DOCSLIB.ORG

·Shore . Theate .-S I News .I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
·Shore . Theate .-S I News .I May 31, 1929 WILMETTE LIFE -~- --~---~-~-b-D_U_U_a_u_._....,__,.,_ ___ D_D_U_D_IIOtM•a-a_a __ r_D_D_D_D_BBI. ·· shore . Theate_.-s I News .I -----·--.-.-c--------~---~-o-a••O•-a---o---a,.ua-a-•••0 ''The Ghost Talks" pared for the screen by Jeanie Mac- Comes to pherson, DeMille sent young' men into "True Heaven" Is T eatro del Lago several reformatories as inmates. Lina Community House Tuesday F ·1 Th S d Basquette has the title role of "The "True Heaven," with Lois Moran and I m is atur ay Godless Girl," while Marie Prevost, George O'Brien, will be presented at SATURDAY ONLY When audiences here view the Fox George Duryea, Eddie Quillan and the Community House in Winnetka JUNE I Movietone, "The Ghost Talks," which Noah Beery are seen in prominent Tuesday, June 4. Once again the W odd comes to the Teatro del Lago this Sat- parts. war furnishes the background for a urday, June 1, they will see a hero of Claudette Colbert, one oi the most motion picture. This · one, which is Ramon Novarro an all-dialogue picture who is an in- popular young leading women on the presented in sound, tells the story of teresting paradox. He is Charles Eaton, Broadway stage, has been cast for the the love of a feminine German syp and in a youthful Broadway star and brother principal woman's role in the Para­ an American soldier who is sent be­ of the widely known Mary and Doris mount all-talking mystery film, "The hind the German lines to get impor­ Eaton who, for all his thin conventional · Hole in the Wall," which comes to the ta·nt information. The girl, placing ''THE PAGAN'' veneer of New- York City life, is a plain Teatro Thursday, June 6, for two days. country above love, betrays him. He Huckleberry Finn, 1929 model. And it The cast of this play of super-crooks is about to be shot when news comes is his boyishness which accounts for and their methods of fake spiritualism of the Armistice. The lovers are re­ Mon., Tues. and Wed. what is said to be an outstanding sue- includes the names of · many others united. June 3-4-5 cess in portraying the role of a cor- notable on Broadway. Among them "A real mystery story made into a respondence school detective in "The are Edward G. Robinson as the prin­ real mystery movie" was the comment Ghost Talks." Others in the picture cipal heavy, David Newell as leading of a leading critic on "The .Canary inc1ude Earle Fox, Carmel Meyers and man, Louise Closser Hale, Barry Ma­ Murder Case," to be shown at the RICHARD DIX Helen Twelvetrees. collum, Donald Meek, Alan Brooks, Community House Friday, June 7. It m In his newest U nited Artists picture, George McQuarrie, K<!therine· Emmet is from a novel by S. S. Van Dine. "The Iron Mask," which comes to the and Nelly Savage. The same critic remarks that "those Teatro this Sunday, June 2, for a two who liked the novel can't help likin{.T day showing, Douglas Fairbanks em­ "NOTHING BUT WILL SING FOR MOVIES the picture." William Powell comes in bodies the romantic spirit of adventure for special praise for his portrayal of and valor. Once more he is D' Artag­ Michael Bohnen, of the Metropolitan THE TRUTH'' Grand Opera company, has been urged the super-detective. Louise Brooks nan, the dashing hero of Alexander plays "The Canary" and James Hall the Dumas' stories of seventeenth century to go to Hollywood to act, as well as sing, in the movies. He was a star son of a prominent citizen. who has an France, a s he was six years ago in his important part in the plot. first picturization of the adventures of with UFA in Berlin for ten years. Thurs., Fri. the four faithful friends, "The Three "SIS BOOM BARBARA" June 6-7 Musketeers." Again he rides with McLAGLEN PICTURE "Sis Boom Barbara" is the snappy Athos, Porthos. and Aramis through "The Black Watch," Victor McLag­ title of Nancy Carroll's next picture. vears of intrigue. war, and love. Mar­ len's new talking film, was one of the And a snappy actress to play the lead, "D.ANGEROUS guerite de Ia Motte is once more Con., recent openings in Hotlywood. Myrna what! stanc.~ to whom D'Atragnan gives the Loy plays the feminine lead in the WOMAN'' only Io,·e of his life. story. Lon Chaney's newest picture is Late.;t De Mille Film called "Thunder," a railroad story. Clive Brook-· Baclanova With the apprO\·al of governors of WHAT A GIRL! Phyllis Haver will play opposite him. most of the forty-eight United States, Clara Bow, the red-headed star. witl Cecil B. De~~ ille makes startling dis­ appeat: next in a picture catled "Pink closures of co nditions in state reform Tights." \·Vhat a girl and what a schools in hi s latest production for title! The film is said to ha,·e a. cir:: us' Pathe, ''The Godless Girl," which will background. C.OMMUNITY be on view at the Teatro del Lago T.uesday and \Vednesday, June 4 and Vilma Hanky, the beautiful blonde HOUS.E 5. In gathering information on the Hung-arian, will he seen next in ''This Tuts. June f Fri. June 1 subject for the story, which " ·as pre- I_ s_· _H_e_a_,_'e_n_.'_' ---------- Louise Brooks G f'O. O'Brien William Powell Junior Hikers Enjoy .James Hall MOVING PACKING Lois l\loran NOW PLAYING in In Season's Biggest Trek STORAGE "The Canary "The biggest hike ever taken in "True Murder Case" WILLIAM HAINES Kenilworth," was the way Robert W. RENSCH Heaven" by JOAN CRAWFORD Townley, athletic director at the Joseph S. S. Van Dine Sears school, described the hike en­ Phones: Wil. 32 Univ. 7317 in the college romance joyed last Saturday by eighty-five Junior Hikers, boys under Scout age. · Chipilly ridge in the Forest Preserve ''THE DUKE west of Glencoe was the objective of the hike. Mr. Townley \vas assisted in the handling of the boys by a few STEPS OUT'' Scouts. Leaders of the Junior Hikers Alex went to the forest preserve with Mr. Townlev Fridav night and the rest of formerly of the Samovar, LOU KOSLOFF the hikers followed on Saturday. Invites you to the and Band in ''CHINATOWN'' New Books Bridge with Norman Freacott The following new rental books have ' DEMPSTER RoAD - MoRTON GROVE been received at the Wilmette Public SATURDAY library, according to an <l:nnouncement made this week by Mtss Anne L. Dancing ---- Dining ---- Entertainment The moat-widely diacuaaecl pic­ Whitmack, lihrarian: ture in yean. Ausin-Saga of the Sword. In a beautiful club house atmosphere Bottome-Strange Fruit. Bromfield-Awake and Rehearse. Management Delicious food ''THE Close-Through the Lattice. Hergesht>imer-Swords and Roses. S. W. KLEIN Refined surroundings James-Sand. Kerr-M aref'a-1\f aria. DANIEL ALEXANDER Courteous attention LETTER'' Lewis-Dodsworth. Nevill-Rtrange Companions. For reservation - Morton Grove 1 8 6 with JEANNE EAGELS Oliver-Victim and Victor. Olivier-As Far as Jane's Grandmother's. Drama of mighty emotiona. RE­ Peckham-Murder· in Strange Houses. STRICTED TOADULTSONLY Rea-Six Mrs. Greenes. Accommodations for private parties Roberts-Goose Fair. No Children Will Be Admitted. Wlddemer-Rhi nestones. Young-My Brother Jonathan. .
Load more

Recommended publications
  • 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]
  • The Godless Girl 1928
    Cecil B. De Mille’s THE GODLESS GIRL 1928 CAST Judy: Lina Basquette Mame: Marie Prevost Bob: George Duryea The Head Guard: Noah Beery The "Goat": Eddie Quillan The Victim: Mary Jane Irving Matrons: Hedwig Reicher Kate Price CREW Production: Cecil B. De Mille Titles: Beulah Marie Dix Jeanie Macpherson Cinematography: Peverell Marley Film Editing: Anne Bauchens Art Direction: Mitchell Leisen Costume Design: Adrian Assistant Directors: Curt Rehfeld Frank Urson Art Department: Roy Burns Additional Photographers: Franklin McBride Fred Westerberg Black and white print with tinted sequence. Restored from De Mille’s personal nitrate print by George Eastman House. Duration: 118 minutes plus interval Projection Speed: 24fps Aperture: Full Music: (32 Players) Carl Davis LIVE CINEMA THE GODLESS GIRL Few filmmakers have been better known to the public than Cecil B De Mille. One of the founders of Hollywood, he remained a leader of the industry for more than forty years. It was his name, even more than those of his stars, which guaranteed the public would flock to each new offering and made him the most successful di- rector in Hollywood history. De Mille’s name conjures images of Moses parting the Red Sea or Samson top- pling a temple. Yet there was much more to De Mille than these familiar biblical epics. Of the 70 films he directed, the majority were made before the coming of sound and they reveal a vastly different filmmaker. Confidently developing alongside his young art, he is willing to tackle social problems, examine sexual re- lations with a modern eye and never scared to reveal the darker aspects of hu- man nature.
    [Show full text]
  • D.W. Griffith, the Keystone Kops and the Canadian Connection by Wyndham Wise
    D.W. Griffith, the Keystone Kops and the Canadian Connection By Wyndham Wise In his fulsome introduction in Maclean's as' (September 2003) to an excerpt from Kay Armatage's revisionist biography of the Victoria—born Nell Shipman, The Girl from God's Country: Nell Shipman and the Silent Cinema, crit- ic Brian D. Johnson claimed Shipman to be "Canada's first movie star." Johnson was not entirely accurate, however. Shipman was only a bit player in the history of Hollywood, never more than a starlet. Ten years prior to her appearence in Back to God's Country, which was released in 1919, no less than three actresses could lay claim to the title of the first Canadian movie star, and, remark- ably, they all appeared in films by D.W. Griffith, the legendary father of cinema, at the Biograph studios between 1908 and 1912. Biograph is the abbreviated name commonly used for the American Mutoscope and Biograph Company. It developed into one of the most active forces in the early years of American cinema and its studios at 11 East 14th Street in New York City were the spawn- ing ground for such formative talents as Griffith's stock company of players at Biograph included three Canadian leading ladies: Florence Lawrence, Florence LaBadie and Mary Pickford. Griffith and Mack Sennett. An itinerant actor and fledgling playwright, Griffith joined Biograph in early 1908, first as a writer and then as an actor. Later that same year, he directed his first film, The Adventures of Dollie. Over the next 18 months (from June 1908 to December 1909), Griffith personally directed all of the Biograph pictures, an incredible 200 TAKE ONE 37 Florence Lawrence Picture Company of America at the end of 1909.
    [Show full text]
  • Lilms Perisllecl
    Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re­ not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou­ O 1928, only a small portion survive . sands, relatively few projection prints were re­ While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos­ earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi­ and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas­ exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom­ more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard .
    [Show full text]
  • Brownsville 81 and B Valley B Theaters
    Brownsville 81 and B Valley B Theaters * 1 I One Man Quartet In Good Ne ver STAGE HOME TO Film Experiment Business Can one man be a whole quar- tet? Has Left Valley, Says MORRIS FAMILY Lawrence Tibbett. celebrated baritone, who is co-starred with Former Kiwanis Head Grace Moore in “New Moon,” now Five Members Have All playing at the Mission Theatre, ac- complished such a feat during film- (By Staff Correspondent. > been invited to the meetin^to hear Been On Stage ing of the new Metro-Ooldwyn- HARLINGEN, Feb 7.- Good their former chief. Miiyer For Year* production. business has never left the Valley; -Texas has not bom* the brunt As an experiment he and sang no spot on the entire economic cf depresalon and this spot (the recorded tenor, bass and first and map is as well off as this section. Valley) has been peculiarly bless- second baritone parts of a The stage Is home to the entire j song, Thus spoke O. Sum Cummings of ed.'* said Mr. Cummings. He de- then superimposed them and made of Chester Morris, featured Dallas, former president of Kiwwns clared that the Valley should be family a new record which turned out to International, before the Rotan concerned with fair dealing with player in Roland West's "The Bat be a perfect each voice quartet, club at the Christian church Fri- all those who come into this sec- for United Artists, which his own. Tibbett's Whispers," being Only day. A number of Kiwanians had tion and with preventing boom comes to the Capitol theater today.
    [Show full text]
  • Issssfi Ifisstsl.I
    AMUSEMENTS. THE SUNDAY STAR. WASHINGTON, D. C., JUNE 7. 1931—PART FOUR. ’ AMUSEMENTS. 3 Photoplay Attractions PHOTOPLAYS AT WASHINGTON THEATERS THIS WEEK The SMovitig Ticture oAlbum By Robert E. Sherwood. Breese, stage celeb- TURK Sunday Monday Tuesday Wednesday Thursday Friday Saturday and Edmund both - COLUMBlA—'"lndiscreet.” Young Young rites of other days. The picture was • < Loretta Loretta Loretta Young Tallulah Bankhead In JackleCooper and SWANSON'S latest pic- •“ , in , til Chatterton tn Ruth Chatterton In "TarnUhtd LadT.” Robert Coogan In first glance, Hollywood does ! progressive thought directed by R. William Neill. niliunoeauviAmhassador , “Big “Big Ruth Vltaphone i are the leaders of ture for United Artists, “Indis- "Big Business Business Business "Unfaithful.” “Unfaithful. abort ‘•Skippy.” changed Other are * Rd, Girl.” Girl." subject. not appear to have l in the film world. one can feature features Radio Pictures’ 18th Columbia Girl." Serial. Not of them creet,” Is the screen at great Harry Carey much since the days when the be classed as product Broadway. this "Mickey’s Stampede,” starring the V II and Harry Carey and Rtch'd Barthelmess In Rich'd Bartheimess In Conrad Nagel and John Gilbert in Leon Janney and a of Loew's Columbia Theater Mickey McGuire; “Play Ball,” one of Anollo Edwlna Booth Edwlna Booth “The Finger Points." “The Finger Points.” Sydney Fox in “Gentlemen’s Fate.” Lewis Btone In surrounding gaunt hills echoed Not one of them is in any way typical Vltaphone Vltaphone short „ , In In short Vltaphone short “The Bad Sister.” "Father's 8on." AT GLORIAweek. with the words, Hollywood popular Aesop Fables, the R-K-O subject.
    [Show full text]
  • Palgrave Studies in Screen Industries and Performance
    Palgrave Studies in Screen Industries and Performance Series editor Cynthia Baron Department of Theatre and Film Bowling Green State University Bowling Green, USA “An interesting take on Hollywood studio-era history that challenges the narrow focus of existing scholarship and revises familiar perceptions of Warner Bros. The focus on acting and performance usefully opens up the relationship between theatre and cinema, and the impact of Broadway on flm acting and studio working practices in the crucial period of the transi- tion to synchronised sound. Highly recommended as a valuable contribution to the area of acting and performance studies.” —Pam Cook, Professor Emerita in Film, University of Southampton, UK. Editor of The Cinema Book (Third Edition, 2007) and author of Nicole Kidman (2012) “This book is a fascinating account of the creative symbiosis between stage and screen at a crucial juncture in Hollywood’s history. Shingler’s fully historicized and contextual- ized account revises what Warner Bros stood for and achieved with its prestige pictures and stars. By interweaving the histories of early sound technologies, Broadway’s acting tra- ditions and the economic imperatives of studio flmmaking, this book highlights key per- formers and studio personnel long neglected in standard histories of Hollywood. With its refreshing focus on acting craft and method before ‘the Method’, this book produces a vital, new perspective on how flms were made, played and received in 1923–39.” —Sarah Street, Professor of Film and Foundation Chair of Drama, University of Bristol, UK This series encompasses the spectrum of contemporary scholarship on screen performance and embraces productive tensions within flm and media studies and between cinema and cultural studies.
    [Show full text]
  • P-26 Motion Picture Collection Repository: Seaver Center For
    P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.
    [Show full text]
  • THE GREAT WAR: a CINEMATIC LEGACY OPENS at Moma on the CENTENARY of the START of WORLD WAR I
    THE GREAT WAR: A CINEMATIC LEGACY OPENS AT MoMA ON THE CENTENARY OF THE START OF WORLD WAR I The Great War: A Cinematic Legacy August 4—September 21, 2014 The Roy and Niuta Titus Theaters NEW YORK, July 8, 2014–Opening on the 100th anniversary of the day World War I began, The Museum of Modern Art’s The Great War: A Cinematic Legacy runs from August 4 through September 21, 2014, highlighting 60 feature-length films and thematic programs that attempt to provide a comprehensive view of the war as portrayed in film. The various films focus on prewar activities; espionage; the battlefields in the trenches, in the air, and on and beneath the sea; actualités; and the various homefronts before, during, and after the war. Familiar films, such as A Farewell to Arms (1932) and Lawrence of Arabia (1962), along with several lesser-known works from as far away as New Zealand—including Chunuk Bair (1992)—reflect the universality of a war that reshaped the prevailing values of what passed for civilization. In August, the program is predominately drawn from the early years, either during the war or in the succeeding decades, and includes several silent films. The program in September will concentrate mainly on later, more contemporary films up to, and including, Steven Spielberg’s War Horse (2011). The Great War is organized by Charles Silver, Curator, with Dave Kehr, Adjunct Curator, Department of Film, The Museum of Modern Art. Many of the films in the series deal with the entrenched stalemate in France, including Verdun, Vision d’Histoire (Verdun, Vision of History) (1928) directed by Leon Poirier.
    [Show full text]
  • Fifty Year Old Warner Bros. 0 Has Retrospective of 207 Films
    The Museum of Modern Art & ^EDIATE RELEASE HWest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart FIFTY YEAR OLD WARNER BROS. 0 HAS RETROSPECTIVE OF 207 FILMS Fifty years ago the Warner Brothers, who had started in a storefront exhibiting "flicks" and then began distributing and producing them, became a corporate entity. It was 1923 when four sons of a Polish immigrant, having discovered Edison's Kinetoscope while work­ ing on a fair ground, first undertook to become a major film company that was eventually to supply pictures not only to theatre emporiums over the face of America but in ail parts of the world. Now, five decades later, The Museum of Modern Art, in observance of this fiftieth anniversary, will trace the history of Warners from 1923 to 1973, with a four-and-a-half month retrospective of its films, from July 4 to November 18. The Warner show, pro­ grammed by Associate Curator Adrienne Mancia and Assistant Curator Larry Kardish, in­ cludes 207 feature length films chosen from a selection of 3000 pictures, and, in addition, a number of period cartoons, trailers and other shorts and featurettes. Film historians around the country recommended several of the pictures in what constitutes the longest and most extensive cycle of its kind ever undertaken by the Department of Film. The re­ trospective, besides following Warners' rise, demonstrates the accomplishments of a fledgling film industry and its growth, with its internationally-known stars and directors, its myths and myth-makers, and its technical competence and innovations, most notably the wondrous invention of sound.
    [Show full text]
  • 1 Jeanie Macpherson May 18, 1888
    Jeanie Macpherson May 18, 1888 - August 26, 1946 Also: Jeanie MacPherson Worked as : director, film actress, screenwriter The United States Jeanie Macpherson is best known as Cecil B. DeMille’s screenwriter since she collaborated exclusively with the director-producer from 1915, through the silent era and into the sound era, in a working relationship lasting fifteen years. Like many other women who became established as screenwriters, she began her career as a performer, first as a dancer and then as an actress. [Fig. 1 Jeanie Macpherson, early screen role BYU. WFP-MAC16 ] Her numerous acting screen credits begin in 1908, and nearly thirty of the short films she appeared in for the Biograph Company, most directed by D.W. Griffith, are extant. At Universal Pictures, Macpherson began to write, but due to a fluke she also directed the one film that she wrote there—a one-reel western, The Tarantula (1913), according to a 1916 Photoplay article (95). Although Anthony Slide cannot confirm the success of the film, both he and Charles Higham retell the story that when the film negative was destroyed by accident the actress was asked to reshoot the entire motion picture just as she recalled it since the original director was unavailable (Slide 1977, 60; Higham 1973, 38). [Fig. 2 Jeanie Macpherson d/w/a The Tarantula (1913) AMPAS. WFP-MAC18] There are several versions of how after Jeanie Macpherson, out of work after The Tarantula, was hired by DeMille at the Jesse L. Lasky Feature Play Company. The most elaborate version is from Higham who describes Macpherson’s attempt to get an acting job as involving a series of battles between the two while the director was shooting Rose of the Rancho (1914) (38 – 40).
    [Show full text]
  • A Compendium of the 500 Stars Nominated for Top 50 "Greatest Screen Legends" Status
    A compendium of the 500 stars nominated for top 50 "Greatest Screen Legends" status. 250 MALE LEGENDS - NOMINEES 1. BUD ABBOTT & LOU COSTELLO 2. BRIAN AHERNE 3. DON AMECHE 4. EDDIE "ROCHESTER" ANDERSON 5. GILBERT M. "BRONCHO BILLY" ANDERSON 6. DANA ANDREWS 7. ROSCOE "FATTY" ARBUCKLE 8. GEORGE ARLISS 9. LOUIS ARMSTRONG 10. EDWARD ARNOLD 11. FRED ASTAIRE 12. GENE AUTRY 13. LEW AYRES 14. KING BAGGOT 15. JOHN BARRYMORE 16. LIONEL BARRYMORE 17. RICHARD BARTHELMESS 18. FREDDIE BARTHOLOMEW 19. WARNER BAXTER 20. NOAH BEERY 21. WALLACE BEERY 22. RALPH BELLAMY 23. JOHN BELUSHI 24. WILLIAM BENDIX 25. JACK BENNY 26. EDGAR BERGEN & CHARLIE McCARTHY 27. MILTON BERLE 28. HUMPHREY BOGART 29. RAY BOLGER 30. WARD BOND 31. WILLIAM BOYD 32. CHARLES BOYER 33. EDDIE BRACKEN 34. MARLON BRANDO 35. WALTER BRENNAN 36. LLOYD BRIDGES 37. JOE E. BROWN 38. YUL BRYNNER 39. GEORGE BURNS 40. RICHARD BURTON 41. FRANCIS X. BUSHMAN 42. JAMES CAGNEY 43. EDDIE CANTOR 44. JOHN CARRADINE 45. LEO G. CARROLL 46. JACK CARSON 47. JOHN CASSAVETES 48. LON CHANEY 49. LON CHANEY, JR. AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. 50. CHARLES CHAPLIN 51. MAURICE CHEVALIER 52. MONTGOMERY CLIFT 53. LEE J. COBB 54. CHARLES COBURN 55. RONALD COLMAN 56. JACKIE COOGAN 57. GARY COOPER 58. JACKIE COOPER 59. JOSEPH COTTEN 60. BUSTER CRABBE 61. BRODERICK CRAWFORD 62. HUME CRONYN 63. BING CROSBY 64. ROBERT CUMMINGS 65. TONY CURTIS 66. DAN DAILEY 67. OSSIE DAVIS 68. SAMMY DAVIS, JR. 69. JAMES DEAN 70. DIVINE 71.
    [Show full text]