From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! Pdf

FREE FROM REEL TO DEAL: HOLLYWOODS #1 FILM INSTRUCTOR TELLS YOU HOW TO BEAT THE SYSTEM! PDF

American Masters Online thanks the New Yorker for their kind permission to reprint this classic essay. It makes him glamorous—and, since he is not as available as other From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System!, far more desirable. Cary Grant is the male love object. Men want to be as lucky and enviable as he is—they want to be like him. And women imagine landing him. If he had looked at her with desire, everything else about the movie might have been forgiven. Cary Grant would not have failed; yearning for an idealized love was not beyond his resources. He expressed the very sort of desperate constancy that Redford failed to express. The heroine who chases him knows that deep down he wants to be caught only by her. With Gable, sex is inevitable: What is there but sex? Basically, he thinks women are good for only one thing. Grant is interested in the qualities of a particular woman—her sappy expression, her non sequiturs, the way her voice bobbles. With Grant, the social, urban man, there are infinite possibilities for mutual entertainment. They might dance the night away or stroll or go to a carnival—and nothing sexual would happen unless she wanted it to. The game, however, is an artful dodge. He gets the blithe, funny girl by maneuvering her into going after him. Many men must have wanted to be Clark Gable and look straight at a woman with a faint smirk and lifted, questioning eyebrows. And at that deluxe level men want to be Cary Grant. Men as far apart as John F. Kennedy and Lucky Luciano thought that he should star in their life story. Who but Cary Grant could From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! a fantasy self-image for a President and a gangster chief? Cary Grant has said that even he wanted to be Cary Grant. Sitting out there in Los Angeles, the expatriate New York writers projected onto him their fantasies of Eastern connoisseurship and suavity. How could the heroine ever consider marrying a rich rube from Oklahoma and leaving Cary Grant and the night spots? Los Angeles itself has never recovered from the inferiority complex that its movies nourished, and every moviegoing kid in America felt that the people in New York were smarter, livelier, and better-looking than anyone in his home town. There were no Cary Grants in the sticks. He and his counterparts were to be found only in the imaginary cities of the movies. When you look at him, you take for granted expensive tailors, international travel, and the best that life has to offer. Women see a man they could have fun with. When he and a woman are together, they can laugh at each other and at themselves. Come on up. Henry Fonda and James Stewart turned into folksy elder statesmen, sagacious but desexed. Cary Grant has had the longest romantic reign in the short history of movies. He might be cast as an arrogant rich boy, an unscrupulous cynic, or a selfish diplomat but there was nothing sullen or self-centered in his acting. Grant never got star-stuck, on himself; he never seemed to be saying, Look at me. The most obvious characteristic of his acting is the absence of narcissism—the outgoingness to the audience. He appeared with this batch in ; Paramount threw him into seven pictures in his first year. He was resplendent before but characterless, even a trace languid—a slightly wilted sheik. She brought out his passivity, and a quality of refinement in him which made her physical aggression seem a playful gambit. With tough men opposite her, she was less charming, more crude. Yet Grant still had that pretty-boy killer look; he was too good-looking to be on the level. And although he was outrageously attractive with Mae West, he was vaguely ill at ease; his face muscles betrayed him, and he looked a little fleshy. No doubt he felt absurd in his soulful, cow-eyed leading-man roles, and tried to conceal it; when he had nothing to do in a scene, he stood lunged forward as if hoping to catch a ball. He became Cary Grant when he learned to project his feelings of absurdity through his characters and to make a style out of their feeling silly. Once he realized that each movement could be stylized for humor, the eye popping, the cocked head, the forward lunge, and the slightly ungainly stride became as certain as the pen strokes of a master cartoonist. The new element of romantic slapstick in the mid-thirties comedies—the teasing role reversals and shifts of mood—loosened him up and brought him to life. At last, he could do on the screen what he had been trained to do, and a rambunctious, springy side of his nature came out. He was no longer effete; the booming voice had vitality. He was so brashly likable that viewers felt vaguely discomfited at the end when Brian Aherne who had given an insufferably egotistic performance wound up with Hepburn. Grant seemed to be enjoying himself on the screen in a way he never had before. The conventional bedroom-farce plot filmed twice before is about a couple who still love each other but have a tiff and file for divorce; during the period of the interlocutory decree, the husband has visiting rights to see their dog, and this cunning device enables Grant to hang around, romping affectionately with the dog while showing his unstated longing for his wife. Grant is a comic master at throwaway lines, and he turns them into a dialogue, as if he were talking to himself. And though she is often funny, she overdoes the coy gurgles, and that bright, toothy smile of hers—she shows both rows of teeth, prettily held together—can make one want to slug her. But Grant stabilizes her and provides the believability. Grant uses his intense physical awareness to make the scenes play, and never to make himself look good at the expense of someone else—not even when he could waltz away with the show. There were other gifted urbane farceurs. The best of them, William Powell, with his skeptical, tolerant equanimity, was supremely likable; he got the most out of each blink and each twitch of his lips, and he had amazing dimples, which he could invoke without even smiling. When we in the audience began to sense the pleasure he took in low comedy, we accepted him as one of us. Afterward, even when he played straight romantic parts the freedom and strength stayed with him. And never left him: he gave some embarrassed, awful performances when he was miscast, but he was never less than a star. He might still parade in the tuxedos and the tails of his dashing-young-idiot days, but he was a buoyant, lusty performer. The assurance he gained in slapstick turned him into the smoothie he had aspired to be. He brought elegance to low comedy, and low comedy From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! him the corky common-man touch that made him a great star. So do moviegoers the world over. He is said to have been convivial and fond of singing—a temperament From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! wife definitely did not share. Leach pampered their protesting child, keeping him in baby dresses, and then in short pants and long curls. A domineering woman with an early history of mental instability, she was married to a pantspresser but she wanted her son to be a cultured, piano- playing little gentleman. The parents were miserable together, and the boy was caught in the middle. When Archie was nine, he returned home from school one day to find that his mother was missing; he was led to think she had gone to a local seaside resort, and it was a long time before he learned that she had broken down and been taken to an institution. I was known, to most people of the world by sight and by name, yet not to my mother. After Mrs. He went to Boy Scout meetings, studied hard, and From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! a school scholarship; he planned to try for a further scholarship, which would take him to college, but found out that even with a scholarship college would be too expensive. His first contact with music hall came quite by chance. At school, he liked chemistry, and he sometimes hung around the lab on rainy days; the assistant science teacher was an electrician, who had installed the lighting system at the Bristol Hippodrome, and one Saturday matinee he took Archie, just turned thirteen, backstage. It was probably the only free atmosphere the boy had ever experienced. When he learned that Bob Pender, a former Drury Lane clown, had a troupe of young knockabout comedians that suffered attrition each time a boy came of military age, he wrote, in the guise of his father, asking that Archibald be taken for training. Pender replied offering an interview and enclosing the railway fare to Norwich, and Archie ran away from home to become an apprentice. It took a few days before Leach noticed that his son was gone. Earlier that year, Archie had taken a spill on an icy playground and broken an upper front tooth. Rather than tell his father, he had gone to a dental school and had the remainder of the tooth pulled out. He might as well have saved himself the effort. It was soon. Only three months passed before he returned to Bristol in triumph—on the stage at the Empire, his old schoolmates in the audience. He studied dancing, tumbling, stilt-walking, and pantomime, and performed constantly in provincial towns and cities and in the London vaudeville houses. In July,when Pender selected a group of eight boys for an engagement in New York City, the sixteen-year-old Archie was among them. They sailed on the S. Olympic, which was also carrying the celebrated honeymooners Douglas Fairbanks, Sr. Fairbanks during a game of shuffleboard. As I stood beside him, I tried with shy, inadequate words to tell him of my adulation. He was a splendidly trained athlete and acrobat, affable and warmed by success and From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System!. A gentleman in the true sense of the word. It appears that they were both part Jewish but were raised as Christians; and they both used acrobatics in their careers—though Fairbanks, a narrowly limited actor but a fine acrobat, was a passionate devotee, while Grant used acrobatics only as a means of getting into theatrical life. And, though they represented different eras, they were loved by the public in similar ways—for their strapping health and high spirits, for being on and giving out whenever they were in front of an audience, for grinning with pleasure at their own good luck. After the engagement was over, they got booked in the major Eastern cities and wound up back in New York at the top—the Palace. When the American tour ended, inand it was time to go home, Archie Leach and several of the other boys decided to stay. In the first summer of job-hunting in New York, his savings went and he ate into the From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! fare Pender had given him for an emergency retreat. By day, after he finally landed work, he was a stilt walker on the boardwalk at Coney Island, advertising Steeplechase Park. It was many years before his status in life was commensurate with the regard people had for him. In the fall, he shared quarters with a young Australian, who later became known as the costume designer Orry-Kelly; in those days, Kelly made and tried to sell hand-painted neckties, and Archie Leach peddled them along Sixth Avenue and in Greenwich Village. Juliette Lewis - IMDb

You and I have been constantly misquoting them our entire lives. Actual movie quote: "You've got to ask yourself one question: 'Do I feel lucky? Actual movie quote: "You played it for her, you can play it for me. If she can stand it, I can. Play it! Actual movie quote: "You're out of order! You're out of order! The whole trial is out of order! They're out of order! Via universetoday. Ah, Houston, we've had a problem. Via brotherjohnf. Misquote: "Do you feel lucky, punk? Via filmforum. Misquote: "Mrs. Robinson, are you trying to seduce me? Robinson, you're trying to seduce me. Aren't you? Misquote: "Mirror, mirror, on the wall - who is the fairest of them all? Misquote: "Why don't you come up and see me sometime? Via blogger. Misquote: "Play it again, Sam. Misquote: "Luke, I am your father. I am your father. Via popdose. Via thefilmspectrum. Misquote: "Fasten your seat belts, it's going to be a bumpy ride. Via fanpop. Misquote: "Toto, I don't think we're in Kansas anymore. Via blog. Misquote: "Frankly, Scarlett, I don't give a damn. Via villains. No wire hangers EVER! Via tonightatthemovies. Via timeoutdoha. Misquote: "What we have here is a failure to communicate. Via filmsyoumustsee. Misquote: "I'm ready for my close-up, From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System!. DeMille, I'm ready for my close-up. Teilen Facebook. Stanley Ralph Ross - IMDb

From " Veronica Mars " to Rebecca take a look back at the career of Armie Hammer on and off the screen. See the full gallery. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Down 62, this week. Actor Writer Producer. Spent several years in advertising, first writing for show business was the Beach Party Movies, then moved on to write every 4th episode of Batmanmultiple episodes for The MonkeesThe Man from U. Filmography by Job Trailers and Videos. The Evolution of Armie Hammer. Share this page:. Jewish People in Show Business. Bat-actors by The Measured Circle. Hillside Memorial Park. Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of Stanley Ralph Ross's work have you seen? Nominated for 1 Primetime Emmy. Another 1 nomination. Known For. Monster Squad Jackie Joey. All in the Family Writer. Batman Barney 'Ballpoint' Baxter. Joey Nails voice. Additional Voices voice. Joe Palaver voice. McCatheter - Something's Going Around McCatheter voice. Phillip Tindall. Bank Manager. Show all 6 episodes. Perry White voice. Show all 11 episodes. Burglar voice. Show all 8 episodes. Dark Paw voice. Show all 21 episodes. Brainiac voice. Convict 1. Gorilla Grodd voice. Show all 13 episodes. Bou Azza. Show all 24 episodes. Harry Carney. Show all 16 episodes. Malhavoc voice. Genie of Olam voice. Nartan voice, as Stanley Ross. Meyers - One Long Tomorrow Jackie Joey. Drone - Fantastic Journey Frankenstein XIII. Larry Fields. Barney 'Ballpoint' Baxter uncredited. Muezzin uncredited. Folk Singer as Stan Ross. The Making of a Classic Video documentary short. Jeckyll and Mr. Kid Wonder Woman TV Series developer - 50 episodes, - developed for television by - 10 episodes, written by - 1 episode, - Phantom of the Roller Coaster, Part 2 Show all 60 episodes. Show all 10 episodes. Cassandra Show all 27 episodes. TV Short. The Man from U. TV Series story - 1 episode, teleplay - 1 episode, writer - 1 episode, - The Deadly Smorgasbord Affair Goldfoot From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System! Movie assistant to the producer. Edit Did You Know? Trivia: His real-life nickname, "Ballpoint Baxter," was also the name of a character he played on the "Batman" TV series. Ironically From Reel to Deal: Hollywoods #1 Film Instructor Tells You How to Beat the System!, for the man who scripted almost a third of the "Batman" shows but not the one he guested onhis character had no lines. Nickname: Ballpoint Baxter. Star Sign: Cancer. Edit page. October Streaming Picks. Back to School Picks. Clear your history.