XXIV:7) Sidney Lumet, 12 ANGRY MEN (1957, 96 Min.)

Total Page:16

File Type:pdf, Size:1020Kb

XXIV:7) Sidney Lumet, 12 ANGRY MEN (1957, 96 Min.) February 28, 2012 (XXIV:7) Sidney Lumet, 12 ANGRY MEN (1957, 96 min.) National Film Registry 2007 Directed by Sidney Lumet Story and screenplay by Reginald Rose Produced by Henry Fonda and Reginald Rose Original Music by Kenyon Hopkins Cinematography by Boris Kaufman Film Editing by Carl Lerner Art Direction by Bob Markel Martin Balsam… Juror #1 John Fiedler… Juror #2 Lee J. Cobb… Juror #3 E.G. Marshall… Juror #4 Jack Klugman… Juror #5 Edward Binns… Juror #6 Jack Warden… Juror #7 Henry Fonda… Juror #8 Joseph Sweeney… Juror #9 Ed Begley… Juror #10 George Voskovec… Juror #11 Robert Webber… Juror #12 Rudy Bond… Judge (uncredited) James Kelly… Guard (uncredited) Billy Nelson… Court Clerk (uncredited) John Savoca… The Accused (uncredited) Journey Into Night, 1960 “The Iceman Cometh”, 1960 “Sunday Showcase”, 1959 The Fugitive Kind, 1959 That Kind of Woman, SIDNEY LUMET (June 25, 1924, Philadelphia, Pennsylvania – 1957 12 Angry Men, 1956 “Goodyear Playhouse”, 1955 “The April 9, 2011, Manhattan, New York City, New York) has 72 United States Steel Hour”, 1953-1955 “You Are There” (10 director credits, some of which are 2007 Before the Devil Knows episodes), 1952 “CBS Television Workshop”, and 1951 “Crime You're Dead, 2006 Find Me Guilty, 2001-2002 “100 Centre Photographer.” Street” (9 episodes), 1999 Gloria, 1996 Night Falls on Manhattan, 1989 Family Business, 1988 Running on Empty, REGINALD ROSE (December 10, 1920, New York City, New 1986 The Morning After, 1984 Garbo Talks, 1983 Daniel, 1982 York – April 19, 2002, Norwalk, Connecticut) has 66 writing The Verdict, 1982 Deathtrap, 1981 Prince of the City, 1980 Just credits, among them 1998 “The Defenders: Taking the First”, Tell Me What You Want, 1978 The Wiz, 1977 Equus, 1976 1997 “12 Angry Men”, 1987 “Escape from Sobibor”, 1985 Wild Network, 1975 Dog Day Afternoon, 1974 Murder on the Orient Geese II, 1982 The Final Option, 1981 Whose Life Is It Anyway?, Express, 1973 Serpico, 1972 The Offence, 1971 The Anderson 1979 “Studs Lonigan”, 1978 “The Wild Geese”, 1977 “Sacco e Tapes, 1970 King: A Filmed Record... Montgomery to Memphis, Vanzetti”, 1961-1965 “The Defenders” (132 episodes), 1963 1969 The Appointment, 1968 The Sea Gull, 1968 Bye Bye “Twilight Zone”, 1959-1960 “Sunday Showcase”, 1958 Man of Braverman, 1966 The Deadly Affair, 1966 The Group, 1965 The the West, 1958 “Armchair Theatre”, 1957 12 Angry Men, 1956 Hill, 1964 Fail-Safe, 1964 The Pawnbroker, 1962 Long Day's Lumet—12 ANGRY MEN—2 Crime in the Streets, 1953 “The Revlon Mirror Theater”, and 1967 Hombre, 1966 After the Fox, 1962-1966 “Dr. Kildare” (7 1951 “Out There.” episodes), 1965 A Thousand Clowns, 1965 The Bedford Incident, 1961-1964 “The Defenders”, 1964 The Carpetbaggers, 1964 KENYON HOPKINS (January 15, 1912, Coffeyville, Kansas – “Wagon Train”, 1964 Seven Days in May, 1963 Who's Been April 7, 1983, Princeton, New Jersey) has 27 composer credits, Sleeping in My Bed?, 1959-1963 “Twilight Zone”, 1962 Cape among them 1979 “ABC Afterschool Specials”, 1974 “Lincoln: Fear, 1959-1962 “Naked City”, 1961 Breakfast at Tiffany's, Trial by Fire”, 1972 “The New Healers”, 1970 “The Odd 1961 Ada, 1960 Everybody Go Home, 1958-1960 “Have Gun - Couple”, 1970 “The Undersea World of Jacques Cousteau”, 1969 Will Travel”, 1960 Psycho, 1958-1959 “Playhouse 90”, 1959 Al Downhill Racer, 1969 The First Time, 1969 The Tree, 1968 A Capone, 1958 Marjorie Morningstar, 1957-1958 “Studio One in Lovely Way to Die, 1966 This Property Is Condemned, 1966 Hollywood”, 1957 12 Angry Men, 1954 On the Waterfront, and Mister Buddwing, 1964 “The Reporter” (13 episodes), 1964 1949 “Suspense.” Lilith, 1961 The Hustler, 1961 Wild in the Country, 1960 Wild River, 1959 The Fugitive Kind, 1957 The Strange One, 1957 12 JOHN FIEDLER… Juror #2 (b. John Donald Fiedler, February 3, Angry Men, and 1956 Baby Doll. 1925, Platteville, Wisconsin – June 25, 2005, Englewood, New Jersey) has 181 acting credits, among them 2001-2002 “House BORIS KAUFMAN (August 24, 1906, Bialystok, Poland, Russian of Mouse”, 2002 Winnie the Pooh: A Very Merry Pooh Year, Empire [now Bialystok, Podlaskie, Poland] – June 24, 1980, 1993 “L.A. Law”, 1988-1991 “The New Adventures of Winnie New York City, New York) won a best cinematography (B&W) the Pooh” (46 episodes), 1989 “The Golden Girls”, 1986 Seize Oscar for On the Waterfront (1954). He was the younger the Day, 1983-1984 “Buffalo Bill” (26 episodes), 1983 Winnie brother of Russian filmmakers Dziga Vertov (Dziga Kaufman) the Pooh and a Day for Eeyore, 1982 Hart to Hart”, 1978-1979 and Mikhail Kaufman. He has 58 cinematographer credits, some “Quincy M.E.”, 1978 “Fantasy Island”, 1978 Harper Valley of which are 1970 Tell Me That You Love Me, Junie Moon, 1968 P.T.A., 1972-1978 “The Bob Newhart Show” (18 episodes), The Brotherhood, 1968 Bye Bye Braverman, 1966 The Group, 1977 The Many Adventures of Winnie the Pooh, 1975 The 1964 The Pawnbroker, 1964 The World of Henry Orient, 1963 Fortune, 1974 “Police Story”, 1973 “McMillan & Wife”, 1964- All the Way Home, 1962 Long Day's Journey Into Night, 1961 1973 “Gunsmoke”, 1972 “Columbo”, 1971 “Cannon”, 1967- Splendor in the Grass, 1959 The Fugitive Kind, 1959 That Kind 1971 “Bewitched” (6 episodes), 1971 Honky, 1971 Making It, of Woman, 1957 12 Angry Men, 1956 Baby Doll, 1956 Patterns, 1970 Suppose They Gave a War and Nobody Came?, 1969 True 1954 On the Waterfront, 1947 Journey Into Medicine, 1940 Grit, 1968 The Odd Couple, 1967 “Star Trek”, 1966 A Fine Sérénade, 1938 Êtes-vous jalouse?, 1937 Cinderella, 1937 Madness, 1964 Kiss Me, Stupid, 1964 “The Munsters”, 1961- L'homme sans Coeur, 1934 Zouzou, 1934 L'Atalante, 1933 Zero 1964 “Dr. Kildare”, 1963 “Bonanza”, 1960-1962 “Twilight de Conduite, 1931 Taris, 1930 À propos de Nice, 1927 The Zone”, 1961-1962 “Alfred Hitchcock Presents”, 1961 “Dennis March of the Machines, and 1927 Les Halles centrales. the Menace”, 1961 A Raisin in the Sun, 1961 “Have Gun - Will Travel”, 1958 Stage Struck, 1957 Sweet Smell of Success, 1957 CARL LERNER (June 17, 1912, Philadelphia, Pennsylvania – August 26, 1973, New York, New York) has 21 editing credits, among them 1973 The First Circle, 1971 Klute, 1970 The Boys in the Band, 1968 The Swimmer, 1966 A Man Called Adam, 1964 The Confession, 1962 Requiem for a Heavyweight, 1961 Something Wild, 1959 The Fugitive Kind, 1959 Middle of the Night, 1958 The Goddess, 1957 12 Angry Men, 1957 On the Bowery, 1956 Patterns, 1950 So Young So Bad, and 1950 Cry Murder. MARTIN BALSAM… Juror #1 (b. Martin Henry Balsam, November 4, 1919, The Bronx, New York City, New York – February 13, 1996, Rome, Lazio, Italy) won a best supporting actor Oscar for A Thousand Clowns (1965). He has 171 acting credits, among them 1997 Legend of the Spirit Dog, 1994 The Silence of the Hams, 1991 Cape Fear, 1990 The Last Match, 1988 The Brother from Space, 1987 Brothers in Blood, 1986- 1987 “The Twilight Zone”, 1987 “Hotel”, 1986 “Murder, She Wrote”, 1986 The Delta Force, 1985 Death Wish 3, 1985 St. 12 Angry Men, and1951-1954 “Tom Corbett, Space Cadet.” Elmo's Fire, 1979-1983 “Archie Bunker's Place” (39 episodes), 1982 “Little Gloria... Happy at Last”, 1981 “The People vs. Jean LEE J. COBB… Juror #3 (b. Leo Jacoby, December 8, 1911, Harris”, 1981 The Salamander, 1979 Cuba, 1977 The Sentinel, New York City, New York – February 11, 1976, Woodland 1976 “Raid on Entebbe”, 1976 Two-Minute Warning, 1976 All Hills, Los Angeles, California) has 103 acting credits, some of the President's Men, 1974 Murder on the Orient Express, 1974 which are 1976 “Origins of the Mafia”, 1976 Nick the Sting, The Taking of Pelham One Two Three, 1973 The Stone Killer, 1976 La legge violenta della squadra anticrimine, 1975 Mark 1973 “The Six Million Dollar Man”, 1971 The Anderson Tapes, Shoots First, 1975 That Lucky Touch, 1974 “Gunsmoke”, 1973 1970 Little Big Man, 1970 Tora! Tora! Tora!, 1970 Catch-22, The Exorcist, 1973 The Man Who Loved Cat Dancing, 1970- Lumet—12 ANGRY MEN—3 1971 “The Young Lawyers” (24 episodes), 1971 Lawman, 1970 JACK KLUGMAN… Juror #5 (b. Jacob Joachim Klugman, April Macho Callahan, 1969 Mackenna's Gold, 1968 Coogan's Bluff, 27, 1922, Philadelphia, Pennsylvania) has 96 acting credits, some 1968 Mafia, 1967 In Like Flint, 1966 “Death of a Salesman”, of which are 2010/I Camera Obscura, 2005 When Do We Eat?, 1962-1966 “The Virginian” (120 episodes), 1966 Our Man Flint, 2000 “The Outer Limits”, 1997-1999 “Diagnosis Murder”, 1996 1963 Come Blow Your Horn, 1962 How the West Was Won, The Twilight of the Golds, 1993 “The Odd Couple: Together 1962 The Four Horsemen of the Apocalypse, 1960 Exodus, 1959 Again”, 1989 “Around the World in 80 Days”, 1986-1987 “You But Not for Me, 1959 Green Mansions, 1958 The Brothers Again?” (26 episodes), 1985 “The Love Boat”, 1976-1983 Karamazov, 1957 The Three Faces of Eve, 1957 The Garment “Quincy M.E.” (148 episodes), 1976 Two-Minute Warning, Jungle, 1957 12 Angry Men, 1956 Miami Expose, 1956 The Man 1970-1975 “The Odd Couple” (114 episodes), 1971-1972 “Love, in the Gray Flannel Suit, 1955 The Left Hand of God, 1955 American Style”, 1971 Who Says I Can't Ride a Rainbow!, 1965- “Medic”, 1955 The Racers, 1954 Day of Triumph, 1954 On the 1970 “The F.B.I.”, 1969 Goodbye, Columbus, 1968 Where Were Waterfront, 1953 The Tall Texan, 1952 The Fighter, 1951 The You When the Lights Went Out?, 1968 The Detective, 1965 Hail, Family Secret, 1951 Sirocco, 1951 “Somerset Maugham TV Mafia, 1963-1965 “The Fugitive”, 1964-1965 “Harris Against Theatre”, 1949 Thieves' Highway, 1948 Call Northside 777, the World” (13 episodes), 1961-1964 “The Defenders”, 1964 1947 Captain from Castile, 1947 Boomerang!, 1947 Johnny “The Virginian”, 1964 “Jackie Gleason: American Scene O'Clock, 1946 Anna and the King of Siam, 1943 The Song of Magazine”, 1963 Act One, 1960-1963 “Twilight Zone”, 1963 Bernadette, 1943 The Moon Is Down, 1941 Paris Calling, 1939 The Yellow Canary, 1959-1963 “Naked City” (6 episodes), 1963 Golden Boy, 1937 Rustlers' Valley, and 1937 North of the Rio I Could Go on Singing, 1962 Days of Wine and Roses, 1961 Grande.
Recommended publications
  • A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture
    Cinema of the Self: A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture Milosz Paul Rosinski Trinity Hall, University of Cambridge June 2017 This dissertation is submitted for the degree of Doctor of Philosophy Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. The dissertation is formatted in accordance to the Modern Humanities Research Association (MHRA) style. This dissertation does not exceed the word limit of 80,000 words (as specified by the Modern and Medieval Languages Degree Committee). Summary This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror.
    [Show full text]
  • Samuels Is Seated As Sheriff; Speaks of Plans Hightower Outspending Republican Votes
    ; . l I .} 1 . I + " I I'~"'; [ ... I I 1 I' I ': ~.,' .. , 1 ;r.. 1986 Streets were Theyear in photos crowded for holidays SeePage7A SeePage2A ) .' j' ( I. : ' I i·- ". NO. 70 IN OUR 41ST YEAR 35c PER COpy F MONDAY, JANUARY 5, 1987 _RUIDOSO, NM 88345 Sheriff race cost the most by FRANKIE JARRELL votes and Wooldridge 1,351. News Staff Writer Following are the names of can­ didates, their party affiliation, the Candidates for county offices number of votes received, total ex­ spent well over $17,000 in cam­ penditures and total contributions paigns preceding last November's with the names of contributors not general election with would-be previously published listed. Offices sheriffs topping the list. are listed in ballot order and win­ AccordiIlg to financial reports fil­ ners are listed first among ed 30 days after the election, write­ candidates. in candidate Lerry Bond spent DISTRICT MAGISTRATE DIVI­ more than $3.85 each for the 994 SION I Yotes he garnered in the race for -Gerald Dean Jr., Democrat Uncoln County Sheriff. (D)-2,040 votes. Republican Sheriff Don Samuels' Expenditures: $1,130.85 2,085 votes cost him about 81 cents Contributions: $65. each while bis unsuccessful -Alfred Leroy Montes, Republican Democratic opponent, Jim (R)-1,976 Yotes. Nesmith, spent less than 50 cents Expenditures: $-1,054.51 per vote. Spending by all three Contributions: $800. sheriff candidates was close to '$6,000-. DlSlRlCI- MAGISTR.AXE-.. DIVI­ Bond reported $2,049.38 on the, SIOND 3O--day report, bringing his total -Jim Wheeler (R)-2,824 votes.
    [Show full text]
  • FREE August 26-September 1, 2021 • Vol. 47, No. 5 Fall Guide
    FREE August 26-September 1, 2021 • Vol. 47, No. 5 Fall Guide August 26-September 1, 2021 | Illinois Times | 1 2 | www.illinoistimes.com | August 26-September 1, 2021 NEWS Reaching rural residents Hospitals struggle with COVID-19 increases while many still refuse vaccines PUBLIC HEALTH | Rachel Otwell “We have individuals who get COVID and was at the Petersburg press conference and then ask if they can have a vaccine,” Dr. addressed the distrust along party lines. “This Rajesh Govindaiah told Illinois Times. He’s is controversial and it’s become unfortunately senior vice president and chief medical officer politicized,” he said. “People should be for Memorial Health System. “The vaccine vaccinated. I think those of us in public does not treat COVID. The vaccine prevents positions should be encouraging people you from getting COVID in the first place. to do that.” Butler said he’d prefer certain And if you get COVID, it makes you have decisions, like mask rules, be left up to local a milder illness.” For those already infected officials rather than the governor. Still, he said, with COVID-19, the vaccine is useless, “Vaccinations work, masks work.” because it takes time to build up immunity. Bilyeu said misinformation and fear might “My daughter’s going to in-person school. play into why some are hesitant about vaccines. I want her to go to in-person school for the For those who forgo vaccination, he said rest of the school year,” said Govindaiah. COVID-19 infection is a matter of when, not “In order for that to happen, we’re going if.
    [Show full text]
  • The Ledger and Times, July 19, 1958
    Murray State's Digital Commons The Ledger & Times Newspapers 7-19-1958 The Ledger and Times, July 19, 1958 The Ledger and Times Follow this and additional works at: https://digitalcommons.murraystate.edu/tlt Recommended Citation The Ledger and Times, "The Ledger and Times, July 19, 1958" (1958). The Ledger & Times. 3368. https://digitalcommons.murraystate.edu/tlt/3368 This Newspaper is brought to you for free and open access by the Newspapers at Murray State's Digital Commons. It has been accepted for inclusion in The Ledger & Times by an authorized administrator of Murray State's Digital Commons. For more information, please contact [email protected]. Selected As A Best All Round Kentucky Community Newspaper JULY 18, 195g First .. Largest Circulation In with The City Local News Largest 40 • and Circulation In Local PictureA The Comity IN OUR 79th YEAR Murra KN, Saturda Afternoon, 19 1958 MURRAY POPULATION 10,100 Vol. LXXIX No. 171 se natural carelessness United Press people. Long and ir- >ties of work are not in orderly check-ups of ints, and farm peegie to overlook little thiNs iger life and limb. A ard in the barn floor. UNICIPAL PARKING VOTED BY COUNCIL pa, rubbish left idly Hair Styling Show Pre-School Clinic e all booby traps of To Appear Present Location Of Beale Number land Number6 Not To Be Held Here U.S. Plane Is Scheduled The Devry's Beauty Supply A pre-school clinic will. be to 90 In New Directory."2-5" System Used Company will sponsor a hair held at the Hearth Department Home To Park 75 Cars styling show in Murray for N.
    [Show full text]
  • 100 Centre Street Takes Highdef to Court
    I N T H I S I S S U E UP, Michigan! Shows the Spirit of 24P Jason C. Morgan produces independent feature shot in 24P HDTV – Then, Now and Tomorrow A brief history of HDTV’s progression and challenges N A B 2 0 0 1 100 Centre Street Takes HighDef to Court Sidney Lumet directs this rawly emotional dramatic series using multiple 24P cameras “The familiar look and feel of HDW-F900 HDCAM 24P CineAlta™ High Definition camcorder. The digital movie camera.* motion picture film are here.” — GEORGE LUCAS If you want to see a movie pro get future,” says Chuck Barbee, the We shot Star Wars: Episode II excited, ask George Lucas, Chuck director of photography. “The in 61 days in 5 countries in the Barbee, or Mike Figgis about Sony whole process was surprisingly Digital Electronic Cinematography. good. And compared to film, raw rain and desert heat averaging Each is using Sony tools to explore tape stock costs next to noth- new creative possibilities. 36 setups per day without a ing. This really lowers the cost “Star Wars: Episode II is our last giant of getting it in the can, which single camera problem. We have DVW-790WS Digital Betacam® camcorder. step toward Digital Cinema,” says means that more projects The gold standard found the picture quality of the in Widescreen George Lucas, describing his decision can get made.” Standard Definition. to shoot principal photography 24P Digital HD system to be with Panavision-modified Sony Mike Figgis challenges our most indistinguishable from film. HDCAM® 24P camcorders.
    [Show full text]
  • Transcript Sidney Lumet
    TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • Season 5 Article
    N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s.
    [Show full text]
  • Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas Mcguire, Siena College
    Man In A Hat: Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas McGuire, Siena College [email protected] Volume 8. 1 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.235 | http://cinej.pitt.edu Abstract This article attempts a definition at what constitutes “character acting” in mainstream cinema in the United States and argues that throughout the peak of his film career—roughly, 1957 through 1976--Martin Balsam refined the definition of male character acting in American film, a parameter previously established by such skilled practitioners as Eugene Pallette and Claude Rains. Balsam did this through his ability to portray what can be termed “a man in a hat” portrayals: tartly humorous, reliable, and sometimes authoritative supporting characters, usually wearing a chapeau. This is clearly seen in such performances as the private investigator in Alfred Hitchcock’s Psycho (1960) and most interestingly, a partner in an unusual subway hijacking in Joseph Sargent’s The Taking of Pelham One, Two, Three (1974). Keywords: Character acting, male, in film, United States; Martin Balsam; Academy Award for Best Performance by a Supporting Actor; Claude Rains; Alfred Hitchcock; 20th Century film acting. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Man In A Hat: Martin Balsam1 and the Refining Of Male Character Acting in American Films, 1957-1976 John Thomas McGuire "I'll tell you; I still don't feel whatever change you're supposed to feel when your name goes up above the title.
    [Show full text]
  • October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
    October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym.
    [Show full text]
  • Jewish Experience on Film an American Overview
    Jewish Experience on Film An American Overview by JOEL ROSENBERG ± OR ONE FAMILIAR WITH THE long history of Jewish sacred texts, it is fair to characterize film as the quintessential profane text. Being tied as it is to the life of industrial science and production, it is the first truly posttraditional art medium — a creature of gears and bolts, of lenses and transparencies, of drives and brakes and projected light, a creature whose life substance is spreadshot onto a vast ocean of screen to display another kind of life entirely: the images of human beings; stories; purported history; myth; philosophy; social conflict; politics; love; war; belief. Movies seem to take place in a domain between matter and spirit, but are, in a sense, dependent on both. Like the Golem — the artificial anthropoid of Jewish folklore, a creature always yearning to rise or reach out beyond its own materiality — film is a machine truly made in the human image: a late-born child of human culture that manifests an inherently stubborn and rebellious nature. It is a being that has suffered, as it were, all the neuroses of its mostly 20th-century rise and flourishing and has shared in all the century's treach- eries. It is in this context above all that we must consider the problematic subject of Jewish experience on film. In academic research, the field of film studies has now blossomed into a richly elaborate body of criticism and theory, although its reigning schools of thought — at present, heavily influenced by Marxism, Lacanian psycho- analysis, and various flavors of deconstruction — have often preferred the fashionable habit of reasoning by decree in place of genuine observation and analysis.
    [Show full text]
  • Filming the End of the Holocaust War, Culture and Society
    Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J.
    [Show full text]