(Washington, DC). 1935-12-27
Total Page:16
File Type:pdf, Size:1020Kb
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 -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
Gold on Talking Pictures TV Stars: Roger Moore, Susannah York, Ray Milland, Bradford Dillman and John Gielgud
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 7th December 2020 FREESAT 306 | VIRGIN 445 Gold on Talking Pictures TV Stars: Roger Moore, Susannah York, Ray Milland, Bradford Dillman and John Gielgud. Directed by Peter R. Hunt in 1974. Roger Moore plays Rodney “Rod” Slater, general manager of a South African gold mine, who is instructed by his boss to break through an underground dike into what he is told is a rich seam of gold. The mine-owner’s son-in-law and director plan to destroy the mine so that foreign syndicate members can profit from share-dealing and raise the price of gold on world markets. This will be done by drilling through a deep underground greenstone wall or ‘dyke’ which prevents an adjacent reservoir of water from flooding the mine. When the final breach is made a wall of ocean water roars into interconnected mazes of tunnels and shafts and the mine floods, trapping a thousand workers. Based on the 1970 novel Gold Mine by Wilbur Smith. Airs Saturday 12th December 8:10pm. Monday 7th December 8:55am Wednesday 9th December 8:05am The Secret Tunnel (1948) I’ll Turn To You (1946) Family. Director: William C. Hammond. Drama. Director: Geoffrey Faithfull. Stars: Tony Wager, Ivor Bowyer, A soldier returning home finds Murray Matheson. Two boys set out readjusting to married life and civvy to bring justice to the thieves of a street very difficult. Stars Irene Handl, Rembrandt painting. Don Stannard, Terry Randall, Harry Welchman, Ann Codrington Monday 7th December 10:30am and George Merritt. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
FILM ESTIMATES Progressive Teachers Will Find Dependable Advice in These Estimates on Current Film Releases
116 THE VIRGINIA TEACHER [Volume 18, No. 5 FILM ESTIMATES Progressive teachers will find dependable advice in these estimates on current film releases. Recognizing that one man's meat may be another man's poison, the National Committee on Current Theatrical Films gives three ratings; A, for discriminating adults; Y, for youth; and C, for children. These estimates are printed by special arrangement with The Educational Screen, Chicago. Carnival in Flanders (La Kermesse Hero- to enrich murderous bully, their overlord in vice. ique) (French prod., English titles) Outstanding Decency thrillingly defeated throughout. Fine costume comedy brings to life imaginary episode example of expert screening of outrageous theme. in 17th Century Flanders. Wives heroically ig- (A) Dep. on taste (Y-C) Utterly unwholesome nore terror-stricken men, turn horror of Spanish Seventh Heaven (James Stewart, Simone Si- invasion into hilarity by feminine methods. Mer- mon) (Fox) Notable re-creation in sound of rily sophisticated masterpiece. famous silent of ten years ago, superior to it in (A) Excellent (Y) Doubtful (C) Beyond them dramatic vigor and pictorial technique if not in Clarence (Roscoe Karns, Eleanor Whitney, charm and sentimental appeal. More strength Eugene Pallette) (Para.) Good screening of than subtlety at times. Stewart's Chico excellent. Tarkington's whimsical story of hero, a timid (A) Excell. (Y) Mature bt. gd. (C) Beyond them and unknown genius, plopped into position with Top of the Town (Doris Nolan, Geo. Murphy) a hysterical family where he becomes invaluable. (Univ.) Frenzied noise, jazz, dance, "music" and Class B, but lively and amusing in action, dialog brainless hilarity in glorified cabaret where life is and character. -
AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
Happy 80Th Famous Players! Inside, a Look at the Company’S Past, Present and Future
Happy 80th Famous Players! Inside, a look at the company’s past, present and future february | march 2000 volume 1 number 3 canada’s entertainment lifestyle magazine Harland Williams dishes about The Whole Nine Yards Tim Robbins tells us what rocks his Cradle Kirk Douglas talks about his Diamond role Bonus Charlize Theron, Brad Pitt and other celebs discuss baring it all on screen Special Guide OscarsOscarsOscars Will Neve Campbell survive this time? The Beach Is it Leo? Or his double? see page 17 Director Wes Craven on $3 why we must Scream again plus HOROSCOPE, VIDEOGAMES GO HOLLY WOOD and DIANE KEATON ON VIDEO Colossus Toronto Coliseum Mississauga Coliseum Scarborough Paramount Toronto SilverCity North York at Empress Walk SilverCity Ancaster SilverCity Windsor Coliseum Ottawa Famous Players Moncton 8 Paramount Montreal Colisée Kirkland SilverCity Polo Park Coliseum Calgary SilverCity West Edmonton Mall SilverCity Riverport SilverCity Metropolis ©2000 World Wrestling FFederation Entertainment, Inc. AAllll RightsRights RReserved. Colossus Langley the big picture continued Simpatico (Feb. 4) Snow Day (Feb. 11) The Skulls (Feb. 18) Who’s In It? Nick Nolte, Jeff Bridges, Who’s In It? Chevy Chase, Chris Elliott, Iggy Who’s In It? Joshua Jackson, Paul Walker Sharon Stone Pop, Pam Grier Who Directed? Rob Cohen (Dragonheart) Who Directed? Matthew Warchus (debut) Who Directed? Chris Koch (debut) What’s It About? Luke (Jackson), an Ivy- What’s It About? Based on a Sam Shepard What’s It About? In this family-oriented League overachiever, joins an élite secret play, this psychological thriller revolves comedy,a group of ingenious kids hijack a society known as The Skulls in the hopes that around buddies Lyle (Bridges) and Vinnie snowplow in upstate New York in order to it will help secure his admittance to a presti- (Nolte), who devise a scam to get a lot keep the schools closed. -
Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships. -
1948-02-20, [P ]
d Friday, February 20,1948 TOLEDO UNION JOURNAL Page Five “My Girl Tisa” Esther Williams ■y ■v Battling 7 lie Keys ''-n ‘ '■! / ' * HOLLYWOOD — Esther Williams is trying to dupli cate her speed in the swim ming pool on a typewriter. The amphibious Metro- Goldwyn-Mayer star, re Fortune Tn Jewels cently returned from a per Teen-Agers Find Hollywood sonal appearance tour in Screen-Tested AVith connection with the Tech Barbara Stanwyck nicolor musical, “This Time Land Of Opportunity HOLLYWOOD — A fortune For Keeps,” is battling a January 1 deadline. HOLLYWOOD—Hollywood is the teen-agers best booster. in jewels to be worn by Barbara % In no other field of professional activity do ambitious adol Stanwyck in Hal Wallis’ “Sorry, Scheduled for summer escents get so many opportunities of putting their talents to work release> Miss Williams’ with such profitable results in keeping the piggy bank full. The Wrong Humber” was screen- 41 / fy. Ok' AA-Aa^A^A book, “Or Would You tested at Paramount when a Rather Be A Fish?” must movie-makers have long made a jractice of keeping their talent reach publishers Doubleday, scouts on the lookout fo promis quarter of a million dollars in Doran and Company, be ing teen-age material for future T7i roiving Gurred diamonds and other precious stardom. stones were photographed. 0 "W'J fore the New Year. Petite Wanda Hendrix, whose A guide to swimming, A heavy squad of studio five feet, two inches hardly ta. the book covers all angles measure up to her large abilities % police was stationed on Stage 7 of the aquatic art. -
Bamcinématek Presents Under the Influence: Scorsese/Walsh, a 12
BAMcinématek presents Under the Influence: Scorsese/Walsh, a 12-film series pairing Martin Scorsese works with their inspirations from Raoul Walsh’s seminal oeuvre, Mar 12—26 Opens with Walsh’s Regeneration, featuring live piano by acclaimed silent film accompanist Steve Sterner The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Feb 12, 2014—From Wednesday, March 12 through Wednesday, March 26, BAMcinématek presents Under the Influence: Scorsese/Walsh, pairing six Scorsese classics with their inspirations from Raoul Walsh’s seminal oeuvre. The still-undervalued Walsh’s lean, mean portraits of gangsters, knack for evoking gritty urban locales, and assured handling of white- knuckle action provide a virtual template for modern-day maestro (and avowed Walsh admirer) Martin Scorsese’s work. Viewed side by side, the films of these two iconic auteurs reveal a fascinating and ongoing creative dialogue across the generations. One of the great action directors of the Hollywood studio era, Raoul Walsh was the swaggering, manly-man artist behind some of the best movies to star James Cagney, Humphrey Bogart, and Errol Flynn. ―Walsh’s explosive outcast characters were bigger than life,‖ said Martin Scorsese, whose own violent, masculine oeuvre is just as full of explosive outcasts. ―Their lust for life was insatiable, even as their actions precipitated their tragic destiny. The world was too small for them.‖ Walsh was ―probably Scorsese’s single most important influence,‖ wrote critic Dave Kehr (Moving Image Source), even if Scorsese’s debts to Michael Powell, Luchino Visconti, and other filmmakers have been more widely acknowledged over the years.