration Act, what prepared the Ameri- can public to recognize and validate the term “model minority?” This essay proposes a televisual genealogy of the model minority as dis- tinct from the 1966 formulation published by The New York Times in William Petersen’s feature “Success Story, Japanese-American Style.”1 Building upon prior scholarship, I inquire into the early Cold War log- ics that precipitated the popular rise of the model minority figure in 1966. In particular, I point to network television as an archive that circulated the structures of feeling necessary for the model minority to take hold. By doing so, I place recent histories of Asian American do- mesticity during the Cold War era into closer conversation with U.S. popular culture, particularly television. While popular media histories lament the rarity of Asian Ameri- cans on television, I identify the trope of the Asian American neigh- bor as increasingly common on television in the late 1950s and early 1960s. Both the television industry and Asian American communities found themselves rapidly growing in size in mid-1950s California. At stake for both the television industry and Asian American commu- nities was the chance to be “domesticated” into the American home. -
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. -
Barbara Stanwyck Movies: a Treasure Trove
Life & Times Barbara Stanwyck movies: a treasure trove Barbara Stanwyck movies are all over careers. When hers eclipsed his, he fell into 50 years old. In the recent retrospective of alcoholism and wife beating. Later, their her films at the BFI Southbank season, half story became the plot of a movie, A Star were over 80 years old. Yet what stands out is Born. from this body of work is how modern the Her co-stars were a roll call of stars on films are, not in their plots or settings but the rise including Clark Gable (Night Nurse), in the characters she played and how she John Wayne (Baby Face), Kirk Douglas played them. (The Strange Love of Martha Ivers), Burt Stanwyck was never meek, decorative, Lancaster (Sorry, Wrong Number), Henry or incidental to the plot. Whether a young Fonda (The Mad Miss Manton), James woman sleeping her way to the top in Baby Mason, Cyd Charisse, and Ava Gardner (East Face (in 1933, before the Hays code), a Side, West Side), Humphrey Bogart (The preacher in Capra’s The Miracle Woman, or Two Mrs. Carrolls), David Niven (The Other an eroticised missionary’s wife in The Bitter Love), Marilyn Monroe (Clash by Night), and Tea of General Yen, she chose a range even Elvis Presley (Roustabout). She had of parts in which strong-minded women more regular partners in Gary Cooper (Meet made a difference to how the story turned John Doe, Ball of Fire), William Holden out. In her 82 films she had top billing in all (Golden Boy, Executive Suite), Joel McCrea (The Great Man’s Lady, Banjo on my Knee), but three. -
Double Indemnity by Matt Zoller Seitz “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Double Indemnity By Matt Zoller Seitz “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author “I never knew that murder could smell like honeysuckle.” That’s a confession by the narrator and hero of “Double Indemnity,” a hard- boiled insurance man named Walter Neff (Fred MacMurray) who died be- cause he fell for a great pair of legs. Walter Neff narrates quite a bit of this 1944 Billy Wilder classic, laying out the story of how a routine sales call some- how turned into a steamy adulterous Fred MacMurray checks out Barbara Stanwyck‘s “honey of an anklet.” affair with one Phyllis Dietrichson (Barbara Courtesy Library of Congress Stanwyck), a black-widow blonde who wanted to kill her husband for the insurance money and ed censor Will Hays waving his scissors in Hollywood’s needed an expert to help maximize her profit. Remarka- direction in the 1930s and 1940s, the stories couldn’t end bly enough, he thought he was in love with the woman — any other way — noir films were still deeply subversive and thanks to the doomed romantic charge passing be- affairs. Cynicism trumped optimism; naïve or generous tween MacMurray and Stanwyck, audiences nearly be- characters existed mainly to be taken advantage of, or to lieved the feeling was mutual. remind us of how far the hero had fall from anything re- sembling decency. The genre singlehandedly contradicted Their story takes the form of an extended deathbed con- and undermined the optimistic attitude of most Holly- fession by the fatally shot hero. -
Discussion Questions for Women in Film Gathering, June 19, 2012
1 Discussion Questions for Women in Film Gathering, June 19, 2012: Focal Film: The Apartment (1960; U.S.; Co‐written and Directed by Billy Wilder) Billy Wilder (1906‐2002) was one of the 20th century’s most respected writer/directors working in film. Born in Austria‐Hungary, he first wrote films for the German “national” studio, UFA. He was strongly influenced by a director who had earlier emigrated from Germany to the U.S.—Ernst Lubitsch. Both of these men were noted for their sophisticated comedies and elegantly constructed dramas, and in The Apartment, we may get both. Both men produced films of great distinction, handily earning the title of “auteur” of their works. And both frequently visited notions of gender roles, and relationships between the sexes. Some of Lubitsch’s films you might recognize are Ninotchka (with Greta Garbo and Melvin Douglas), Shop Around the Corner (with Jimmy Stewart and Margaret Sullavan; remade twice, lastly as You’ve Got Mail), and To Be or Not To Be (with Jack Benny and Carole Lombard). Important Billy Wilder films include Ninotchka (which he co‐wrote for Lubitsch), and the many films he both wrote or co‐wrote and directed, such as Double Indemnity (with Barbara Stanwyck and Fred MacMurray), The Lost Weekend (with Ray Milland), Sunset Boulevard (with Gloria Swanson and William Holden), Stalag 17 (with William Holden), Sabrina (with Audrey Hepburn, Humphrey Bogart, and William Holden), The Seven Year Itch (with Marilyn Monroe), Some Like It Hot (with Marilyn Monroe, Tony Curtis, and Jack Lemmon), Irma la Douce (with Shirley MacLaine and Jack Lemmon), and The Fortune Cookie (the first pairing of Jack Lemmon and Walter Matthau; set and partially shot in Cleveland, BTW). -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
Eastern State News
Eastern Illinois University The Keep November 1954 11-10-1954 Daily Eastern News: November 10, 1954 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1954_nov Recommended Citation Eastern Illinois University, "Daily Eastern News: November 10, 1954" (1954). November. 2. http://thekeep.eiu.edu/den_1954_nov/2 This Book is brought to you for free and open access by the 1954 at The Keep. It has been accepted for inclusion in November by an authorized administrator of The Keep. For more information, please contact [email protected]. ber 3, , • Eastern State News ' "Tell the Truth and Don't Be Afraid" EASTERN ILLINOIS STATE COLLEGE, CHARLESTON, ILL. WEDNESDAY, NOVEMBER 10, 1954 ' udent Association expects 600 to attend Parents' Doy Saturday Dogpa.tch darlings Kappa Sigs sponsor Luncheon and football game turn-about dance to highlight annual ·Parents' Day GALS, THIS is your last chance PARE.NTS' DAY, an annual affair sponsored by the Student Asso- before leap year to grab those .ciation, will, be held for all parents this Sat':Jrday. Approxi men, so round 'em up and head mately 600 parents are expected for the football game and after fol the " Sadie Hawkins dance, the-game snack, according to the public relations office which is Friday, November 12, in Old Aud · handling reservations for the af with music by Paul Douglas's - fair. orchestra. , Ticket sales began Monday, No ACE book bazaar Admission to Saturday's foot vember 8, in Old Aud and the price ball game will be free to all pa.r of tickets. is $1 a couple. -
Historical Society of the Upper Mojave Desert NONPROFIT ORG
Upper Mojave Desert 230 W. Ridgecrest Blvd. • P. O. Box 2001, Ridgecrest, CA 93556 • 760-375-8456 Vol. 31, No. 9 November 2016 To see our schedule of events, visit us at hsumd.org or on Facebook at hsumd Creators of New Book To Speak at Nov. Meeting book so new that it isn’t even com- pletely written yet will be the topic A of our November meeting, 7 p.m. on Tuesday, Nov. 15, at the Historic USO Build- ing, 230 W. Ridgecrest Blvd. Liz Babcock, the book’s editor and designer as well as the author of a portion of the book, will give the presentation, with added remarks by Richard Nuckles, the cartoonist who drew numerous cartoons for the project. The book, Tales from the Owl Saloon, is based on a manuscript donated to our archive many years ago by Dr. Rob Jones, who was good friends with Lodge Cunningham, the author. “The tales are boisterous, often profane, but invariably fascinating,” said Liz. “I realized that the only way to do justice to the character of these yarns would be to have them illustrat- See p. 4 Above left is the cover of HSUMD’s newest book, which is scheduled to come out in December — just in time for holiday giving. The book contains fascinating tales of Red Mountain and the surrounding area, as told by Lodge Cunningham (far left). The editor of the tales and author of a more factual part of the book is Liz Babcock (just to the right of Cunningham), while Richard Nu- ckles (immediate left) is the cartoon- ist illustrating the tales. -
Barbara Stanwyck Centennial
Film Programs Ball of Fire: Barbara Stanwyck Centennial July 6, 2007 - July 31, 2007 "Thank God I wasn't an ingenue. That would have killed me," Barbara Stanwyck said, reflecting late in life on her early career in Hollywood. Anything but ingenuous, Stanwyck (1907–1990) was the screen archetype of the independent woman with her wits about her, alert and often on the make. Born Ruby Stevens in Flatbush and orphaned early, she started working as a chorus girl at age fifteen; by 1930 she had embarked on a film career that ran from scandalous pre-Code sagas and "women's weepies" through noirs, smart-mouthed comedies, and whip-cracking Westerns (after retiring from the big screen, she was the memorable matriarch of TV's Big Valley). The movies made the most of her tough-broad- from-Brooklyn persona, but her performances also convey a certain reserve and a private tenderness, her vigor and slangy vivacity tempered by the ambivalence that comes with knowledge. Douglas Sirk, with whom she made a devastating pair of 1950s melodramas, called Ladies They Talk About, July 31 her "more expressive than any actress I ever worked with. She had depth as a person. There is this amazing tragic stillness about her, and there is nothing the least bit phony. She isn't capable of phony." Our centennial tribute showcases the very real qualities of this extraordinary actress: the knowing precision of glance and gesture, the husky voice that deepened with time and smoke—and then there were those legs. But why try to itemize her attributes? As Stanwyck said, "What the hell. -
Movie Suggestions for Those 70 and Older: #4 (Over 150)
Movie Suggestions for those 70 and older: #4 (over 150) Abraham and Mary Lincoln - 973.7 ABR - Narrator, David McCullough ; Voice of Abraham Lincoln is David Morse and the voice of Mary Lincoln is Holly Hunter. This film discusses the lives and the relationship of Mary Todd Lincoln and Abraham Lincoln. Closed-captioned for the hearing impaired. Adam’s Apples - Foreign - A preacher works with convicts to help with things around his rural church. A Neo-Nazi is assigned to the church and preacher. When the preacher asks him what he work he would like to do, he answers sarcastically, “Bake a pie”. The preacher takes him at his word and assigns him an apple tree to take care of. The Neo-Nazi decides to shake up the preacher’s world. {The} Adventures of Brisco County, Jr. - TV Series - Bruce Campbell, Julius Carry, Christian Clemenson, Kelly Rutherford, John Astin, Joh, Pyper-Ferguson, Billy Drago, Jeff Phillips, Comet. Lawyer turned Bounty hunter in the Ole West. Comedic, idealistic, romantic and then there is always the faithful Comet (his horse). {The} Adventures of Ma & Pa Kettle Volume I - Classics - The Franchise Collection. Includes “The Egg & I” with Fred MacMurray and Claudette Colbert, Marjorie Main, Percy Kilbride, Louise Allbritton, Richard Long, Billy House, Donald MacBride, Samuel S. Hinds. “Ma & Pa Kettle Go to Town” with Marjorie Main, Percy Kilbride, Richard Long, Meg Randall, Gregg Martell, Charles McGraw, Kathryn Givney, Paul McVey, Jim Backrus. “The Further Adventures of Ma & Pa Kettle” with Marjorie Main, Percy Kilbride, Richard Long, Meg Randall, Patricia Alphin, Esther Dale, Barry Kelley, Harry Antrim, Ida Moore, Emory Parnell. -
Layout 1 (Page 6)
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