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Review of Somewhere in the Night
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2005 Review of Somewhere in the Night Michael Adams City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/156 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Somewhere in the Night (Fox Home Entertainment, 9.6.2005) Unlike the other two recent entries in Fox’s film noir series, The House on 92nd Street and Whirlpool, Somewhere in the Night is unequivocally the real thing. With Norbert Brodine’s atmospheric lighting, rain-slicked streets (though set in Los Angeles), a swanky nightclub, a sultry torch singer, a villain with a foreign accent, a muscle-bound lug, and moral ambiguity to burn, Somewhere in the Night is a terrific example of the genre. George Taylor (John Hodiak) wakes up in a military field hospital in the Pacific with no memory of who he is. Returning to Los Angeles, Taylor, who instinctively knows this is not his real name, finds an old letter from his friend Larry Cravat and tries to track down Cravat to find out who he really his. With the help of singer Christy Smith (Nancy Guild), nightclub owner Mel Phillips (Richard Conte), and cop Lt. Donald Kendall (Lloyd Nolan), Taylor learns that Cravat and another man were involved in stealing $2 million in loot shipped to the United States by a Nazi officer. -
A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
Judy Garland (1922-1969)
1/22 Data Judy Garland (1922-1969) Pays : États-Unis Sexe : Féminin Naissance : Grand-Rapid (S. D.), 10-06-1922 Mort : Londres, 22-01-1969 Note : Chanteuse et actrice américaine Autre forme du nom : Frances Gumm (1922-1969) ISNI : ISNI 0000 0000 8380 6106 (Informations sur l'ISNI) Judy Garland (1922-1969) : œuvres (255 ressources dans data.bnf.fr) Œuvres audiovisuelles (y compris radio) (45) "Un enfant attend. - [2]" "Un enfant attend. - [2]" (2016) (2016) de Ernest Gold et autre(s) de Ernest Gold et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "Le magicien d'Oz" "Le magicien d'Oz" (2013) (2013) de Victor Fleming et autre(s) de Victor Fleming et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "La jolie fermière" "Till the clouds roll by" (2013) (2012) de George Wells et autre(s) de Richard Whorf et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "Le chant du Missouri" "Meet me in St. Louis. - Vincente Minnelli, réal.. - [2]" (2012) (2012) de Vincente Minnelli et autre(s) de Vincente Minnelli et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "Le chant du Missouri" "La pluie qui chante. - Richard Whorf, réal.. - [2]" (2011) (2010) de Vincente Minnelli et autre(s) de George Wells et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur data.bnf.fr 2/22 Data "Le chant du Missouri" "Le magicien d'Oz" (2009) (2009) de Vincente Minnelli et autre(s) de Victor Fleming et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "The pirate" "La danseuse des Folies Ziegfeld" (2008) (2007) de Vincente Minnelli et autre(s) de Sonya Levien et autre(s) avec Judy Garland (1922-1969) comme Acteur avec Judy Garland (1922-1969) comme Acteur "Parade de printemps" "Un enfant attend. -
FLM 34 — Film Noir: the Femme Fatale in 1940S and 1950S Film Instructor: Mick Lasalle
Preliminary Syllabus Spring 2017 FLM 34 — Film Noir: The Femme Fatale in 1940s and 1950s Film Instructor: Mick LaSalle Course Summary: One of the major messages of film noir is that sex can kill you . but it might be worth it anyway. This notion, cynical and yet naïvely romantic, recedes and returns in American life. By the end of this class, students will not only have seen the signature noir films centering on evil or destructive women, but they will understand how these films fit into the history of women on screen and the social history of the United States in the 20th century. The point is that these films are fun, but they didn’t come out of nowhere, and there weren’t symptoms of nothing. They are fun, but they represented a combination of conflicting impulses and aspirations -- as expressions of power and fantasy for both women and men, but also of a social pathology. Having taken this course, students will be familiar with the key players and films of the era, but will also be able to take their knowledge and find greater satisfaction and substance in the noir and women’s films they see thereafter. Syllabus (Subject to Change): Week One: Femme fatale origins. Bara, Naldi, Garbo, Dietrich. Week Two: Jane Greer Week Three: Joan Bennett Week Four: Lizabeth Scott Week Five: Claire Trevor Week Six: Jean Gillie and Ann Savage Week Seven: French Noir (noir without censorship): Mylene Demongeot Preliminary Syllabus Spring 2017 Week Eight: Rita Hayworth Week Nine: Late film noir Week Ten: Noir revival of the 1980s and 1990s and the AIDS connection . -
Cecil B. Demille's Greatest Authenticity Lapse?
Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate -
Motion Picture Collection
ARIZONA HISTORICAL SOCIETY 949 East Second Street Library and Archives Tucson, AZ 85719 (520) 617-1157 [email protected] PC 090 Motion picture photograph collection, ca. 1914-1971 (bulk 1940s-1950s) DESCRIPTION Photographs of actors, scenes and sets from various movies, most filmed in Arizona. The largest part of the collection is taken of the filming of the movie “Arizona” including set construction, views behind-the-scenes, cameras, stage sets, equipment, and movie scenes. There are photographs of Jean Arthur, William Holden, and Lionel Banks. The premiere was attended by Hedda Hopper, Rita Hayworth, Melvyn Douglas, Fay Wray, Clarence Buddington Kelland, and many others. There are also photographs of the filming of “Junior Bonner,” “The Gay Desperado,” “The Three Musketeers,” and “Rio Lobo.” The “Gay Desperado” scenes include views of a Tucson street, possibly Meyer Avenue. Scenes from “Junior Bonner” include Prescott streets, Steve McQueen, Ida Lupino, Sam Peckinpah, and Robert Preston. Photographs of Earl Haley include images of Navajo Indian actors, Harry Truman, Gov. Howard Pyle, and director Howard Hawks. 3 boxes, 2 linear ft. HISTORICAL NOTE Old Tucson Movie Studio was built in 1940 as the stage set for the movie “Arizona.” For additional information about movies filmed in southern Arizona, see The Motion Picture History of Southern Arizona and Old Tucson (1912-1983) by Linwood C. Thompson, Call No. 791.43 T473. ACQUISITION These materials were donated by various people including George Chambers, Jack Van Ryder, Lester Ruffner, Merrill Woodmansee, Ann-Eve Mansfeld Johnson, Carol Clarke and Earl Haley and created in an artifical collection for improved access. -
CINEVENT 47, Held May 2015
24 Hour Voice Mail: Comedy, Drama, 866 - 785 - 7687 Westerns, Musicals, e-mail : Mysteries, Animation [email protected] & Horror films - web : www.cinevent.com Features & Shorts ! Coming FRIDAY MAY 22 through MONDAY MAY 25, 2015 MEMORIAL DAY WEEKEND! THE GREAT CELEBRATION OF SILENT AND SOUND FILMS in COLUMBUS, OHIO! Now Scheduled in the Cinevent Screening Room: PLUS TILLIE WAKES UP (1917) Marie Dressler and Johnny Hines in this Coney Island set comedy. M'LISS (1918) Mary Pickford is a spunky mining camp lass who falls for Thomas Meighan. LAUREL & HARDY, THE WHISTLE (1921) Lambert Hillyer directs Wiiliam S. Hart in a rare non-Western role. CHARLEY CHASE, other OLIVER TWIST (1922) Lon Chaney is Fagin and Jackie Coogan is the hungry title orphan. assorted shorts, & THE PRAIRIE KING (1926) Hoot Gibson is one of three who have been left a gold mine by a our ANNUAL ANIMATION deceased prospector, but only if conditions can be met... PROGRAM THE NERVOUS WRECK (1926) Harrison Ford, Phyllis Haver, and Chester Conklin in this Arizona-set Christy comedy feature. AND THE SHIELD OF HONOR (1928) Can Neil Hamilton, the first flying policeman on the force, save his dad from stop-at-nothing jewel thieves? Cinevent has DEALERS: SHOOTING STARS (1928) A sinister plot at a film studio – will an on-screen/married over 100 tables of all kinds off-screen couple be broken up by – MURDER? of movie related collectibles, WIDE OPEN (1930) Edward Everett Horton and Patsy Ruth Miller as the usual befuddled including Posters, Lobby bachelor and his potential love interest. Cards, Stills, Books, THE DRUMS OF JEOPARDY (1931) Warner Oland is mad doctor Boris Karlov(!), looking for Pressbooks, CD's, Records, revenge on those he thinks caused his daughter’s death. -
From from Reverence to Rape Female Stars of the 1940S
MOLLY HASKELL IIIIIIIIHIIIIIIIIIIIIIIIHIIRIIIIII"Itlltottllllllnlta�rt111111111111J1HIIIIIIIIII1IIIIIl&IMWIIIIIIII1k.ll-611111lll"lltltiiiiii111111111111HHIIIIIIHIIIIIIIIII1niiiiiiiiii1Uit111111111HIIUIHIIIIIIIIIIIIIIJ111UIIIIIIIIUUIII&IIIIII,.IIIIatlllll From From Reverence to Rape Female Stars of the 1940s Molly Haskell's From Reverence to Rape: The Treatment of Women m the MoVIes (197311S a p oneenng examination of the roles p ayed by women n film and what these ro es tell us about the place of women 1n society, changmg gender dynam ics, and shiftmg def1mt1ons of love and fam1ly Haskell argues that women were berng tncreas ngly ob1ecttf1ed and v1hfled tn the films of the 1960s and 1970s. Tttrs femrntst perspective informs a I of Haskell's work, whtch takes a nuanced vtew of the complex relation of men and women to ftlm and power. Holdmg My Own m No Man's Land Women and Men. Ftlm and Femimsts (1997) includes essays and mtervrews on femimst issues surroundmg ftlm and literature. Haskell prov'des analyses and apprec1at1ons of proto-femimst f1lms of the th1rtres, fortres, and frfttes, celebrating actresses hke Mae West and Doris Day for the1r umque forms of empowerment. She continues to write rev1ews for Town and Country and The Vlllage Votce. The preoccupation of most movies of the fo rties, particularly the "masculine" genres, is with man's soul and salvation, rather than with woman's. It is man's prerogative to fo llow the path from blindness to discovery, which is the principal movement of fiction. In the bad-girl films like Gilda and Om cifthe Past, it is the man who is being corrupted, his soul which is in jeopardy. -
Abortion As Metaphor
ABORTION AS METAPHOR John J. Conley, S.J. THE PURPOSE OF THIS PAPER is to analyze the symbolic function of abortion in two disparate works of art: Alfred Hitchcock’s film Lifeboat (1944) and Terrence McNally’s play Master Class (1994). At first glance, these two works might appear unlikely candidates for an exploration of the aesthetics of abortion. Neither work treats abortion as a primary theme. Neither elaborates a case for or against abortion. Indeed, neither even uses the word “abortion.” Nonetheless, in each work, abortion functions as a metaphor for a series of homicidal acts, both social and personal. LIFEBOAT Based upon a story by John Steinbeck,i Lifeboatii depicts the struggle for survival by nine people stranded on the Atlantic. Set in World War II, the film opens in the immediate aftermath of a U-boat attack upon an Allied freighter. In the cramped single set of a lifeboat, the survivors battle nature, their conflicting temperaments, and, finally, the brutal enigma of the Nazi creed. In the opening scene the journalist Constance Porter (Tallulah Bankhead) sits perfectly coiffed in the lifeboat as she films the wreckage of the attack. The lifeboat gradually fills with other survivors: John Kovac (John Hodiak), a Communist engineer; Stanley Garrett (Hume Cronyn), a radio operator; Alice MacKenzie (Mary Anderson), a nurse; Charles “Ritt” Rittenhouse (Henry Hull), a millionaire businessman; Gus Smith (William Bendix), a merchant marine; “Joe” Spencer (Canada Lee), an African-American steward; and Mrs. Higgins, a shock victim from the obliteration bombings of Bristol who brings her dead baby aboard. -
Greatest Year with 476 Films Released, and Many of Them Classics, 1939 Is Often Considered the Pinnacle of Hollywood Filmmaking
The Greatest Year With 476 films released, and many of them classics, 1939 is often considered the pinnacle of Hollywood filmmaking. To celebrate that year’s 75th anniversary, we look back at directors creating some of the high points—from Mounument Valley to Kansas. OVER THE RAINBOW: (opposite) Victor Fleming (holding Toto), Judy Garland and producer Mervyn LeRoy on The Wizard of Oz Munchkinland set on the MGM lot. Fleming was held in high regard by the munchkins because he never raised his voice to them; (above) Annie the elephant shakes a rope bridge as Cary Grant and Sam Jaffe try to cross in George Stevens’ Gunga Din. Filmed in Lone Pine, Calif., the bridge was just eight feet off the ground; a matte painting created the chasm. 54 dga quarterly photos: (Left) AMpAs; (Right) WARneR BRos./eveRett dga quarterly 55 ON THEIR OWN: George Cukor’s reputation as a “woman’s director” was promoted SWEPT AWAY: Victor Fleming (bottom center) directs the scene from Gone s A by MGM after he directed The Women with (left to right) Joan Fontaine, Norma p with the Wind in which Scarlett O’Hara (Vivien Leigh) ascends the staircase at Shearer, Mary Boland and Paulette Goddard. The studio made sure there was not a Twelve Oaks and Rhett Butler (Clark Gable) sees her for the first time. The set single male character in the film, including the extras and the animals. was built on stage 16 at Selznick International Studios in Culver City. ight) AM R M ection; (Botto LL o c ett R ve e eft) L M ection; (Botto LL o c BAL o k M/ g znick/M L e s s A p WAR TIME: William Dieterle (right) directing Juarez, starring Paul Muni (center) CROSS COUNTRY: Cecil B. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Monday 25 July 2016, London. Ahead of Kirk Douglas' 100Th Birthday This
Monday 25 July 2016, London. Ahead of Kirk Douglas’ 100th birthday this December, BFI Southbank pay tribute to this major Hollywood star with a season of 20 of his greatest films, running from 1 September – 4 October 2016. Over the course of his sixty year career, Douglas became known for playing iconic action heroes, and worked with the some of the greatest Hollywood directors of the 1940s and 1950s including Billy Wilder, Howard Hawks, Vincente Minnelli and Stanley Kubrick. Films being screened during the season will include musical drama Young Man with a Horn (Michael Curtiz, 1949) alongside Lauren Bacall and Doris Day, Stanley Kubrick’s epic Spartacus (1960), Champion (Mark Robson, 1949) for which he received the first of three Oscar® nominations for Best Actor, and the sci- fi family favourite 20,000 Leagues Under the Sea (Richard Fleischer, 1954). The season will kick off with a special discussion event Kirk Douglas: The Movies, The Muscles, The Dimple; this event will see a panel of film scholars examine Douglas’ performances and star persona, and explore his particular brand of Hollywood masculinity. Also included in the season will be a screening of Seven Days in May (John Frankenheimer, 1964) which Douglas starred in opposite Ava Gardner; the screening will be introduced by English Heritage who will unveil a new blue plaque in honour of Ava Gardner at her former Knightsbridge home later this year. Born Issur Danielovich into a poor immigrant family in New York State, Kirk Douglas began his path to acting success on a special scholarship at the American Academy of Dramatic Arts in New York City, where he met Betty Joan Perske (later to become better known as Lauren Bacall), who would play an important role in helping to launch his film career.