By Paul Bertorelli

Total Page:16

File Type:pdf, Size:1020Kb

By Paul Bertorelli Vol. 4 Issue 2 Copyright © 2018 MASM June 1, 2018 Massachusetts Air and Space Museum 200 Hanscom Drive Bedford, MA 01730 www.massairspace.org By Paul Bertorelli Reprinted with permission from AVweb. Original story appeared March 8, 2018 on www/avweb.com Gail Halvorsen. Some readers will instantly recognize that name, some will search the mists of their memories and others will draw a blank. Which are you? In 1948, Gail Halvorsen was a 27-year- and the airlift. I’ll use this blog space to get you think- old prematurely balding Air Force transport pilot who ing about it because among the many things the airlift gained overnight fame as the beloved Candy Bomber represented, it was inarguably a moment in which the during the Berlin Airlift. At 97, Halvorsen is still with airplane indelibly bent the arc of history. us and this year, the 70th anniversary of the Berlin Air- lift, I suspect you’ll be hearing a lot both about him A lowly first lieutenant, Halvorsen was but a minor 20,000 pounds. Enter Lt. Gail Halvorsen, ordered to re- port to Germany in July of 1948. Seized by curiosity on his first trip into Berlin, he dra- gooned a sergeant to give him a tour of the devastated city, which he filmed with an 8 mm camera. When he en- countered a gaggle of ragged kids watching the airlift landings from the St. Thomas cemetery hard by Tempelhof’s runway, Halvorson gave them bits of gum and candy he happened to be carrying. On a lark, he promised to drop them more from his airplane, after Tempelhof Airport wagging the wings on approach. Berlin, Germany 1948 And so he did. The crowd of kids swelled cog in a big wheel, but his impact was outsized. Two and so did the buzz. books I’ve read recently chronicle the big lift: Daring When the airlift com- Young Men: The Heroism and Triumph of the Berlin mander, Gen. William Airlift, by Richard Reeves, and The Candy Bombers: Tunner, got wind of The Untold Story of the Berlin Airlift and America’s the “candy bomber,” Finest Hour, by Andrei Cherny. he summoned Hal- vorsen for a rug dance. The airlift began in late June 1948, ignited by a Except, shrewdly, Tun- spat over currency in divided Germany. The Soviets ner understood that closed road, rail and canal traffic to Berlin from west- the airlift was not a ern Germany, hoping the allies, whose tactical situa- battle of wits or re- tion was hopeless, would collapse and abandon Ber- sources, but of ideas lin. A stubborn and occasionally petulant Army engi- and public image. And he knew golden PR when he saw it. neering officer, Gen. Lucius D. Clay, thought other- Tunner encouraged Halvorson to expand his candy bomb- wise and pledged to sustain the city via an air bridge. ing, christening it “Operation Little Vittles.” Halvorsen The Soviets believed the very notion was patently ab- made a trip back home and soon became a telegenic star surd. Even the wise men in Washington counseled of a new medium: television. Clay, who had been assigned as allied governor of Germany, that the plan was untenable during the The U.S. public was enthralled and so were the beat- summer, much less during Germany’s notoriously fog- down residents of a shattered Berlin. Against fierce re- gy winter. Gen. Omar Bradley, then Army Chief of sistance from Berliners, the Soviets were trying mightily Staff, and Gen. George C. Marshall, then Secretary of to drive the allies out of the city, bribing them with food State, advised President Harry Truman that a with- drawal from Berlin would be inevitable. Truman re- Unloading supplies in Berlin jected the advice. “We stay in Berlin. Period,” he said. The record isn’t clear if Truman had the vaguest ink- ling of how ill-prepared the Air Force was to under- take such an operation. Clay was no better informed. The airlift was initially a slapdash affair, flown mainly by C-47s, some with faded invasion stripes from their Normandy labors and whose cargo capaci- ty was woefully inadequate. Truman again overruled the staff and ordered -C 54s from all over the world— there weren’t that many of them—to Berlin. In the end, the U.S. had 225, each with a capacity of about ration cards and coal, a fuel in critically short supply. 1990, Berliners had squirrelled away 132 million pounds (Two-thirds of airlift tonnage was coal.) The airlift it- of wheat, 52 million pounds of canned meat and 15 mil- self and especially Halvorsen’s candy bombers were lion pounds of butter, among tons of other supplies. high-profile demonstrations that were instrumental With Germany reunited, they had no need for it, just in swaying public opinion, convincing Berliners that as Russians in the collapsing Soviet Union were suffering the allies would sustain the city. And whether he in- shortages and rationing. Ironically, even though Berlin tended it or not, Truman’s resolve won him a second term in an election that was all but ceded to Thomas Dewey. Mass Kids Think About Kids As summer turned to fall and the foggiest Novem- ber ever recorded in Europe, the airlift continued. Tunner was famous for charts and graphs tracking the rising weight of cargo carried into Berlin. Pilots were run ragged flying trips into Berlin’s three air- ports—Tempelhof, Gatow and, eventually, Tegel—24 hours a day, as much as a flight every three minutes. The airlift’s record on a single day was April 15, 1949: 12,941 tons in 1398 flights. One every minute. That’s more than twice as much tonnage as rail and canal traffic had been carrying before the Russian block- ade. There was a price to pay, not just in treasure, but blood, too. Seventy-four pilots, crew and ground per- Many regular readers of Horizons might be perplexed as sonnel were killed in the 15 months the airlift operat- to the Massachusetts connection with this story. The ed. Under relentless pressure, pilots shaved opera- Candy Bomber himself, Gail Halvorsen, was from Utah. tional standards to the bone. By winter of 1949, new- ly arriving pilots were issued a putty knife to chip ice The various squadrons that eventually made up the com- off windshields so they could see to land. GCA ap- pliment of airlift forces came from far across the country, proaches were flown in weather so low that follow- including the territories of Alaska and Hawaii. The air- me jeeps couldn’t find the aircraft they were sup- planes were built in a variety of places, including Califor- posed to lead. nia. What was the Bay State connection? Maintenance suffered. Reeves writes that one All of the crews and the aircraft that eventually rotated to trick to start balky engines was to run down the run- way on the ones that would run, spin up the balkers, Germany trained for their missions at Westover Field in brake and taxi back to takeoff on all four. When start- Chicopee, Massachusetts. But that’s not all. ers failed, ground crews wrapped ropes around the Many of the children of Chicopee were quite taken with prop hubs and used trucks to start the Pratt R-2000s. the kind gesture of our servicemen conducting the airlift, Yet the airlift posted a remarkable safety record. dropping candy to the children of Berlin. To aid in their At the time, the Air Force’s overall accident rate was endeavor, the kids crafted parachutes for the candy box- 59/100,000 hours. For the airlift, it was 26. es that were dropped from the airplane on their ap- By May of 1949, the Soviets realized they had lost proach to Tripelhof Airport. The tiny parachutes allowed the gamble and the blockade ended. But the airlift didn’t. The Air Force continued to fly cargo into Berlin the sweets to land without hard impact that could break until September, building stockpiles of supplies up the candy or, worse, hurt a child as it fell. against the Russians closing the city again. Amazingly, Western Massachusetts has a lot to be proud of! writes Cherny, when the Berlin wall came down in wished to ship the strung-together teletype food to its former tor- machines, inventing what menters, the breaka- we now know as elec- way Soviet republics tronic data interchange. blockaded roads and After the lift, it was used rail lines. They had no in many industries—and means to deliver the still is. stuff. My favorite quote Tunner’s achieve- about the airlift came ments during the airlift from Reeves’ book. Wolf- had ramifications be- gang Samuel, a young yond the immediate German boy living near geopolitical victory. the end of Tempelhof’s Robert Garrett, an air runway, would later safety investigator write: “One of those C- from the CAA who ob- 54s turned over our bar- served the airlift, said racks on a clear Decem- this: “The airlift has ber night and then fell advanced the art of air traffic control by 10 years … like a rock out of the sky. The two pilots were killed. Only the concept can easily be applied to New York, Chica- three years ago they were fighting against my country and go and Washington.” And it was. Major Edward Guil- now they are dying for us. The Americans were such bert, a Hump veteran and Tunner’s statistical genius, strange people. I wondered, as only a boy can wonder, tracked tonnage and airplanes with a network of what made these people do the things they did?” Harry Truman may have known the answer to this, even if he couldn’t have articulated it.
Recommended publications
  • George Seaton Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    George Seaton 电影 串行 (大全) 36 Hours https://zh.listvote.com/lists/film/movies/36-hours-227532/actors Chicken Every https://zh.listvote.com/lists/film/movies/chicken-every-sunday-2963389/actors Sunday What's So Bad About https://zh.listvote.com/lists/film/movies/what%27s-so-bad-about-feeling-good%3F-3204274/actors Feeling Good? Little Boy Lost https://zh.listvote.com/lists/film/movies/little-boy-lost-3225457/actors Showdown https://zh.listvote.com/lists/film/movies/showdown-3282975/actors For Heaven's Sake https://zh.listvote.com/lists/film/movies/for-heaven%27s-sake-3352342/actors Anything Can https://zh.listvote.com/lists/film/movies/anything-can-happen-4000927/actors Happen Where Do We Go https://zh.listvote.com/lists/film/movies/where-do-we-go-from-here%3F-4244332/actors from Here? Apartment for Peggy https://zh.listvote.com/lists/film/movies/apartment-for-peggy-4779186/actors The Big Lift https://zh.listvote.com/lists/film/movies/the-big-lift-495924/actors Diamond Horseshoe https://zh.listvote.com/lists/film/movies/diamond-horseshoe-5270833/actors The Hook https://zh.listvote.com/lists/film/movies/the-hook-562304/actors Junior Miss https://zh.listvote.com/lists/film/movies/junior-miss-6313371/actors Williamsburg: the https://zh.listvote.com/lists/film/movies/williamsburg%3A-the-story-of-a-patriot-8021151/actors Story of a Patriot The Counterfeit https://zh.listvote.com/lists/film/movies/the-counterfeit-traitor-908713/actors Traitor 蓬門淑女 https://zh.listvote.com/lists/film/movies/%E8%93%AC%E9%96%80%E6%B7%91%E5%A5%B3-1305029/actors
    [Show full text]
  • World War Ii and Us Cinema
    ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances.
    [Show full text]
  • A Film-Study Firm Indiana Univ., Bloomington. Audio-Visual Center. Audiovisual Ai
    DOCUMENT RESUME ED 111 332 IR 002 321 TITLE From "A" to "Yellow Jack"; A Film-Study Firm ColleciiOn. INSTITUTION Indiana Univ., Bloomington. Audio-VisualCenter. PUB DATE 75 NOTE 88p. EDRS PRICE MF-$0.36 HC-$4.43 Plus Postage DESCRIPTORS Audiovisual Aids; *Catalogs; Film Libraries; Film Production; *Film Production Specialists; *Films; *Film Study; Glossaries; *InstructionalMaterials Cente'r-s; Video Tape Recorddn-gs IDENTIFIERS _ *Indiana University Audio Visual Center ABSTRACT Illustrative material in the area of filmstudy available from the Indiana University Audio-VisualCenter is listed and described. Over 250 selected filmsare included, representing experimental films, film classics, historicallyinteresting films, works of recognized directors, and films whichare models of film techniques. Recent film acquisitionsare also described, including featurefilm excerpts from the Teaching FilmCustodians collection .representing the work of recognized Hollywooddirectors. Each entry is summarized and its significance in filmstudy explained; length, color and rental price are given. Entriesare also indexed by subject and by director. A glossary of film terms isappended. (SK) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from othersources. ERIC makes every effort * * to obtain the best copy available. nevertheless,items of marginal * * reproducibility are often encountered and thisaffects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * * via the ERIC Document Reproduction Service (EDRS).EDRS is not * responsible for the quality of the original document.Reproductions * * supplied by EDRS are the best that can be madefrom the original. *****,o**************************************************************** lac "stbos or\ II 1 o Go\\eck\ \0 Genkei Ftoo" I\'A\0-Sod`iP,Nolo.\1\svet.\ \30ve(s\y ioac\a, 1 rOor ,ygg* ,oete II_ PP- .411111.- .
    [Show full text]
  • The Hollywood Political Thriller During the Cold War, 1945
    The Hollywood Political Thriller During the Cold War, 1945 - 1962 Submitted by Deena Bowman to the University of Exeter as a Thesis for the Degree of Doctor of Philosophy in Film Studies, December 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 ACKNOWLEDGEMENTS The past four years have presented enumerable challenges, but my family and friends have remained by my side, helping me to move forward. Thanks go to the University of Exeter for providing me an opportunity to pursue my love of film and history. To Dr. Tomas Williams and Dr. Gábor Gergely for stimulating conversations over dinner and football. Sincere thanks go to Professor William Higbee for agreeing to supervise me in the final days of this project. Lastly, I am forever grateful to Professor Susan Hayward, a mentor and friend. 3 ABSTRACT This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007).
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • The Face of a Saint
    one The Face of a Saint From the beginning, Montgomery Clift was hailed as exceptional. In December 1948, Life magazine featured an earnest Clift on its cover over the title “New Male Movie Stars.” While the other candidates for stardom (including Richard Widmark, Ricardo Montalban, Louis Jourdan, Peter Lawford, and Farley Granger) were presented as a group, Clift had already been singled out. 1 “Clift, 28, heads the list of new male movie discoveries,” Life proclaimed. 2 This pronouncement was widely seconded at the time and would be reiterated for decades. One critic, comparing him with con - temporaries Marlon Brando and James Dean fifty years later, asserted that Clift was “the purest, and least mannered of these actors, perhaps the most sensitive, certainly the most poetic. He was also remarkably beautiful.” 3 Spencer Tracy put it more bluntly: “He makes most of today’s young play - ers look like bums.” 4 One distinct advantage Clift had over the other newcomers in Decem - ber 1948 was the recent release of his first two films, The Search and Red River. The first appeared in March, the second in September. As with much of Clift’s legend, the question of which film should be considered his first is subject to debate. Although The Search was the first to appear in theaters, Red River was the first film Clift made, having been produced two years earlier and its release delayed. Choosing to begin with one film over the other has important conse - quences, not least raising the question of whether we give precedence to the actor’s experience or to that of the viewer.
    [Show full text]
  • Cinema and Berlin's Spectacle of Destruction: the 'Ruin' Film, 1945-50 Author(S): Ralph Stern Source: AA Files, No
    Cinema and Berlin's Spectacle of Destruction: The 'Ruin' Film, 1945-50 Author(s): Ralph Stern Source: AA Files, No. 54 (Summer 2006), pp. 48-60 Published by: Architectural Association School of Architecture Stable URL: https://www.jstor.org/stable/29544634 Accessed: 26-03-2019 08:47 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Architectural Association School of Architecture is collaborating with JSTOR to digitize, preserve and extend access to AA Files This content downloaded from 95.183.184.51 on Tue, 26 Mar 2019 08:47:31 UTC All use subject to https://about.jstor.org/terms Cinema and Berlin's Spectacle of Destruction The 'Ruin' Film, 1945-50 Ralph Stern The new reality. The sign of our time is the ruin. She surrounds our life. She lines the streets of our cities. She is our reality. In her burned-out fagades blooms not the blue flower of the Romantics but the demonical spirit of destruction, collapse and Apocalypse. The ruin is the outer sign of the inner insecurity of the people of our age. The ruin lives in us as we live in her. She is our new reality, one which wants to be designed.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 10/01/2021 07:55:43PM Via Free Access 16
    15 1 ‘United Nations children’ in Hollywood cinema: Juvenile actors and humanitarian sentiment in the 1940s Michael Lawrence This chapter examines specific ideological and aesthetic dimensions of the represen- tation of children in American films produced during and directly after the Second World War in relation to the promotion and operations of the United Nations.1 It addresses how pitiable and vulnerable children from the world’s warzones – specific- ally groups of orphaned, abandoned and injured children from different countries – appeared and functioned in four Hollywood studio pictures: Twentieth Century Fox’s suspense thriller The Pied Piper (Irving Pichel, 1942), Universal’s romantic musical The Amazing Mrs Holliday (Jean Renoir/ Bruce Danning, 1943), RKO’s com- edian comedy Heavenly Days (Howard Estabrook, 1944) and RKO’s family fantasy The Boy with Green Hair (Joseph Losey, 1948). I explore how these films presented groups of children to harness humanitarian sentiment in support of the ideology and activities of the UN, and consider the critical response to (and a director’s reflections on) the juvenile actors who appeared in the films; while the figure of the child acquired new cultural and political significance in the era of the UN’s wartime and post- war humanitarian endeavours, the presentation and performance of the Hollywood child actor simultaneously became subject to new modes of aesthetic apprehension and evaluation. As Liisa H. Malkki has suggested, children are ‘central to widely circulating representations of “humanity”
    [Show full text]
  • 1 Postwar Berlin
    INTERMEDIATE CHAPTER POSTWAR BERLIN: 1945-1949 In preparation for our simulated or real walk to locations of Berlin that have significance for the 1945—1949 period, we will turn to three films: Wolfgang Staudte’s Die Mörder sind unter uns (1946), Gerhard Lamprecht’s Irgendwo in Berlin (1946); and Roberto Rosselini’s Germania anno zero (1948). The war-ravaged city on the screen is barely recognizable as Berlin. Other than the panoramic view of the bombarded Reichstag at the beginning of Germania anno zero and later the brief shots of Black Market activities in its vicinity, the films include no Berlin landmarks. In each a landscape of equalizing rubble dominates. Given the American and British saturation bombings started in early 1943 and heightened in the spring of 1945 (the British bombed at night, the Americans during the day), it is a miracle that any buildings remained more or less intact. Why some were saved while others were destroyed seems inexplicable, just as inexplicable as the intact rooms jutting into the landscape on steel props from the sites of otherwise demolished buildings. There is little evidence of the “Hurrah! We’re still alive!” feeling that supposedly animated Germans in 1945. Avoiding comments on the rubble, people move around in it as if it had been their natural surrounding their entire lives. No one worries about hidden explosives or about dropping into one of the many holes in the asphalt which off and on caused Berliners to land in subway tunnels. Focused on the present, on making it through the next day or merely the next hour, people simply cope with their hardships as best they can.
    [Show full text]
  • Frontier of Freedom: Berlin in American Cold War Discourse from the Airlift to Kennedy
    FRONTIER OF FREEDOM: BERLIN IN AMERICAN COLD WAR DISCOURSE FROM THE AIRLIFT TO KENNEDY A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of the Ohio State University By Timothy Todd Smith, B.A. ***** The Ohio State University 2008 Master’s Examination Committee Approved by Eugene W. Holland, Advisor Philip A. Armstrong ____________________________ Advisor Alan D. Beyerchen Graduate Program in Comparative Studies ABSTRACT This thesis attempts to locate the role of Berlin in American discourse during the height of the Cold War using a theoretical model based on the discourse theory of Ernesto Laclau and Chantal Mouffe. It analyzes the historical background of the American investment in Berlin from wartime negotiations through Kennedy’s Berlin visit in 1963, and it draws on official and media representations in order to develop a sense of how Berlin, its people and its events were represented to the American people at the time. Discourse theory is then explained and its key terms illustrated with reference to the role of Berlin within American Cold War discourse. Finally, I argue that Berlin helped to fix the meaning of key terms such as “freedom,” “democracy” and “anticommunism,” thereby contributing to the coherence of American Cold War discourse and the subject positions it produced. ii ACKNOWLEDGMENTS I wish to thank my advisor, Eugene Holland, for his guidance and patience throughout this project, as well as my committee members, Philip Armstrong and Alan Beyerchen, for serving on my examination committee and for their helpful comments and encouragement. Margaret Lynd encouraged me to finish my degree, and she helped me at several points to negotiate the multifarious forms and deadlines of the graduate school, for which I am grateful.
    [Show full text]
  • Web Paramount Historical Calendar 6-12-2016.Xlsx
    Paramount Historical Calendar Last Update 612-2016 Paramount Historical Calendar 1928 - Present Performance Genre Event Title Performance Performan Start Date ce End Date Instrumental - Group Selections from Faust 3/1/1928 3/7/1928 Movie Memories 3/1/1928 3/7/1928 Movie News of the Day 3/1/1928 3/7/1928 Instrumental - Group Organs We Have Played 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Musical Play A Merry Widow Revue 3/1/1928 3/7/1928 Dance Accent & Jenesko 3/1/1928 3/7/1928 Dance Felicia Sorel Girls 3/1/1928 3/7/1928 Vocal - Group The Royal Quartette 3/1/1928 3/7/1928 Comedian Over the Laughter Hurdles 3/1/1928 3/7/1928 Vocal - Group The Merry Widow Ensemble 3/1/1928 3/7/1928 Movie Feel My Pulse 3/1/1928 3/7/1928 Instrumental - Individual Don & Ron at the grand organ 3/1/1928 3/7/1928 Movie The Big City 3/8/1928 3/14/1928 Instrumental - Individual Don & Ron at the grand organ 3/8/1928 3/14/1928 Variety Highlights 3/8/1928 3/14/1928 Comedian A Comedy Highlight 3/8/1928 3/14/1928 Vocal - Individual An Operatic Highllight 3/8/1928 3/14/1928 Variety Novelty (The Living Marionette) 3/8/1928 3/14/1928 Dance Syncopated 3/8/1928 3/14/1928 Dance Slow Motion 3/8/1928 3/14/1928 Dance Millitary Gun Drill 3/8/1928 3/14/1928 Comedian Traffic 3/8/1928 3/14/1928 Instrumental - Group novelty arrangement 3/8/1928 3/14/1928 Comedian Highlights 3/8/1928 3/14/1928 Movie West Point 3/15/1928 3/21/1928 Instrumental - Individual Don & Ron at the grand organ 3/15/1928 3/21/1928 Variety
    [Show full text]
  • The Big Lift Cast
    The big lift cast The Big Lift () cast and crew credits, including actors, actresses, directors, writers and more. Drama · Experiences of two Air Force sergeants during the Berlin Airlift. With Montgomery Clift, Paul Douglas, Cornell Borchers, Bruni Löbel. Montgomery Clift in The Big Lift () Montgomery Clift and Cornell Borchers in The Big Lift () Montgomery Clift and O.E. Hasse in . Cast overview, first billed only. By the end of the s, Montgomery Clift, then just reaching 30 and with only offer, he took the lead in the postwar drama The Big Lift () which focused on a . Bosley Crowther of the New York Times called Cornell Borchers "magnetic and Cast: Montgomery Clift (Sgt. Danny MacCullough), Paul Douglas (Msgt. Sgt Danny MacCullough Montgomery Clift. MSgt Hank Kowalski Paul Douglas. Frederica Burkhardt Cornell Borchers. Gerda Bruni Lobel. Stieber OE Hasse. Cast. Montgomery Clift as Danny. Paul Douglas as Hank. Cornell Borchers There are no critic reviews yet for The Big Lift. Keep checking. Meet the cast and learn more about the stars of The Big Lift with exclusive news, pictures, videos and more at : The Big Lift: Montgomery Clift, Paul Douglas, Cornell Borchers, Bruni Löbel, O.E. Hasse, Dante V. Morel, John used in another film, "The High and the Mighty" starring John Wayne and a real interesting cast of character actors. The Big Lift () - Full Length Movie with Montgomery Clift Montgomery Wonderful to see the servicemen. The Big Lift: Montgomery Clift, Paul Douglas, Bruni Lobel, Cornell Borchers, George Seaton, O.E. Hasse, George Seaton, George Seaton. The Big Lift. Directed by: George Seaton.
    [Show full text]