DOCSLIB.ORG

Modern Screen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern Screen T 14 1951* RICA'S GREATEST MOVIE MAGAZINE NOV. Ell AZINE MARLON BRANDO REFORMS how long will it last? — so sweet and lovely — your Prell -washed hair! SO SOFT, YET MANAGEABLE . SO SWEETLY CLEAN! Come-hither loveliness — that's what your hair has after a luxurious Prell Shampoo! It's caressably soft, yet so obedient! Yes, angel-soft, smooth as satin, glowing with that 'Radiantly Alive' look he'll love! And Prell leaves your hair really clean . fresh and sweet . and free of embarrassing dandruff! Prell is easy to use, too so convenient. No spill, drip or break. Try Prell tonight— it's wonderful! . OCi 1^9220 4 Destroys hidden decay and bad-breath bacteria. It's yours today—a tooth paste with a wonder ingredient so effective it destroys most decay and bad-breath bacteria with every single brushing. with And Ipana combines this protection bacteria-destroyer WD-9 with a new minty flavor your family Ipatta will prefer. Topped all leading tooth pastes in 3159 taste tests. New-formula Ipana Product of Bristol-Myers beat all other leading brands in 3159 "masked-tube" taste tests. It's the best- tasting way to fight decay . stop bad breath all day. Taste it . enjoy it . trust your family's precious teeth to it. At all drug counters in yellow and red- striped carton. oil Send for generous sample tube. Mail coupon to- day for trial tube (enough for about 25 brushings). Bristol-Myers Co., Dept. D-114, Hillside, New Jersey Please send trial tube of new-formula Ipana. Enclosed is 3 r stamp to cover part cost of handling. Name , Ipana A/C Tooth Paste (Ammoniated City Zone State Chlorophyll) also contains bacteria-de- (Offer good in continental U.S.A. only. Expires Jan. 31, 1955.) •troyer WD-9 (Sodium Lauryl Sulfate) . — November, 1954 NEW! AMERICA'S GREATEST MOVIE MAGAZINE DOCTOR'S modern screen DEODORANT MODERN SCREEN'S 8-page gossip extra LOUELLA PARSONS IN HOLLYWOOD stories DISCOVERY THE TWO WORLDS OF MARILYN MONROE by Jack Wade 37 "SHE LOOKS LIKE A BRIDE (Debbie Reynolds-Eddie Fisher) by Steve Cronin 38 REPORT FROM EUROPE: WHY CAN'T THEY BEHAVE? by Sheilah Graham 40 SAFELY STOPS ODOR A TIME TO THINK THINGS OUT (Jeff Chandler-Gloria De Haven) by Alice Finletter 42 24HOURSA DAY! HOW TO TAKE CRITICISM (Terry Moore-Rita Moreno) by Terry Moore 44 WHY TRY TO CHANGE ME NOW? (Jane Russell) by Toni Noel 46 WHAT MAKES MONTY RUN? (Montgomery Clift) by Richard L. Williams 48 New Mum with M-3 GOOD FOR EACH OTHER (Fernando Lamas-Arlene Dahl) by Marva Peterson 50 THE GRANGERS CALL IT LOVE (Stewart Granger-Jean Simmons) by Ida Zeitlin 60 won't irritate normal skin GRANDMOTHER AND THE GOOD LIFE by Janet Leigh 63 or damage fabrics NOBODY TOLD HER SHE WAS A STAR (Doris Day) 64 IT'S A BRAND NEW BRANDO by Alice Hoffmann 66 bonus pin-up section I'VE GOT A SECRET . MAN, MAN. IS FOR THE WOMAN MADE Linda Darnell 52 Robert Wagner 56 Jan Sterling 52 Donna Reed 52 Frank Sinatra 57 Anne Baxter 53 Rory Calhoun 57 Marilyn Monroe 53 Bob Mitchum 58 Virginia Mayo 53 Mary Murphy. .. 54 Jimmy Stewart 58 Jean Simmons 54 Dean Martin and Jerry Lewis 58 Mitzi Gaynor 54 June Allyson 55 Alan Ladd 59 featurettes OF POOLS AND PONIES (Alan Ladd) 6 HOW DOTH THE LITTLE BUSY B? by Barbara Stanwyck 25 WORDS AND MUSIC (Peggy Lee) 26 MY FIRST LOVE by Mitzi Gaynor 28 FOR DANCERS ONLY (Cyd Charisse) by Reba and Bonnie Churchill 32 ADAM'S FALL (Julia Adams) 34 CLARK GABLE 35 Proved in underarm comparison tests made by a doctor. Deodorant without M-3, tested under one arm, stopped perspiration odor departments only a few hours. New Mum with M-3, THE INSIDE STORY 4 tested under other arm, stopped odor a NEW MOVIES by Florence Epstein 18 full 24 hours. TV TALK 30 MODERN SCREEN FASHIONS 70 1 . *Exclusive deodorant based originally on doc- tor's discovery, now contains long-lasting M-3 'Color portrait of Debbie Reynolds from MGM. She can be seen next in Athena with (Hexachlorophene) Jane Powell and in Hit The Deck. For other photographers' credits see page 82. 2. Stops odor all day long because invisible M-3 clings to your skin— keeps on destroying PAIGE LOHR, story editor odor bacteria a full 24 hours. CHARLES D. SAXON BARBARA MAYER, assistant editor editor J. 3. Non-irritating to normal skin. Use it daily. KATIE ROBINSON, western editor Only leading deodorant containing no strong DURBIN HORNER FERNANDO TEXIDOR, art director chemical astringents— will not block pores. executive editor BILL WEINBERGER, art editor BOB BEERMAN, staff photographer 4. Won't rot or discolor fabrics— certified by CARL SCHROEDER BERT PARRY, staff photographer American Institute of Laundering. western manager RUTH RAKOW, research editor 5. Delicate new fragrance. Creamier texture new Mum won't dry out in the jar. NOTICE TO SUBSCRIBERS 6. Gentle, safe, dependable— ideal for sanitary should reach us five weeks in advance of the next issue date. napkins, too. Get new Mum today. Changes of address Give both your, old and new address, enclosing if possible your old address label. POSTMASTER' Please sfend notice on Farm 3578 and copies returned under T Label Form 3579 to 263 Ninth Ate., New York 1, New York MODERN SCREEN, Vol. 48/ No. 12,'N ovember,195* Published monthly by Dell Publishing Company, Inc. and editorial offices, 261 Fifth NEW Office of publication at Washington and South Aves., Dbnellen, N. J. Executive MUM 33rd St., York 1, N. Chicago Avenue, New York 16, N. Y. Dell Subscription Service: 10 West New ^ advertising and editorial offices, 8701 West cream advertising office, 221 No. LaSalle St, Chicago, III. Los Angeles deodorant Vice-Pres., P 3rd Street, Los Angeles, California. George T. Delacorte, Jr., President; Helen Meyer, Albert Delacorte, Vice-Pres. Published simultaneously in the Dominion of Canada. International copyright secured with long-- under the provisions of the Revised Convention for the Protection of Literary and Artistic Works. All rights Possessions, Canada. reserved under trie Buenos Aires Convention. Single copy price 20c in U. S. A. and and two years; $5.00 three years; Foreign, $3 00 a lasting Subscriptions in U. S. A. and Canada $2.00 one year, $3.50 M-3 1 year Entered as second class matter September 18, 1930, at the toost office at Dunellen, N. J., under Act of (hexachlorophene) publishers March 3, 1879.,'Copyright 1954 by Dell Publishing Company. Inc/Printed in U. S. A. The accept no used in semi-fictional matter are fictitious a product of bristol-myers responsibility for the return of unsolicited material. Names of characters it is purely a coincidence. Trade mar!- No. 301778 — if the name of any living person is used . [-G-M brings you F. Scott Fitzgerald's famous story of youtk on a fling ! . ^Jihey met and they kissed. for this waslctris, the city of love, in its hour of joy! ELIZABETH TAYLOR ™/VAN JOHNSON entwined in a bittersweet romance by the spell of the song. "TriE Last Time I Sjm Paris A I T -I color ly -I JLechnicol co-rf«r«"»/WALTERIDGEON DONNA jp Ac J*l*^<^^ EVA GABOR. KURT KASZNAR Screen play hy Julius J, & Pliilip G. Epstein and Richard Brooks • Based on a story ky F. Scott Fitzgerald Directed hy RICHARD BROOKS • Produced fcy JACK CUMMINGS • An M-G-M Picture Want the real truth? Write to INSIDE STORY, Modern Screen, 8701 W. Third St., Los Angeles 48, Cal. The most interesting letters will appear in this column. Sorry, no personal replies. 9« I understand there's an actress in 9- What is the connection between two Hollywood named Mary Trouble-In- women named Jill Winkler and Jean Front. For whom does she work? Garceau and Clark Gable? —V.E., New Orleans, La. —E.D., Van Nuys, Cal. A. Mary Trouble-In-Front is the name A. Jean Garceau is Gable's private secre- of a Sioux Indian girl hired by Uni- tary. Jill Winkler is the widow of press versal-International in South Dakota for agent Otto Winkler who was killed in a bit part in Chief Crazy Horse. a plane crash with Carole Lombard, Gable's third wife, on January 16, 1942. 9- How many times has Donna Reed After the tragic accident Gable gener- been married, also Marge Champion? ously bought Mrs. Winkler a house in —N.N., Bath, N. Y. the San Fernando Valley. doubt that any product of interest to A. Both twice. We 9« Wasn't June Haver's engagement <?. I've been women gets more enthusiastic word-of- told on good authority that ring once owned by Mjs. Red Skelton? Victor Mature is afraid of and mouth recommendation than Tampax! horses —F.E., Fenton, Neb. that doubles are used for his riding I it" in Skel- It's not just a matter of "like ... or scenes. Is this true? A. Yes. It was turned by Mrs. to repolished and re- "Yes, I use it." Tampax users almost —E.K., Detroit, Mich. ton a jeweler who set and resold it to Fred MacMurray. seem to feel it's their duty to tell other A. Mature does not feel at home on a expensive house women about it. horse. Q. Who has the most of all the movie stars? Perhaps the reason is that Tampax 9- Was Cleo Moore ever married to —R.G., Salem, Oreg. Huey Long? J J., Monroe, La. sanitary protection is such a vast im- — A. Probably the Gary Coopers.
Load more

Recommended publications
  • Lorna Luft Next to Take the Stage at Live at the Orinda Theatre, Oct. 4
    LAMORINDA WEEKLY | Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 Published Octobwer 3rd, 2018 Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 By Derek Zemrak Lorna Luft was born into Hollywood royalty, the daughter of Judy Garland and film producer Sidney Luft ("A Star is Born"). She will be bringing her musical talent to the Orinda Theatre at 7:30 p.m. Oct. 4 as part of the fall concert series, Live at the Orinda, where she will be singing the songs her mother taught her. Luft's acclaimed career has encompassed virtually every arena of entertainment. A celebrated live performer, stage, film and television actress, bestselling author, recording artist, Emmy-nominated producer, and humanitarian, she continues to triumph in every medium with critics labeling her one of the most versatile and exciting artists on the stage today. The daughter of legendary entertainer Garland and producer Luft, music and entertainment have always been integral parts of her life. Luft is a gifted live performer, frequently featured on the Lorna Luft Photos provided world's most prestigious stages, including The Hollywood Bowl, Madison Square Garden, Carnegie Hall, The London Palladium, and L'Olympia in Paris. She proves again and again that she's a stellar entertainer, proudly carrying the torch of her family's legendary show business legacy. "An Evening with Lorna Luft: Featuring the Songbook of Judy Garland" is a theatrical extravaganza that melds one of the world's most familiar songbooks with personal memories of a loving daughter.
    [Show full text]
  • Notre Dame Scholastic, Vol. 96, No. 07
    1-=..^^-., .,:• feS-.-^i* %. ^<^ ksi5B^ ^?« :Si/' lil ^3^ iJ^^ •iyiiyigiii.jw..yi, _ ^.j jJl.iA^.^i"L J-rJ.^. L g, ,n.i -f^^!s-|« n^wieiiPiiiii New filter cigarette! brings flavor bax^k to filter smoking! r FINER Winston tastes good—like a cigarette should! FILTER! • Winston is the new, easy-drawing .THEYRE MADE NO WONDER filter cigarette real smokers can enjoy! -BY THE MAKERS • THEY TASTE FINER Winston brings you real flavor — full, OF SO GOOD!' rich, tobacco flavor. Along with finer FLAVOR! flavor, you get Winston's finer filter . it's different, it's unique, it works so effectively! Winstons are king-size, KING SIZE, too, for extra filtering action. TOO! Try a pack of good-tasting Winstons! p.. J. REYNOLDS TOBACCO CO., WINSTON-SALEM, N. C. TVINSTON.. the easy-drawing filter cigarette! ^1 Scholastic The ARROW points to Vol. 96 NOVEMBER 19, 1954 No. 7 Disce Quasi Semper Victurus Vive Quasi Cras Moriturus Founded 1867 Entered as second class matter at Notre Dame, Indiana. Accepted for mailing at special rate of GILBERT'S postage, Section IIOI, October 3, 1917. Authorized -Tune 23, 1918. 813-817 MICHIGAN STREET ^ Open evenings until 9 o'clock Editor LAWRENCE J. BREHL Headquarters for Your A rrow Shirts Associate and Sports Editor PAUL FULLMER Associate Editor FRED C. ECKART Don't be a somber hombre • • • JOHN ADAMS News ROBERT KAUFMAN ....Assistant News PAUL J. LaFRENIERE Copy <i;HARLES McKENDRICK .._ Assistant Copy DAVE COHEN -...Features KEN WOODWARD ..Business Manager JIM GALLAGHER Circulation PETER STURTEVANT Photo Editor PAUL FITZGERALD Photography Coordinator JOHN P.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958
    Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958 Pamella R. Lach A dissertation submitted to the faculty of 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 History Chapel Hill 2007 Approved by: Peter G. Filene John F. Kasson Robert C. Allen Jerma Jackson William Ferris ©2007 Pamella R. Lach ALL RIGHTS RESERVED ii Abstract Pamella R. Lach Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958 (Under the direction of Peter G. Filene) With the pressures of the dawning Cold War, postwar Americans struggled to find a balance between conformity and authentic individualism. Although musical motion pictures appeared conservative, seemingly touting traditional gender roles and championing American democratic values, song-and-dance numbers (spectacles) actually functioned as sites of release for filmmakers, actors, and moviegoers. Spectacles, which film censors and red- baiting politicians considered little more than harmless entertainment and indirect forms of expression, were the least regulated aspects of musicals. These scenes provided relatively safe spaces for actors to play with and defy, but also reify, social expectations. Spectacles were also sites of resistance for performers, who relied on their voices and bodies— sometimes at odds with each other—to reclaim power that was denied them either by social strictures or an oppressive studio system. Dancing Dreams is a series of case studies about the role of spectacle—literal dances but also spectacles of discourse, nostalgia, stardom, and race—in inspiring Americans to find forms of individual self-expression with the potential to challenge prevailing norms.
    [Show full text]
  • 1 Performing Gender in the Studio and Postmodern Musical Michael
    1 Performing Gender in the Studio and Postmodern Musical Michael Charlton, Missouri Western State University Abstract: This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-modern aesthetic and as examples of the non-studio, non-star filmic text as act of nostalgia. In contrasting these historical periods, the essay posits that the studio musical was, in fact, always already “post-modern” in its fragmentation of narrative in favour of the star performance, which constructs the gendered persona of the star. In addition, it is suggested that the sub-textual subversion of traditional female roles within the studio star performance is in many ways more effectively critical of gender conventions than the intentionally parodic aesthetics of Luhrmann and Marshall. In this essay I draw on the work of Judith Butler to explore the formation of gender identity in two distinct historical periods in the Hollywood musical. I take two examples from the studio era, Gentlemen Prefer Blondes (Howard Hawks, 1953) and the restored version of A Star Is Born (George Cukor, 1954), to illustrate the gender politics associated with the role of the constructed star persona, in this case Marilyn Monroe and Judy Garland.
    [Show full text]
  • Modern Screen DENTAL CREAM HAS PROVED SO COMPLETELY IT Stories Marsha Saunders 24 "WE FINALLY MADE IT" (Frank Sinatra-Ava Gardner) by STOPS BAD Arthur L
    AMERICA'S GREATEST MOVIE MAGAZINE noaern preen ! Count on Camay to take your skin. ^--Shadows and into the light of New Loveliness This beautiful bride, Mrs. William D. Harden, declares: "After I changed to and Camay, my skin became regular care Like this Camay bride, you'll discover that your clearer so quickly I was astonished!" brighten your skin! First Cake of Camay helps to clear and Camay. ANY GIRL who has romance and you finish your first cake of l\ wedded bliss as her goal won't let For complexion or bath, there's no of her dullness dim the natural beauty finer beauty soap. Camay is so mild! her complexion and come between And what a rich, creamy lather Camay and her heart's desire! gives you. See your skin come "out of the shadows" and into the light of new Don't let shadows veil your natural with Camay, The Soap of beauty! Take your skin "out of the loveliness shadows" and into the light of roman- Beautiful Women. Camay, The tic new loveliness with Wake your sleeping beauty— head to toes! of Beautiful Women. Soap The daily Camay Beauty Bath brings that "beau- will soon greet all your skin head to toes A lovelier complexion you tifully cared-for" look. It touches to regular your eye— if you'll change with Camay's nattering fragrance. Use care— use Camay alone. Your skin will the big Beauty-Bath Size Camay for more lather, luxury and economy! Camay be clearer, softer, really lovelier, before the soap of hemdiful ! ; JAN 29 1952 \\_ ^J^l^gb Mouth // ( BREATH NOT AS SWEET, TEETH NOT AS CLEAN AS THEY CAN BE ) Ipana keeps your whole mouth cleaner, sweeter, sparkling A Product of Bristol-Myers Be confident of your smile.
    [Show full text]
  • The Judy Room's 2005 Year in Review
    THE2 0 0 5 JUDY Y E A R I N ROOM R E V I E W ! A N O T H E R B A N N E R Y E A R ! 2005 was another banner year for the enduring legacy of Judy Garland. More than 35 years after her untimely death, Judy Garland’s legend continues to shine and even grow. In 2005 we saw the release of more DVDs & CDs - plus tributes, honors, and accolades - to name just a few. This second edition of The Judy Room “Year In Review” focuses on the major news events and releases of 2005. When it’s all put together, it’s quite impressive - and quite a testament to the genius of Judy Garland. I would like to take a second and thank everyone for your continued support. The Judy Room has always been for THE FANS, and it will continue to be so. Thank you! IN MEMORY OF SID LUFT Michael Sidney Luft Scott Brogan November 2, 1915 - September 15, 2005 The Judy Room Regardless of what some may say about Sid Luft as a person, there can be no denying the impact Sid had on Judy’s life and career. Judy was married to Sid longer than any of her other husbands, from 1952 through 1964 (divorce finalized in 1966). Without Sid there may not have been A Star Is Born, and there certainly wouldn’t have been a Palace New York 1951 Comeback. Sid was the greatest single influence on Judy and her career during the “Concert Years”.
    [Show full text]
  • Downloaded on 2017-02-12T12:41:08Z 1
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title Performing gender in the studio and postmodern musical Author(s) Charlton, Michael Publication date 2012 Original citation Charlton, Michael. "Performing Gender in the Studio and Postmodern Musical". Alphaville: Journal of Film and Screen Media 3 (Summer 2012). Web. ISSN: 2009-4078. Type of publication Article (peer-reviewed) Link to publisher's http://www.alphavillejournal.com/Issue%203/HTML/ArticleCharlton.ht version ml Access to the full text of the published version may require a subscription. Rights ©2012, The Author(s) http://creativecommons.org/licenses/by-nc-nd/3.0/ie/ Item downloaded http://hdl.handle.net/10468/1448 from Downloaded on 2017-02-12T12:41:08Z 1 Performing Gender in the Studio and Postmodern Musical Michael Charlton, Missouri Western State University Abstract: This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-modern aesthetic and as examples of the non-studio, non-star filmic text as act of nostalgia. In contrasting these historical periods, the essay posits that the studio musical was, in fact, always already “post-modern” in its fragmentation of narrative in favour of the star performance, which constructs the gendered persona of the star.
    [Show full text]
  • A Cinema of Movement: Dance and the Moving Image
    A Cinema of Movement: dance and the moving image Erin Brannigan A thesis submitted in fulfillment of the requirements for the degree of a Doctor of Philosophy Department of Theatre, Film and Dance University of New South Wales May,2004 © Erin Brannigan 2004 Abstract This thesis is an examination of the history and parameters of dancefilm. It traces the history of this form of cinema from some of its earliest manifestations in film's first decades through to contemporary experimental short dance films and videos. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. But this thesis also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. In this thesis, dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Such an understanding of dancefilm foregrounds the points where dance and film meet, for example, the moment where the everyday body moves into dance. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, this thesis argues that the combination of dance and film produces cine-choreographic practices and gestural circuits of exchange that are specific to the dancefilm form. Conceiving of dancefilm in such a way enables me to understand the relations between the recent body of work that frequently goes under the name of 'dance screen' and a variety of forms of cinema from the musical to the music video.
    [Show full text]
  • Judy Garland Trivia Quiz
    JUDY GARLAND TRIVIA QUIZ ( www.TriviaChamp.com ) 1> What was Judy's birth name? a. Lorna Luft b. Judith Ethel Tanner c. Louise R. Frances d. Frances Gumm 2> How many siblings did Judy Garland have? a. 4 b. 2 c. 1 d. 7 3> What was the name of Judy's son? a. Peter b. David c. Micheal d. Joseph 4> How many times was Judy married? a. 1 b. 2 c. 3 d. 5 5> How old was Judy when she died? a. 88 b. 65 c. 47 d. 39 6> Which of these films did Judy not star in? a. The Pirate b. The Wizard of Oz c. Summer Stock d. Gone With the Wind 7> What state was she born in? a. Wyoming b. Minnesota c. Montana d. California 8> What was her first daughter's name? a. Lorna b. Jane c. Linda d. Liza 9> What show did Judy Garland Host in 1963-1964? a. The Barbra Streisand Show b. The Judy Garland Show c. The Tonight Show d. Saturday Night Live 10> At what age did she sign a contract with MGM? a. 22 b. 18 c. 13 d. 9 11> Judy was nominated for an Academy Award for "Best Actress" for her role as Esther Blodgett in which of the following movies? a. Meet Me in St. Louis b. Babes on Broadway c. For Me and My Gal d. A Star Is Born 12> Released in 1938, which romantic comedy film stars Judy Garland as Betsy Booth? a. Love Finds Andy Hardy b.
    [Show full text]
  • 'S GREATEST MOVIE MUSICALS
    ‘s GREATEST MOVIE MUSICALS AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. Ballot2.indd 1 5/16/06 12:27:06 PM 1 ALADDIN 5 AN AMERICAN IN PARIS 9 BABES IN TOYLAND Disney, 1992 Metro-Goldwyn-Mayer, 1951 Metro-Goldwyn-Mayer, 1934 PRINCIPAL CAST Robin Williams, Scott Weinger, Linda Larkin (Voices) PRINCIPAL CAST Gene Kelly, Leslie Caron, Oscar Levant PRINCIPAL CAST Virginia Karns, Charlotte Henry, Felix Knight DIRECTORS Ron Clements, John Musker DIRECTOR Vincente Minnelli DIRECTORS Gus Meins, Charles Rogers PRODUCERS Ron Clements, John Musker PRODUCER Arthur Freed PRODUCER Hal Roach SCREENWRITERS Ron Clements, John Musker, Ted Elliot, Terry Rossio SCREENWRITER Alan Jay Lerner SCREENWRITERS Frank Butler, Nick Grinde MUSIC/LYRICS Alan Menken, Tim Rice, Howard Ashman CHOREOGRAPHER Gene Kelly MUSIC/LYRICS Victor Herbert/Glen MacDonough MUSIC/LYRICS George Gershwin/Ira Gershwin SONG SELECTIONS “A Whole New World” SONG SELECTIONS “Toyland” “Friend Like Me” SONG SELECTIONS “I Got Rhythm” “Don’t Cry, Bo-Peep” “One Jump Ahead” “I’ve Got a Crush on You, Sweetie Pie” “Go to Sleep, Slumber Deep” “Our Love Is Here to Stay” 2 ALEXANDER’S RAGTIME BAND 10 BABES ON BROADWAY Twentieth Century-Fox, 1938 6 ANCHORS AWEIGH Metro-Goldwyn-Mayer, 1941 Metro-Goldwyn-Mayer, 1945 PRINCIPAL CAST Tyrone Power, Alice Faye, Don Ameche PRINCIPAL CAST Mickey Rooney, Judy Garland, Fay Bainter DIRECTOR Henry King PRINCIPAL CAST Gene Kelly, Frank Sinatra, Kathryn Grayson DIRECTOR Busby Berkeley PRODUCER Harry Joe Brown DIRECTOR George Sidney PRODUCER Arthur Freed SCREENWRITERS Kathryn Scola, Lamar Trotti PRODUCER Jon Pasternak SCREENWRITERS Fred Finklehoffe, Elaine Ryan CHOREOGRAPHER Seymour Felix SCREENWRITER Isobel Lennart MUSIC/LYRICS Burton Lane/Arthur Freed, Roger Edens, E.Y.
    [Show full text]
  • Pathé, BBC Films and Ingenious Media Present a Calamity Films
    Pathé, BBC Films and Ingenious Media Present A Calamity Films Production JUDY Starring RENÉE ZELLWEGER JESSIE BUCKLEY FINN WITTROCK RUFUS SEWELL MICHAEL GAMBON DARCI SHAW Directed by RUPERT GOOLD Written by TOM EDGE SHORT SYNOPSIS Winter 1968: Showbiz legend Judy Garland (Renée Zellweger) arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans (Finn Wittrock), her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on? Featuring some of her best-known songs, including the timeless classic ‘Over the Rainbow’, JUDY celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. LONG SYNOPSIS 1939, Hollywood: a young Judy Garland (16) is having second thoughts about her life as a child actor; she is exhausted by the relentless shooting schedule and chafing against the control exerted by the Studio over every aspect of her life. Studio boss at MGM, Louis B.
    [Show full text]