Citizen Kane 1941, Which Tops Nearly All Lists of the World's Greatest Films, SIGHT and SOUND, Published by When He Was 25; It Was His First Film

Total Page:16

File Type:pdf, Size:1020Kb

Citizen Kane 1941, Which Tops Nearly All Lists of the World's Greatest Films, SIGHT and SOUND, Published by When He Was 25; It Was His First Film December 6, 2004 (IX:15) ORSON WELLES (George Orson Welles, 6 May 1915, Kenosha, Wisconsin— 10 October 1985, Hollywood, sometimes credited as O.W. Jeeves and G.O. Spelvin) did it all: actor, director, writer, producer, editor, cinematographer , shill for Gallo Wines. His 1938 radio adaptation of H.G. Wells "War of the Worlds" panicked thousands of listeners. His made Citizen Kane 1941, which tops nearly all lists of the world's greatest films, SIGHT AND SOUND, published by when he was 25; it was his first film. In his later years he played himself, the British Film Institute, but he got to do that only because the self he created was so interesting. His bio lists more than 160 surveys directors and critics acting credits, beginning as Death in the 1934 film Hearts of Death. Many of those credits were as every year for their favorite “narrator”: he was the offscreen voices of the narrator in “Shogun” and Robin Masters in “Magnum films. Here are the top ten from P.I.” He played some of history’s great characters: Cardinal Wolsey in A Man for All Seasons 1966, each group in 2002: Falstaff in Chimes at Midnight 1965, Harry Lime in The Third Man 1949, Cesare Borgia in Prince Critics of Foxes 1949, and Macbeth 1948. Not one of the 14 films he completed is uninteresting and 1 Citizen Kane (Welles) several are masterpieces. The films are:Citizen Kane 1941, The Magnificent Ambersons 1942, The 2 Vertigo (Hitchcock) Stranger 1946, The Lady from Shanghai 1948, Macbeth 1948, Othello 1952, Mr. Arkadin 1955, 3 La Règle du jeu (Renoir) Touch of Evil 1958, The Trial 1962, Chimes at Midnight 1965, The Immortal Story 1968, F for 4 The Godfather and The Godfather part II (Coppola) Fake 1973, and Filming 'Othello' 1978, He won a lifetime achievement Academy Award 1971, was 5 Tokyo Story (Ozu) nominated for The Magnificent Ambersons and Citizen Kane in 1941 and 1942, won for best 6 2001: A Space Odyssey writing original screenplay for Citizen Kane. The American Film Institute gave him its Life (Kubrick) Achievement Award in 1975. 7 Battleship Potemkin JOSEPH COTTEN (15 May 1905, Petersburg, Virginia—6 February 1994, Westwood, California, (Eisenstein) pneumonia) acted in a lot of awful Italian films toward the end of his career (e.g. Il Giustiziere sfida 7 Sunrise (Murnau) la città/Syndicate Sadists/Rambo's Revenge 1975 and Gli Orrori del castello di Norimberga/The 9 8½ (Fellini) 10 Singin' In the Rain (Kelly, Torture Chamber of Baron Blood 1972 and he did a lot of TV series work from the mid-50s Donen) through the mid-70s on such series as "The Love Boat," "HardyBoys/Nancy Drew Mysteries," "The Rockford Files," "The Streets of San Francisco," "The Virginian," "Rowan & Martin's Laugh-In," Directors "It Takes a Thief," "Wagon Train," and "General Electric Theater." He was in nearly 100 theatrical 1 Citizen Kane (Welles) films, the most famous of which are probably are The Third Man 1949 and two films directed by 2 The Godfather and The Orson Welles, The Magnificent Ambersons 1942 and Citizen Kane 1941. Some of his other films Godfather part II (Coppola) are Heaven's Gate 1980, Airport '77 1977, Twilight's Last Gleaming 1977, Soylent Green 1973, 3 8½ (Fellini) Tora! Tora! Tora! 1970, Hush... Hush, Sweet Charlotte 1964, Touch of Evil 1958, Niagara 1953, 4 Lawrence of Arabia (Lean) Portrait of Jennie 1948, Duel in the Sun 1946 and Gaslight 1944. 5 Dr. Strangelove (Kubrick) 6 Bicycle Thieves (De Sica) HERMAN J. MANKIEWICZ (7 November 1897, NYC—5 March 1953, Hollywood, uremic 6 Raging Bull (Scorsese) poisoning) wrote 75 screenplays, some of which were The Pride of St. Louis 1952, The Pride of the 6 Vertigo (Hitchcock) Yankees 1942, Dinner at Eight 1933, and Girl Crazy 1932. 9 Rashomon (Kurosawa) GREGG TOLAND (29 May 1904, Charleston, Illinois—26 September 1948, Hollywood, coronary 9 La Règle du jeu (Renoir) 9 Seven Samurai (Kurosawa) thrombosis) was one of the great cinematographers. Nearly all of his successors credit his work and his imagination. Some of his films were The Bishop's Wife 1947, The Best Years of Our Lives 1946, December 7th 1943, The Outlaw 1943, The Little Foxes 1941, The Long Voyage Home 1940, The Westerner 1940, The Grapes of Wrath 1940, Raffles 1940, Wuthering Heights 1939, Intermezzo: A Love Story 1939, Come and Get It 1936, Les Misérables 1935, Nana 1934, Tugboat Annie 1933, Indiscreet 1931, Raffles 1930, Bulldog Drummond 1929, and Bat 1926. He was nominated for six Oscars: Citizen Kane, The Long Voyage Home, Wuthering Heights (won), Intermezzzo: A Love Story, Dead End, and Les Misérables, ROBERT WISE (10 September 1914, Winchester, Indiana) edited 12 films and directed 40. Some of the films he directed are Star Trek: The Motion Picture 1979, The Hindenburg 1975, The Andromeda Strain 1971, Star! 1968, The Sand Pebbles 1966, The Sound of Music 1965, CITIZEN KANE (1941) 119 min Two for the Seesaw 1962, I Want to Live! 1958, Run Silent Run Deep 1958, Somebody Up There Likes Me 1956, Executive Suite 1954, The Desert Rats 1953, Joseph Cotten...Jedediah Leland The Day the Earth Stood Still 1951, Blood on the Moon 1948, The Body Snatcher Dorothy Comingore...Susan Alexander Kane 1945, The Curse of the Cat People 1944 and Mademoiselle Fifi 1944. He was also Agnes Moorehead...Mary Kane editor on Welles’s Magnificent Ambersons 1942 and The Hunchback of Notre Ruth Warrick...Emily Monroe Norton Kane Dame 1939. He won Best Picture Oscars for The Sound of Music and West Side Ray Collins...James W. Gettys Story 1961, Best Director Oscars for The Sound of Music and West Side Story, and Erskine Sanford...Herbert Carter Best Director Oscar nominations for The Sand Pebbles and I Want to Live!, and Everett Sloane...Mr. Bernstein Best Editor Oscar nomination for Citizen Kane. In 1967 he won the Academy’s William Alland...Jerry Thompson Irving G. Thalberg Memorial Award. Paul Stewart...Raymond George Coulouris...Walter Parks Thatcher BERNARD HERRMANN 29 June 1911, NYC—24 December 1975, Los Angeles, Fortunio Bonanova...Signor Matiste heart attack) composed music for 117 films. ImdB bio: “The man behind the low Harry Shannon...Kane's Father woodwinds that open Citizen Kane 1941, the shrieking violins of Psycho 1960, Sonny Bupp...Charles Foster Kane III and the plaintive saxophone of Taxi Driver 1976 was one of the most original and Orson Welles...Charles Foster Kane distinctive composers ever to work in film. He started early, winning a Alan Ladd...Reporter smoking pipe at end composition prize at the age of 13 and founding his own orchestra at the age of 20. Gregg Toland...Interviewer in 1935 Newsreel After writing scores for Orson Welles's radio shows in the 1930s (including the notorious 1938 "The War of the Worlds" broadcast), he was the obvious choice to Directed and produced by Orson Welles score Welles's film debut, Citizen Kane 1941 and subsequently The Magnificent Written by Herman J. Mankiewicz and Orson Ambersons 1942, although he removed his name from the latter after additional Welles music was added without his or Welles's consent when the film was mutilated by a Original Music by Bernard Herrmann panic-stricken studio. Herrmann was a prolific film composer, producing some of Cinematography by Gregg Toland his most memorable work for Alfred Hitchcock, for whom he wrote nine scores. A Film Editing by Robert Wise notorious perfectionist and demanding (he once said that most directors didn't have Art Direction by Van Nest Polglase a clue about music, and he blithely ignored their instructions--like Hitchcock's Chesley Bonestell...background painter suggestion that Psycho 1960 have a jazz score and no music in the shower scene). Bernard Herrmann...orchestra conductor, He ended his partnership with Hitchcock after the latter rejected his score for Torn orchestrator, music arranger Curtain 1966 on studio advice. He was also an early experimenter in the sounds John Houseman...assistant: Mr. Welles used in film scores, most famously The Day the Earth Stood Still 1951, scored for John Houseman...editorial supervisor two theremins, pianos, and a horn section; and was a consultant on the electronic sounds created by Oskar Sala on the mixtrautonium for The Birds 1963. His last Production Companies: Mercury Productions score was for Martin Scorsese's Taxi Driver 1976 and died just hours after Inc. and RKO Radio Pictures Inc. Runtime: 119 recording it. He also wrote an opera, ‘Wuthering Heights,’ and a cantata, ‘Moby min Dick.’” Art Pierce: Orson Welles, The Mercury Theatre, and The Campbell Oscar nominations: Playhouse. From the Mercury Theatre website Best Writing, Original Screenplay (won) (http://www.unknown.nu/mercury/ ) Best Actor in a Leading Role Orson Welles The beginnings of The Mercury Theatre on the Air actually go back to the Best Art Direction-Interior Decoration, formation of The Mercury Theatre itself. Having successfully produced Marc Black-and-White Perry Ferguson, Blitzstein’s controversial labor union opera, The Cradle Will Rock, for the Federal Van Nest Polglase, Theatre Project in June of 1937, John Houseman and the 21-year-old “boy A. Roland Fields, Darrell Silvera wonder” of the theatre, Orson Welles, decided to form their own theatrical Best Cinematography, Black-and-White producing company. In August of that same year The Mercury Theatre was born, Gregg Toland starting off with total monetary assets of $100 (about $1150 in modern funds). Best Director Orson Welles Their first production, Shakespeare’s Julius Caesar, adapted by Mr. Welles (and Best Film Editing Robert Wise set in fascist Italy), opened in New York on November 11 and created as much Best Music, Scoring of a Dramatic Picture controversy as the young producers had hoped; The Mercury Theatre (along with Bernard Herrmann the widespread public recognition of Orson Welles) was off and running.
Recommended publications
  • Durham E-Theses
    Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film.
    [Show full text]
  • The Top 101 Inspirational Movies –
    The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of
    [Show full text]
  • Toland Asc Digital Assistant
    TOLAND ASC DIGITAL ASSISTANT PAINTING WITH LIGHT or more than 70 years, the American Cinematographer Manual has been the key technical resource for cinematographers around the world. Chemical Wed- ding is proud to be partners with the American Society of Cinematographers in bringing you Toland ASC Digital Assistant for the iPhone or iPod Touch. FCinematography is a strange and wonderful craft that combines cutting-edge technology, skill and the management of both time and personnel. Its practitioners “paint” with light whilst juggling some pretty challenging logistics. We think it fitting to dedicate this application to Gregg Toland, ASC, whose work on such classic films as Citizen Kane revolutionized the craft of cinematography. While not every aspect of the ASC Manual is included in Toland, it is designed to give solutions to most of cinematography’s technical challenges. This application is not meant to replace the ASC Manual, but rather serve as a companion to it. We strongly encourage you to refer to the manual for a rich and complete understanding of cin- ematography techniques. The formulae that are the backbone of this application can be found within the ASC Manual. The camera and lens data have largely been taken from manufacturers’ speci- fications and field-tested where possible. While every effort has been made to perfect this application, Chemical Wedding and the ASC offer Toland on an “as is” basis; we cannot guarantee that Toland will be infallible. That said, Toland has been rigorously tested by some extremely exacting individuals and we are confident of its accuracy. Since many issues related to cinematography are highly subjective, especially with re- gard to Depth of Field and HMI “flicker” speeds, the results Toland provides are based upon idealized scenarios.
    [Show full text]
  • Ross Reports -Television Index
    ROSS REPORTS -TELEVISION INDEX JANUARY 7-13, 1957 VOLUME NUMBER 2 PROGRAMS ADVERTISERS TALENT 551 Fifth Avenue New York 17 MUrray Hill 2-5910 EDITOR: Jerry Leichter PUBLISHED BY TELEVISION INDEX, INC. WEEKLY REPORT THIS WEEK -- NETWORK DEBUTS & HIGRT.TGHTS Thursday(Jan 10) POOL- 12:30-1pm EST; SPECIAL - President Eisenhower's State of the Union Message - LIVE fromWRC-TV(Wash), to the NBC net, via pool arrangements to the ABC net. § Public service. § Prod- NBC News(Wash) for the pool. § President Eisenhower's State of the Union message to Congress will be simulcast live from the Chamber of the House of Representatives. Saturday(Jan 12) ABC- 7-7:30pm EST; DEBUT - This Is Galen Drake - LIVE fromWABC-TV(NY), 18 sta- tions live and delayed. § Sponsor- Skippy Peanut Division (Peanut Butter), The Beet Foods, Inc., thru Guild, Bascom & Bonfigli,Inc(San Fran). § Pkgr- William Morris Agency(NY); Prod & Dir- Don Appel. § Storyteller Galen Drake is host of this variety show, spinning yarns, discussing timely events, occasionally interviewing guests, and also acting as m.c. for variety portions of the program which will feature singers backed by an orchestra. THIS WEEK -- REGULAR NETWORK SPECIALS NBC- Producers' Showcase (Every 4th Mon,8-9:30pmEST) Jan 7; "Call to Freedom," an NBC 'Project 20' filmed documentary of Austria's struggle for freedom thruthe years, keyed to reopening of the Vienna State Operain 1955; Pod- Henry Salomon; Writers- Salomon, Richard Hanser, Philip Reisman, Jr; Asst Prod- Donald Hyatt; Edited By- Isaac Kleinerman; FILM from WRCA-TV(NY). NBC TV Opera Theatre (6 during season, Sat orSun); Sun, Jan 13, 1:30-4pm EST; "War and Peace," American premiere of Serge Prokofiev's opera; English version by Joseph Machlis; LIVE (COLOR) from WRCA-TV(NY).
    [Show full text]
  • The Magnificent Ambersons Review
    The magnificent ambersons review Continue For the 2002 television version, watch The Magnificent Amberers (the 2002 film). 1942 film by Orson Helles, Robert Wise Magnificent AmbersonsTheatrical release poster with illustrations by Norman Rockwell 1Director Orson WellesProduced Orson WellesScreenplay Orson WellesBased on Magnificent Amberersby Booth TarkingtonStarring Joseph Cotten Dostren Dolores Costello Ann Baxter Tim Holt Agnes Moorhead Ray Collins Erskine Sanford Richard Bennett Comments Orson WellesMusic No Credit to FilmCinematographyStanley CortezEd ByRobert WiseProductioncompany RKO Radio PicturesMercury Productions Distributed RKO Radio PicturesRelease Date July 10 , 1942 (1942-07-10) Running time 88 minutes148 minutes (original)131 minutes (preview)Country Of the United StatesLanguageEnglishBudget $1.1 million:71-72Box office $1 million (US rent) The Magnificent Ambers (U.S. - American drama 1942, written, produced and directed by Orson Velez. Welles will adapt Booth Tarkington's Pulitzer Prize-winning 1918 novel, about the leaning fortunes of the wealthy Midwestern family and the social changes brought by the car era. The film stars Joseph Cotten, Dolores Costello, Ann Baxter, Tim Holt, Agnes Moorhead and Ray Collins, while Welles has a narration. Heles lost control of RKO's The Magnificent Amberers edit, and the final version released to viewers was significantly different from his rough cut of the film. More than an hour of footage was cut in the studio, which also shot and replaced a happier ending. While Veles's extensive notes on how he wanted the film to be shortened survived, the cut frames were destroyed. Composer Bernard Herrmann insisted that his merit be removed when, like the film itself, his score was heavily edited by the studio.
    [Show full text]
  • Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
    October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
    [Show full text]
  • A Reappraisal of Three Character Actors from Hollywood’S Golden Age
    University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar.
    [Show full text]
  • Press Release
    PRESS RELEASE The Franklin D. Roosevelt Presidential Library and Museum 4079 Albany Post Road, Hyde Park, NY 12538-1917 www.fdrlibrary.marist.edu 1-800-FDR-VISIT October 14, 2008 FOR IMMEDIATE RELEASE Contact: Cliff Laube (845) 486-7745 Franklin D. Roosevelt Presidential Library Author Talk and Film: Susan Quinn Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times HYDE PARK, NY -- The Franklin D. Roosevelt Presidential Library and Museum is pleased to announce that Susan Quinn, author of Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times, will speak at the Henry A. Wallace Visitor and Education Center on Sunday, October 26 at 2:00 p.m. Following the talk, Ms. Quinn will be available to sign copies of her book. Furious Improvisation is a vivid portrait of the turbulent 1930s and the Roosevelt Administration as seen through the Federal Theater Project. Under the direction of Hallie Flanagan, formerly of the Vassar Experimental Theatre in Poughkeepsie, New York, the Federal Theater Project was a small but highly visible part of the vast New Deal program known as the Works Projects Administration. The Federal Theater Project provided jobs for thousands of unemployed theater workers, actors, writers, directors and designers nurturing many talents, including Orson Welles, John Houseman, Arthur Miller and Richard Wright. At the same time, it exposed a new audience of hundreds of thousands to live theatre for the first time, and invented a documentary theater form called the Living Newspaper. In 1939, the Federal Theater Project became one of the first targets of the newly-formed House Un-American Activities Committee, whose members used unreliable witnesses to demonstrate that it was infested with Communists.
    [Show full text]
  • The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
    The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3.
    [Show full text]
  • {Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
    CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles.
    [Show full text]
  • 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.
    [Show full text]
  • Citizen Kane
    Citizen Kane Citizen Kane, motion picture based on the life of newspaper mogul William Randolph Hearst. Released in 1941, this Academy Award-winning film stars Orson Welles as Charles Foster Kane, a dynamic young man who rises from rags to riches in the newspaper business by using increasingly unscrupulous tactics. Kane’s quest for power extends to his personal life, leading to the eventual dissolution of his marriage and the loss of his friends. Citizen Kane is widely considered by critics to be one of the great films of all time for its storytelling, as well as its innovative camera work by Gregg Toland. The film was awarded registration in the National Film Preservation Board in 1989. Director Orson Welles Cast Orson Welles (Charles Foster Kane) Joseph Cotten (Jedediah Leland) Dorothy Comingore (Susan Alexander) Everett Sloane (Mr. Bernstein) Ray Collins (Boss J. W. 'Big Jim' Gettys) George Coulouris (Walter Parks Thatcher) Agnes Moorehead (Mary Kane) Paul Stewart (Raymond) Ruth Warrick (Emily Norton Kane) Erskine Sanford (Herbert Carter) William Alland (Jerry Thompson) Fortunio Bonanova (Matisti) Gus Schilling (Head waiter) Philip Van Zandt (Mr. Rawlston) Georgia Backus (Miss Anderson) Harry Shannon (Jim Kane) Sonny Bupp (Kane III) Buddy Swan (Kane at age 8) Alan Ladd (Reporter) Arthur O'Connell (Reporter) Awards Academy Award for Best Writing—Original Screenplay (1942): Herman J. Mankiewicz Trivia Citizen Kane suffered from its unfavorable portrayal of the publishing giant Hearst. Hearst’s monopoly of newspapers and media outlets not only refused to mention Welles’s film, but all other films released by his studio, R.K.O (Radio-Keith-Orpheum).
    [Show full text]