DOCSLIB.ORG

XXXIV:2) Ernst Lubitsch, NINOTCHKA (1939, 110 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
XXXIV:2) Ernst Lubitsch, NINOTCHKA (1939, 110 Min) February 7, 2017 (XXXIV:2) Ernst Lubitsch, NINOTCHKA (1939, 110 min) National Film Registry, 1990 Academy Awards, USA 1940 Nominated for: Best Picture Best Actress in a Leading Role: Greta Garbo Best Writing, Original Story: Melchior Lengyel Best Writing, Screenplay: Charles Brackett ,Walter Reisch, Billy Wilder Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder and Walter Reisch (screenplay), Melchior Lengyel (based on the original story by) Produced by Sidney Franklin, Ernst Lubitsch Music Werner R. Heymann Cinematography William H. Daniels Film Editing Gene Ruggiero Art Direction Cedric Gibbons family tailor business while he acted in cabarets and music halls at Set Decoration Edwin B. Willis night. In 1911 he joined the Deutsches Theater of famous Costume Design Adrian director/producer/impresario Max Reinhardt, and was able to move up to leading acting roles in a short time. To gain extra money, he took a side job as a handyman while learning silent film acting at Cast Berlin's Bioscope film studios. The next year he launched his own Greta Garbo…Nina Ivanovna Yakushova aka Ninotchka film career by appearing in a series of comedies showcasing Melvyn Douglas…Count Leon d'Algout traditional ethnic Jewish slice-of-life fare. Finding great success in Ina Claire…Grand Duchess Swana these character roles, Lubitsch turned to broader comedy, then Bela Lugosi…Commissar Razinin beginning in 1914 started writing and directing his own films. His Sig Ruman…Comrade Iranoff breakthrough film came in 1918 with The Eyes of the Mummy Felix Bressart…Comrade Buljanoff (1918), a tragedy starring future Hollywood star Pola Negri. Also Alexander Granach…Comrade Kopalski that year he made Carmen (1918), again with Negri, a film that was Gregory Gaye…Count Alexis Rakonin commercially successful on the international level. His work Rolfe Sedan…Hotel Manager already showed his genius for catching the eye as well as the ear in Edwin Maxwell…Mercier not only comedy but historical drama. His success in Europe Richard Carle…Gaston brought him to the shores of America to promote The Loves of Ernst Lubitsch…Himself - Director in Trailer (uncredited) Pharaoh (1922) and he became acquainted with the thriving US film industry. He soon returned to Europe, but came back to the US ERNST LUBITSCH (b. January 28, 1892, Berlin, Germany—d. for good to direct new friend and influential star Mary Pickford in November 30, 1947, Hollywood, California) started off life as an her first American hit, Rosita (1923). The Marriage Circle (1924) actor before becoming a director in the Weimar era, quickly began Lubitsch's unprecedented run of sophisticated films that establishing himself as a promising filmmaker. At age 16 he mirrored the American scene (though always relocated to foreign or decided to leave school and pursue a career on the stage. He had to imaginary lands) and all its skewed panorama of the human compromise with his father and keep the account books for the condition. There was a mix of pioneering musical films and some Lubitsch—NINOTCHKA—2 drama also through the 1930s. Due to the success of those films, witty, sardonic dialogue. The culmination of their efforts was Paramount made him its production chief in 1935 and by 1938 he Sunset Blvd. (1950), which won an Academy Award for Best signed a three-year contract with 20th Century-Fox. He then moved Writing, Story and Screenplay. Following this, the team split up at to MGM where he directed Greta Garbo and Melvyn Douglas in the peak of their success, each going their separate ways. Brackett Ninotchka (1939), a fast-paced comedy of "decadent" Westerners moved on to work under contract at 20th Century Fox for the next meeting Soviet "comrades" who were seeking more of life than eight years. With Walter Reisch, he co-wrote the screenplays for their mother country could—or would—offer. During WWII he Niagara (1953) and Titanic (1953), winning his third Oscar for the directed one of his most controversial films, To Be or Not to Be latter. He also produced the superior western Garden of Evil (1954), (1942), a razor-sharp tour de force in smart, precise dialog, staging the historical drama The Virgin Queen (1955) and the lavish and story. In 1943 Lubitsch had a massive heart attack after having musical The King and I (1956). Brackett retired due to illness after signed a producer/director's contract with 20th Century-Fox earlier producing State Fair (1962). He has 46 screenwriting titles, some of that year, he completed Heaven Can Wait (1943). Due to his failing which are Journey to the Center of the Earth (1959), Robert health, his continued efforts in film were severely stymied. In late Montgomery Presents (1956), The Girl in the Red Velvet Swing 1944 Otto Preminger, another disciple of Reinhardt's Viennese (1955), Lux Video Theatre (1954-1955), The Mating Season (1951), theater work, took over the direction of A Royal Scandal (1945), A Foreign Affair (1948), The Bishop's Wife (1947), To Each His with Lubitsch credited as nominal producer. March of 1947, the Own (1946), The Lost Weekend (1945), Hold Back the Dawn year of his passing, brought a special Academy Award (he was (1941), Bluebeard's Eighth Wife (1938), and Little Women (1933). nominated three times, but never won) for his contribution to He was also producer for 27 films. motion pictures. The director is most known for his famous—if slightly intangible—“Lubitsch touch” use of a subtle humor or suggestion to connote information to his audience. At his funeral, two of his fellow directorial émigrés from Germany put his epitaph succinctly as they left: Billy Wilder noted, "No more Lubitsch" to which William Wyler answered, "Worse than that—no more Lubitsch films." Some of his additional 76 directed films include That Lady in Ermine (1948), Cluny Brown (1946), That Uncertain Feeling (1941), The Shop Around the Corner (1940), Bluebeard's Eighth Wife (1938), The Merry Widow (1934), Design for Living (1933), Trouble in Paradise (1932), Broken Lullaby (1932), The Smiling Lieutenant (1931), The Patriot (1928), The Student Prince in Old Heidelberg (1927), Lady Windermere's Fan (1925), Der gemischte Frauenchor (1916) and Fräulein Seifenschaum (1914). He also has 43 acting credits, as well as 29 writer credits. His written work includes To Be or Not to Be (1983, story - uncredited), Here Is Germany (1945, Documentary, story preparation), To Be or Not to Be (1942, original story - uncredited), The Merry Widow (1934, contributing writer - uncredited), If I Had a Million (1932), The Smiling Lieutenant (1931, uncredited), Romeo und Julia im Schnee (1920, screenplay & story), I Don't Want to Be a Man (1918, writer), When Four Do the Same (1917, Short), Zucker und Zimmt (1915) and Fräulein Seifenschaum (1914). CHARLES BRACKETT (b. November 26, 1892, Saratoga Springs, New York—d. March 9, 1969, Los Angeles, California) followed in his attorney-father's footsteps and graduated with a law degree from Harvard University in 1920. He practiced law for several years, before commencing work as drama critic for The New Yorker (1925-29), in addition to submitting short stories to The Saturday Evening Post. In 1932, Brackett left for Hollywood as a screenwriter where he was signed by Paramount primarily on the BILLY WILDER (b. June 22, 1906, Sucha, Galicia, Austria- strength of his novel Week-End. Brackett remained at the studio Hungary [now Sucha Beskidzka, Malopolskie, Poland]—d. March until 1950, doubling up as producer from 1945. During his tenure at 27, 2002 in Los Angeles, California) Originally planned on Paramount, Brackett became part of one of the most celebrated becoming a lawyer but abandoned that career in favor of working as screenwriting partnerships in the motion picture business, alongside a reporter for a Viennese newspaper, which paid poorly but gave Billy Wilder. They were eventually dubbed by Life Magazine as him a great amount of experience interviewing such as Richard "the happiest couple in Hollywood". Despite having very different Strauss and Sigmund Freud. In fact, he is quoted as saying after personalities and arguing incessantly—Wilder being the more seeing Freud’s couch for the first time, “It was a very tiny little extroverted and cynical, while Bracket was, to quote Gloria thing. All his theories were based on the analysis of very short Swanson, “quieter, more refined”—their collaboration endured until people!” In 1926 he worked as an interpreter for jazz band leader 1951, spanning fourteen motion pictures. Many of their most Paul Whiteman on a European tour which ended in Berlin. There he popular hits, such as Ninotchka (1939), Ball of Fire (1941) and The became a freelance journalist mixing with the show business set and Lost Weekend (1945), were noted for their intricate scripting and becoming friendly with Marlene Dietrich a then small part actress. Lubitsch—NINOTCHKA—3 His friendship helped get him introduced to prominent figures in the (1974), Avanti! (1972), The Private Life of Sherlock Holmes (1970), growing German film industry resulting in him being hired as a The Fortune Cookie (1966), Kiss Me, Stupid (1964), Irma la Douce ghost writer writing scripts for established writers who didn't have (1963), One, Two, Three (1961), The Apartment (1960), Some Like time to meet their contractual obligations. Wilder wrote scripts for It Hot (1959), Witness for the Prosecution (1957), Love in the many German films until Adolf Hitler came to power in 1933. Afternoon (1957), The Spirit of St. Louis (1957), The Seven Year Wilder immediately realized his Jewish ancestry would cause Itch (1955), Sabrina (1954), Stalag 17 (1953), Ace in the Hole problems, so he emigrated to Paris, then the US. Although he spoke (1951), Sunset Blvd.(1950), A Foreign Affair (1948), The Emperor no English when he arrived in Hollywood, Wilder was a fast Waltz (1948), The Lost Weekend (1945), Death Mills (1945), learner, and thanks to contacts such as Peter Lorre (with whom he Double Indemnity (1944), Five Graves to Cairo (1943), 1942 The shared an apartment), he was able to break into American films.
Load more

Recommended publications
  • Teilnachlass Max Reinhardt Wienbibliothek Im Rathaus Handschriftensammlung ZPH 989 Bestandssystematik
    Teilnachlass Max Reinhardt Wienbibliothek im Rathaus Handschriftensammlung ZPH 989 Bestandssystematik Wienbibliothek im Rathaus/Handschriftensammlung - Teilnachlass Max Reinhardt / ZPH 989 ________________________________________________________________________________________________________________________________________ Biographische Informationen Reinhardt, Max (eigentlich: M. Goldmann): 9. 9. 1873 Baden - 31. 10. 1943 New York; Schauspieler, Regisseur, Theaterleiter; 1938 Emigration über London nach New York; Wien, Berlin, New York. Provenienz des Bestands Der Teilnachlass Max Reinhardt wurde von der Wienbibliothek im Rathaus im Jahr 1998 von einem Antiquariat gekauft. Umfang 16 Archivboxen, 1 Foliobox, 1 Großformatmappe. Information für die Benützung Die in geschwungenen Klammern angeführten Zahlen beziehen sich auf die jeweiligen Nummern in der Publikation: Max Reinhardt. Manuskripte, Briefe, Dokumente. Katalog der Sammlung Dr. Jürgen Stein. Bearbeitet und herausgegeben von Hugo Wetscherek. Für die Ordnungssystematik wurden alle Informationen aus der o.a. Publikation - inklusive Verweise auf angegebene Primär- und Sekundärliteratur - ohne Prüfung auf Richtigkeit mit Zustimmung des Herausgebers verwendet. Die Orthographie der Zitate wurde vereinheitlicht. 2 Wienbibliothek im Rathaus/Handschriftensammlung - Teilnachlass Max Reinhardt / ZPH 989 ________________________________________________________________________________________________________________________________________ Abkürzungsverzeichnis Anm. Anmerkung(en) Beil. Beilage(n)
    [Show full text]
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Rétrospective Ernst Lubitsch 1.4 Mo
    Enrst Lubitsch. DR i, comme l’écrivait François Truffaut, « Lubitsch était ERNST Sun prince », il régna pendant une vingtaine d’années L’ADRC sur un genre qu’il avait quasiment créé lui-même, et présente que l’on appelle aujourd’hui la “comédie américaine”. Il avait été, au lendemain de la première guerre mondiale, l’un des réalisateurs les plus célèbres du cinéma muet allemand. Il sut s’imposer à Hollywood dès son arrivée en 1923 et jusqu’à sa mort prématurée en 1947, élevant au rang d’un des beaux-arts ce genre considéré comme mineur. To Be or Not to Be, sorti en 1942, est son fi lm le plus apprécié aujourd’hui, mais déclencha en son temps des polémiques encore très actuelles, sur le thème : peut-on rire de tout, en l’occurrence des ravages de la guerre et de la menace nazie ? Le raffi nement et l’inven- tivité de sa mise en scène infl uencèrent durablement non seulement ses contemporains, mais des générations de cinéphiles et de cinéastes, qui ne cessèrent de reconnaître leur dette à son égard. Les fi lms de cette rétrospective sont découverts avec émerveillement par les spectateurs d’aujourd’hui et, surtout, peuvent être revus à l’infi ni, procurant à chaque vision un plaisir renouvelé conjuguant l’intelligence la plus vive à l’émotion la plus profonde. N. T. Binh RÉTROSPECTIVE HAUTE PÈGRE SÉRÉNADE À TROIS ANGE LA HUITIÈME FEMME TROUBLE IN PARADISE DESIGN FOR LIVING ANGEL DE BARBE-BLEUE Ernst Lubitsch Ernst Lubitsch Ernst Lubitsch BLUEBEARD’S États-Unis • 1932 États-Unis • 1933 États-Unis • 1937 EIGHTH WIFE 83 min • Visa : 36251 91 min
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • Raymond Burr
    Norma Shearer Biography Norma Shearer was born on August 10, 1902, in Montreal's upper-middle class Westmount area, where she studied piano, took dance lessons, and learned horseback riding as a child. This fortune was short lived, since her father lost his construction company during the post-World War I Depression, and the Shearers were forced to leave their mansion. Norma's mother, Edith, took her and her sister, Athole, to New York City, hoping to get them into acting. They stayed in an unheated boarding house, and Edith found work as a sales clerk. When the odd part did come along, it was small. Athole was discouraged, but Norma was motivated to work harder. A stream of failed auditions paid off when she landed a role in 1920's The Stealers. Arriving in Los Angeles in 1923, she was hired by Irving G. Thalberg, a boyish 24-year- old who was production supervisor at tiny Louis B. Mayer Productions. Thalberg was already renowned for his intuitive grasp of public taste. He had spotted Shearer in her modest New York appearances and urged Mayer to sign her. When Mayer merged with two other studios to become Metro-Goldwyn-Mayer, both Shearer and Thalberg were catapulted into superstardom. In five years, Shearer, fueled by a larger-than-life ambition, would be a Top Ten Hollywood star, ultimately becoming the glamorous and gracious “First Lady of M-G-M.” Shearer’s private life reflected the poise and elegance of her onscreen persona. Smitten with Thalberg at their first meeting, she married him in 1927.
    [Show full text]
  • Samuels Is Seated As Sheriff; Speaks of Plans Hightower Outspending Republican Votes
    ; . l I .} 1 . I + " I I'~"'; [ ... I I 1 I' I ': ~.,' .. , 1 ;r.. 1986 Streets were Theyear in photos crowded for holidays SeePage7A SeePage2A ) .' j' ( I. : ' I i·- ". NO. 70 IN OUR 41ST YEAR 35c PER COpy F MONDAY, JANUARY 5, 1987 _RUIDOSO, NM 88345 Sheriff race cost the most by FRANKIE JARRELL votes and Wooldridge 1,351. News Staff Writer Following are the names of can­ didates, their party affiliation, the Candidates for county offices number of votes received, total ex­ spent well over $17,000 in cam­ penditures and total contributions paigns preceding last November's with the names of contributors not general election with would-be previously published listed. Offices sheriffs topping the list. are listed in ballot order and win­ AccordiIlg to financial reports fil­ ners are listed first among ed 30 days after the election, write­ candidates. in candidate Lerry Bond spent DISTRICT MAGISTRATE DIVI­ more than $3.85 each for the 994 SION I Yotes he garnered in the race for -Gerald Dean Jr., Democrat Uncoln County Sheriff. (D)-2,040 votes. Republican Sheriff Don Samuels' Expenditures: $1,130.85 2,085 votes cost him about 81 cents Contributions: $65. each while bis unsuccessful -Alfred Leroy Montes, Republican Democratic opponent, Jim (R)-1,976 Yotes. Nesmith, spent less than 50 cents Expenditures: $-1,054.51 per vote. Spending by all three Contributions: $800. sheriff candidates was close to '$6,000-. DlSlRlCI- MAGISTR.AXE-.. DIVI­ Bond reported $2,049.38 on the, SIOND 3O--day report, bringing his total -Jim Wheeler (R)-2,824 votes.
    [Show full text]
  • 9781474451062 - Chapter 1.Pdf
    Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema
    [Show full text]
  • The Faded Stardom of Norma Shearer Lies Lanckman in July
    CORE © The Editor(s) (if applicable) and The Author(s) 2016. This is a post-peer-review, pre-copyeditMetadata, version of citation a chapter and published similar papers in at core.ac.uk Provided by University of Hertfordshire Research Archive Lasting Screen Stars: Images that Fade and Personas that Endure. The final authenticated version is available online at: http://dx.doi.org/10.1057/978-1-137-40733-7_6 ‘What Price Widowhood?’: The Faded Stardom of Norma Shearer Lies Lanckman In July 1934, Photoplay magazine featured an article entitled ‘The Real First Lady of Film’, introducing the piece as follows: The First Lady of the Screen – there can be only one – who is she? Her name is not Greta Garbo, or Katharine Hepburn, not Joan Crawford, Ruth Chatterton, Janet Gaynor or Ann Harding. It’s Norma Shearer (p. 28). Originally from Montréal, Canada, Norma Shearer signed her first MGM contract at age twenty. By twenty-five, she had married its most promising producer, Irving Thalberg, and by thirty-five, she had been widowed through the latter’s untimely death, ultimately retiring from the screen forever at forty. During the intervening twenty years, Shearer won one Academy Award and was nominated for five more, built up a dedicated, international fan base with an active fan club, was consistently featured in fan magazines, and starred in popular and critically acclaimed films throughout the silent, pre-Code and post-Code eras. Shearer was, at the height of her fame, an institution; unfortunately, her career is rarely as well-remembered as those of her contemporaries – including many of the stars named above.
    [Show full text]
  • Nothing Sacred (United Artists Pressbook, 1937)
    SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • National Film Registry
    National Film Registry Title Year EIDR ID Newark Athlete 1891 10.5240/FEE2-E691-79FD-3A8F-1535-F Blacksmith Scene 1893 10.5240/2AB8-4AFC-2553-80C1-9064-6 Dickson Experimental Sound Film 1894 10.5240/4EB8-26E6-47B7-0C2C-7D53-D Edison Kinetoscopic Record of a Sneeze 1894 10.5240/B1CF-7D4D-6EE3-9883-F9A7-E Rip Van Winkle 1896 10.5240/0DA5-5701-4379-AC3B-1CC2-D The Kiss 1896 10.5240/BA2A-9E43-B6B1-A6AC-4974-8 Corbett-Fitzsimmons Title Fight 1897 10.5240/CE60-6F70-BD9E-5000-20AF-U Demolishing and Building Up the Star Theatre 1901 10.5240/65B2-B45C-F31B-8BB6-7AF3-S President McKinley Inauguration Footage 1901 10.5240/C276-6C50-F95E-F5D5-8DCB-L The Great Train Robbery 1903 10.5240/7791-8534-2C23-9030-8610-5 Westinghouse Works 1904 1904 10.5240/F72F-DF8B-F0E4-C293-54EF-U A Trip Down Market Street 1906 10.5240/A2E6-ED22-1293-D668-F4AB-I Dream of a Rarebit Fiend 1906 10.5240/4D64-D9DD-7AA2-5554-1413-S San Francisco Earthquake and Fire, April 18, 1906 1906 10.5240/69AE-11AD-4663-C176-E22B-I A Corner in Wheat 1909 10.5240/5E95-74AC-CF2C-3B9C-30BC-7 Lady Helen’s Escapade 1909 10.5240/0807-6B6B-F7BA-1702-BAFC-J Princess Nicotine; or, The Smoke Fairy 1909 10.5240/C704-BD6D-0E12-719D-E093-E Jeffries-Johnson World’s Championship Boxing Contest 1910 10.5240/A8C0-4272-5D72-5611-D55A-S White Fawn’s Devotion 1910 10.5240/0132-74F5-FC39-1213-6D0D-Z Little Nemo 1911 10.5240/5A62-BCF8-51D5-64DB-1A86-H A Cure for Pokeritis 1912 10.5240/7E6A-CB37-B67E-A743-7341-L From the Manger to the Cross 1912 10.5240/5EBB-EE8A-91C0-8E48-DDA8-Q The Cry of the Children 1912 10.5240/C173-A4A7-2A2B-E702-33E8-N
    [Show full text]
  • Cinelandia Films
    Ayuntamiento de Madrid N ad-8 exposiciones por el mismo precio de 6 La Pelícu a Verichrome Kodak tiene 2 exposiciones ile s de aficionados la primera oportunidad; y la opor­ toman ahora instantá­ tunidad puede ser inmediatamente, extra por rollo M porque haga mal tiempo o bueno, neas mejores porque emplean llueva o truene, la Verichrome pro­ Película Verichrome Kodak. duce Jmoíajinstantáneas bajo malas Sí, hasta el principiante con condiciones de luz. la cámara más económica ob­ En las casas de artículos Kodak tiene fotografías que sorpren­ tienen Película Verichrome en rollos de 8 exposiciones: la tercera parte den al veterano. más de película en los dos tamaños Ahora, esta nueva y notable pelí­ m ás populares: 6 x 9 y 6.5 x 11 cm. cula proporciona dos oportunidades Fabricada por un procedimiento más. - .sin aumente de precio. exclusivo de la Kodak, no hay pelí­ Bastará probar la Verichrome en cula “como” la Los rollos de S exposiciones vienen tanto en Película Kodak N. C. (la corriente) como en la nueva y rápida Verichrome, ambas en los tamaños 6 x 9 y 6.5x11 cm. \/^erichrome Eastman Kodak Company, Rochester, N. Y., E. U. A. K o d a k .Argentina, Ltda.. 434 Paso 438, Buenos Aires; Kodak BrasUcira, Ltd., Caiíü Postal 849, Rio <lo Janeiro; Kodak Colombiana, Ltd., Apartado 834. Barranquilla;iquilla; —Kodak____ _ Cubana,________ ______ Ltd.._ Zcnea_______ 236,^ Habana; Kodak Chüena, Ltd., Casilla 2797, Santiago; Kodak Mexicana. Ltd., Independencia. 37. México. D. F.; Kodak Panam á, Ltd., P. O. Bos 5027, Ancón, Zona del Gana!; Kodak Peruaim, Ltd., Divorciadas 65<l, Lima; Kodak ?hüippines, Ltd., Dasmarinas 434, M anila; Kodak Uruguaya, Ltd., Colonia 1222, Montevideo.
    [Show full text]