- published: 03 Feb 2010
- views: 27439
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Colbert, Claudette Filmography
- The Many Faces of Cleopatra (2009)
- Cámara negra. Teatro Victoria Eugenia (2007)
- Premio Donostia a Max Von Sydow (2006)
- Premio Donostia a Matt Dillon (2006)
- Premio Donostia a Willem Dafoe (2005)
- Complicated Women (2003)
- The Silver Screen: Color Me Lavender (1997)
- The 69th Annual Academy Awards (1997)
- The First 100 Years: A Celebration of American Movies (1995)
- 50 Years of Funny Females (1995)
- That's Entertainment! III (1994)
- Fonda on Fonda (1992)
- The Kennedy Center Honors: A Celebration of the Performing Arts (1989)
- The Two Mrs. Grenvilles (1987)
- The American Film Institute Salute to Frank Capra (1982)
- The Kennedy Center Honors: A Celebration of the Performing Arts (1982)
- America at the Movies (1976)
- The Love Goddesses (1965)
- Hollywood Without Make-Up (1963)
- Parrish (1961)
- The Bells of St. Mary's (1959)
- The 13th Annual Tony Awards (1959)
- General Motors 50th Anniversary Show (1957)
- The 28th Annual Academy Awards (1956)
- Blithe Spirit (1956)
- Texas Lady (1955)
- Si Versailles m'était conté (1954)
- Destinées (1954)
- The Planter's Wife (1952)
- Thunder on the Hill (1951)
- Let's Make It Legal (1951)
- The Secret Fury (1950)
- Three Came Home (1950)
- Bride for Sale (1949)
- Screen Snapshots: Photoplay Gold Medal Awards (1948)
- Family Honeymoon (1948)
- Sleep, My Love (1948)
- Brute Force (1947)
- The Egg and I (1947)
- The Secret Heart (1946)
- Tomorrow Is Forever (1946)
- Without Reservations (1946)
- Guest Wife (1945)
- Practically Yours (1944)
- Since You Went Away (1944)
- Garabatos Claudette Colbert (1944)
- No Time for Love (1943)
- So Proudly We Hail! (1943)
- The Palm Beach Story (1942)
- Hedda Hopper's Hollywood No. 6 (1942)
- Remember the Day (1941)
- Skylark (1941)
- Boom Town (1940)
- Arise, My Love (1940)
- Cavalcade of the Academy Awards (1940)
- Hollywood: Style Center of the World (1940)
- Land of Liberty (1939)
- It's a Wonderful World (1939)
- Midnight (1939)
- Drums Along the Mohawk (1939)
- Hollywood Goes to Town (1938)
- Zaza (1938)
- Breakdowns of 1938 (1938)
- Bluebeard's Eighth Wife (1938)
- Maid of Salem (1937)
- I Met Him in Paris (1937)
- Tovarich (1937)
- Under Two Flags (1936)
- The Bride Comes Home (1935)
- Private Worlds (1935)
- The Fashion Side of Hollywood (1935)
- The Gilded Lily (1935)
- She Married Her Boss (1935)
- The Hollywood You Never See (1934)
- Cleopatra (1934)
- Imitation of Life (1934)
- Hollywood on Parade No. B-8 (1934)
- It Happened One Night (1934)
- Four Frightened People (1934)
- Three-Cornered Moon (1933)
- Torch Singer (1933)
- I Cover the Waterfront (1933)
- Hollywood on Parade No. A-9 (1933)
- Tonight Is Ours (1933)
- The Phantom President (1932)
- Make Me a Star (1932)
- The Man from Yesterday (1932)
- Misleading Lady (1932)
- The Sign of the Cross (1932)
- The Wiser Sex (1932)
- The Smiling Lieutenant (1931)
- Secrets of a Secretary (1931)
- His Woman (1931)
- The House That Shadows Built (1931)
- Honor Among Lovers (1931)
- Young Man of Manhattan (1930)
- L'énigmatique Monsieur Parkes (1930)
- La grande mare (1930)
- Manslaughter (1930)
- The Big Pond (1930)
- The Lady Lies (1929)
- The Hole in the Wall (1929)
- For the Love of Mike (1927)
Famous quotes by Claudette Colbert:
"[Actress Claudette Colbert appeared in her last film role in] Parrish, ... I'm a mature woman but I can't suddenly put on gray hair and play character roles and most mother parts are too 'Pollyannaish' for me. I took this one because I felt it had a point of view. The mother wants to break the silver cord and lead a normal sex life of her own."
"It took me years to figure out that you don't fall into a tub of butter, you jump for it."
"I know what's best for me, after all I have been in the Claudette Colbert business longer than anybody."
"The Palm Beach Story"
"I bet you think an egg is something you casually order for breakfast when you can't think of anything else. Well, so did I once, but that was before the egg and I."
"Audiences always sound like they're glad to see me, and I'm damned glad to see them."
"It matters more what's in a woman's face than what's on it."
"Men don't get smarter when they grow older. They just lose their hair."
"Why do grandparents and grandchildren get along so well? They have the same enemy - the mother"
"Men don't get smarter when they grow older. They just lose their hair."
"Why do grandparents and grandchildren get along so well? The mother."
"If I couldn't laugh, I'd rather die."
"I married a wonderful doctor, and I was very happy - period."
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Claudette Colbert Salutes Frank Capra at the AFI Life Achievement Award
- Order: Reorder
- Duration: 3:17
- Updated: 03 Feb 2010
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievement Award: A Tribute To Frank Capra (1982).
CONNECT WITH AFI:
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http://wn.com/Claudette_Colbert_Salutes_Frank_Capra_at_the_AFI_Life_Achievement_Award
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievement Award: A Tribute To Frank Capra (1982).
CONNECT WITH AFI:
http://facebook.com/AmericanFilmInstitute
http://twitter.com/AmericanFilm
http://AFI.com/members
AFI FACEBOOK APP:
http://apps.facebook.com/afiytapp/
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
- Order: Reorder
- Duration: 60:55
- Updated: 01 Nov 2011
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
http://wn.com/I_COVER_THE_WATERFRONT_1933_Claudette_Colbert_Ben_Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
- published: 01 Nov 2011
- views: 2698
Jazz Up Your Lingerie - Claudette Colbert & Miriam Hopkins
- Order: Reorder
- Duration: 8:45
- Updated: 20 Nov 2007
THE SMILING LIEUTENANT (1931) will be on DVD in February.
http://wn.com/Jazz_Up_Your_Lingerie_Claudette_Colbert_Miriam_Hopkins
THE SMILING LIEUTENANT (1931) will be on DVD in February.
- published: 20 Nov 2007
- views: 19445
CLAUDETTE COLBERT - (COMPLETE) KENNEDY CENTER HONORS, 1989
- Order: Reorder
- Duration: 14:33
- Updated: 04 Jan 2013
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremony. DON AMECHE and LYNN REDGRAVE pay tribute to Claudette and sing "You Brought A New Kind Of Love To Me". Note Don Ameche at 9:17 with Claudette in movie. There is a "glitch" at 9:44, where I had to delete a movie clip, due to a copyright issue.
http://wn.com/CLAUDETTE_COLBERT_COMPLETE_KENNEDY_CENTER_HONORS,_1989
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremony. DON AMECHE and LYNN REDGRAVE pay tribute to Claudette and sing "You Brought A New Kind Of Love To Me". Note Don Ameche at 9:17 with Claudette in movie. There is a "glitch" at 9:44, where I had to delete a movie clip, due to a copyright issue.
- published: 04 Jan 2013
- views: 913
What's my Line? Claudette Colbert
- Order: Reorder
- Duration: 3:17
- Updated: 09 Aug 2008
What's my Line? Claudette Colbert
http://wn.com/What's_my_Line?_Claudette_Colbert
What's my Line? Claudette Colbert
- published: 09 Aug 2008
- views: 51098
WML 1959 Groucho Marx Pt 4 Claudette Colbert
- Order: Reorder
- Duration: 4:39
- Updated: 18 Mar 2009
http://wn.com/WML_1959_Groucho_Marx_Pt_4_Claudette_Colbert
- published: 18 Mar 2009
- views: 1998
"It Happened One Night" The Walls of Jericho (1)
- Order: Reorder
- Duration: 2:17
- Updated: 06 Mar 2007
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable.
http://wn.com/It_Happened_One_Night_The_Walls_of_Jericho_1
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable.
- published: 06 Mar 2007
- views: 47019
Midnight (1939) - John Barrymore - Mary Astor - Claudette Colbert - Bridge
- Order: Reorder
- Duration: 6:42
- Updated: 02 Oct 2012
http://wn.com/Midnight_1939_John_Barrymore_Mary_Astor_Claudette_Colbert_Bridge
- published: 02 Oct 2012
- views: 381
Claudette colbert dies in Cleopatra.mov
- Order: Reorder
- Duration: 3:12
- Updated: 09 Feb 2012
Claudette Colbert in Cecil.B DeMille's Cleopatra. 1934
http://wn.com/Claudette_colbert_dies_in_Cleopatramov
Claudette Colbert in Cecil.B DeMille's Cleopatra. 1934
- published: 09 Feb 2012
- views: 3127
Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings
- Order: Reorder
- Duration: 4:31
- Updated: 03 Aug 2012
Available by calling 1-800-440-2960 or 1-306-955-3763 or emailing robertsvideos@shaw.ca - mentioned in Leonard Maltin's Movie Guide & VideoHound's Golden Movie Retriever Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings, Raymond Burr, Rita Johnson, George Coulouris, Ralph Morgan, Keye Luke, Hazel Brooks
http://wn.com/Sleep_My_Love_1948_Claudette_Colbert,_Don_Ameche,_Bob_Cummings
Available by calling 1-800-440-2960 or 1-306-955-3763 or emailing robertsvideos@shaw.ca - mentioned in Leonard Maltin's Movie Guide & VideoHound's Golden Movie Retriever Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings, Raymond Burr, Rita Johnson, George Coulouris, Ralph Morgan, Keye Luke, Hazel Brooks
- published: 03 Aug 2012
- views: 1004
I Cover the Waterfront (1933)
- Order: Reorder
- Duration: 72:22
- Updated: 01 Feb 2013
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
http://wn.com/I_Cover_the_Waterfront_1933
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
- published: 01 Feb 2013
- views: 568
Veronica Lake, Claudette Colbert, Paulette Goddard
- Order: Reorder
- Duration: 4:41
- Updated: 27 May 2008
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their stuff but it is the young Lake who becomes quite the scene stealer.
http://wn.com/Veronica_Lake,_Claudette_Colbert,_Paulette_Goddard
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their stuff but it is the young Lake who becomes quite the scene stealer.
- published: 27 May 2008
- views: 22529
Claudette Colbert // Breathe Me
- Order: Reorder
- Duration: 2:59
- Updated: 24 Mar 2012
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
http://wn.com/Claudette_Colbert_Breathe_Me
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
- published: 24 Mar 2012
- views: 570
Cleopatra, Claudette Colbert
- Order: Reorder
- Duration: 3:22
- Updated: 17 Sep 2011
The best Cleopatra?
http://wn.com/Cleopatra,_Claudette_Colbert
The best Cleopatra?
- published: 17 Sep 2011
- views: 13575
Three Came Home Colbert 1955.avi
- Order: Reorder
- Duration: 104:53
- Updated: 22 Jul 2012
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
http://wn.com/Three_Came_Home_Colbert_1955avi
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
- published: 22 Jul 2012
- views: 748
Always True To You In My Fashion - Tribute to Claudette Colbert
- Order: Reorder
- Duration: 3:36
- Updated: 06 Jul 2012
(For some reason YouTube seems to think that I uploaded this recently .. However, this was uploaded in November 2010 - hence the comments from before the upload date YouTube put on it) Anyway, here's yet another song which is very different from "my style in music" - but I couldn't resist trying to sing this funny Cole Porter show-tune from Kiss Me, Kate :D
Lately I have been in a kind of Claudette Colbert obsession - so of course this video had to be a tribute to the wonderful miss Colbert!!
So far I have seen 50 Colbert movies - and I am still searching for more :D
Once again - a one-take recording.. Hope you like it :-)
http://wn.com/Always_True_To_You_In_My_Fashion_Tribute_to_Claudette_Colbert
(For some reason YouTube seems to think that I uploaded this recently .. However, this was uploaded in November 2010 - hence the comments from before the upload date YouTube put on it) Anyway, here's yet another song which is very different from "my style in music" - but I couldn't resist trying to sing this funny Cole Porter show-tune from Kiss Me, Kate :D
Lately I have been in a kind of Claudette Colbert obsession - so of course this video had to be a tribute to the wonderful miss Colbert!!
So far I have seen 50 Colbert movies - and I am still searching for more :D
Once again - a one-take recording.. Hope you like it :-)
- published: 06 Jul 2012
- views: 766
CLAUDETTE COLBERT TRIBUTE
- Order: Reorder
- Duration: 5:43
- Updated: 19 Dec 2008
http://wn.com/CLAUDETTE_COLBERT_TRIBUTE
- published: 19 Dec 2008
- views: 5436
Claudette Colbert
- Order: Reorder
- Duration: 4:32
- Updated: 03 Feb 2013
http://wn.com/Claudette_Colbert
- published: 03 Feb 2013
- views: 24
Claudette Colbert Pre-Code TORCH SINGER 1933 Ricardo Cortez
- Order: Reorder
- Duration: 2:06
- Updated: 20 Nov 2011
When she can't support her illegitimate child, an abandoned young woman puts her up for adoption and pursues a career as a torch singer. Also starring Lyda Roberti and David Manners.
http://wn.com/Claudette_Colbert_Pre-Code_TORCH_SINGER_1933_Ricardo_Cortez
When she can't support her illegitimate child, an abandoned young woman puts her up for adoption and pursues a career as a torch singer. Also starring Lyda Roberti and David Manners.
- published: 20 Nov 2011
- views: 775
Sugar - Tribute to Claudette Colbert and Fred MacMurray
- Order: Reorder
- Duration: 2:32
- Updated: 05 Jan 2011
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this one-take a while ago, but I wasn't sure about it, so I just saved it and decided to listen to it later. Then I forgot all about it ... until today :-)
So here you are, my feeble version of a great classic - with footage from various Colbert-MacMurray movies ... I love them so much - one of my favourite screen couples.
Hope you like it
http://wn.com/Sugar_Tribute_to_Claudette_Colbert_and_Fred_MacMurray
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this one-take a while ago, but I wasn't sure about it, so I just saved it and decided to listen to it later. Then I forgot all about it ... until today :-)
So here you are, my feeble version of a great classic - with footage from various Colbert-MacMurray movies ... I love them so much - one of my favourite screen couples.
Hope you like it
- published: 05 Jan 2011
- views: 1764
Claudette Colbert & Don Ameche 1945
- Order: Reorder
- Duration: 4:55
- Updated: 16 Oct 2012
Scene from "Guest Wife" .... a shoe salesman (Chester Clute) from her home town recognizes Mary (Claudette Colbert) while she is posing as the wife of her husband's best friend (Don Ameche)
Stars: Claudette Colbert, Don Ameche, Dick Foran...
Directed by Sam Wood
http://wn.com/Claudette_Colbert_Don_Ameche_1945
Scene from "Guest Wife" .... a shoe salesman (Chester Clute) from her home town recognizes Mary (Claudette Colbert) while she is posing as the wife of her husband's best friend (Don Ameche)
Stars: Claudette Colbert, Don Ameche, Dick Foran...
Directed by Sam Wood
- published: 16 Oct 2012
- views: 180
Carole Landis Claudette Colbert Tovarich 1937 Trailer
- Order: Reorder
- Duration: 4:27
- Updated: 21 Nov 2012
The 1937 trailer for Tovarich starring Claudette Colbert and Charles Boyer (actress Carole Landis is seen at the 8 second mark) ~ Please visit my blog http://www.carolelandis.net
http://wn.com/Carole_Landis_Claudette_Colbert_Tovarich_1937_Trailer
The 1937 trailer for Tovarich starring Claudette Colbert and Charles Boyer (actress Carole Landis is seen at the 8 second mark) ~ Please visit my blog http://www.carolelandis.net
- published: 21 Nov 2012
- views: 221
Gary Cooper & Claudette Colbert - Bluebeard`s Eighth Wife!
- Order: Reorder
- Duration: 2:51
- Updated: 28 May 2012
Bluebeard`s Eighth Wife 1938
http://wn.com/Gary_Cooper_Claudette_Colbert_Bluebeard`s_Eighth_Wife!
Bluebeard`s Eighth Wife 1938
- published: 28 May 2012
- views: 1429
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I Cover the Waterfront
- Order: Reorder
- Duration: 70:02
- Updated: 08 Jun 2011
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Plot: Reporter Joe Miller is sure that fisherman Eli Kirk smuggles illegal Chinese immigrants into the country, but can't obtain enough evidence to satisfy his editor. Chance plays into his hands in the lovely form of Kirk's daughter, Julie, whom he catches swimming in the nude and pumps for information. But she's fiercely loyal to her dad, and may be too attractive for Joe's own good. Saucy.
http://wn.com/I_Cover_the_Waterfront
Subscribe http://ow.ly/4XOl5 | Facebook http://ow.ly/4JcTc | Twitter http://ow.ly/4N6qJ
Plot: Reporter Joe Miller is sure that fisherman Eli Kirk smuggles illegal Chinese immigrants into the country, but can't obtain enough evidence to satisfy his editor. Chance plays into his hands in the lovely form of Kirk's daughter, Julie, whom he catches swimming in the nude and pumps for information. But she's fiercely loyal to her dad, and may be too attractive for Joe's own good. Saucy.
- published: 08 Jun 2011
- views: 5054
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
- Order: Reorder
- Duration: 60:55
- Updated: 01 Nov 2011
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
http://wn.com/I_COVER_THE_WATERFRONT_1933_Claudette_Colbert_Ben_Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
- published: 01 Nov 2011
- views: 2698
I Cover the Waterfront (1933)
- Order: Reorder
- Duration: 72:22
- Updated: 01 Feb 2013
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
http://wn.com/I_Cover_the_Waterfront_1933
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
- published: 01 Feb 2013
- views: 568
Three Came Home Colbert 1955.avi
- Order: Reorder
- Duration: 104:53
- Updated: 22 Jul 2012
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
http://wn.com/Three_Came_Home_Colbert_1955avi
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
- published: 22 Jul 2012
- views: 748
It Happened One Night
- Order: Reorder
- Duration: 105:04
- Updated: 06 Nov 2011
A spoiled heiress falls in love with the cynical newspaperman she enlists to help her escape her domineering father 1934, renewed 1962 Columbia Pictures Industries, Inc. All Rights Reserved.
http://wn.com/It_Happened_One_Night
A spoiled heiress falls in love with the cynical newspaperman she enlists to help her escape her domineering father 1934, renewed 1962 Columbia Pictures Industries, Inc. All Rights Reserved.
- published: 06 Nov 2011
- views: 0
What's My Line Mystery Guest Claudette Colbert 1959
- Order: Reorder
- Duration: 26:19
- Updated: 23 May 2012
http://wn.com/What's_My_Line_Mystery_Guest_Claudette_Colbert_1959
- published: 23 May 2012
- views: 621
Old Gold Comedy Theater - The Palm Beach Story (Claudette Colbert & Robert Young)
- Order: Reorder
- Duration: 29:26
- Updated: 30 Apr 2012
The Old Gold Comedy Theater was an NBC anthology series that aired for the single 1944-1945 season. It was hosted by comedy star Harold Lloyd, of silent film fame, and featuring some of the biggest names from film and radio. The series was intended as a lighter version of The Lux Radio Theater, featuring half hour shows that were cut-down versions of successful comedy films from the time period. Despite Mr. Lloyd's best efforts, the presence of big-name movie and radio stars and the selection of successful films for scripting, the series did not last, perhaps due to the half-hour format. However, in today's time period they are quiet entertaining.
Tonight's Comedy.... "The Palm Beach Story"
Starring..... Claudette Colbert & Robert Young
Original Air Date: October 29, 1944
Episode Number: 1
Networks: NBC, The AFRS
Also Known As: The Old Gold Comedy Theater
Also Known As: Harold Lloyd Comedy Theater
Series Run: October 29, 1944 to May 10, 1945
Directed By Harold Lloyd
Written For Radio By Earl Baldwin, Joseph Shranck
Hosts: Harold Lloyd and Herbert Marshall [AFRS]
Announcers: Bob Williams, Ben Grauer
-------------------------------------------------------------------------------------------------------------------------------
http://wn.com/Old_Gold_Comedy_Theater_The_Palm_Beach_Story_Claudette_Colbert_Robert_Young
The Old Gold Comedy Theater was an NBC anthology series that aired for the single 1944-1945 season. It was hosted by comedy star Harold Lloyd, of silent film fame, and featuring some of the biggest names from film and radio. The series was intended as a lighter version of The Lux Radio Theater, featuring half hour shows that were cut-down versions of successful comedy films from the time period. Despite Mr. Lloyd's best efforts, the presence of big-name movie and radio stars and the selection of successful films for scripting, the series did not last, perhaps due to the half-hour format. However, in today's time period they are quiet entertaining.
Tonight's Comedy.... "The Palm Beach Story"
Starring..... Claudette Colbert & Robert Young
Original Air Date: October 29, 1944
Episode Number: 1
Networks: NBC, The AFRS
Also Known As: The Old Gold Comedy Theater
Also Known As: Harold Lloyd Comedy Theater
Series Run: October 29, 1944 to May 10, 1945
Directed By Harold Lloyd
Written For Radio By Earl Baldwin, Joseph Shranck
Hosts: Harold Lloyd and Herbert Marshall [AFRS]
Announcers: Bob Williams, Ben Grauer
-------------------------------------------------------------------------------------------------------------------------------
- published: 30 Apr 2012
- views: 562
Lux Radio Theater - The Gilded Lily (Claudette Colbert, Fred MacMurray, David Niven, George Sanders)
- Order: Reorder
- Duration: 57:53
- Updated: 07 Jul 2012
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Gilded Lily"
Starring: Claudette Colbert, Fred MacMurray, David Niven, George Sanders
Original Air Date: January 11, 1937
Episode Number: 115
-----------------------------------------------------------------------
http://wn.com/Lux_Radio_Theater_The_Gilded_Lily_Claudette_Colbert,_Fred_MacMurray,_David_Niven,_George_Sanders
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Gilded Lily"
Starring: Claudette Colbert, Fred MacMurray, David Niven, George Sanders
Original Air Date: January 11, 1937
Episode Number: 115
-----------------------------------------------------------------------
- published: 07 Jul 2012
- views: 401
Special Feature Debut: The Perfect Clue (1935)
- Order: Reorder
- Duration: 63:55
- Updated: 26 Apr 2012
We're happy to be the first to bring this film to YouTube - Enjoy! :)
SYNOPSIS: Headstrong socialite Mona Stewart is furious with her widower father's plan to remarry. Feeling ignored, she plans an attention-getting elopement with carouser Ronnie Van Zant, but changes her mind while on a train with him to Niagara Falls. She jumps off at a small town station, hiring recent parolee David Mannerling to drive her to Albany. Mannerling, who was framed and imprisoned for a bank robbery, is on a mission to clear his name, and love-struck Mona decides to stay with him for better or worse. And it does get worse - when Mannerling gets fingered for murder!
STARS: David Manners, Richard 'Skeets' Gallagher and Dorothy Libaire.
TRIVIA: You may recognize Manners from 1931's Dracula. After playing opposite such luminaries as Katherine Hepburn, Barbara Stanwyck and Claudette Colbert, Manners left Hollywood and spent the next 60 years painting, writing novels and doing occasional theater roles. He died in 1998, three years shy of his 100th birthday.
http://wn.com/Special_Feature_Debut_The_Perfect_Clue_1935
We're happy to be the first to bring this film to YouTube - Enjoy! :)
SYNOPSIS: Headstrong socialite Mona Stewart is furious with her widower father's plan to remarry. Feeling ignored, she plans an attention-getting elopement with carouser Ronnie Van Zant, but changes her mind while on a train with him to Niagara Falls. She jumps off at a small town station, hiring recent parolee David Mannerling to drive her to Albany. Mannerling, who was framed and imprisoned for a bank robbery, is on a mission to clear his name, and love-struck Mona decides to stay with him for better or worse. And it does get worse - when Mannerling gets fingered for murder!
STARS: David Manners, Richard 'Skeets' Gallagher and Dorothy Libaire.
TRIVIA: You may recognize Manners from 1931's Dracula. After playing opposite such luminaries as Katherine Hepburn, Barbara Stanwyck and Claudette Colbert, Manners left Hollywood and spent the next 60 years painting, writing novels and doing occasional theater roles. He died in 1998, three years shy of his 100th birthday.
- published: 26 Apr 2012
- views: 508
Screen Guild Theater: Private Worlds / I Met Him in Paris / Single Crossing
- Order: Reorder
- Duration: 88:30
- Updated: 29 Nov 2012
Private Worlds:
Claudette Colbert, Charles Boyer, Isabel Jewell
I Met Him in Paris:
Ann Sothern, Melvyn Douglas, Robert Young
Single Crossing:
Myrna Loy, Jimmy Stewart
Myrna Loy (August 2, 1905 -- December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. She was originally typecast in exotic roles, often as a vamp or a woman of Asian descent, but her career prospects improved greatly following her portrayal of Nora Charles in The Thin Man (1934).
After appearing with Ramón Novarro in The Barbarian, Loy was cast as Nora Charles in the 1934 film The Thin Man. Director W. S. Van Dyke chose Loy after he detected a wit and sense of humor that her previous films had not revealed. At a Hollywood party, he pushed her into a swimming pool to test her reaction, and felt that her aplomb in handling the situation was exactly what he envisioned for Nora.[18] Louis B. Mayer at first refused to allow Loy to play the part because he felt she was a dramatic actress, but Van Dyke insisted. Mayer finally relented on the condition filming be completed within three weeks, as Loy was committed to start filming Stamboul Quest.[19] The Thin Man became one of the year's biggest hits, and was nominated for the Academy Award for Best Film. Loy received excellent reviews and was acclaimed for her comedic skills. She and her costar William Powell proved to be a popular screen couple and appeared in 14 films together, one of the most prolific pairings in Hollywood history. Loy later referred to The Thin Man as the film "that finally made me... after more than 80 films".
Her successes in Manhattan Melodrama and The Thin Man marked a turning point in her career and she was cast in more important pictures. Such films as Wife vs. Secretary (1936) with Clark Gable and Jean Harlow and Petticoat Fever (1936) with Robert Montgomery gave her opportunity to develop comedic skills. She made four films in close succession with William Powell: Libeled Lady (1936), which also starred Jean Harlow and Spencer Tracy, The Great Ziegfeld (1936), in which she played Billie Burke opposite Powell's Florenz Ziegfeld, the second "Thin Man" film, After the Thin Man with Powell and James Stewart, and the romantic comedy Double Wedding (1937). She also made three more films with Clark Gable. Parnell was a historical drama and one of the most poorly received film of either Loy's or Gable's careers, but their other pairings in Test Pilot and Too Hot to Handle (both 1938) were successes.
During this period, Loy was one of Hollywood's busiest and highest paid actresses, and in 1937 and 1938 she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars that had generated the most revenue in their theaters over the previous year.
http://en.wikipedia.org/wiki/Myrna_Loy
http://wn.com/Screen_Guild_Theater_Private_Worlds_I_Met_Him_in_Paris_Single_Crossing
Private Worlds:
Claudette Colbert, Charles Boyer, Isabel Jewell
I Met Him in Paris:
Ann Sothern, Melvyn Douglas, Robert Young
Single Crossing:
Myrna Loy, Jimmy Stewart
Myrna Loy (August 2, 1905 -- December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. She was originally typecast in exotic roles, often as a vamp or a woman of Asian descent, but her career prospects improved greatly following her portrayal of Nora Charles in The Thin Man (1934).
After appearing with Ramón Novarro in The Barbarian, Loy was cast as Nora Charles in the 1934 film The Thin Man. Director W. S. Van Dyke chose Loy after he detected a wit and sense of humor that her previous films had not revealed. At a Hollywood party, he pushed her into a swimming pool to test her reaction, and felt that her aplomb in handling the situation was exactly what he envisioned for Nora.[18] Louis B. Mayer at first refused to allow Loy to play the part because he felt she was a dramatic actress, but Van Dyke insisted. Mayer finally relented on the condition filming be completed within three weeks, as Loy was committed to start filming Stamboul Quest.[19] The Thin Man became one of the year's biggest hits, and was nominated for the Academy Award for Best Film. Loy received excellent reviews and was acclaimed for her comedic skills. She and her costar William Powell proved to be a popular screen couple and appeared in 14 films together, one of the most prolific pairings in Hollywood history. Loy later referred to The Thin Man as the film "that finally made me... after more than 80 films".
Her successes in Manhattan Melodrama and The Thin Man marked a turning point in her career and she was cast in more important pictures. Such films as Wife vs. Secretary (1936) with Clark Gable and Jean Harlow and Petticoat Fever (1936) with Robert Montgomery gave her opportunity to develop comedic skills. She made four films in close succession with William Powell: Libeled Lady (1936), which also starred Jean Harlow and Spencer Tracy, The Great Ziegfeld (1936), in which she played Billie Burke opposite Powell's Florenz Ziegfeld, the second "Thin Man" film, After the Thin Man with Powell and James Stewart, and the romantic comedy Double Wedding (1937). She also made three more films with Clark Gable. Parnell was a historical drama and one of the most poorly received film of either Loy's or Gable's careers, but their other pairings in Test Pilot and Too Hot to Handle (both 1938) were successes.
During this period, Loy was one of Hollywood's busiest and highest paid actresses, and in 1937 and 1938 she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars that had generated the most revenue in their theaters over the previous year.
http://en.wikipedia.org/wiki/Myrna_Loy
- published: 29 Nov 2012
- views: 34851
Lux Radio Theater - The Barker (Walter Huston, Claudette Colbert)
- Order: Reorder
- Duration: 61:59
- Updated: 07 Apr 2012
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Barker"
Starring: Walter Huston, Claudette Colbert
Original Air Date: October 28, 1934
Episode Number: 3
------------------------------------------------------------------------------------------------------------------------------
http://wn.com/Lux_Radio_Theater_The_Barker_Walter_Huston,_Claudette_Colbert
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Barker"
Starring: Walter Huston, Claudette Colbert
Original Air Date: October 28, 1934
Episode Number: 3
------------------------------------------------------------------------------------------------------------------------------
- published: 07 Apr 2012
- views: 253
Screen Guild Theater: Variety / Jezebel / The Great Man Votes
- Order: Reorder
- Duration: 89:39
- Updated: 30 Nov 2012
Variety:
Jack Benny, Claudette Colbert, Edward Arnold, Basil Rathbone, Ernst Lubitsch
Jezebel:
Jean Arthur, Walter Pidgeon, Jeffrey Lynn, Mary Nash
The Great Man Votes:
John Barrymore, Thomas Mitchell, Virginia Weidler
Claudette Colbert (September 13, 1903 -- July 30, 1996) was a French-born American actress of stage and film.
Raised in New York City, Colbert began her career in Broadway productions during the 1920s, progressing to film with the advent of talking pictures. She established a successful film career with Paramount Pictures, and is recognized as one of the leading female exponents of screwball comedy. Colbert was the highest paid actress in American cinema during late 1930s, and later became a freelance performer. She won the Academy Award for Best Actress for her comedic performance in It Happened One Night (1934), and also received Academy Award nominations for her dramatic roles in Private Worlds (1935) and Since You Went Away (1944).
Colbert's film career declined in the 1950s, and she retired from film in 1961. She returned to the theater, with the occasional brief appearance on television. Her career spanned more than six decades. Late in life she moved to Barbados, where she died at the age of 92, following a series of strokes.
Colbert received theatre awards from the Sarah Siddons Society, a lifetime-achievement award at the Kennedy Center Honors, and, in 1999, the American Film Institute placed her at number twelve on their "AFI's 100 Years... 100 Stars" list of the "50 Greatest American Screen Legends".
In 1940, Colbert refused a seven-year contract that would have paid her $200,000 a year, as she had found that she could command a fee of $150,000 per film as a freelance artist. With her brother as her manager, Colbert was able to secure roles in prestigious films, and this period marked the height of her earning ability.[26]
During filming of So Proudly We Hail! (1943), a rift occurred between Colbert and co-starr Paulette Goddard. Asked which of her costars she preferred, Goddard had replied, "Veronica (Lake), I think.". Goddard further commented that Colbert "flipped" and "was at Paulette's eyes at every moment," and said that they continued their feud throughout the duration of filming.[33]
Impressed by her performance in this film, but aware of Colbert's sensitivity, David O. Selznick approached her to play the lead role in Since You Went Away (1944). She was initially reluctant to appear as mother of teenaged children, but Selznick admired her marketability.[34] The director, John Cromwell, later noted that Colbert was very professional, but Selznick expressed frustration with some of her demands. He wrote in a memo to Colbert's agent that they had rebuilt several sets "because of her refusal to have the right side of her face photographed, on top of which we have to pay her not only a fabulous salary, but also give her two days off a month, which works out to $5000 every four weeks for doing absolutely nothing, and now she's demanding three.... Tell her there's a war on and we all have to make some sacrifices."[35] Released in June 1944, the film became a substantial success and grossed almost $5 million in the United States. The critic James Agee praised aspects of the film, but particularly Colbert's performance.[36] Colbert received her third Academy Award nomination for Best Actress.
http://en.wikipedia.org/wiki/Claudette_Colbert
http://wn.com/Screen_Guild_Theater_Variety_Jezebel_The_Great_Man_Votes
Variety:
Jack Benny, Claudette Colbert, Edward Arnold, Basil Rathbone, Ernst Lubitsch
Jezebel:
Jean Arthur, Walter Pidgeon, Jeffrey Lynn, Mary Nash
The Great Man Votes:
John Barrymore, Thomas Mitchell, Virginia Weidler
Claudette Colbert (September 13, 1903 -- July 30, 1996) was a French-born American actress of stage and film.
Raised in New York City, Colbert began her career in Broadway productions during the 1920s, progressing to film with the advent of talking pictures. She established a successful film career with Paramount Pictures, and is recognized as one of the leading female exponents of screwball comedy. Colbert was the highest paid actress in American cinema during late 1930s, and later became a freelance performer. She won the Academy Award for Best Actress for her comedic performance in It Happened One Night (1934), and also received Academy Award nominations for her dramatic roles in Private Worlds (1935) and Since You Went Away (1944).
Colbert's film career declined in the 1950s, and she retired from film in 1961. She returned to the theater, with the occasional brief appearance on television. Her career spanned more than six decades. Late in life she moved to Barbados, where she died at the age of 92, following a series of strokes.
Colbert received theatre awards from the Sarah Siddons Society, a lifetime-achievement award at the Kennedy Center Honors, and, in 1999, the American Film Institute placed her at number twelve on their "AFI's 100 Years... 100 Stars" list of the "50 Greatest American Screen Legends".
In 1940, Colbert refused a seven-year contract that would have paid her $200,000 a year, as she had found that she could command a fee of $150,000 per film as a freelance artist. With her brother as her manager, Colbert was able to secure roles in prestigious films, and this period marked the height of her earning ability.[26]
During filming of So Proudly We Hail! (1943), a rift occurred between Colbert and co-starr Paulette Goddard. Asked which of her costars she preferred, Goddard had replied, "Veronica (Lake), I think.". Goddard further commented that Colbert "flipped" and "was at Paulette's eyes at every moment," and said that they continued their feud throughout the duration of filming.[33]
Impressed by her performance in this film, but aware of Colbert's sensitivity, David O. Selznick approached her to play the lead role in Since You Went Away (1944). She was initially reluctant to appear as mother of teenaged children, but Selznick admired her marketability.[34] The director, John Cromwell, later noted that Colbert was very professional, but Selznick expressed frustration with some of her demands. He wrote in a memo to Colbert's agent that they had rebuilt several sets "because of her refusal to have the right side of her face photographed, on top of which we have to pay her not only a fabulous salary, but also give her two days off a month, which works out to $5000 every four weeks for doing absolutely nothing, and now she's demanding three.... Tell her there's a war on and we all have to make some sacrifices."[35] Released in June 1944, the film became a substantial success and grossed almost $5 million in the United States. The critic James Agee praised aspects of the film, but particularly Colbert's performance.[36] Colbert received her third Academy Award nomination for Best Actress.
http://en.wikipedia.org/wiki/Claudette_Colbert
- published: 30 Nov 2012
- views: 99758
A la sombra de los muelles (1933)
- Order: Reorder
- Duration: 58:31
- Updated: 30 Aug 2012
DIRECTOR: James Cruze.
REPARTO: Ben Lyon, Claudette Colbert, Ernest Torrence, Hobart Cavanaugh, Maurice Black, Purnell Pratt, Harry Beresford, Wilfred Lucas.
GÉNERO: Drama. Romance | Drama romántico.
SINOPSIS: Joe Miller es un periodista del The Standard y su trabajo consiste en cubrir las noticias del puerto. Sospecha que uno de los pescadores está involucrado en un feo asunto de contrabando relacionado con traficantes chinos. Sin embargo, como no tiene pruebas, su jefe no da crédito a sus conjeturas. Pero a Miller se le presenta la ocasión de progresar en su investigación, cuando conoce a Julie, la hija del pescador, y decide cortejarla.
Información obtenida de: http://www.filmaffinity.com.
Más cine clásico en: http://intercinet.com
http://wn.com/A_la_sombra_de_los_muelles_1933
DIRECTOR: James Cruze.
REPARTO: Ben Lyon, Claudette Colbert, Ernest Torrence, Hobart Cavanaugh, Maurice Black, Purnell Pratt, Harry Beresford, Wilfred Lucas.
GÉNERO: Drama. Romance | Drama romántico.
SINOPSIS: Joe Miller es un periodista del The Standard y su trabajo consiste en cubrir las noticias del puerto. Sospecha que uno de los pescadores está involucrado en un feo asunto de contrabando relacionado con traficantes chinos. Sin embargo, como no tiene pruebas, su jefe no da crédito a sus conjeturas. Pero a Miller se le presenta la ocasión de progresar en su investigación, cuando conoce a Julie, la hija del pescador, y decide cortejarla.
Información obtenida de: http://www.filmaffinity.com.
Más cine clásico en: http://intercinet.com
- published: 30 Aug 2012
- views: 448
KVIE Arts Showcase - David Adjmi, airport architecture, Gregory Kondos, Tom Otterness
- Order: Reorder
- Duration: 25:46
- Updated: 29 Jan 2013
Rediscover the story of the doomed French queen through a Lady Gaga-style prism in David Adjmi's play Marie Antoinette. An iconic image in American art, Washington Crossing the Delaware. The creative process behind the architecture of airports. Celebrated Sacramento artist Gregory Kondos. Watch Tom Otterness bring new life to New York City's subway system with sculpture. Hosted by Rob Stewart. http://www.kvie.org/arts
http://wn.com/KVIE_Arts_Showcase_David_Adjmi,_airport_architecture,_Gregory_Kondos,_Tom_Otterness
Rediscover the story of the doomed French queen through a Lady Gaga-style prism in David Adjmi's play Marie Antoinette. An iconic image in American art, Washington Crossing the Delaware. The creative process behind the architecture of airports. Celebrated Sacramento artist Gregory Kondos. Watch Tom Otterness bring new life to New York City's subway system with sculpture. Hosted by Rob Stewart. http://www.kvie.org/arts
- published: 29 Jan 2013
- views: 58
Charlie Chaplin: Pay Day
- Order: Reorder
- Duration: 21:10
- Updated: 17 Aug 2011
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
http://wn.com/Charlie_Chaplin_Pay_Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
- published: 17 Aug 2011
- views: 165735
Tovarich 1/2
- Order: Reorder
- Duration: 61:33
- Updated: 09 Apr 2012
Tovarich di Jacques Deval -1966 - con Rossella Falk,Sergio Fantoni,Elsa Albani,Loris Ghizzi,Francesco Sormano,Paolo Falace, Gabriella Gabrielli,Luigi Pavese,Franca Squarciapino,Giorgio Arbeziat,Piero Sammataro,Armando Brancia,Irma de Simone,Adriano Micantoni
http://wn.com/Tovarich_1_2
Tovarich di Jacques Deval -1966 - con Rossella Falk,Sergio Fantoni,Elsa Albani,Loris Ghizzi,Francesco Sormano,Paolo Falace, Gabriella Gabrielli,Luigi Pavese,Franca Squarciapino,Giorgio Arbeziat,Piero Sammataro,Armando Brancia,Irma de Simone,Adriano Micantoni
- published: 09 Apr 2012
- views: 946
Abbott and Costello - Jack and the Beanstalk
- Order: Reorder
- Duration: 81:51
- Updated: 31 Mar 2011
This ambitious film begins with Jack's descendant and works its way backward to the story of the original young man and the beanstalk. Because the first Jack used that towering vine to steal a giant's magic goose and harp, an entire world was reduced to poverty and a bloodline was cursed--all Robinson men die in their 40s, and the modern-day Jack is around that age. Fortunately, Ondine (Mia Sara), a visitor from the giant's alternative reality, has a plan. If she and Jack can recover the stolen items in time, they may be able to solve both problems. The made-for-TV movie boasts top stars (including Vanessa Redgrave and Jon Voight) and Jim Henson's Creature Shop's nifty special effects. Although children younger than 10 may find the complex narrative confusing and the implied violence scary, Jack and the Beanstalk is an inventive retelling that adds new life to an old story
http://wn.com/Abbott_and_Costello_Jack_and_the_Beanstalk
This ambitious film begins with Jack's descendant and works its way backward to the story of the original young man and the beanstalk. Because the first Jack used that towering vine to steal a giant's magic goose and harp, an entire world was reduced to poverty and a bloodline was cursed--all Robinson men die in their 40s, and the modern-day Jack is around that age. Fortunately, Ondine (Mia Sara), a visitor from the giant's alternative reality, has a plan. If she and Jack can recover the stolen items in time, they may be able to solve both problems. The made-for-TV movie boasts top stars (including Vanessa Redgrave and Jon Voight) and Jim Henson's Creature Shop's nifty special effects. Although children younger than 10 may find the complex narrative confusing and the implied violence scary, Jack and the Beanstalk is an inventive retelling that adds new life to an old story
- published: 31 Mar 2011
- views: 0
Lux Radio Theater: Clarence (January 24, 1938)
- Order: Reorder
- Duration: 58:51
- Updated: 12 Feb 2013
Many of leading names in stage and film appeared in the series, most in the roles they made famous on the screen, including Abbott and Costello, Jean Arthur, Lauren Bacall, Lucille Ball, Ethel Barrymore, John Barrymore, Lionel Barrymore, Ingrid Bergman, Humphrey Bogart, Charles Boyer, James Cagney, Claudette Colbert, Ronald Colman, Gary Cooper, Joseph Cotten, Joan Crawford, Bing Crosby, Bette Davis, Dan Duryea, Frances Farmer, Errol Flynn, Ava Gardner, Judy Garland, Greer Garson, Janet Gaynor, Cary Grant, Lillian Gish, Charlton Heston, Bob Hope, Vivien Leigh, Ida Lupino, Fredric March, Agnes Moorehead, Paul Muni, Vincent Price, Donna Reed, Ginger Rogers, Mickey Rooney, Frank Sinatra, Ann Sothern, Barbara Stanwyck, James Stewart, Shirley Temple, Gene Tierney, Spencer Tracy, Lana Turner, John Wayne, Jane Wyman, Orson Welles, Loretta Young and Robert Young.
http://en.wikipedia.org/wiki/Lux_Radio_Theatre
http://wn.com/Lux_Radio_Theater_Clarence_January_24,_1938
Many of leading names in stage and film appeared in the series, most in the roles they made famous on the screen, including Abbott and Costello, Jean Arthur, Lauren Bacall, Lucille Ball, Ethel Barrymore, John Barrymore, Lionel Barrymore, Ingrid Bergman, Humphrey Bogart, Charles Boyer, James Cagney, Claudette Colbert, Ronald Colman, Gary Cooper, Joseph Cotten, Joan Crawford, Bing Crosby, Bette Davis, Dan Duryea, Frances Farmer, Errol Flynn, Ava Gardner, Judy Garland, Greer Garson, Janet Gaynor, Cary Grant, Lillian Gish, Charlton Heston, Bob Hope, Vivien Leigh, Ida Lupino, Fredric March, Agnes Moorehead, Paul Muni, Vincent Price, Donna Reed, Ginger Rogers, Mickey Rooney, Frank Sinatra, Ann Sothern, Barbara Stanwyck, James Stewart, Shirley Temple, Gene Tierney, Spencer Tracy, Lana Turner, John Wayne, Jane Wyman, Orson Welles, Loretta Young and Robert Young.
http://en.wikipedia.org/wiki/Lux_Radio_Theatre
- published: 12 Feb 2013
- views: 739
Lux Radio Theater: Tovarich (May 15, 1939)
- Order: Reorder
- Duration: 55:58
- Updated: 16 Feb 2013
Russian Prince Mikail Alexandrovitch Ouratieff (Charles Boyer) and his wife, Grand Duchess Tatiana Petrovna (Claudette Colbert) flee from the Russian Revolution to Paris with the Czar's fortune, which he has entrusted to them for safekeeping. They keep the money in a bank, faithfully refusing to spend any of it for themselves. Then, destitute, they are forced to take jobs under false identities as butler and maid in the household of wealthy Charles Dupont (Melville Cooper), his wife Fermonde (Isabel Jeans), and their children, Helene (Anita Louise) and Georges (Maurice Murphy). After a shaky start, the servants gradually endear themselves to their employers. However, their secret is finally exposed when one of the guests at a dinner party, Soviet Commissar Gorotchenko (Basil Rathbone), recognises them.
http://en.wikipedia.org/wiki/Tovarich_%28film%29
http://wn.com/Lux_Radio_Theater_Tovarich_May_15,_1939
Russian Prince Mikail Alexandrovitch Ouratieff (Charles Boyer) and his wife, Grand Duchess Tatiana Petrovna (Claudette Colbert) flee from the Russian Revolution to Paris with the Czar's fortune, which he has entrusted to them for safekeeping. They keep the money in a bank, faithfully refusing to spend any of it for themselves. Then, destitute, they are forced to take jobs under false identities as butler and maid in the household of wealthy Charles Dupont (Melville Cooper), his wife Fermonde (Isabel Jeans), and their children, Helene (Anita Louise) and Georges (Maurice Murphy). After a shaky start, the servants gradually endear themselves to their employers. However, their secret is finally exposed when one of the guests at a dinner party, Soviet Commissar Gorotchenko (Basil Rathbone), recognises them.
http://en.wikipedia.org/wiki/Tovarich_%28film%29
- published: 16 Feb 2013
- views: 189
I Cover the Waterfront (1933) Colbert
- Order: Reorder
- Duration: 60:55
- Updated: 11 Mar 2013
I Cover the Waterfront (1933) Colbert
An investigative reporter romances a suspected smuggler's daughter.
Director: James Cruze
Writers: Max Miller (book), Wells Root
Stars: Ben Lyon, Claudette Colbert and Ernest Torrence
This Film has been Conserved by The Video Cellar
THIS FILM IS IN THE PUBLIC DOMAIN
http://archive.org/details/ICoverTheWaterfront1933
http://www.imdb.com/title/tt0024151/
http://wn.com/I_Cover_the_Waterfront_1933_Colbert
I Cover the Waterfront (1933) Colbert
An investigative reporter romances a suspected smuggler's daughter.
Director: James Cruze
Writers: Max Miller (book), Wells Root
Stars: Ben Lyon, Claudette Colbert and Ernest Torrence
This Film has been Conserved by The Video Cellar
THIS FILM IS IN THE PUBLIC DOMAIN
http://archive.org/details/ICoverTheWaterfront1933
http://www.imdb.com/title/tt0024151/
- published: 11 Mar 2013
- views: 8
Lux Radio Theater Hands Across The Table 1937
- Order: Reorder
- Duration: 58:24
- Updated: 21 Sep 2012
Lux Radio Theater With Cecil B. Demille Show Titled Hands Across The Table With Claudette Colbert & Joel McCrea. Original Air Date Was 05/03/1937.
http://wn.com/Lux_Radio_Theater_Hands_Across_The_Table_1937
Lux Radio Theater With Cecil B. Demille Show Titled Hands Across The Table With Claudette Colbert & Joel McCrea. Original Air Date Was 05/03/1937.
- published: 21 Sep 2012
- views: 51
Lux Radio Theater - Hands Across The Table (Claudet Colbert, Joel McCrea)
- Order: Reorder
- Duration: 58:24
- Updated: 02 Feb 2013
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s. Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman......
Tonight's Broadcast: Hands Across The Table
Starring: Claudette Colbert, Joel McCrea
Original Air Date: May 3, 1937
Episode Number: 131
-----------------------------------------------------------------------
http://wn.com/Lux_Radio_Theater_Hands_Across_The_Table_Claudet_Colbert,_Joel_McCrea
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s. Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman......
Tonight's Broadcast: Hands Across The Table
Starring: Claudette Colbert, Joel McCrea
Original Air Date: May 3, 1937
Episode Number: 131
-----------------------------------------------------------------------
- published: 02 Feb 2013
- views: 51
Ford Television Theater - Heart Of Gold.
- Order: Reorder
- Duration: 24:33
- Updated: 22 Oct 2012
The first Ford Theatre on U.S. television appeared on October 17, 1948, near the dawn of regularly scheduled prime time network programming. It was an hour-long drama, broadcast live, as was most television of the era. This series used primarily Broadway actors. The program began as a monthly series, switching to bi-weekly a year later, in alternation on Friday nights at 9pm Eastern time with the 54th Street Revue. During this period, programming included adaptations of Little Women, with June Lockhart and Kim Hunter, and One Sunday Afternoon, with Burgess Meredith and Hume Cronyn. During the following season, the final season for the program on CBS, the alternation in the same time slot was with Magnavox Theater. A half-hour filmed Ford Theatre returned to the airwaves on NBC for the 1951-52 season on Thursday nights at 9:30pm Eastern. At this time production was moved from New York to Hollywood, and featured actors based there rather than on Broadway. Some of these programs were comedies instead of dramas. Performers appearing during this era included Claudette Colbert, Charles Coburn, Peter Lawford, Ida Lupino, Thomas Mitchell, Ann Sheridan, Ed Hinton, Barry Sullivan and Beverly Washburn. Also appearing for the first time together were Ronald Reagan and Nancy Davis, in an episode entitled "First Born", which first aired on February 3, 1953. In October 1954, Ford Theatre became the first network television series to be filmed regularly in color.
Tonight's Story "Heart Of Gold"
James Lindsey insists his children Fitzjames and Violet face reality when Christmas fantasies are strong, but when their snowman comes to life and starts providing magical experiences, his sense of reality is shaken, until his wife Helen reminds him of his own magical experiences.
Cast
Edmund Gwenn ... The Snowman
Anita Louise ... Helen Lindsey - Mother
Tommy Rettig ... Fitzjames Lindsey
Beverly Washburn ... Violet Lindsey
George Reeves ... James Lindsey
Directed By Robert Stevenson
Teleplay By Edward Hope
Short Story "The Snow Image" By Nathaniel Hawthorne
Executive Producer Frederick Briskin
Associate Producer Endre Bohem
Produced By Jules Brisken
Cinematography By Elias W. Carter
Film Editing By Richard Fantl
Art Direction By Carl Anderson
Set Decoration By Louis Diage
Assistant Director Eddie Saeta
Details
Season 1, Episode 13
Original Air Date: December 25, 1952 (USA)
Production Co: Screen Gems
--------------------------------------------------------------------------------
http://wn.com/Ford_Television_Theater_Heart_Of_Gold
The first Ford Theatre on U.S. television appeared on October 17, 1948, near the dawn of regularly scheduled prime time network programming. It was an hour-long drama, broadcast live, as was most television of the era. This series used primarily Broadway actors. The program began as a monthly series, switching to bi-weekly a year later, in alternation on Friday nights at 9pm Eastern time with the 54th Street Revue. During this period, programming included adaptations of Little Women, with June Lockhart and Kim Hunter, and One Sunday Afternoon, with Burgess Meredith and Hume Cronyn. During the following season, the final season for the program on CBS, the alternation in the same time slot was with Magnavox Theater. A half-hour filmed Ford Theatre returned to the airwaves on NBC for the 1951-52 season on Thursday nights at 9:30pm Eastern. At this time production was moved from New York to Hollywood, and featured actors based there rather than on Broadway. Some of these programs were comedies instead of dramas. Performers appearing during this era included Claudette Colbert, Charles Coburn, Peter Lawford, Ida Lupino, Thomas Mitchell, Ann Sheridan, Ed Hinton, Barry Sullivan and Beverly Washburn. Also appearing for the first time together were Ronald Reagan and Nancy Davis, in an episode entitled "First Born", which first aired on February 3, 1953. In October 1954, Ford Theatre became the first network television series to be filmed regularly in color.
Tonight's Story "Heart Of Gold"
James Lindsey insists his children Fitzjames and Violet face reality when Christmas fantasies are strong, but when their snowman comes to life and starts providing magical experiences, his sense of reality is shaken, until his wife Helen reminds him of his own magical experiences.
Cast
Edmund Gwenn ... The Snowman
Anita Louise ... Helen Lindsey - Mother
Tommy Rettig ... Fitzjames Lindsey
Beverly Washburn ... Violet Lindsey
George Reeves ... James Lindsey
Directed By Robert Stevenson
Teleplay By Edward Hope
Short Story "The Snow Image" By Nathaniel Hawthorne
Executive Producer Frederick Briskin
Associate Producer Endre Bohem
Produced By Jules Brisken
Cinematography By Elias W. Carter
Film Editing By Richard Fantl
Art Direction By Carl Anderson
Set Decoration By Louis Diage
Assistant Director Eddie Saeta
Details
Season 1, Episode 13
Original Air Date: December 25, 1952 (USA)
Production Co: Screen Gems
--------------------------------------------------------------------------------
- published: 22 Oct 2012
- views: 200
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Claudette Colbert Salutes Frank Capra at the AFI Life Achievement Award
- Order: Reorder
- Duration: 3:17
- Updated: 03 Feb 2010
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievement Award: A Tribute To Frank Capra (1982).
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http://wn.com/Claudette_Colbert_Salutes_Frank_Capra_at_the_AFI_Life_Achievement_Award
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievement Award: A Tribute To Frank Capra (1982).
CONNECT WITH AFI:
http://facebook.com/AmericanFilmInstitute
http://twitter.com/AmericanFilm
http://AFI.com/members
AFI FACEBOOK APP:
http://apps.facebook.com/afiytapp/
- published: 03 Feb 2010
- views: 27439
What's my Line? Claudette Colbert
- Order: Reorder
- Duration: 3:17
- Updated: 09 Aug 2008
What's my Line? Claudette Colbert
http://wn.com/What's_my_Line?_Claudette_Colbert
What's my Line? Claudette Colbert
- published: 09 Aug 2008
- views: 51098
Claudette Colbert Wins Best Supporting Actress - Golden Globes 1988
- Order: Reorder
- Duration: 0:57
- Updated: 07 Dec 2010
Claudette Colbert wins the Best Supporting Actress in a Series-Mini Series or TV Motion Picture for her performance in "The Two Mrs. Grenvilles." Cybill Shepherd and Tom Selleck present.
License Golden Globe Awards Clips Here:
http://dickclarklicensing.com/Default.aspx?&sk;=DCMA&q;=Golden+Globe+Awards
http://wn.com/Claudette_Colbert_Wins_Best_Supporting_Actress_Golden_Globes_1988
Claudette Colbert wins the Best Supporting Actress in a Series-Mini Series or TV Motion Picture for her performance in "The Two Mrs. Grenvilles." Cybill Shepherd and Tom Selleck present.
License Golden Globe Awards Clips Here:
http://dickclarklicensing.com/Default.aspx?&sk;=DCMA&q;=Golden+Globe+Awards
- published: 07 Dec 2010
- views: 3311
CLAUDETTE COLBERT - (COMPLETE) KENNEDY CENTER HONORS, 1989
- Order: Reorder
- Duration: 14:33
- Updated: 04 Jan 2013
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremony. DON AMECHE and LYNN REDGRAVE pay tribute to Claudette and sing "You Brought A New Kind Of Love To Me". Note Don Ameche at 9:17 with Claudette in movie. There is a "glitch" at 9:44, where I had to delete a movie clip, due to a copyright issue.
http://wn.com/CLAUDETTE_COLBERT_COMPLETE_KENNEDY_CENTER_HONORS,_1989
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremony. DON AMECHE and LYNN REDGRAVE pay tribute to Claudette and sing "You Brought A New Kind Of Love To Me". Note Don Ameche at 9:17 with Claudette in movie. There is a "glitch" at 9:44, where I had to delete a movie clip, due to a copyright issue.
- published: 04 Jan 2013
- views: 913
Charlie Chaplin: Pay Day
- Order: Reorder
- Duration: 21:10
- Updated: 17 Aug 2011
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
http://wn.com/Charlie_Chaplin_Pay_Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
- published: 17 Aug 2011
- views: 165735
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
- Order: Reorder
- Duration: 60:55
- Updated: 01 Nov 2011
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
http://wn.com/I_COVER_THE_WATERFRONT_1933_Claudette_Colbert_Ben_Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
- published: 01 Nov 2011
- views: 2698
Claudette Colbert speaks French to Fred MacMurray
- Order: Reorder
- Duration: 0:19
- Updated: 07 Sep 2011
From "The Bride Comes Home" (1935).
http://wn.com/Claudette_Colbert_speaks_French_to_Fred_MacMurray
From "The Bride Comes Home" (1935).
- published: 07 Sep 2011
- views: 1199
Jazz Up Your Lingerie - Claudette Colbert & Miriam Hopkins
- Order: Reorder
- Duration: 8:45
- Updated: 20 Nov 2007
THE SMILING LIEUTENANT (1931) will be on DVD in February.
http://wn.com/Jazz_Up_Your_Lingerie_Claudette_Colbert_Miriam_Hopkins
THE SMILING LIEUTENANT (1931) will be on DVD in February.
- published: 20 Nov 2007
- views: 19445
I Cover the Waterfront (1933)
- Order: Reorder
- Duration: 72:22
- Updated: 01 Feb 2013
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
http://wn.com/I_Cover_the_Waterfront_1933
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
- published: 01 Feb 2013
- views: 568
"It Happened One Night" The Walls of Jericho (1)
- Order: Reorder
- Duration: 2:17
- Updated: 06 Mar 2007
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable.
http://wn.com/It_Happened_One_Night_The_Walls_of_Jericho_1
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable.
- published: 06 Mar 2007
- views: 47019
Sugar - Tribute to Claudette Colbert and Fred MacMurray
- Order: Reorder
- Duration: 2:32
- Updated: 05 Jan 2011
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this one-take a while ago, but I wasn't sure about it, so I just saved it and decided to listen to it later. Then I forgot all about it ... until today :-)
So here you are, my feeble version of a great classic - with footage from various Colbert-MacMurray movies ... I love them so much - one of my favourite screen couples.
Hope you like it
http://wn.com/Sugar_Tribute_to_Claudette_Colbert_and_Fred_MacMurray
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this one-take a while ago, but I wasn't sure about it, so I just saved it and decided to listen to it later. Then I forgot all about it ... until today :-)
So here you are, my feeble version of a great classic - with footage from various Colbert-MacMurray movies ... I love them so much - one of my favourite screen couples.
Hope you like it
- published: 05 Jan 2011
- views: 1764
Veronica Lake, Claudette Colbert, Paulette Goddard
- Order: Reorder
- Duration: 4:41
- Updated: 27 May 2008
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their stuff but it is the young Lake who becomes quite the scene stealer.
http://wn.com/Veronica_Lake,_Claudette_Colbert,_Paulette_Goddard
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their stuff but it is the young Lake who becomes quite the scene stealer.
- published: 27 May 2008
- views: 22529
Midnight (1939) - John Barrymore - Mary Astor - Claudette Colbert - Bridge
- Order: Reorder
- Duration: 6:42
- Updated: 02 Oct 2012
http://wn.com/Midnight_1939_John_Barrymore_Mary_Astor_Claudette_Colbert_Bridge
- published: 02 Oct 2012
- views: 381
Claudette Colbert and the Music of Korngold
- Order: Reorder
- Duration: 2:02
- Updated: 22 Sep 2008
Eric Wolfgang Korngold's 'Masquerade Hornpipe' from "Much Ado About Nothing", with Gil Shaham on violin (1996), and pictures of Claudette Colbert in "Cleopatra," with Henry Wilcoxon, and "The Sign of the Cross" (a great film), with Frederick March.
http://wn.com/Claudette_Colbert_and_the_Music_of_Korngold
Eric Wolfgang Korngold's 'Masquerade Hornpipe' from "Much Ado About Nothing", with Gil Shaham on violin (1996), and pictures of Claudette Colbert in "Cleopatra," with Henry Wilcoxon, and "The Sign of the Cross" (a great film), with Frederick March.
- published: 22 Sep 2008
- views: 20413
WML 1959 Groucho Marx Pt 4 Claudette Colbert
- Order: Reorder
- Duration: 4:39
- Updated: 18 Mar 2009
http://wn.com/WML_1959_Groucho_Marx_Pt_4_Claudette_Colbert
- published: 18 Mar 2009
- views: 1998
Street where Irene Dunne and Claudette Colbert lived =)
- Order: Reorder
- Duration: 2:08
- Updated: 09 Feb 2012
North Faring St. in Bel Air, California.
http://wn.com/Street_where_Irene_Dunne_and_Claudette_Colbert_lived_=
North Faring St. in Bel Air, California.
- published: 09 Feb 2012
- views: 247
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
- Order: Reorder
- Duration: 6:37
- Updated: 18 Sep 2012
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
Electronic dance track from 1986 "Cleopatra" by R.S.V.P. gets the Disco Video Mix treatment with the 1934 Cecil B. DeMille classic "Cleopatra" starring Claudette Colbert, Warren William and Henry Wilcoxon.
The disco track was produced by Alexx Antaeus and vocals provided by Erin O'Brien and Laura Salcido.
Featuring scenes from "Cleopatra" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons (based on his idea)
http://wn.com/REISSUE_Cleopatra_by_RSVP_Disco_Video_Mix_by_Glenn_Rivera
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
Electronic dance track from 1986 "Cleopatra" by R.S.V.P. gets the Disco Video Mix treatment with the 1934 Cecil B. DeMille classic "Cleopatra" starring Claudette Colbert, Warren William and Henry Wilcoxon.
The disco track was produced by Alexx Antaeus and vocals provided by Erin O'Brien and Laura Salcido.
Featuring scenes from "Cleopatra" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons (based on his idea)
- published: 18 Sep 2012
- views: 237
Claudette Colbert // Breathe Me
- Order: Reorder
- Duration: 2:59
- Updated: 24 Mar 2012
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
http://wn.com/Claudette_Colbert_Breathe_Me
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
- published: 24 Mar 2012
- views: 570
Carole Landis Claudette Colbert Tovarich 1937 Trailer
- Order: Reorder
- Duration: 4:27
- Updated: 21 Nov 2012
The 1937 trailer for Tovarich starring Claudette Colbert and Charles Boyer (actress Carole Landis is seen at the 8 second mark) ~ Please visit my blog http://www.carolelandis.net
http://wn.com/Carole_Landis_Claudette_Colbert_Tovarich_1937_Trailer
The 1937 trailer for Tovarich starring Claudette Colbert and Charles Boyer (actress Carole Landis is seen at the 8 second mark) ~ Please visit my blog http://www.carolelandis.net
- published: 21 Nov 2012
- views: 221
It Happened One Night
- Order: Reorder
- Duration: 4:20
- Updated: 04 Nov 2010
Clark Gable and Claudette Colbert in "It Happened One Night"
For full review of film, plus pictures, comments and links... visit my website at www.michaelmapel.com
http://wn.com/It_Happened_One_Night
Clark Gable and Claudette Colbert in "It Happened One Night"
For full review of film, plus pictures, comments and links... visit my website at www.michaelmapel.com
- published: 04 Nov 2010
- views: 1187
Three Came Home Colbert 1955.avi
- Order: Reorder
- Duration: 104:53
- Updated: 22 Jul 2012
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
http://wn.com/Three_Came_Home_Colbert_1955avi
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
- published: 22 Jul 2012
- views: 748
Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings
- Order: Reorder
- Duration: 4:31
- Updated: 03 Aug 2012
Available by calling 1-800-440-2960 or 1-306-955-3763 or emailing robertsvideos@shaw.ca - mentioned in Leonard Maltin's Movie Guide & VideoHound's Golden Movie Retriever Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings, Raymond Burr, Rita Johnson, George Coulouris, Ralph Morgan, Keye Luke, Hazel Brooks
http://wn.com/Sleep_My_Love_1948_Claudette_Colbert,_Don_Ameche,_Bob_Cummings
Available by calling 1-800-440-2960 or 1-306-955-3763 or emailing robertsvideos@shaw.ca - mentioned in Leonard Maltin's Movie Guide & VideoHound's Golden Movie Retriever Sleep My Love 1948 - Claudette Colbert, Don Ameche, Bob Cummings, Raymond Burr, Rita Johnson, George Coulouris, Ralph Morgan, Keye Luke, Hazel Brooks
- published: 03 Aug 2012
- views: 1004
Always True To You In My Fashion - Tribute to Claudette Colbert
- Order: Reorder
- Duration: 3:36
- Updated: 06 Jul 2012
(For some reason YouTube seems to think that I uploaded this recently .. However, this was uploaded in November 2010 - hence the comments from before the upload date YouTube put on it) Anyway, here's yet another song which is very different from "my style in music" - but I couldn't resist trying to sing this funny Cole Porter show-tune from Kiss Me, Kate :D
Lately I have been in a kind of Claudette Colbert obsession - so of course this video had to be a tribute to the wonderful miss Colbert!!
So far I have seen 50 Colbert movies - and I am still searching for more :D
Once again - a one-take recording.. Hope you like it :-)
http://wn.com/Always_True_To_You_In_My_Fashion_Tribute_to_Claudette_Colbert
(For some reason YouTube seems to think that I uploaded this recently .. However, this was uploaded in November 2010 - hence the comments from before the upload date YouTube put on it) Anyway, here's yet another song which is very different from "my style in music" - but I couldn't resist trying to sing this funny Cole Porter show-tune from Kiss Me, Kate :D
Lately I have been in a kind of Claudette Colbert obsession - so of course this video had to be a tribute to the wonderful miss Colbert!!
So far I have seen 50 Colbert movies - and I am still searching for more :D
Once again - a one-take recording.. Hope you like it :-)
- published: 06 Jul 2012
- views: 766
70:02
I Cover the Waterfront
Subscribe http://ow.ly/4XOl5 | Facebook http://ow.ly/4JcTc | Twitter http://ow.ly/4N6qJ
P...
published: 08 Jun 2011
I Cover the Waterfront
Subscribe http://ow.ly/4XOl5 | Facebook http://ow.ly/4JcTc | Twitter http://ow.ly/4N6qJ
Plot: Reporter Joe Miller is sure that fisherman Eli Kirk smuggles illegal Chinese immigrants into the country, but can't obtain enough evidence to satisfy his editor. Chance plays into his hands in the lovely form of Kirk's daughter, Julie, whom he catches swimming in the nude and pumps for information. But she's fiercely loyal to her dad, and may be too attractive for Joe's own good. Saucy.
- published: 08 Jun 2011
- views: 5054
60:55
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling...
published: 01 Nov 2011
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
- published: 01 Nov 2011
- views: 2698
72:22
I Cover the Waterfront (1933)
A 1933 film, based on the book of the same name by Max Miller. The film was directed by Ja...
published: 01 Feb 2013
I Cover the Waterfront (1933)
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
- published: 01 Feb 2013
- views: 568
104:53
Three Came Home Colbert 1955.avi
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in sev...
published: 22 Jul 2012
Three Came Home Colbert 1955.avi
Three Came Home (1955) Colbert
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII.
Director: Jean Negulesco
Writers: Nunnally Johnson (screenplay), Agnes Newton Keith (book)
Stars: Claudette Colbert, Patric Knowles and Florence Desmond
http://www.archive.org/details/ThreeCameHomeClaudetteColbertHankrip
http://imdb.com/title/tt0043041/
- published: 22 Jul 2012
- views: 748
105:04
It Happened One Night
A spoiled heiress falls in love with the cynical newspaperman she enlists to help her esca...
published: 06 Nov 2011
It Happened One Night
A spoiled heiress falls in love with the cynical newspaperman she enlists to help her escape her domineering father 1934, renewed 1962 Columbia Pictures Industries, Inc. All Rights Reserved.
- published: 06 Nov 2011
- views: 0
29:26
Old Gold Comedy Theater - The Palm Beach Story (Claudette Colbert & Robert Young)
The Old Gold Comedy Theater was an NBC anthology series that aired for the single 1944-194...
published: 30 Apr 2012
Old Gold Comedy Theater - The Palm Beach Story (Claudette Colbert & Robert Young)
The Old Gold Comedy Theater was an NBC anthology series that aired for the single 1944-1945 season. It was hosted by comedy star Harold Lloyd, of silent film fame, and featuring some of the biggest names from film and radio. The series was intended as a lighter version of The Lux Radio Theater, featuring half hour shows that were cut-down versions of successful comedy films from the time period. Despite Mr. Lloyd's best efforts, the presence of big-name movie and radio stars and the selection of successful films for scripting, the series did not last, perhaps due to the half-hour format. However, in today's time period they are quiet entertaining.
Tonight's Comedy.... "The Palm Beach Story"
Starring..... Claudette Colbert & Robert Young
Original Air Date: October 29, 1944
Episode Number: 1
Networks: NBC, The AFRS
Also Known As: The Old Gold Comedy Theater
Also Known As: Harold Lloyd Comedy Theater
Series Run: October 29, 1944 to May 10, 1945
Directed By Harold Lloyd
Written For Radio By Earl Baldwin, Joseph Shranck
Hosts: Harold Lloyd and Herbert Marshall [AFRS]
Announcers: Bob Williams, Ben Grauer
-------------------------------------------------------------------------------------------------------------------------------
- published: 30 Apr 2012
- views: 562
57:53
Lux Radio Theater - The Gilded Lily (Claudette Colbert, Fred MacMurray, David Niven, George Sanders)
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blu...
published: 07 Jul 2012
Lux Radio Theater - The Gilded Lily (Claudette Colbert, Fred MacMurray, David Niven, George Sanders)
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Gilded Lily"
Starring: Claudette Colbert, Fred MacMurray, David Niven, George Sanders
Original Air Date: January 11, 1937
Episode Number: 115
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- published: 07 Jul 2012
- views: 401
63:55
Special Feature Debut: The Perfect Clue (1935)
We're happy to be the first to bring this film to YouTube - Enjoy! :)
SYNOPSIS: Headstron...
published: 26 Apr 2012
Special Feature Debut: The Perfect Clue (1935)
We're happy to be the first to bring this film to YouTube - Enjoy! :)
SYNOPSIS: Headstrong socialite Mona Stewart is furious with her widower father's plan to remarry. Feeling ignored, she plans an attention-getting elopement with carouser Ronnie Van Zant, but changes her mind while on a train with him to Niagara Falls. She jumps off at a small town station, hiring recent parolee David Mannerling to drive her to Albany. Mannerling, who was framed and imprisoned for a bank robbery, is on a mission to clear his name, and love-struck Mona decides to stay with him for better or worse. And it does get worse - when Mannerling gets fingered for murder!
STARS: David Manners, Richard 'Skeets' Gallagher and Dorothy Libaire.
TRIVIA: You may recognize Manners from 1931's Dracula. After playing opposite such luminaries as Katherine Hepburn, Barbara Stanwyck and Claudette Colbert, Manners left Hollywood and spent the next 60 years painting, writing novels and doing occasional theater roles. He died in 1998, three years shy of his 100th birthday.
- published: 26 Apr 2012
- views: 508
88:30
Screen Guild Theater: Private Worlds / I Met Him in Paris / Single Crossing
Private Worlds:
Claudette Colbert, Charles Boyer, Isabel Jewell
I Met Him in Paris:
Ann S...
published: 29 Nov 2012
Screen Guild Theater: Private Worlds / I Met Him in Paris / Single Crossing
Private Worlds:
Claudette Colbert, Charles Boyer, Isabel Jewell
I Met Him in Paris:
Ann Sothern, Melvyn Douglas, Robert Young
Single Crossing:
Myrna Loy, Jimmy Stewart
Myrna Loy (August 2, 1905 -- December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. She was originally typecast in exotic roles, often as a vamp or a woman of Asian descent, but her career prospects improved greatly following her portrayal of Nora Charles in The Thin Man (1934).
After appearing with Ramón Novarro in The Barbarian, Loy was cast as Nora Charles in the 1934 film The Thin Man. Director W. S. Van Dyke chose Loy after he detected a wit and sense of humor that her previous films had not revealed. At a Hollywood party, he pushed her into a swimming pool to test her reaction, and felt that her aplomb in handling the situation was exactly what he envisioned for Nora.[18] Louis B. Mayer at first refused to allow Loy to play the part because he felt she was a dramatic actress, but Van Dyke insisted. Mayer finally relented on the condition filming be completed within three weeks, as Loy was committed to start filming Stamboul Quest.[19] The Thin Man became one of the year's biggest hits, and was nominated for the Academy Award for Best Film. Loy received excellent reviews and was acclaimed for her comedic skills. She and her costar William Powell proved to be a popular screen couple and appeared in 14 films together, one of the most prolific pairings in Hollywood history. Loy later referred to The Thin Man as the film "that finally made me... after more than 80 films".
Her successes in Manhattan Melodrama and The Thin Man marked a turning point in her career and she was cast in more important pictures. Such films as Wife vs. Secretary (1936) with Clark Gable and Jean Harlow and Petticoat Fever (1936) with Robert Montgomery gave her opportunity to develop comedic skills. She made four films in close succession with William Powell: Libeled Lady (1936), which also starred Jean Harlow and Spencer Tracy, The Great Ziegfeld (1936), in which she played Billie Burke opposite Powell's Florenz Ziegfeld, the second "Thin Man" film, After the Thin Man with Powell and James Stewart, and the romantic comedy Double Wedding (1937). She also made three more films with Clark Gable. Parnell was a historical drama and one of the most poorly received film of either Loy's or Gable's careers, but their other pairings in Test Pilot and Too Hot to Handle (both 1938) were successes.
During this period, Loy was one of Hollywood's busiest and highest paid actresses, and in 1937 and 1938 she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars that had generated the most revenue in their theaters over the previous year.
http://en.wikipedia.org/wiki/Myrna_Loy
- published: 29 Nov 2012
- views: 34851
61:59
Lux Radio Theater - The Barker (Walter Huston, Claudette Colbert)
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blu...
published: 07 Apr 2012
Lux Radio Theater - The Barker (Walter Huston, Claudette Colbert)
Lux Radio Theater, a long-run classic radio anthology series, was broadcast on the NBC Blue Network (1934-35); CBS (1935-54) and NBC (1954-55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. It became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
Broadcasting from New York, the series premiered at 2:30pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922--24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935 to May 25, 1936, when the show moved to the West Coast. Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
Greetings from Hollywood, Ladies And Gentleman...... "The Barker"
Starring: Walter Huston, Claudette Colbert
Original Air Date: October 28, 1934
Episode Number: 3
------------------------------------------------------------------------------------------------------------------------------
- published: 07 Apr 2012
- views: 253
89:39
Screen Guild Theater: Variety / Jezebel / The Great Man Votes
Variety:
Jack Benny, Claudette Colbert, Edward Arnold, Basil Rathbone, Ernst Lubitsch
Jez...
published: 30 Nov 2012
Screen Guild Theater: Variety / Jezebel / The Great Man Votes
Variety:
Jack Benny, Claudette Colbert, Edward Arnold, Basil Rathbone, Ernst Lubitsch
Jezebel:
Jean Arthur, Walter Pidgeon, Jeffrey Lynn, Mary Nash
The Great Man Votes:
John Barrymore, Thomas Mitchell, Virginia Weidler
Claudette Colbert (September 13, 1903 -- July 30, 1996) was a French-born American actress of stage and film.
Raised in New York City, Colbert began her career in Broadway productions during the 1920s, progressing to film with the advent of talking pictures. She established a successful film career with Paramount Pictures, and is recognized as one of the leading female exponents of screwball comedy. Colbert was the highest paid actress in American cinema during late 1930s, and later became a freelance performer. She won the Academy Award for Best Actress for her comedic performance in It Happened One Night (1934), and also received Academy Award nominations for her dramatic roles in Private Worlds (1935) and Since You Went Away (1944).
Colbert's film career declined in the 1950s, and she retired from film in 1961. She returned to the theater, with the occasional brief appearance on television. Her career spanned more than six decades. Late in life she moved to Barbados, where she died at the age of 92, following a series of strokes.
Colbert received theatre awards from the Sarah Siddons Society, a lifetime-achievement award at the Kennedy Center Honors, and, in 1999, the American Film Institute placed her at number twelve on their "AFI's 100 Years... 100 Stars" list of the "50 Greatest American Screen Legends".
In 1940, Colbert refused a seven-year contract that would have paid her $200,000 a year, as she had found that she could command a fee of $150,000 per film as a freelance artist. With her brother as her manager, Colbert was able to secure roles in prestigious films, and this period marked the height of her earning ability.[26]
During filming of So Proudly We Hail! (1943), a rift occurred between Colbert and co-starr Paulette Goddard. Asked which of her costars she preferred, Goddard had replied, "Veronica (Lake), I think.". Goddard further commented that Colbert "flipped" and "was at Paulette's eyes at every moment," and said that they continued their feud throughout the duration of filming.[33]
Impressed by her performance in this film, but aware of Colbert's sensitivity, David O. Selznick approached her to play the lead role in Since You Went Away (1944). She was initially reluctant to appear as mother of teenaged children, but Selznick admired her marketability.[34] The director, John Cromwell, later noted that Colbert was very professional, but Selznick expressed frustration with some of her demands. He wrote in a memo to Colbert's agent that they had rebuilt several sets "because of her refusal to have the right side of her face photographed, on top of which we have to pay her not only a fabulous salary, but also give her two days off a month, which works out to $5000 every four weeks for doing absolutely nothing, and now she's demanding three.... Tell her there's a war on and we all have to make some sacrifices."[35] Released in June 1944, the film became a substantial success and grossed almost $5 million in the United States. The critic James Agee praised aspects of the film, but particularly Colbert's performance.[36] Colbert received her third Academy Award nomination for Best Actress.
http://en.wikipedia.org/wiki/Claudette_Colbert
- published: 30 Nov 2012
- views: 99758
58:31
A la sombra de los muelles (1933)
DIRECTOR: James Cruze.
REPARTO: Ben Lyon, Claudette Colbert, Ernest Torrence, Hobart Cava...
published: 30 Aug 2012
A la sombra de los muelles (1933)
DIRECTOR: James Cruze.
REPARTO: Ben Lyon, Claudette Colbert, Ernest Torrence, Hobart Cavanaugh, Maurice Black, Purnell Pratt, Harry Beresford, Wilfred Lucas.
GÉNERO: Drama. Romance | Drama romántico.
SINOPSIS: Joe Miller es un periodista del The Standard y su trabajo consiste en cubrir las noticias del puerto. Sospecha que uno de los pescadores está involucrado en un feo asunto de contrabando relacionado con traficantes chinos. Sin embargo, como no tiene pruebas, su jefe no da crédito a sus conjeturas. Pero a Miller se le presenta la ocasión de progresar en su investigación, cuando conoce a Julie, la hija del pescador, y decide cortejarla.
Información obtenida de: http://www.filmaffinity.com.
Más cine clásico en: http://intercinet.com
- published: 30 Aug 2012
- views: 448
25:46
KVIE Arts Showcase - David Adjmi, airport architecture, Gregory Kondos, Tom Otterness
Rediscover the story of the doomed French queen through a Lady Gaga-style prism in David A...
published: 29 Jan 2013
KVIE Arts Showcase - David Adjmi, airport architecture, Gregory Kondos, Tom Otterness
Rediscover the story of the doomed French queen through a Lady Gaga-style prism in David Adjmi's play Marie Antoinette. An iconic image in American art, Washington Crossing the Delaware. The creative process behind the architecture of airports. Celebrated Sacramento artist Gregory Kondos. Watch Tom Otterness bring new life to New York City's subway system with sculpture. Hosted by Rob Stewart. http://www.kvie.org/arts
- published: 29 Jan 2013
- views: 58
Vimeo results:
0:30
MLY knits claudette colbert
part of the mly look book app available on iTunes.
itunes.apple.com/nl/app/mly/id45279...
published: 12 Aug 2011
author: robertanderson
MLY knits claudette colbert
part of the mly look book app available on iTunes.
itunes.apple.com/nl/app/mly/id452792341?mt=8
6:30
Sucedio Una Noche (1934)
It Happened One Night (1934) - Clark Gable, Claudette Colbert....
published: 28 Oct 2012
author: sucedio_una_noche
Sucedio Una Noche (1934)
It Happened One Night (1934) - Clark Gable, Claudette Colbert.
2:58
Breakfast Time
Produced for the International Pancake Film Festival 2011 and starring Meredith Miller, Ma...
published: 13 Dec 2011
author: Chris Hefner
Breakfast Time
Produced for the International Pancake Film Festival 2011 and starring Meredith Miller, Maurice Chevalier and Claudette Colbert.
7:26
A Scene From "It Happened One Night"
This is a scene from the 1934 movie, "It Happened One Night" starring Clark Gable and Clau...
published: 21 Dec 2012
author: Gillian Nelson
A Scene From "It Happened One Night"
This is a scene from the 1934 movie, "It Happened One Night" starring Clark Gable and Claudette Colbert. This was for my Directing class. It got into the Juried Film Exhibition and my actress, Kate Aarness, won an award. Elliot Heerman plays Peter and is spectacular as well. Thanks to them and Darin and Kenzie for their hard work and help!
Youtube results:
21:10
Charlie Chaplin: Pay Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an e...
published: 17 Aug 2011
Charlie Chaplin: Pay Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
- published: 17 Aug 2011
- views: 165735
61:33
Tovarich 1/2
Tovarich di Jacques Deval -1966 - con Rossella Falk,Sergio Fantoni,Elsa Albani,Loris Ghizz...
published: 09 Apr 2012
Tovarich 1/2
Tovarich di Jacques Deval -1966 - con Rossella Falk,Sergio Fantoni,Elsa Albani,Loris Ghizzi,Francesco Sormano,Paolo Falace, Gabriella Gabrielli,Luigi Pavese,Franca Squarciapino,Giorgio Arbeziat,Piero Sammataro,Armando Brancia,Irma de Simone,Adriano Micantoni
- published: 09 Apr 2012
- views: 946
81:51
Abbott and Costello - Jack and the Beanstalk
This ambitious film begins with Jack's descendant and works its way backward to the story...
published: 31 Mar 2011
Abbott and Costello - Jack and the Beanstalk
This ambitious film begins with Jack's descendant and works its way backward to the story of the original young man and the beanstalk. Because the first Jack used that towering vine to steal a giant's magic goose and harp, an entire world was reduced to poverty and a bloodline was cursed--all Robinson men die in their 40s, and the modern-day Jack is around that age. Fortunately, Ondine (Mia Sara), a visitor from the giant's alternative reality, has a plan. If she and Jack can recover the stolen items in time, they may be able to solve both problems. The made-for-TV movie boasts top stars (including Vanessa Redgrave and Jon Voight) and Jim Henson's Creature Shop's nifty special effects. Although children younger than 10 may find the complex narrative confusing and the implied violence scary, Jack and the Beanstalk is an inventive retelling that adds new life to an old story
- published: 31 Mar 2011
- views: 0
58:51
Lux Radio Theater: Clarence (January 24, 1938)
Many of leading names in stage and film appeared in the series, most in the roles they mad...
published: 12 Feb 2013
Lux Radio Theater: Clarence (January 24, 1938)
Many of leading names in stage and film appeared in the series, most in the roles they made famous on the screen, including Abbott and Costello, Jean Arthur, Lauren Bacall, Lucille Ball, Ethel Barrymore, John Barrymore, Lionel Barrymore, Ingrid Bergman, Humphrey Bogart, Charles Boyer, James Cagney, Claudette Colbert, Ronald Colman, Gary Cooper, Joseph Cotten, Joan Crawford, Bing Crosby, Bette Davis, Dan Duryea, Frances Farmer, Errol Flynn, Ava Gardner, Judy Garland, Greer Garson, Janet Gaynor, Cary Grant, Lillian Gish, Charlton Heston, Bob Hope, Vivien Leigh, Ida Lupino, Fredric March, Agnes Moorehead, Paul Muni, Vincent Price, Donna Reed, Ginger Rogers, Mickey Rooney, Frank Sinatra, Ann Sothern, Barbara Stanwyck, James Stewart, Shirley Temple, Gene Tierney, Spencer Tracy, Lana Turner, John Wayne, Jane Wyman, Orson Welles, Loretta Young and Robert Young.
http://en.wikipedia.org/wiki/Lux_Radio_Theatre
- published: 12 Feb 2013
- views: 739
3:17
Claudette Colbert Salutes Frank Capra at the AFI Life Achievement Award
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievem...
published: 03 Feb 2010
Claudette Colbert Salutes Frank Capra at the AFI Life Achievement Award
Claudette Colbert salutes Oscar-winning Director Frank Capra at the 10th AFI Life Achievement Award: A Tribute To Frank Capra (1982).
CONNECT WITH AFI:
http://facebook.com/AmericanFilmInstitute
http://twitter.com/AmericanFilm
http://AFI.com/members
AFI FACEBOOK APP:
http://apps.facebook.com/afiytapp/
- published: 03 Feb 2010
- views: 27439
0:57
Claudette Colbert Wins Best Supporting Actress - Golden Globes 1988
Claudette Colbert wins the Best Supporting Actress in a Series-Mini Series or TV Motion Pi...
published: 07 Dec 2010
Claudette Colbert Wins Best Supporting Actress - Golden Globes 1988
Claudette Colbert wins the Best Supporting Actress in a Series-Mini Series or TV Motion Picture for her performance in "The Two Mrs. Grenvilles." Cybill Shepherd and Tom Selleck present.
License Golden Globe Awards Clips Here:
http://dickclarklicensing.com/Default.aspx?&sk;=DCMA&q;=Golden+Globe+Awards
- published: 07 Dec 2010
- views: 3311
14:33
CLAUDETTE COLBERT - (COMPLETE) KENNEDY CENTER HONORS, 1989
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremon...
published: 04 Jan 2013
CLAUDETTE COLBERT - (COMPLETE) KENNEDY CENTER HONORS, 1989
GREGORY PECK introduces CLAUDETTE COLBERT at the 12th Kennedy Center Honors awards ceremony. DON AMECHE and LYNN REDGRAVE pay tribute to Claudette and sing "You Brought A New Kind Of Love To Me". Note Don Ameche at 9:17 with Claudette in movie. There is a "glitch" at 9:44, where I had to delete a movie clip, due to a copyright issue.
- published: 04 Jan 2013
- views: 913
21:10
Charlie Chaplin: Pay Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an e...
published: 17 Aug 2011
Charlie Chaplin: Pay Day
http://viewster.com - watch MORE free movies on http://www.viewster.com
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.
- published: 17 Aug 2011
- views: 165735
60:55
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling...
published: 01 Nov 2011
I COVER THE WATERFRONT (1933) Claudette Colbert - Ben Lyon
I Cover the Waterfront tells the story of a reporter who investigates a dockland smuggling operation. In the process he becomes romantically involved with the daughter of the man he is investigating. The film was based on a book by the same name, written by Max Miller, a beat reporter in San Diego who covered stories on the city's waterfront.
- published: 01 Nov 2011
- views: 2698
8:45
Jazz Up Your Lingerie - Claudette Colbert & Miriam Hopkins
THE SMILING LIEUTENANT (1931) will be on DVD in February....
published: 20 Nov 2007
Jazz Up Your Lingerie - Claudette Colbert & Miriam Hopkins
THE SMILING LIEUTENANT (1931) will be on DVD in February.
- published: 20 Nov 2007
- views: 19445
72:22
I Cover the Waterfront (1933)
A 1933 film, based on the book of the same name by Max Miller. The film was directed by Ja...
published: 01 Feb 2013
I Cover the Waterfront (1933)
A 1933 film, based on the book of the same name by Max Miller. The film was directed by James Cruze and stars Ben Lyon, Claudette Colbert, Ernest Torrance, and Hobart Cavanaugh.
A reporter investigates a dockland smuggling operation, and, in the process, becomes romantically involved with the daughter of the man he is investigating.
Director:
James Cruze
Writers:
Max Miller (book), Wells Root
Stars:
Ben Lyon, Claudette Colbert, Ernest Torrence
- published: 01 Feb 2013
- views: 568
2:17
"It Happened One Night" The Walls of Jericho (1)
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable....
published: 06 Mar 2007
"It Happened One Night" The Walls of Jericho (1)
Out of the rain.
From the 1934 movie starring Claudette Colbert and Clark Gable.
- published: 06 Mar 2007
- views: 47019
2:32
Sugar - Tribute to Claudette Colbert and Fred MacMurray
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this on...
published: 05 Jan 2011
Sugar - Tribute to Claudette Colbert and Fred MacMurray
Here's my rendition of one of my favourite Peggy Lee / Lee Wiley songs. I recorded this one-take a while ago, but I wasn't sure about it, so I just saved it and decided to listen to it later. Then I forgot all about it ... until today :-)
So here you are, my feeble version of a great classic - with footage from various Colbert-MacMurray movies ... I love them so much - one of my favourite screen couples.
Hope you like it
- published: 05 Jan 2011
- views: 1764
4:41
Veronica Lake, Claudette Colbert, Paulette Goddard
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their...
published: 27 May 2008
Veronica Lake, Claudette Colbert, Paulette Goddard
In these two clips from the 1943 film So Proudly We Hail, three fine actresses strut their stuff but it is the young Lake who becomes quite the scene stealer.
- published: 27 May 2008
- views: 22529
2:02
Claudette Colbert and the Music of Korngold
Eric Wolfgang Korngold's 'Masquerade Hornpipe' from "Much Ado About Nothing", with Gil Sha...
published: 22 Sep 2008
Claudette Colbert and the Music of Korngold
Eric Wolfgang Korngold's 'Masquerade Hornpipe' from "Much Ado About Nothing", with Gil Shaham on violin (1996), and pictures of Claudette Colbert in "Cleopatra," with Henry Wilcoxon, and "The Sign of the Cross" (a great film), with Frederick March.
- published: 22 Sep 2008
- views: 20413
Vimeo results:
0:30
MLY knits claudette colbert
part of the mly look book app available on iTunes.
itunes.apple.com/nl/app/mly/id45279...
published: 12 Aug 2011
author: robertanderson
MLY knits claudette colbert
part of the mly look book app available on iTunes.
itunes.apple.com/nl/app/mly/id452792341?mt=8
6:30
Sucedio Una Noche (1934)
It Happened One Night (1934) - Clark Gable, Claudette Colbert....
published: 28 Oct 2012
author: sucedio_una_noche
Sucedio Una Noche (1934)
It Happened One Night (1934) - Clark Gable, Claudette Colbert.
2:58
Breakfast Time
Produced for the International Pancake Film Festival 2011 and starring Meredith Miller, Ma...
published: 13 Dec 2011
author: Chris Hefner
Breakfast Time
Produced for the International Pancake Film Festival 2011 and starring Meredith Miller, Maurice Chevalier and Claudette Colbert.
7:26
A Scene From "It Happened One Night"
This is a scene from the 1934 movie, "It Happened One Night" starring Clark Gable and Clau...
published: 21 Dec 2012
author: Gillian Nelson
A Scene From "It Happened One Night"
This is a scene from the 1934 movie, "It Happened One Night" starring Clark Gable and Claudette Colbert. This was for my Directing class. It got into the Juried Film Exhibition and my actress, Kate Aarness, won an award. Elliot Heerman plays Peter and is spectacular as well. Thanks to them and Darin and Kenzie for their hard work and help!
Youtube results:
6:37
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
Electronic dance trac...
published: 18 Sep 2012
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
REISSUE: "Cleopatra" by R.S.V.P. - Disco Video Mix by Glenn Rivera
Electronic dance track from 1986 "Cleopatra" by R.S.V.P. gets the Disco Video Mix treatment with the 1934 Cecil B. DeMille classic "Cleopatra" starring Claudette Colbert, Warren William and Henry Wilcoxon.
The disco track was produced by Alexx Antaeus and vocals provided by Erin O'Brien and Laura Salcido.
Featuring scenes from "Cleopatra" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons (based on his idea)
- published: 18 Sep 2012
- views: 237
2:59
Claudette Colbert // Breathe Me
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright...
published: 24 Mar 2012
Claudette Colbert // Breathe Me
Just a video to express my undying and ever growing love for Lily Claudette.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use
- published: 24 Mar 2012
- views: 570
photo: US Army / Edward N. Johnson
30 Mar 2013
SEOUL . North Korea on Saturday declared it was in a “state of war” with South Korea and warned Seoul and Washington that any provocation would swiftly escalate into an all-out nuclear conflict. The United States said it took the announcement “seriously”, but noted it followed a familiar pattern, while South Korea largely dismissed it as an old threat dressed in new clothing ... - AFP. ....(size: 4.4Kb)
photo: AP / Post Courier
30 Mar 2013
A woman is beaten, tortured and set on fire in a public square, in Papua New Guinea , on Feb. 7, 2013. The woman is accused of being a witch by an angry mob, who bound, tortured and set her ablaze in view of hundreds of horrified spectators, a number of them were children. The woman's murder was photographed by some of the bystanders ... Woman burned alive ... Woman accused of witchcraft is burned alive in public flogging. Photo credit. ... ....(size: 5.0Kb)
photo: US Navy / Senior Chief MCS Spike Call
29 Mar 2013
MOSCOW, March 29 (RIA Novosti) – Russia cautioned against aggressive posturing in response to increasingly bellicose North Korean rhetoric on Friday, saying that it could spiral into violence ... Lavrov did not single out any specific country, but urged all sides involved in the Korean standoff to refrain from muscle-flexing ... ....(size: 1.8Kb)
photo: AP / Shin Young-keun, Yonhap
28 Mar 2013
The U.S. military says it dispatched war planes to the Korean peninsula as a show of deterrence directed at North Korea. The strategic B-2 bombers flew 20,000 kilometers non-stop Thursday from an air force base in the central U.S. to an island off the southwestern coast of the Korean peninsula before returning to their home base. The mission was held amid increasing threats by North Korea against South Korea and the United States ... Ms ... ....(size: 2.4Kb)
The Business Review
29 Mar 2013
The 1987 rom com "Roxanne" is playing as part of the 10th installment in the "Something Old, Something New" screening series. . . One stars Steve Martin and Daryl Hannah at the height of their comedic powers, the other French Broadway stars Maurice Chevalier and Claudette Colbert, who’d made their way to Hollywood with the advent of talkies. One is set in a small Pacific Northwest town, the other Vienna ... ... ....(size: 3.8Kb)
The Los Angeles Times
28 Mar 2013
German-born director Ernst Lubitsch, who came to Hollywood in the 1920s, had such a deft hand with comedies that it became known as "the Lubitsch touch.". The American Cinematheque's Aero Theatre in Santa Monica is to celebrate "A Touch of Laughter ... The theater also gets into the Lubitsch spirit Friday and Saturday with his classic 1931 comedy "The Smiling Lieutenant," starring Maurice Chevalier, Claudette Colbert and Miriam Hopkins ... 0....(size: 6.9Kb)
Sydney Morning Herald
15 Mar 2013
MILDRED MANNING, 1914-2013. Mildred Dalton Manning grew up poor on a Georgia farm ... She enlisted in the Army Nurse Corps in 1939 ... The 1943 Hollywood movie So Proudly We Hail, starring Claudette Colbert, Paulette Goddard and Veronica Lake as Army nurses in the Philippines, was based on the memoir I Served on Bataan, by Lt Juanita Redmond, who was among nearly two dozen nurses evacuated from Corregidor shortly before it fell ... Roosevelt ... ....(size: 5.0Kb)
The Providence Journal
14 Mar 2013
wikipedia.org. Pennsylvania Station, circa 1910 * * *. matineeatthebijou.blogspot.com. Demolition of Penn Station, circa 1963 * * *. nyclovesnyc.blogspot.com. Grand Central Terminal at night * * *. ny-architecture.com. Grand Central during Penn Station era * * *. Photo by David Brussat ... Central R.R. * * * ... Claudette Colbert, Judy Garland, Cary Grant and other stars show up along with Bergman and Peck. At first I thought Colbert was Lucille Ball....(size: 5.6Kb)
my SA
12 Mar 2013
Mildred Dalton Manning grew up poor on a Georgia farm. Her mother made all the family clothes on an old sewing machine ... She enlisted in the Army Nurse Corps in 1939 ... “And what I saw was a prison camp.” ... military history ... forces in 1945 ... The 1943 Hollywood movie “So Proudly We Hail,” starring Claudette Colbert, Paulette Goddard and Veronica Lake as Army nurses in the Philippines, was based on the memoir “I Served on Bataan,” by Lt....(size: 5.1Kb)
The New York Times
11 Mar 2013
Mildred Dalton Manning grew up poor on a Georgia farm. Her mother made all the family clothes on an old sewing machine ... Enlarge This Image. Mildred Manning in the 1940s. Connect With Us on Twitter ... Twitter List ... Mrs ... Ms ... The 1943 Hollywood movie “So Proudly We Hail,” starring Claudette Colbert, Paulette Goddard and Veronica Lake as Army nurses in the Philippines, was based on the memoir “I Served on Bataan,” by Lt ... ....(size: 7.4Kb)
San Francisco Chronicle
01 Mar 2013
1980s East Germany. When being friendly immediately raised suspicion ... You scanned the other person ... "Nina is empty ... Screening Monday are "Torch Singer," with Claudette Colbert, and the lurid "Safe in Hell." ... "In the case of 'Torch Singer,' " he says, "it's sort of shocking because we have a vision of Colbert from later films like 'It Happened One Night,' and here, she plays a prostitute, she's a junkie, she's an alcoholic - she's a mess."...(size: 4.2Kb)
The Examiner
27 Feb 2013
Notice how many times Hollywood had the opportunity to make a Cleopatra film and use a woman with an African mother and a Macedonian/Greek father? You have actresses such as Claudette Colbert, Elizabeth Taylor playing Cleopatra, but not African women that more closely resembled Cleopatra or her sister, Arsinoe in restored facial features, actresses ......(size: 9.8Kb)
IMDb
25 Feb 2013
DeMille agreed and cast Claudette Colbert in the lead role of Cleopatra (she had already starred in both Sign of the Cross and Four Frightened People and was about to win the Oscar for It ......(size: 1.0Kb)
Celebrity Café
24 Feb 2013
Never heard of the Oscar curse? It’s the theory that winners of the Best Actress and Best Supporting Actress will lose their significant other following the big win — usually within a year or so. The curse is one that’s as old as time, dating back to 1935 when Claudette Colbert won for It Happened One Night opposite Clark Gable. Colbert and her husband at the time split within 6 months of the award show, according to The Frisky ... 10 ... 9 ... 8....(size: 3.6Kb)
STL Today
23 Feb 2013
In the 1930s and 40s, the Hollywood studios' prodigious output was dominated by so-called wonen's pictures. Actresses such as Bette Davis, Katharine Hepburn, Claudette Colbert. Greer Garson and Joan Crawford got to work with the best directors, and female characters were often strong and independent. After World War II they were relegated to supportive-wife status or the villains in noir potboilers ... The nominees are... ....(size: 2.0Kb)
noodls
21 Feb 2013
(Source. Stephen F Austin State University) SFA theatre students pattern 'Stage Door' characters after 1930s stars. February 21, 2013 - Robbie Goodrich ... Tuesday through Saturday, Feb. 26 through March 2, in W.M. Turner Auditorium ... Friendswood freshman Anna Elizabeth Drake was paired with Ginger Rogers, while Mesquite senior Emily Gibson was matched with Claudette Colbert and La Joya senior Crystal Villarreal with Mary Astor ... (noodl....(size: 6.9Kb)
Indiewire
19 Feb 2013
.. We're less than a week away, and after Sunday night, Oscar talk will be over for another year. Well, until next fall anyway. But there is still plenty of time to honor the nominees, and among them is Jennifer Lawrence, who solidified in 2012 that she has certainly arrived ... Like Barbara Stanwyck in 'The Lady Eve' in 1938, and Claudette Colbert in 'It Happened One Night' in 1934 ... She's flawed and damaged ... ....(size: 2.3Kb)
| Claudette Colbert | |
|---|---|
 Studio publicity portrait |
|
| Born | Emilie Claudette Chauchoin (1903-09-13)13 September 1903 Paris, France |
| Died | 30 July 1996(1996-07-30) (aged 92) Speightstown, Barbados |
| Occupation | Actress |
| Years active | 1923–1987 |
| Spouse | Norman Foster (m.1928-1935; divorced) Dr. Joel Pressman (m.1935-1968; his death) |
Claudette Colbert (/koʊlˈbɛər/; 13 September 1903 – 30 July 1996) was an American actress of stage and film.
Born in Paris, France, and raised in New York City, Colbert began her career in Broadway productions during the 1920s, progressing to film with the advent of talking pictures. She established a successful film career with Paramount Pictures, and was recognized as one of the leading female exponents of screwball comedy. Colbert was the highest paid actress in American cinema during late 1930s, and later became a freelance performer. She won the Academy Award for Best Actress for her comedic performance in It Happened One Night (1934), and also received Academy Award nominations for her dramatic roles in Private Worlds (1935) and Since You Went Away (1944).
Colbert's film career declined in the 1950s, and finished in 1961. Later in life, she returned to theater, except brief appearances in television. Her intermittent career lasted more than six decades. She moved in later life to Barbados, where she died at the age of 92, following a series of strokes.
Colbert received theatre awards from the Sarah Siddons Society, a lifetime-achievement award at the Kennedy Center Honors, and, in 1999, the American Film Institute placed her at number twelve on their "AFI's 100 Years... 100 Stars" list of the "50 Greatest American Screen Legends".[1]
Contents |
Early life[link]
Émilie Claudette Chauchoin[2][3] was born in Saint-Mandé, Seine, France,[4] to Georges Claude Chaucoin, a banker, and Jeanne (née Loew) Chauchoin, a pastry cook.[5][6] After some financial reversals, her family emigrated to New York City in 1906.[6][7] Colbert eventually became a naturalized citizen of the U.S.[8]
Colbert studied at Washington Irving High School, where her speech teacher, Alice Rossetter, encouraged her to audition for a play she had written. Colbert made her stage debut at the Provincetown Playhouse in The Widow's Veil at the age of 15.
She attended the Art Students League of New York, intending to become a fashion designer, but appeared on the Broadway stage in a small role in The Wild Westcotts (1923). Inspired by her experience, Colbert ended her studies and embarked on a stage career in 1925.[9] She adopted the name "Claudette Colbert" as her stage name two years later; she had been using the name Claudette since high school.
Career[link]
Theatre beginnings[link]
After signing a five-year contract with the producer Al Woods, Colbert played ingenue roles on Broadway from 1925 through 1929. During her early years on stage, she fought against being typecast as a maid, and received critical acclaim on Broadway in the production of The Barker (1927), playing a carnival snake charmer. She later reprised this role for the play's run in London's West End.[10] Colbert was noticed by the theatrical producer Leland Hayward, who suggested her for a role in Frank Capra's film For the Love of Mike (1927), now believed to be lost.[11] The film, Colbert's only silent film role, was a box office failure.[5]
Success with Paramount[link]
Colbert continued her stage career, but ultimately signed a contract with Paramount Pictures in 1928. Her first sound film was The Hole in the Wall (1929), co-starring Edward G. Robinson. During production of her second sound film, The Lady Lies (also in 1929), Colbert was appearing nightly in the play See Naples and Die. Her then two plays, Eugene O'Neill's Dynamo and See Naples and Die (1929), were unsuccessful. Her earliest films were produced in New York. In 1930 she was cast in The Big Pond, which was filmed in both English and French, and Colbert's fluency in both languages. She appeared opposite Maurice Chevalier, who commented of her, "She was lovely, brunette, talented and a delicious comedienne, and her English was perfect."[12] While these films were popular with audiences, one of her films from this period, Young Man of Manhattan, her only collaboration with her first husband, Norman Foster, received negative notices. The magazine Picturegoer criticized Foster's performance and noted him as one of Colbert's weakest leading men, writing, "He did not seem to get any sincerity into his love scenes."[12] She also appeared in Mysterious Mr. Parkes, which was a French-language version of Slightly Scarlet for the European market, although it was also screened in the United States.
She co-starred with Fredric March in Manslaughter (1930), and received good reviews for her performance as a rich girl, jailed for vehicular manslaughter.[13] The New York Times wrote, "It cannot be denied that Claudette Colbert—given an even chance—is capable of excellent acting."[14] She was briefly paired with March, and they made four films together, including Dorothy Arzner's Honor Among Lovers (1931). She sang in her role opposite Maurice Chevalier in the Ernst Lubitsch musical The Smiling Lieutenant (1931), which was nominated for an Academy Award for Best Picture, and was acknowledged by critics for her ability to assert herself opposite the more experienced Miriam Hopkins.[12]
Cecil B. DeMille perceived Colbert as a femme fatale, and her films with him included partial nudity. (In the 1932 historical epic, The Sign of the Cross, she was cast opposite Fredric March as the Roman empress Poppaea. Glimpses of her bare breasts and nipples were visible in a scene where her character was bathing in asses' milk,[15] a scene that came to be regarded as an example of Hollywood decadence prior to the enforcement of the Production Code).[16] Later that year, she played in The Phantom President. In 1933, Colbert renegotiated her contract with Paramount to allow her to appear in films for other studios.
Career breakthrough[link]
Colbert was reluctant to appear as the "runaway heiress", Ellie Andrews, in the Frank Capra romantic comedy, It Happened One Night (1934), opposite Clark Gable and released by Columbia Pictures. Behind schedule after several actresses had refused the role, the studio accepted Colbert's demand that she be paid $50,000 and that filming was to be completed within four weeks to allow her to take a planned vacation. Colbert felt that the script was weak, and Capra recalled her dissatisfaction, commenting, "Claudette fretted, pouted and argued about her part... she was a tartar, but a cute one."[17]
The film contained at least one scene that is often cited as representative of the screwball film genre and which became well known, even by people who had not seen the entire film.[18][19] Stranded in the countryside, Colbert demonstrates to an astonished Gable how to hitchhike by displaying her leg. Colbert won the Academy Award for Best Actress for her role. The film was the first to sweep all five major Academy Awards, including Best Picture, Best Director and Best Actor, and was a resounding box-office success. In later life, Colbert reflected upon her misgivings about the film and her lack of confidence when it was completed, commenting, "I left wondering how the movie would be received. It was right in the middle of the Depression. People needed fantasy, they needed splendor and glamour, and Hollywood gave it to them. And here we were, looking a little seedy and riding on our bus".[20]
In Cleopatra (1934), she played the title role opposite Warren William as Julius Caesar, and Henry Wilcoxon as Marc Antony. Thereafter, Colbert did not wish to be portrayed as overtly sexual and later refused such roles.[21] During 1934, Colbert's film career flourished. Of the four films she made that year, three of them—the historical biography, Cleopatra, the romantic drama, Imitation of Life, and the screwball comedy, It Happened One Night—were nominated for Academy Awards for Best Picture.
Popularity established[link]
Colbert's success allowed her to renegotiate her contract, raising her salary. In 1935 and 1936, she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars who had generated the most revenue in their theaters over the previous year.[22] She received a second Academy Award nomination for her role in the hospital drama, Private Worlds (1935).
In 1936, Colbert signed a new contract with Paramount Pictures, which required her to make seven films over a two-year period, and this contract made her Hollywood's highest paid actress.[23] This was followed by a contract renewal in 1938, after which she was reported to be the highest paid performer in Hollywood with a salary of $426,924.[24] Her films during this period include The Gilded Lily (1935) and The Bride Comes Home (1935) with Fred MacMurray, She Married Her Boss (1935) with Melvyn Douglas, Under Two Flags (1936) with Ronald Colman, Maid of Salem (1937), again with MacMurray, Tovarich (1937) with Charles Boyer, Bluebeard's Eighth Wife (1938) with Gary Cooper, Zaza (1939) with Herbert Marshall, Midnight (1939) with Don Ameche, and It's a Wonderful World (1939) with James Stewart.
With her success, Colbert was able to assert control over the manner in which she was portrayed and gained a reputation for being fastidious by refusing to be filmed from her right side. She believed that her face was uneven and photographed better from the left. She learned about lighting and cinematography, and refused to begin filming until she was satisfied that she would be shown to her best advantage. One example of Colbert's determination to control the way she was photographed occurred during the filming of Tovarich in 1937, when one of her favored cameramen was dismissed by the director, Anatole Litvak. After seeing the rushes filmed by the replacement, Colbert refused to continue. She insisted on hiring her own cameraman, and offered to waive her salary if the film went over budget as a result.[23] Drums Along the Mohawk (1939) with Henry Fonda was Colbert's first color film. However, she distrusted the relatively new Technicolor process and feared that she would not photograph well, preferring thereafter to be filmed in black and white.[25]
During this time she began acting for CBS' popular Lux Radio Theater, making numerous appearances between 1935 and 1954.[26]
Continued success[link]
In 1940, Colbert refused a seven-year contract that would have paid her $200,000 a year, as she had found that she could command a fee of $150,000 per film as a freelance artist. With her brother as her manager, Colbert was able to secure roles in prestigious films, and this period marked the height of her earning ability.[23] In the early 1940s she starred in such films as Boom Town (1940), with Clark Gable, Spencer Tracy, and Hedy Lamarr; Arise, My Love (1940), with Ray Milland; and the Preston Sturges comedy The Palm Beach Story (1942), opposite Joel McCrea.
After more than a decade as a leading actress, Colbert began to make a transition to more mature characters, though she was reportedly very sensitive about her age. During filming of So Proudly We Hail! (1943), with Paulette Goddard and Veronica Lake, a rift occurred when Colbert overheard a remark made by Goddard in an interview. Asked which of her costars she preferred, Goddard had replied, "Veronica, I think. After all, we are closer in age." (Actually, Goddard (b. 1910) was 12 years older than Lake (b. 1922) and only 7 years younger than Colbert (b. 1903), making her considerably closer in age to Colbert, so this may have been an intentional slight). Goddard further commented that Colbert "flipped" and "was at Paulette's eyes at every moment," and said that they continued their feud throughout the duration of filming.[27]
Impressed by her performance in this film, but aware of Colbert's sensitivity, David O. Selznick approached her to play the lead role in Since You Went Away (1944). She balked at the prospect of playing a mother of teenaged children, but Selznick believed that she was the best candidate for the role. He valued her marketability, commenting that "even light little comedies with her have never done under a million and a half."[28] Eventually, Colbert accepted. The director, John Cromwell, later noted that Colbert was "level headed, very professional and with no temperament", but Selznick expressed frustration with some of her demands. He wrote in a memo to Colbert's agent that they had rebuilt several sets "because of her refusal to have the right side of her face photographed, on top of which we have to pay her not only a fabulous salary, but also give her two days off a month, which works out to $5000 every four weeks for doing absolutely nothing, and now she's demanding three.... Tell her there's a war on and we all have to make some sacrifices."[29]
Released in June 1944, the film became a substantial success and grossed almost $5 million in the United States. The critic James Agee praised aspects of the film, but particularly Colbert's performance, writing, "Selznick has given Claudette Colbert the richest, biggest role of her career. She rewards him consistently with smooth Hollywood formula acting, and sometimes, in collaboration with (Joseph) Cotten, with flashes of acting that are warmer and more mature."[30] Colbert received her final Academy Award nomination for this performance.
In 1945, Colbert ended her association with Paramount Studios, and continued to free-lance in such films as Guest Wife (1945), with Don Ameche. RKO Studios hired her to appear opposite John Wayne in Without Reservations (1946), with a storyline and setting intentionally inspired by It Happened One Night.[31] Without Reservations grossed $3 million in the U.S.,[32] and the overall popularity of Colbert's films during 1946 led to her making a final appearance in the "Quigley Poll of the Top Ten Money Making Stars".[22] She achieved her last great success opposite Fred MacMurray in the comedy The Egg and I (1947). The film was one of the year's biggest hits, and was later acknowledged as the 12th most profitable American film of the 1940s.[33] Her subsequent films failed to capitalize on her renewed success, with the exception of the suspense film Sleep, My Love (1948) with Robert Cummings.
Film career struggles[link]
Colbert lost two roles originally intended for her, and which were highly successful ventures for each of the actresses who replaced her. She was signed to appear in State of the Union with Gary Cooper, who was replaced by Spencer Tracy. Two days before filming began, Colbert advised the director Frank Capra that she was unable to work beyond 5 p.m. each day, citing "doctor's orders". Capra refused to accommodate her terms and cast Katharine Hepburn in the role.[34]
In 1949, Joseph L. Mankiewicz wrote the part of Margo Channing in All About Eve for Colbert, feeling that she best represented the style of the older actress he envisioned for the part. Mankiewicz admired her "sly wit and sense of class" and felt that she would play the part as an "elegant drunk", who would easily win the support of the audience. Colbert was enthusiastic about the role, and after a succession of noble roles, relished the prospect of playing what she described as a more "feline" character. Before production started, Colbert severely injured her back, while filming a scene for Three Came Home. Although 20th Century Fox postponed the production of All About Eve for two months while she convalesced, she was still not fit enough to take the role and was replaced by Bette Davis. Years later, Mankiewicz commented that he still imagined how effectively Colbert would have embodied the role, and how greatly her portrayal would have differed from Davis's.[35] Colbert described her loss of the role as one of her great regrets, and said that she wished she could have played the role, even if it had been "in a wheelchair".[36]
Her films of this period received mixed reception. The RKO comedy Bride for Sale, in which Colbert was part of a love triangle that included George Brent and Robert Young, was well reviewed and modestly successful. The Secret Fury (1950), also for RKO, was a mystery melodrama that was widely panned, with one critic commenting that Colbert and her co-star Robert Ryan "wandered through the film like two abandoned children in search of their father".[37]
Later career[link]
In the early 1950s, Colbert traveled to Europe and began making fewer films. She appeared in the French film Royal Affairs in Versailles, one of only two films she made in her native country, and a success at the local box-office.[38] Colbert had a supporting role rather than top billing in the film, which also featured a number of well known French cinema performers.[39]
In 1954, after a successful appearance in a television version of The Royal Family, she began acting in various teleplays. From 1954 to 1960, she appeared in the television adaptations of Blithe Spirit in 1956 and The Bells of St. Mary's in 1959. She also guest starred on Robert Montgomery Presents, Playhouse 90, and Zane Grey Theater.
In 1958, she returned to Broadway in The Marriage-Go-Round, for which she was nominated for a Best Actress Tony Award.
By 1955 she had stopped making films, although returned to the screen in Parrish (1961) for Warner Brothers. When the film was released, most of the studio publicity was in support of the young male lead Troy Donahue, who was being groomed by the studio. Colbert, playing the supporting role of Donahue's mother, received little attention, and the film was not a success. She never made another film appearance although the press occasionally referred to upcoming projects that did not exist. Embarrassed, Colbert instructed her agent to stop his attempts to generate interest in her as a film actress. In the late 1960s, a reporter asked her why she had made no more films, to which she replied, "Because there have been no offers."[40]
Her occasional acting ventures were limited to theater and included performances on Broadway and in London in The Irregular Verb to Love (1963); The Kingfisher (1978) in which she co-starred with Rex Harrison, and Frederick Lonsdale's Aren't We All? (1985) also with Rex Harrison.
In 1987, Colbert appeared in a supporting role in the television miniseries The Two Mrs. Grenvilles. The production was a ratings success and was nominated for several awards. Colbert won a Golden Globe and received a nomination for an Emmy Award. This marked her final performance on television, however she continued to act in theater.
Personal life[link]
In 1928, Colbert married Norman Foster, an actor and director, who appeared with Colbert in the Broadway show The Barker. She and her first husband lived apart, never sharing a home together in Hollywood,[41] supposedly because Colbert's mother disliked Foster and would not allow him into their home.[42] Colbert and Foster divorced in 1935.
In December of that year, Colbert married Dr. Joel Pressman, a surgeon at UCLA.[5] The marriage lasted 33 years, until Pressman's death of liver cancer in 1968.
Colbert had one brother, Charles (1898–1971), who used the surname Wendling and served as her agent and business manager for a time.[6] He is credited with negotiating some of her more lucrative contracts in the late 1930s and early 1940s.[12]
Later in life, Colbert claimed she was a staunch Republican and conservative.[43] For years, Colbert divided her time between her apartment in Manhattan and her summer home in Speightstown, Barbados.[5]
Death[link]
After suffering a series of strokes in 1993, she took up permanent residence at her home in Barbados, where she died on July 30, 1996, at age 92.[5] Colbert is buried in the Parish of St. Peter Cemetery in Barbados.[44] Colbert left no immediate family.[5]
The bulk of Colbert's estate was left to a friend, Helen O'Hagan, a retired director of corporate relations at Saks Fifth Avenue, whom Colbert had met in 1961 on the set of the her last film. O'Hagan cared for Colbert following her 1993 strokes.[45]
Contemporary reception[link]
Colbert established one of the most successful film careers of any actress of her generation, and was considered a dependable and bankable star. Her status was reflected in her earnings as one of the best paid performers of the 1930s and 1940s. Colbert once commented that she had sacrificed for the sake of her career. In discussing Colbert's career, her contemporaries confirmed her drive. Irene Dunne commented that she had lacked Colbert's "terrifying ambition" and noted that if Colbert "finished work on a film on a Saturday, she would be looking for a new project by Monday". Hedda Hopper wrote that Colbert placed her career "ahead of everything save possibly her marriage", and described her as the "smartest and canniest" of Hollywood actresses, with a strong sense of what was best for her, and a "deep rooted desire to be in shape, efficient and under control".[27]
Other actors admired Colbert's comic timing; David Niven related in his biography that Gary Cooper was "terrified" at the prospect of working with Colbert in his first comedy, Bluebeard's Eighth Wife, because he considered Colbert to be an expert in the genre. The film gave Niven one of his first significant parts, and he wrote that Colbert took a nurturing role towards him and "was the soul of fun and a most generous performer," although he noted that her insistence that she be filmed only from her left side created difficulties for the cameramen.[46] Her fastidious attitude in this regard became well known, with Doris Day quoted as saying, "God wasted half a face on Claudette". During her heyday, film technicians described the right side of her face as "the dark side of the moon."[27] In a 1930s interview Constance Bennett replied to questions about her own demands, with the comment that Colbert's idiosyncrasies were far more excessive, but Bennett acknowledged that it was an integral part of Colbert's success.[23] Colbert was generally respected for her professionalism, with the New York Times stating that she was known for giving "110 percent" to any project she worked on, and she was highly regarded for learning the technical aspects of studio lighting and cinematography that allowed her to maintain a distinctive film image.[23] In her biography, Myrna Loy stated that Colbert, along with Joan Crawford, "knew more about lighting than the experts did."[47]
Modern critics and film historians note that Colbert demonstrated versatility throughout her career, and played characters that ranged from vamps to housewives, and that encompassed screwball comedy and drama.[23] Pauline Kael wrote that Colbert was widely admired by American audiences from the time of It Happened One Night because she represented "Americans' idealized view of themselves—breezy, likable, sexy, gallant and maybe just a little hare-brained."[18]
Colbert found it difficult to make the transition to playing more mature characters as she approached middle-age and expressed her admiration for Bette Davis. Colbert noted that Davis had made the transition more easily because she had shrewdly played character roles as a young woman.[27] Praised for her sense of style and awareness of fashion, Colbert ensured throughout her career that she was impeccably groomed and costumed. For the 1946 melodrama, Tomorrow is Forever, Jean Louis was hired to create eighteen changes of wardrobe for her.[48]
When Colbert received a Kennedy Center Honor, her fashion sense was referred to with a quotation from Jeanie Basinger in The International Dictionary of Films and Filmmakers: "[Her] glamour is the sort that women attain for themselves by using their intelligence to create a timeless personal style."[49] The writer A. Scott Berg described Colbert as one of Paramount Studio's greatest assets, as she had "proved deft in all genres" and had "helped define femininity for her generation with her chic manner."[50]
She is cited as a leading female exponent of screwball comedy, along with such actresses as Jean Arthur, Irene Dunne, Carole Lombard, Myrna Loy and Rosalind Russell. In her comedy films, she invariably played shrewd and self-reliant women, but unlike many of her contemporaries, Colbert rarely engaged in physical comedy. Her characters were more likely to be observers and commentators.[51]
Filmography[link]
Further information: Claudette Colbert chronology of performances
Awards and honors[link]
Colbert was nominated for the Academy Award for Best Actress for three films, It Happened One Night (1935), Private Worlds (1936), and Since You Went Away (1945), winning for It Happened One Night. In addition, she won a Golden Globe Award for Best Supporting Actress in a Series, Mini-series, or Motion Picture Made for Television for her role in The Two Mrs. Grenvilles (1988), and was nominated for an Emmy Award for the same.
Claudette Colbert remains the only actress in the history of cinema to star in three films in the same year to be nominated for Best Picture Academy Award, those films being Cleopatra, Imitation of Life, and It Happened One Night which were all made in 1934.[citation needed] In 2002, John C. Reilly starred in The Hours, Chicago, and Gangs of New York, each of which was similarly nominated for Best Picture.
In 1980, Colbert was awarded the Sarah Siddons Award for her theatre work.[52] In 1984, Colbert was awarded the Gala Tribute award by the Film Society of Lincoln Center.[53] The same year, a building at the old Kaufman Astoria Studios in New York, where she had made ten films in early career, was renamed in her honor.[54] In 1985, Colbert was awarded a Drama Desk Special Award.[55]
In 1989, Colbert received Kennedy Center Honors for lifetime achievement.[49] In 1990, Colbert was honored with the San Sebastián International Film Festival Donostia Lifetime Achievement Award.[56]
For her contribution to the motion picture industry, Claudette Colbert has a star on the Hollywood Walk of Fame at 6812 Hollywood Blvd.[57]
References[link]
- ^ "AFI's 100 Years, 100 Stars, American's Greatest Legends" (PDF). American Film Institute. http://www.afi.com/Docs/tvevents/pdf/stars50.pdf. Retrieved 2008-01-18.
- ^ Larousse Encyclopedia : Claudette Colbert[dead link]
- ^ "Claudette Colbert" (in French). lesgensducinema.com. http://www.lesgensducinema.com/affiche_acteur.php?mots=claudette+colbert&nom_acteur=COLBERT%20Claudette&ident=28925&debut=0&record=0&from=ok.
- ^ COLBERT, Claudette. British Film Institute. BFI.org.uk.
- ^ a b c d e f Pace, Eric (1996-07-31). "Claudette Colbert, Unflappable Heroine of Screwball Comedies, is Dead at 92". The New York Times: p. 2. http://query.nytimes.com/gst/fullpage.html?res=9802E6D91439F932A05754C0A960958260.
- ^ a b c Quirk, Claudette Colbert, p. 5.
- ^ Ellis Island History: Some Were Destined For Fame. Ellis Island National Park. Accessed: 19 January 2008.
- ^ "Famous Naturalized U.S. Citizens". http://72.14.235.104/search?q=cache:eG6fWFfBoEIJ:www.nclr.org/files/48390_file_naturalized_US_citizens_factsheet.pdf+Claudette+Colbert+naturalized+citizen&hl=en&ct=clnk&cd=6. Retrieved 2007-10-30.
- ^ Claudette Colbert — Filmography — New York Times.
- ^ Basinger, Jeanine; Audrey E. Kupferberg. "Claudette Colbert — Films as actress:". http://www.filmreference.com/Actors-and-Actresses-Ca-Co/Colbert-Claudette.html. Retrieved 2007-12-03.
- ^ Classic Film Guide.
- ^ a b c d Shipman, The Great Movie Stars, p. 113.
- ^ Manslaughter at AllRovi
- ^ Quirk, p. 64 citing The New York Times.
- ^ Springer, p. 62.
- ^ Edwards, p. 121.
- ^ Hirschnor, p. 87.
- ^ a b Kael, p. 285.
- ^ Edmonds and Mimura, p. 48.
- ^ Harris, pp. 112–114.
- ^ Chaneles, p. 97.
- ^ a b "The 2006 Motion Picture Almanac, Top Ten Money Making Stars". Quigley Publishing Company. http://www.quigleypublishing.com/MPalmanac/Top10/Top10_lists.html. Retrieved 2006-08-18.
- ^ a b c d e f Shipman, The Great Movie Stars, p. 115.
- ^ Karney, p. 53.
- ^ Finler, p. 24.
- ^ "Audio Classics Archive Radio Logs: Lux Radio Theater". http://www.audio-classics.com/lluxradio.html. Retrieved 2007-11-23.
- ^ a b c d Shipman, Movie Talk, p. 126.
- ^ Haver, pp. 338–340.
- ^ Haver, pp. 340–341.
- ^ Haver, p. 342.
- ^ Jewell and Harbin, p. 211.
- ^ "Without Reservations: Business and Box Office Data." IMDB.com.
- ^ Finler, p. 216.
- ^ Anderson, pp. 191–192.
- ^ Staggs, pp. 59–60.
- ^ Chandler, p. 184.
- ^ Jewell and Harbin, p. 248.
- ^ IMDB Royal Affairs at Versailles: Business and Box Office Data
- ^ Soares, Andre (January 12, 2005). "Best Films – 1954". Alternative Film Guide. http://www.altfg.com/blog/best-films-of/best-films-of-1954/.
- ^ Shipman, The Great Movie Stars, p. 117.
- ^ Claudette Colbert at the TCM Movie Database
- ^ DiLeo, John (October 5, 2008-10-05). "Star Light, Star Bright". Washington Post: p. BW08. http://www.washingtonpost.com/wp-dyn/content/story/2008/10/03/ST2008100302864.html. Retrieved 2008-10-08.
- ^ Granger, Derek (1996-08-02). "Obituary: Claudette Colbert". The (London) Independent.
- ^ Claudette Colbert at Find A Grave.
- ^ Rush, George, and Salvatore Arena. "Colbert Leaves 3.5M Estate to a Life-Long Pal", New York Daily News, 9 August 1996.
- ^ Niven, p. 286.
- ^ Kotsilibas-Davis and Loy, p. 119.
- ^ Jewell and Harbin, p. 209.
- ^ a b "The Kennedy Center, Biography of Claudette Colbert". http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entity_id=3708&source_type=A. Retrieved 2008-01-19.
- ^ Berg, p. 190.
- ^ DiBattista, p. 210.
- ^ "Sarah Siddons Society Awardees". http://www.sarahsiddonssociety.org/html/Awardees.html. Retrieved 2008-01-18.
- ^ Robertson, Nan. "Film Society of Lincoln Center". New York Times. http://topics.nytimes.com/top/reference/timestopics/organizations/f/film_society_of_lincoln_center/index.html?query=COLBERT,%20CLAUDETTE&field=per&match=exact. Retrieved 2008-01-18.
- ^ Garcia, Gary D. (16 April 1984). "Time: People". Time Magazine. http://www.time.com/time/magazine/article/0,9171,954273,00.html. Retrieved 2007-02-11.
- ^ Drama Desk Award winners.
- ^ "Archive of awards, juries and posters". San Sebastián International Film Festival. http://www.sansebastianfestival.com/2007/in3/premios10_1990.php. Retrieved 2008-01-18.
- ^ "Hollywood Chamber of Commerce, Walk of Fame, Claudette Colbert". http://www.tibp.com/cgi-bin/foxweb.dll/wlx/dir/wlxdirectory?cc=WOFAME. Retrieved 2008-01-18.
Bibliography[link]
- Anderson, Christopher (1997). An Affair to Remember, The Remarkable Love Story of Katharine Hepburn and Spencer Tracy. William Morrow and Co. Inc. ISBN 0-688-15311-9
- Berg, A. Scott (1989). Goldwyn. Sphere Books. ISBN 0-7474-0593-X
- Chandler, Charlotte (2006). The Girl Who Walked Home Alone, Bette Davis, A Personal Biography. Simon & Schuster. ISBN 0-7432-6208-5
- Chaneles, Sol (1974). The Movie Makers. Octopus Books. ISBN 07064038708
- DiBattista, Maria (2001). Fast Talking Dames. Yale University Press. ISBN 0-300-09903-7
- Edmonds, I. G. and Mimura, Reiko (1980). The Oscar Directors. Tantivy Press. ISBN 0-498-02444-X
- Edwards, Anne (1988). The DeMilles, An American Family. William Collins, Sons & Co. ISBN 0-00-215241-X
- Finler, Joel W. (1989). The Hollywood Story: Everything You Always Wanted to Know About the American Film Industry But Didn't Know Where to Look. Pyramid Books. ISBN 1-85510-009-6
- Harris, Warren G. (2002). Clark Gable, A Biography. Aurum Press. ISBN 1-85410-904-9
- Haver, Ronald (1980). David O. Selznick's Hollywood. Bonanza Books, New York. ISBN 0-517-47665-7
- Hirschnor, Joel (1983). Rating the Movie Stars for Home Video, TV and Cable. Publications International Limited. ISBN 0-88176-152-4
- Jewell, Richard B. and Harbin, Vernon (1982). The RKO Story, Octopus Books. ISBN 0-7064-1285-0
- Kael, Pauline (1984). 5001 Nights at the Movies. Zenith Books. ISBN 0-09-933550-6
- Karney, Robyn (1984). The Movie Stars Story, An Illustrated Guide to 500 of the World's Most Famous Stars of the Cinema. Octopus Books. ISBN 0-7064-2092-6
- Kotsilibas-Davis and Loy, Myrna (1988). Being and Becoming. Donald I. Fine Inc. ISBN 15566111010
- Niven, David (1976). Bring on the Empty Horses. Putnam. ISBN 03991154200
- Quirk, Lawrence J. (1974). Claudette Colbert An Illustrated Biography. Crown Publishers. ISBN 0-517-55678-2
- Shipman, David (1970). The Great Movie Stars: The Golden Years. Bonanza Books, New York. Library of Congress Catalogue Card Number 78-133803
- Shipman, David (1988). Movie Talk. St. Martin's Press. ISBN 0-312-03403-2
- Springer, John (1978). They Had Faces Then, Annabella to Zorina, the Superstars, Stars and Starlets of the 1930s. ISBN 0-8065-0657-1
External links[link]
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Wikimedia Commons has media related to: Claudette Colbert |
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Wikiquote has a collection of quotations related to: Claudette Colbert |
- Claudette Colbert at the Internet Broadway Database
- Claudette Colbert at the Internet Movie Database
- Claudette Colbert at the TCM Movie Database
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||||||||
| Persondata | |
|---|---|
| Name | Colbert, Claudette |
| Alternative names | Chauchoin, Émilie Claudette |
| Short description | Actress |
| Date of birth | September 13, 1903 |
| Place of birth | Paris, France |
| Date of death | July 30, 1996 |
| Place of death | Speightstown, Barbados |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
For other people named Frank Capra, see Frank Capra (disambiguation).
| Frank Capra | |
|---|---|
 |
|
| Born | Francesco Rosario Capra (1897-05-18)May 18, 1897 Bisacquino, Sicily, Italy |
| Died | September 3, 1991(1991-09-03) (aged 94) La Quinta, California, U.S. |
| Occupation | Director, producer, writer |
| Years active | 1922–1961 |
| Spouse | Helen Howell (1923-1927) Lu Capra (1932-1984); 4 children |
Frank Russell Capra (May 18, 1897 – September 3, 1991) was a Sicilian-born American film director. He emigrated to the U.S. when he was six, and eventually became a creative force behind major award-winning films during the 1930s and 1940s. His rags-to-riches story, having worked his way through college, has led film historians like Ian Freer to consider Capra the "American dream personified."[1]
Capra became one of America's most powerful directors during the 1930s, winning three Oscars as Best Director. Among his leading films was It Happened One Night (1934), which became the first film to win all five top Oscars, including Best Picture. Other leading films included Mr. Deeds Goes to Town (1936), Lost Horizon (1937), You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), Arsenic and Old Lace (1944), It's a Wonderful Life (1946) and State of the Union (1948). Because of his early fame as a director, his name was listed "above the title" of his films when they were publicized. People "flocked to the theaters" during the 1930s and 1940s to see films directed by Frank Capra.[2]
After World War II, however, Capra's career declined as his subjects were more out of tune with the mood of audiences. Critics described his films as being "simplistic" or "overly idealistic". However, the public nonetheless loved his films, especially during the Great Depression years, when audiences needed uplifting themes of inspiration. His pictures let viewers witness "a triumph of the individual over corrupt leaders", and experience "inherent qualities of kindness and caring for others."[2] Most of his best works have been revived, and are today considered timeless fables filled with love and respect for the struggles of the common man.
Outside of directing, Capra was also active within the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Pictures Arts and Sciences, worked alongside the Screenwriters Guild, and was head of the Directors Guild of America. He enlisted in the Army during World War I after graduating college, and again in World War II at the peak of his career, when he directed 11 documentary war films for the U.S. government's Why We Fight series, winning an Academy Award for one and a Distinguished Service Medal when the war ended.
Contents |
Early life[link]
Capra was born Francesco Rosario Capra in Bisacquino, Sicily, a village near Palermo. He was the youngest of seven children of Salvatore Capra, a fruit grower, and the former Sarah Nicolas. Capra's family was Roman Catholic.[3]
The name "Capra", notes Capra's biographer Joseph McBride, represents his family's closeness to the land, and means "she-goat".[4] He notes that the English word "capricious" derives from it, "evoking the animal's skittish temperament", adding that "the name neatly expresses two aspects of Frank Capra's personality: emotionalism and obstinacy."[4]
Capra emigrated to the United States with his family in 1903, when he was six. They were placed in the steerage section of the boat, which was the cheapest way to gain passage. For Capra, the journey, which took 13 days, remained in his mind for the rest of his life as one of his worst experiences:
You're all together—you have no privacy. You have a cot. Very few people have trunks or anything that takes up space. They have just what they can carry in their hands or in a bag. Nobody takes their clothes off. There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be.[5]
However, Capra remembers the ship's arrival into New York Harbor, where he saw "a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter." He recalls his father's exclamation at the sight:
Cicco, look! Look at that! That's the greatest light since the star of Bethlehem! That's the light of freedom! Remember that. Freedom.[6]
They eventually settled in an Italian ghetto in Los Angeles, where Capra's father worked as a fruit picker and young Capra sold newspapers after school for the next 10 years, until he graduated high school. Instead of finding full-time employment after graduating, as his parents wanted, he refused to end his education and instead enrolled in college. He worked his way through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs, which included working at the campus laundry facility, waiting tables, and cleaning engines at a local power plant. He studied chemical engineering and graduated in the spring of 1918.[7] Capra later wrote that his college education had "changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person."[8]
World War I and after[link]
Soon after graduating college, Capra enlisted in the army as a second lieutenant, having already worked on the campus ROTC. In the army, he taught mathematics to artillerymen at Fort Scott, San Francisco. His father died the following year, 1919. In the army, Capra caught the Spanish flu, and was later medically discharged to return home to live with his mother. He became a naturalized U.S. citizen in 1920, taking the name Frank Russell Capra.[8]
Living at home with his siblings and mother, Capra was the only member of the family with a college education, yet was the only one who remained chronically unemployed. After a year without work, seeing how his siblings all had steady jobs of some sort, he felt he was a failure, which led to bouts of depression and abdominal pains, later discovered to have been an undiagnosed burst appendix.[8]
After recovering at home, Capra then moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering around the Western U.S. To support himself, he took odd jobs working on farms, as a movie extra, playing poker, or selling local oil well stocks. When he was 25, he took a sales job selling books written and published by American philosopher, Elbert Hubbard.[8]
Capra recalled that he "hated being a peasant, being a scrounging new kid trapped in the Sicilian ghetto of Los Angeles ... All I had was cockiness—and let me tell you that gets you a long way."[9]
Early career[link]
Silent film comedies[link]
During his book sales efforts, and nearly broke, Capra read a newspaper article about a new movie studio opening up in San Francisco. Capra phoned them saying he had moved from Hollywood, and falsely implied that he had some experience in the budding film industry. Capra's only prior exposure to films, however, was in 1915 while attending Manual Arts High School. The studio's founder, Walter Montague, was nonetheless impressed by Capra and offered him $75 to direct a one-reel silent film. Capra, with the help of a cameraman he knew, made the film in two days and cast it with only amateurs.[8]
After that first serious job in films, Capra then began focusing his efforts to finding similar openings in the film industry. He took another position with another minor San Francisco studio, and subsequently received an offer to work with producer Harry Cohn, at his new studio in Los Angeles. During this period, he worked as a property man, film cutter, title writer, and assistant director.[8]
Capra later became a gag writer for Hal Roach's Our Gang series and then writer for slapstick comedy director, Mack Sennett, where he began writing scripts for comedian Harry Langdon. According to Capra, it was he who invented Langdon's character as an innocent fool living in a "naughty world."[8]
When Langdon eventually left Sennett in order to make longer, feature-length movies with First National Studios, he took Capra with him to be his personal writer and director. They made three feature films together during 1926 and 1927, all of them becoming successful with the critics and the public. The films made Langdon a recognized comedian in the caliber of Charlie Chaplin and Buster Keaton. Capra and Langdon later had a falling out, and Capra was fired. During the following years, however, Langdon's films went into decline without Capra's assistance. After splitting with Langdon, Capra directed a picture for First National, For the Love of Mike, (1927). This was a silent comedy about three bickering godfathers, a German, a Jew, and an Irishman, starring a budding actress, Claudette Colbert. The movie was considered a failure, however.[8]
Columbia Pictures[link]
- Early sound films
Capra returned to Harry Cohn's studio, now renamed Columbia Pictures, which had then been producing short films and two-reel comedies used as "fillers", which played between main features. Columbia was one of the many start-up studios located on "Poverty Row" in Los Angeles, and like the others, was unable to compete with the larger studios which often had their own production facilities, distribution and theaters. Cohn rehired Capra in 1928 to help his studio produce new, full-length feature films, in order to compete against the major studios.[8] By the end of his career, Capra would eventually do twenty films for Cohn's studio, including all of his classics.
Fortunately, because of Capra's engineering education, he adapted more easily to the new sound technology than most directors. He welcomed the transition to sound, recalling, "I wasn't at home in silent films."[8] Most of the other studios were unwilling to invest in the new sound technology, assuming it was a passing fad. There were many in Hollywood who considered sound a threat to the industry and hoped it would pass quickly. However, McBride notes that "Capra was not one of them." When he saw Al Jolson singing in The Jazz Singer in 1927, considered the first talkie, Capra recalled his reaction:
It was an absolute shock to hear this man open his mouth and a song come out of it. It was one of those once-in-a-lifetime experiences.[10]
Few of the studio heads or crew were aware of Capra's engineering background until he began directing The Younger Generation in 1929. The chief cinematographer who worked with Capra on a number of films, was likewise unaware. He describes this early period in sound for film:
It wasn't something that came up. You had to bluff to survive. When sound first came in, nobody knew much about it. We were all walking around in the dark. Even the sound man didn't know much about it. Frank lived through it. But he was quite intelligent. He was one of the few directors who knew what the hell they were doing. Most of your directors walked around in a fog—they didn't know where the door was.[11]
During his first year with Columbia, Capra directed nine films, some of which became highly successful. After the first few, Harry Cohn said "it was the beginning of Columbia making a better quality of pictures."[12] According to Barson, "Capra became ensconced as Harry Cohn's most trusted director."[13] His films soon established Capra as a "bankable" director known throughout the industry, and Cohn raised Capra's initial salary of $1,000 per film to $25,000 per year.[8] Capra also directed a film for MGM during this period, but soon realized he "had much more freedom under Harry Cohn's benevolent dictatorship", where Cohn also put Capra's "name above the title" of his films, a first for the movie industry.[14] Capra wrote of this period and recalled the confidence that Cohn placed in Capra's vision and directing:
I owed Cohn a lot—I owed him my whole career. So I had respect for him, and a certain amount of love. Despite his crudeness and everything else, he gave me my chance. He took a gamble on me.[15]
Capra directed his first "real" sound picture, The Younger Generation, in 1929. It was a rags-to-riches romance comedy about a Jewish family's upward mobility in New York City, with their son later trying to deny his Jewish roots in order to keep his rich gentile girlfriend. According to Capra biographer Joseph McBride, Capra "obviously felt a strong identification with the story of a Jewish immigrant who grows up in the ghetto of New York... and feels he has to deny his ethnic origins to rise to success in America." Capra, however, denied any connection of the story with his own life.
Nonetheless, McBride insists that The Younger Generation "abounds with parallels to Capra's own life." McBride notes the "devastatingly painful climactic scene", where the young social-climbing son, embarrassed when his wealthy new friends first meet his parents, passes his mother and father off as house servants. That scene, notes McBride, "echoes the shame Capra admitted feeling toward his own family as he rose in social status."[16]
During his years at Columbia, Capra worked often with screenwriter Robert Riskin (husband of Fay Wray,) and cameraman Joseph Walker.[8] In many of Capra's films, the wise-cracking and sharp dialogue was often written by Riskin, and he and Capra went on to become Hollywood's "most admired writer-director team."[8]
Film career (1934-1941)[link]
[edit] It Happened One Night (1934)
File:Capra-Cohn-39.jpg
Receiving his first Oscar with producer Harry Cohn, 1935
Capra's films in the 1930s enjoyed immense success at the Academy Awards. It Happened One Night (1934) became the first film to win all five top Oscars (Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay). Written by Robert Riskin, it is one of the first of the "screwball comedies", and with its release during the period of the Great Depression, critics considered it an escapist story and a variation of the "American Dream". The film established the names of Capra, Columbia Pictures, stars Claudette Colbert and Clark Gable, in the movie industry. The film has been called "picaresque", and was one of the earliest "road movies" which inspired variations on its theme by other filmmakers.[8]
The film was followed by Broadway Bill (1934), another screwball comedy, this one about horse racing. The film became a turning point for Capra, however, as he began to conceive of an additional dimension to his movies. He started using his films to convey messages to the public. Capra explains his new thinking:
My films must let every man, woman, and child know that God loves them, that I love them, and that peace and salvation will become a reality only when they all learn to love each other.[8]
This added goal was inspired after meeting with a Christian Scientist friend who told him to view his talents in a different way:
The talents you have, Mr. Capra, are not your own, not self-acquired. God gave you those talents; they are His gifts to you, to use for His purpose.[8]
Capra began to embody messages in his subsequent films, many of which conveyed "fantasies of goodwill." The first of those was Mr. Deeds Goes to Town (1936), for which Capra won his second Best Director Oscar. Critic Alistair Cooke observed that Capra was "starting to make movies about themes instead of people."[8]
In 1938 he won his third Director Oscar in five years for You Can't Take It with You, which also won Best Picture. In addition to his three directing wins, Capra received directing nominations for three other films (Lady for a Day, Mr. Smith Goes to Washington, and It's a Wonderful Life). On May 5, 1936, Capra was also host of the 8th Academy Awards ceremony.
[edit] Mr. Smith Goes to Washington (1939)
Although It's a Wonderful Life is his most well-known film, Friedman notes that it was Mr. Smith Goes to Washington (1939) which most represented the "Capra myth." That film expressed Capra's patriotism more than any of his others, and "presented the individual working within the democratic system to overcome rampant political corruption."[2]
The film, however, became Capra's most controversial. In his research before filming, he was able to stand close to President Roosevelt during a press conference after the recent acts of war by Germany in Europe. Capra recalls his fears:
And panic hit me. Japan was slicing up the colossus of China piece by piece. Nazi panzers had rolled into Austria and Czechoslovakia; their thunder echoed over Europe. England and France shuddered. The Russian bear growled ominously in the Kremlin. The black cloud of war hung over the chancelleries of the world. Official Washington from the President down, was in the process of making hard, torturing decisions. "And here was I, in the process of making a satire about government officials; ... Wasn't this the most untimely time for me to make a film about Washington?"[17]
When the filming was completed, the studio sent preview copies to Washington. Joseph P. Kennedy, U.S. ambassador to the UK, wrote to Columbia head Harry Cohn, "Please do not play this picture in Europe."[2] Politicians were concerned about the potential negative impact the film might have on the morale of the allies, as World War II had begun. Kennedy wrote to president Roosevelt that "in foreign countries this film must inevitably strengthen the mistaken impression that the United States is full of graft, corruption and lawlessness."[18] Many studio heads agreed nor did they want negative feelings about Hollywood to be instilled in political leaders.[19]
Nonetheless, Capra's vision about the film's significance was clear:
The more uncertain are the people of the world, the more their hard-won freedoms are scattered and lost in the winds of chance, the more they need a ringing statement of America's democratic ideals. The soul of our film would be anchored in Lincoln. Our Jefferson Smith would be a young Abe Lincoln, tailored to the rail-splitter's simplicity, compassion, ideals, humor, and unswerving moral courage under pressure.[20]
Capra pleaded with Cohn to allow the film to be distributed and remembers the intensity of their decision making:
Harry Cohn paced the floor, as stunned as Abraham must have been when the Lord asked him to sacrifice his beloved son Isaac.[21]
Cohn and Capra chose to ignore all the negative publicity and demands, and released the film as planned. It was later nominated for 11 Academy Awards. It failed to win any Oscars partly because of the number of other major pictures that were nominated that year, including The Wizard of Oz and Gone with the Wind.[13] Hollywood columnist Louella Parsons called it a "smash patriotic hit" and most other critics agreed, seeing that audiences left the theaters with "an enthusiasm for democracy" and "in a glow of patriotism."[18]
The significance of the film's message was established further in France, shortly after World War II began. When the French public were asked to select which film they wanted to see most, having been told by the Vichy government that soon no more American films would be allowed in France, the overwhelming majority chose it over all others. To France, soon to be invaded and occupied by Nazi forces, the film most expressed the "perseverance of democracy and the American way."[2]
[edit] Meet John Doe (1941)
In 1941 Capra directed Meet John Doe (1941), considered by some to be Capra's most controversial movie. The film's hero, played by Gary Cooper, is a former baseball player now bumming around lacking any goals. He is selected by a news reporter to represent the "common man", used to capture the imagination of ordinary Americans. The film was released shortly before America became involved in World War II, and citizens were still in an isolationist mood. According to some historians, the film was made to convey a "deliberate reaffirmation of American values", although ones which seemed uncertain with respect to the future.
Film author Richard Glazer speculates that the film may have been autobiographical, "reflecting Capra's own uncertainties." Glazer describes how "John's accidental transformation from drifter to national figure parallels Capra's own early drifting experience and subsequent involvement in movie making ... Meet John Doe, then, was an attempt to work out his own fears and questions."[8]
World War II years: (1941-1945)[link]
Enlisting after Pearl Harbor[link]
Within four days after the Japanese Attack on Pearl Harbor on December 7, 1941, Capra quit his highly successful directing career in Hollywood and enlisted as a major in the United States Army. He also gave up his presidency of the Screen Directors Guild. Being 44 years of age, he was not asked to enlist, but, notes Friedman, "Capra had an intense desire to prove his patriotism to his adopted land."[2]
Capra recalls some of his personal reasons for enlisting:
I had a guilty conscience. In my films I championed the cause of the gentle, the poor, the downtrodden. Yet I had begun to live like the Aga Khan. The curse of Hollywood is big money. It comes so fast it breeds and imposes its own mores, not of wealth, but of ostentation and phony status.[22]
[edit] Why We Fight series
During the next four years of World War II, he directed or co-directed eleven documentary war information films. Capra's job was to head a special section on morale in order to explain to soldiers "why the hell they're in uniform", writes Capra, and were not "propaganda" films like those created by the Nazis and Japan.
Capra was assigned to work directly under Chief of Staff George C. Marshall, the most senior officer in command of the Army, who would later create the Marshall Plan and be awarded a Nobel Peace Prize. Marshall chose to bypass the normal documentary film-making department, Signal Corps, as he felt they were not capable of producing "sensitive and objective troop information films." One colonel explained the importance of these future films to Capra:
You were the answer to the General's prayer ... You see, Frank, this idea about films to explain "Why" the boys are in uniform is General Marshall's own baby, and he wants the nursery right next to his Chief of Staff's office.[23]
During his first meeting with General Marshall, Capra was told his mission:
Now, Capra, I want to nail down with you a plan to make a series of documented, factual-information films—the first in our history—that will explain to our boys in the Army why we are fighting, and the principles for which we are fighting ... You have an opportunity to contribute enormously to your country and the cause of freedom. Are you aware of that, sir?[24]
The completed films included the seven-episode Why We Fight series—consisting of Prelude to War (1942), The Nazis Strike (1942), The Battle of Britain (1943), Divide and Conquer (1943), The Battle of Russia (1943), The Battle of China (1944)— plus Know Your Enemy: Japan (1945), Tunisian Victory (1945), and Two Down and One to Go (1945) that do not bear the Why We Fight banner; as well as the African-American related, The Negro Soldier (1944).
After completion of the first few documentaries, government officials and Army staff found them to be powerful messages and excellent presentations of why it was necessary for the U.S. to fight in the war. All footage used came from military and government sources, many newsreels secretly found from enemy sources during earlier years. Animated charts were created by Walt Disney and his animators. A number of Hollywood composers wrote the background music, including Alfred Newman and Russian-born composer Dimitri Tiomkin. After the first completed film was viewed by General Marshall along with Army staff, Marshall approached Capra: "Colonel Capra, how did you do it? That is a most wonderful thing."[25]
Officials made efforts to see that the films were also shown in theaters throughout the U.S. They were translated into French, Spanish, Portuguese, and Chinese for use by other countries. Winston Churchill ordered that all of them be shown to the British public in theaters.[26] They are still often broadcast on television and used as a teaching aid.[2]
The Why We Fight series is widely considered a masterpiece of war information documentaries, and won an Academy Award. Prelude to War won the 1942 Academy Award for Documentary Feature. When his career ended, Capra regarded these films as his most important works. As a colonel, he received the Distinguished Service Medal in 1945.
Post-war career (1946-1961)[link]
[edit] It's a Wonderful Life (1946)
After the war ended, Capra, along with directors William Wyler and George Stevens, founded Liberty Films. Their studio became the first independent company of directors since United Artists in 1919 whose goal was to make films without interference by studio bosses. However, the only picture completed by the studio was It's a Wonderful Life (1946).[9] It was considered a box office disappointment, but was nonetheless nominated for five Academy Awards.
The American Film Institute named it one of the best films ever made, putting it at the top of the list of AFI's 100 Years... 100 Cheers, a list of what AFI considers to be the most inspirational American movies of all time. The film also appeared in another AFI Top 100 list: it placed at 11th on AFI's 100 Years... 100 Movies list of the top American films. It would become Capra's last important film and, although he directed five more films over the next 14 years, his successful years were now behind him.[9]
For State of the Union (1948) Capra changed studios, working for the first and only time for MGM Pictures. Although the project had an excellent pedigree with stars Spencer Tracy and Katharine Hepburn, the film was not a success, and Capra's eyebrow-raising statement, "I think State of the Union was my most perfect film in handling people and ideas" has few adherents today.[27]
Representing U.S. at International Film Festival[link]
In January, 1952, Capra was requested by the U.S. Ambassador to India to represent the U.S. film industry at the International Film Festival to be held in India. A State Department friend of Capra asked him and explained why his trip would be important:
[Ambassador] Bowles thinks the Festival is a Communist shenanigan of some kind, but he doesn't know what ... Bowles has asked for you. "I want a free-wheeling guy to take care of our interest on his own. I want Capra. His name is big here, and I've heard he's quick on his feet in an alley fight."[28]
After two weeks in India, he discovered that Bowles' fears were warranted, as many film sessions were used by Russian and Chinese representatives to give long political speeches. At a lunch with fifteen Indian directors and producers, he stressed that "they must preserve freedom as artists, and that any government control would hinder that freedom. A totalitarian system— and they would become nothing but publicity men for the party in power." Capra had a difficult time communicating this, however, as he noted in his diary:
They all think some super-government or super-collection of individuals dictates all American pictures. Free enterprise is mystery to them. Somebody must control, either visible or invisible ... Even intellectuals have no great understanding of liberty and freedom ... Democracy only a theory to them. They have no idea of service to others, of service to the poor. The poor are despised, in a sense.[29]
When he returned to Washington to give his report, Secretary of State Dean Acheson gave Capra his commendation for "virtually single-handedly forestalling a possible Communist take-over of Indian films." Amassador Bowles also conveyed gratitude to Capra for "one helluva job."[30]
Disillusionment period – 1950s[link]
Although It's a Wonderful Life and State of the Union were successful shortly after the war ended, Capra's themes were becoming more out of step with changes within the film industry and with the public mood. Friedman finds that while Capra's ideas were popular to depression-era and pre-war audiences, they became less relevant to attitudes of a prospering post-war America. Capra had become "disconnected from an American culture that had changed" during the previous decade.[2] Biographer Joseph McBride argues that Capra's disillusionment was more related to the negative effect that the House Un-American Activities Committee (HUAC) had on the film industry in general. The HUAC interrogations during the early 1950s ended many Hollywood careers. Capra himself was not called to testify, although he still became a prime target of the committee due to his past associations with many Hollywood blacklisted screenwriters.[2]
Capra, however, blames his early retirement from films on the rising power of stars, which forced him to continually compromise his artistic vision. He also claims that increasing budgetary and scheduling demands were constraining his creative abilities.[2] Film historian Michael Medved agrees with and understands Capra's impressions, noting that he walked away from the movie business because "he refused to adjust to the cynicism of the new order."[31] In his autobiography written in 1971, Capra expressed of his feelings about the shifting film industry:[32]
The winds of change blew through the dream factories of make-believe, tore at its crinoline tatters.... The hedonists, the homosexuals, the hemophilic bleeding hearts, the God-haters, the quick-buck artists who substituted shock for talent, all cried: "Shake 'em! Rattle 'em! God is dead. Long live pleasure! Nudity? Yea! Wife-swapping? Yea! Liberate the world from prudery. Emancipate our films from morality!".... Kill for thrill—shock! Shock! To hell with the good in man, Dredge up his evil—shock! Shock![31]
Capra added that in his opinion, "practically all the Hollywood filmmaking of today is stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the 'patronage' of deviates and masturbators."[33][N 1]
Capra remained employable in Hollywood during and after the HUAC hearings, but chose nonetheless to demonstrate his loyalty by attempting to re-enlist in the Army at the outbreak of the Korean War, which began in 1950. He was rejected due to his age, however. He was later invited to join the Defense Department's newly-formed Think Tank project, VISTA, but was denied the necessary clearance. According to Friedman, "these two rejections were devastating to the man who had made a career of demonstrating American ideals in film", along with his directing award-winning documentary films for the Army. By 1952, at the age of 55, Capra effectively retired from Hollywood filmmaking and spent his later years working with Caltech, his alma mater, to produce educational films on science topics.[2]
Later films (1950-1961)[link]
Capra directed two films at Paramount Pictures starring Bing Crosby, Riding High (1950) and Here Comes the Groom (1951). From 1952-1956, Capra produced four science-related television specials in color for The Bell Laboratory Science Series: Our Mr. Sun (1956), Hemo the Magnificent (1957), The Strange Case of the Cosmic Rays (1957), and Meteora: The Unchained Goddess (1958). These educational science documentaries were popular favorites for showing in school science classrooms.[34] It was eight years before he directed another theatrical film, A Hole in the Head (1959) with Frank Sinatra, which was his first feature film in color.
Capra's final theatrical film was with Glenn Ford and Bette Davis, named Pocketful of Miracles (1961), a remake of his 1933 film Lady for a Day. In the mid-1960s he worked on pre-production for an adaptation of Martin Caidin's novel Marooned but budgetary constraints made him eventually shelve it.[35]
Capra's final film, Rendezvous in Space (1964), was an industrial film made for the Martin Marietta Company and shown at the 1964 New York World's Fair. It was exhibited at the New York Hall of Science after the Fair ended.
Directing style[link]
Capra's directing style relied on improvisation to a great extent. He was noted for going onto the set with no more than the master scenes written down. He explained his reasoning:
What you need is what the scene is about, who does what to whom, and who cares about whom ... All I want is a master scene and I'll take care of the rest—how to shoot it, how to keep the machinery out of the way, and how to focus attention on the actors at all times.[8]
According to some experts, Capra used great, yet unobtrusive craftsmanship when directing, and felt it was bad directing to distract the audience with fancy technical gimmicks. Film historian and author William S. Pechter described Capra's style as one "of almost classical purity." He adds that his style relied on editing to help his films sustain a "sequence of rhythmic motion." Pechter describes its effect:
Capra's [editing] has the effect of imposing order on images constantly in motion, imposing order on chaos. The end of all this is indeed a kind of beauty, a beauty of controlled motion, more like dancing than painting ... His films move at a breathtaking clip: dynamic, driving, taut, at their extreme even hysterical; the unrelenting, frantic acceleration of pace seems to spring from the release of some tremendous accumulation of pressure.[8]
Film critic John Raeburn discusses an early Capra film, American Madness (1932), as an example of how he had mastered the movie medium and expressed a unique style:
The tempo of the film, for example, is perfectly synchronized with the action ... As the intensity of the panic increases, Capra reduces the duration of each shot and uses more and more crosscutting and jump shots to emphasize the "madness" of what is happening ... Capra added to the naturalistic quality of the dialogue by having speakers overlap one another, as they often do in ordinary life; this was an innovation that helped to move the talkies away from the example of the legitimate stage.[8]
As for Capra's subject matter, film author Richard Griffith tries to summarize Capra's common theme:
[A] messianic innocent ... pits himself against the forces of entrenched greed. His inexperience defeats him strategically, but his gallant integrity in the face of temptation calls for the goodwill of the "little people", and through their combined protest, he triumphs.[8]
Capra's personality when directing gave him a reputation for "fierce independence" when dealing with studio bosses. On the set he was said to be gentle and considerate, "a director who displays absolutely no exhibitionism."[8]
Because Capra's films often carry a message about basic goodness in human nature, and show the value of unselfishness and hard work, his wholesome, feel-good themes have led some to term his style "Capra-corn." However, those who hold his vision in higher regard prefer the term "Capraesque".[2]
Capra's basic themes of championing the common man, as well as his use of spontaneous, fast-paced dialogue and goofy, memorable lead and supporting characters, made him one of the most popular and respected filmmakers of the 20th century. His influence can be traced in the works of many directors, including Robert Altman,[36] Ron Howard,[36] Masaki Kobayashi,[37] Akira Kurosawa,[38] John Lasseter,[39] David Lynch,[40] John Milius,[36] Martin Scorsese,[36] Steven Spielberg,[41] Oliver Stone[36] and François Truffaut [42]
Personal life[link]
File:Capra-Lucille.jpg
With wife Lucille and their son
Capra married actress Helen Howell in 1923 but they divorced in 1928. He married again in 1928 to Lucille Warner, with whom he had a daughter and three sons, one of whom died in infancy.
He was four times president of the Academy of Motion Picture Arts and Sciences and three times president of the Directors Guild of America, which he helped found. Under his presidency he worked to give directors more artistic control of their films. During his career as a director, he retained an early ambition to teach science, and after his career declined in the 1950s he made some educational TV films related to science subjects.[8]
Physically, he was short, stocky, and vigorous, and enjoyed outdoor activities such as hunting, fishing, and mountain climbing. In his much later years, he spent time writing short stories and songs, along with playing guitar.[8]
His son Frank Capra, Jr. — one of the four children born to Capra's second wife, Lucille Capra — was the president of EUE Screen Gems Studios, in Wilmington, North Carolina, until his death on December 19, 2007. His grandson, Frank Capra III, is a Hollywood director and worked as an assistant director in the 1995 film The American President, which referred to Frank Capra in the film's dialogue.
Death[link]
Frank Capra died in La Quinta, California, of a heart attack in his sleep in 1991 at the age of 94. He was interred in the Coachella Valley Public Cemetery in Coachella, California.
He left part of his 1,100-acre (4 km2) ranch in Fallbrook, California, to Caltech.[43] Capra's personal papers and some of his film related materials are contained in the Wesleyan University Cinema Archives, which allows scholars and media experts from around the world full access.[44]
Legacy[link]
During the golden age of Hollywood, Capra's "fantasies of goodwill" made him one of the two or three most famous and successful directors in the world.[8] Film historian Ian Freer notes that at the time of his death in 1991, his legacy still remained intact:
He had created feelgood entertainments before the phrase was invented, and his influence on culture—from Steven Spielberg to David Lynch, and from television soap operas to greeting-card sentiments—is simply too huge to calculate.[1]
Director/actor John Cassavetes contemplating Capra’s contribution to the art of film quipped: “Maybe there really wasn’t an America, it was only Frank Capra.” [45] Capra’s films were his love letters to an idealized America— a cinematic landscape of his own invention. The performances his actors gave were invariable portrayals of personalities developed into recognizable images of popular culture, “their acting has the bold simplicity of an icon…” [46]
Like his contemporary, director John Ford, Capra defined and aggrandized the tropes of mythic America where individual courage invariably triumphs over collective evil. Film historian Richard Griffith speaks of Capra's “…reliance on sentimental conversation and the ultimate benevolence of ordinary America to resolve all deep conflicts.” [47] “Average America” is visualized as "…a still tree lined street, undistinguished frame houses surrounded by modest areas of grass, a few automobiles. For certain purposes it assumed that all real Americans live in towns like this, and so great is the power of myth, even the born city-dweller is likely to believe vaguely that he too lives on this shady street, or comes from it, or is going to.” [48]
NYU Professor of Humanities and Performing Arts, Leonard Quart writes:
“There would be no enduring conflicts—harmony, no matter how contrived and specious, would ultimately triumph in the last frame…In true Hollywood fashion, no Capra film would ever suggest that social change was a complex, painful act. For Capra, there would be pain and loss, but no enduring sense of tragedy would be allowed to intrude on his fabulist world.” [47] The theatre screen was the mirror in front of which American movie audiences sat enamored with the reflected images of their better selves–an idealistic storybook America.
Although his stature as a director had declined during the 1950s, his films underwent a revival in the 1960s:
French film historian John Raeburn, editor of Cahiers du cinéma, notes that that Capra's films were unknown in France, but there too his films underwent a fresh discovery by the public. He believes the reason for his renewed popularity had to do with his themes, which he made credible "an ideal conception of an American national character":
There is a strong libertarian streak in Capra's films, a distrust of power wherever it occurs and in whomever it is invested. Young people are won over by the fact that his heroes are uninterested in wealth and are characterized by vigorous ... individualism, a zest for experience, and a keen sense of political and social justice. ... Capra's heroes, in short, are ideal types, created in the image of a powerful national myth.[8]
In 1982, the American Film Institute honored Frank Capra by giving him their AFI Life Achievement Award. The event was used to create the television film, The American Film Institute Salute to Frank Capra, hosted by James Stewart. In 1986, Capra received the National Medal of Arts.
During his acceptance speech for the AFI award, he stressed his most important values:
The art of Frank Capra is very, very simple: It's the love of people. Add two simple ideals to this love of people: the freedom of each individual, and the equal importance of each individual, and you have the principle upon which I based all my films.
Capra expanded on his visions in his 1971 autobiography, The Name Above the Title:
Forgotten among the hue-and criers were the hard-working stiffs that came home too tired to shout or demonstrate in streets ... and prayed they'd have enough left over to keep their kids in college, despite their knowing that some were pot-smoking, parasitic parent-haters.
Who would make films about, and for, these uncomplaining, unsqueaky wheels that greased the squeaky? Not me. My "one man, one film" Hollywood had ceased to exist. Actors had sliced it up into capital gains. And yet—mankind needed dramatizations of the truth that man is essentially good, a living atom of divinity; that compassion for others, friend or foe, is the noblest of all virtues. Films must be made to say these things, to counteract the violence and the meanness, to buy time to demobilize the hatreds.[49]
Awards and honors[link]
In 1957, Capra was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.[50]
Los Angeles Mayor Sam Yorty, by vote of the city council, declared May 12, 1962 as "Frank Capra Day." George Sidney, President of the Directors Guild, stated that "This is the first time in the history of Hollywood, that the city of Los Angeles has officially recognized a creative talent." At the event ceremony, director John Ford announced that Capra had also received the Order of British Empire (OBE) on the recommendation of Winston Churchill.[51] Ford suggested publicly to Capra:
Make those human comedy-dramas, the kind only you can make—the kind of films America is proud to show here, behind the iron curtain, the bamboo curtain—and behind the lace curtain.[51]
- Academy Awards
Capra won a total of six Academy Awards. He was nominated six times for Best Director and seven times for Outstanding Production/Best Picture. Out of six nominations for Best Director, Capra received the award three times. He briefly held the record for winning the most Best Director Oscars when he won for the third time in 1938, until this record was matched by John Ford in 1941, and then later surpassed by Ford in 1952. William Wyler also matched this record upon winning his third Oscar in 1959.
| Year | Film | Award | Winner |
|---|---|---|---|
| 1933 | Lady for a Day | Outstanding Production | Winfield Sheehan – Cavalcade |
| Best Director | Frank Lloyd – Cavalcade | ||
| 1934 | It Happened One Night | Outstanding Production |  Y With Harry Cohn |
| Best Director | Y |
||
| 1936 | Mr. Deeds Goes to Town | Outstanding Production | Hunt Stromberg – The Great Ziegfeld |
| Best Director | Y |
||
| 1937 | Lost Horizon | Outstanding Production | Henry Blanke – The Life of Emile Zola |
| 1938 | You Can't Take It With You | Outstanding Production | Y |
| Best Director | Y |
||
| 1939 | Mr. Smith Goes to Washington | Outstanding Production | David O. Selznick – Gone with the Wind |
| Best Director | Victor Fleming – Gone with the Wind | ||
| 1943 | Prelude to War | Best Documentary | Y |
| 1944 | The Battle of Russia | Best Documentary, Features | Desert Victory |
| 1946 | It's a Wonderful Life | Best Motion Picture | Samuel Goldwyn – The Best Years of Our Lives |
| Best Director | William Wyler – The Best Years of Our Lives |
- American Film Institute
- Life Achievement Award (1982)
- Directors Guild of America
- Best Director Nomination for A Hole in the Head (1959)
- Life Achievement Award (1959)
- Best Director Nomination for Pocketful of Miracles (1961)
- Golden Globe Award
- Best Director Award for It's a Wonderful Life (1946)
- Venice Film Festival
- Mussolini Cups for best foreign film Nomination for It Happened One Night (1934)
- Mussolini Cups for best foreign film Nomination for Mr. Deeds Goes to Town (1936)
- Golden Lion (1982)
- American Film Institute recognition
- AFI's 100 Years... 100 Movies (10th Anniversary Edition)
- It's a Wonderful Life...# 20
- Mr. Smith Goes to Washington...# 26
- It Happened One Night...# 46
- AFI's 100 Years... 100 Cheers
- It's a Wonderful Life...# 1
- Mr. Smith Goes to Washington...# 5
- Meet John Doe...# 49
- Mr. Deeds Goes to Town...# 83
- AFI's 100 Years... 100 Laughs
- It Happened One Night...# 8
- Arsenic and Old Lace...# 30
- Mr. Deeds Goes to Town...# 70
- AFI's 100 Years... 100 Passions
- It's a Wonderful Life...# 8
- It Happened One Night...# 38
- AFI's 100 Years... 100 Heroes and Villains
- 50 greatest movie heroes
- It's a Wonderful Life...George Bailey ...# 9
- Mr. Smith Goes to Washington...Jefferson Smith ...# 11
- 50 greatest movie villains
- It's a Wonderful Life...Mister Potter ...# 6
- AFI's 10 Top 10
- Fantasy
- It's a Wonderful Life...# 3
- Romantic Comedies
- It Happened One Night...# 3
- Fantasy
- United States National Film Registry
- The Strong Man (1926)
- It Happened One Night (1934)
- Mr. Smith Goes to Washington (1939)
- Why We Fight Series of seven films (1942)
- It's a Wonderful Life (1946)
Filmography[link]
| Year | Title | Production Co. | Cast | Notes | |||
|---|---|---|---|---|---|---|---|
| Silent films | |||||||
| 1915 | Our Wonderful Schools | Reliance Film Company | Documentary; film editor | ||||
| 1922 | Fultah Fisher's Boarding House | Fireside Productions | Short film | ||||
| 1926 | The Strong Man | Harry Langdon Corporation | Harry Langdon | ||||
| 1927 | Long Pants | Harry Langdon Corporation | Harry Langdon | ||||
| 1927 | For the Love of Mike | Robert Kane Productions | Claudette Colbert / Ben Lyon | ||||
| 1928 | That Certain Thing | Columbia | Viola Dana | ||||
| 1928 | So This is Love? | Columbia | Shirley Mason | ||||
| 1928 | The Matinee Idol | Columbia | Bessie Love / Johnnie Walker | ||||
| 1928 | The Way of the Strong | Columbia | Mitchell Lewis / Alice Day / William Norton Bailey | ||||
| 1928 | Say It with Sables | Columbia | Helene Chadwick / Francis X. Bushman / Margaret Livingston | ||||
| 1928 | Submarine | Columbia | Jack Holt / Ralph Graves / Dorothy Revier | ||||
| 1928 | The Power of the Press | Columbia | Douglas Fairbanks Jr. | ||||
| 1928 | The Burglar | Mack Sennett | Short film / Co-directed with Phil Whitman | ||||
| Sound films | |||||||
| 1929 | The Younger Generation | Columbia | Ricardo Cortez | Talking sequences | |||
| 1929 | The Donovan Affair | Columbia | Jack Holt | ||||
| 1929 | Flight | Columbia | Jack Holt / Ralph Graves | ||||
| 1930 | Ladies of Leisure | Columbia | Barbara Stanwyck / Ralph Graves | ||||
| 1930 | Rain or Shine | Columbia | Joe Cook | ||||
| 1931 | Dirigible | Columbia | Jack Holt / Ralph Graves / Fay Wray | ||||
| 1931 | The Miracle Woman | Columbia | Barbara Stanwyck | ||||
| 1931 | Platinum Blonde | Columbia | Loretta Young / Robert Williams / Jean Harlow | ||||
| 1932 | Forbidden | Columbia | Barbara Stanwyck / Adolphe Menjou | ||||
| 1932 | American Madness | Columbia | Walter Huston | Co-directed with Allan Dwan / Roy William Neill | |||
| 1933 | The Bitter Tea of General Yen | Columbia | Barbara Stanwyck / Nils Asther | ||||
| 1933 | Lady for a Day | Columbia | May Robson / Warren William / Guy Kibbee | ||||
| 1934 | It Happened One Night | Columbia | Clark Gable / Claudette Colbert | ||||
| 1934 | Broadway Bill | Columbia | Warner Baxter / Myrna Loy | ||||
| 1936 | Mr. Deeds Goes to Town | Columbia | Gary Cooper / Jean Arthur | ||||
| 1937 | Lost Horizon | Columbia | Ronald Colman / Jane Wyatt | ||||
| 1938 | You Can't Take It With You | Columbia | Lionel Barrymore / Jean Arthur / James Stewart | ||||
| 1939 | Mr. Smith Goes to Washington | Columbia | James Stewart / Jean Arthur | ||||
| 1941 | Meet John Doe | Frank Capra Productions | Gary Cooper / Barbara Stanwyck | ||||
| 1943 | The Nazis Strike | U.S. War Department | Documentary / Short film / Co-directed with Anatole Litvak | ||||
| 1943 | Divide and Conquer | U.S. War Department | Documentary / Co-directed with Anatole Litvak | ||||
| 1943 | The Battle of Britain | Warner Bros. | Documentary / Co-directed with Anthony Veiller | ||||
| 1943 | Prelude to War | U.S. War Department | Documentary / Co-directed with Anatole Litvak | ||||
| 1943 | The Battle of Russia | U.S. War Department | Documentary / Co-directed with Anatole Litvak | ||||
| 1944 | The Battle of China | U.S. War Department | Documentary / Co-directed with Anatole Litvak | ||||
| 1944 | Tunisian Victory | U.S. War Department | Documentary / Co-directed with Hugh Stewart | ||||
| 1944 | Arsenic and Old Lace (filmed in 1941) | Warner Bros. | Cary Grant / Priscilla Lane | ||||
| 1945 | Your Job in Germany | Documentary / Short film | |||||
| 1945 | Know Your Enemy: Japan | U.S. War Department | Documentary / Co-directed with Joris Ivens | ||||
| 1945 | Two Down and One to Go | U.S. War Department | Documentary / Short film | ||||
| 1945 | War Comes to America | U.S. War Department | Documentary / Co-directed with Anatole Litvak | ||||
| 1946 | It's a Wonderful Life | Liberty Films | James Stewart / Donna Reed | ||||
| 1948 | State of the Union | Liberty Films | Spencer Tracy / Katharine Hepburn | ||||
| 1950 | Riding High | Paramount Pictures | Bing Crosby | Remake of Broadway Bill | |||
| 1951 | Here Comes the Groom | Paramount Pictures | Bing Crosby / Jane Wyman | ||||
| 1959 | A Hole in the Head | Sincap Productions | Frank Sinatra / Edward G. Robinson | First color film | |||
| 1961 | Pocketful of Miracles | Franton Production | Glenn Ford / Hope Lange / Bette Davis | Eastmancolor film / Remake of Lady for a Day | |||
His Films with Academy Awards[link]
| Year | Film | Oscar Nominations | Oscar Wins | Performances Nominations |
|---|---|---|---|---|
| 1933 | Lady for a Day | 4 | 0 | Best Actress for May Robson (nom) |
| 1934 | It Happened One Night | 5 | 5 | Best Actor for Clark Gable Best Actress for Claudette Colbert |
| 1936 | Mr. Deeds Goes to Town | 5 | 1 | Best Actor for Gary Cooper (nom) |
| 1937 | Lost Horizon | 7 | 2 | Best Supporting Actor for H. B. Warner (nom) |
| 1938 | You Can't Take It With You | 7 | 2 | Best Supporting Actress for Spring Byington (nom) |
| 1939 | Mr. Smith Goes to Washington | 11 | 1 | Best Actor for James Stewart (nom) Best Supporting Actor for Harry Carey (nom) Best Supporting Actor for Claude Rains (nom) |
| 1941 | Meet John Doe | 1 | 0 | |
| 1942 | Prelude to War | 1 | 1 | Academy Award for Best Documentary Feature |
| 1943 | The Battle of Russia | 1 | 0 | Academy Award for Best Documentary Feature |
| 1946 | It's a Wonderful Life | 5 | 0 | Best Actor for James Stewart (nom) |
| 1951 | Here Comes the Groom | 2 | 1 | |
| 1959 | A Hole in the Head | 1 | 1 | |
| 1961 | Pocketful of Miracles | 3 | 0 | Best Supporting Actor for Peter Falk |
See also[link]
- The Bell Laboratory Science Series
- Frank Capra at the First International Film Festival of India, 1952
References[link]
- Notes
- ^ Medved points out the irony in Capra's expression of disillusionment: Capra's film It Happened One Night (1934) was the first film to win all five top Oscars; and in 1991, a few months after Capra's death, The Silence of the Lambs also won all five top Oscars. Medved observes that the film, "a pitch-dark thriller about transvestite and cannibalistic serial killers" would later equal Capra's earlier achievement.[31]
- Citations
- ^ a b Freer 2009, pp. 40–41.
- ^ a b c d e f g h i j k l Pendergast 2000, pp. 428–429.
- ^ De Las Carreras, Maria Elena. "The Catholic Vision of Frank Capra." Crisis, 20, no. 2, February 2002. Retrieved: May 31, 2011.
- ^ a b McBride 1992, p. 16.
- ^ McBride 1992, p. 29.
- ^ McBride 1992, p. 30.
- ^ "Distinguished Alumni Award: 1966 Recipients." Caltech Alumni Association. Retrieved; December 18, 2010.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab Wakeman 1987, pp. 96–103.
- ^ a b c Stevens 2006, pp. 74–76.
- ^ McBride 1992, p. 200.
- ^ McBride 1992, p. 201.
- ^ McBride 1992, p. 189.
- ^ a b Barson 1995, pp. 56–63.
- ^ McBride 1992, p. 197.
- ^ McBride 1992, p. 199.
- ^ McBride 1992, p. 203.
- ^ Capra 1971, p. 259.
- ^ a b Beauchamp 2010, pp. 364–365.
- ^ Capra 1971, p. 261.
- ^ Capra 1971, p. 260.
- ^ Capra 1971, p. 289.
- ^ Capra 1971, p. 314.
- ^ Capra 1971, p. 322.
- ^ Capra 1971, p. 326.
- ^ Capra 1971, p. 341.
- ^ Capra 1971, p. 336.
- ^ Poague 2004, p. 180.
- ^ Capra 1971, p. 429.
- ^ Capra 1971, p. 433.
- ^ Capra 1971, p. 437.
- ^ a b c Medved 1992, p. 279.
- ^ Capra 1971, p. 486.
- ^ Capra 1971, p. 400.
- ^ Capra 1997, p. 443.
- ^ " 'Marooned'." tcm.com. Retrieved: September 26, 2010.
- ^ a b c d e "The Premiere Frank Capra Collection." DVD Talk Review of the DVD Video. Retrieved: September 26, 2010.
- ^ Christian, Diane and Bruce Jackson. "The Buffalo Film Seminars: Hara Kari (1962), directed by Masaki Kobayashi." csac.buffalo.edu, February 26, 2008. Retrieved: September 26, 2010.
- ^ "BAM/PFA Film Programs: Kurosawa." banpfa.berkeley.edu. Retrieved: September 26, 2010.
- ^ Day, Aubrey "Film features: Interview: John Lasseter." totalfilm.com, June 3, 2009. Retrieved: September 26, 2010.
- ^ Barney 2009, pp. 35, 119, 265.
- ^ "Frank Capra: Hollywood Star Walk." The Los Angeles Times, September 3, 1991. Retrieved: September 26, 2010.
- ^ Dixon 1993, p. 150.
- ^ "75th Year Booklet: The Caltech Y History." caltechy.org. Retrieved: July 24, 2011.
- ^ "Description of the Capra Collection." wesleyan.edu. Retrieved: 23 March 2010.
- ^ Lazere 1987, p. 178.
- ^ Dickstein 2010, pp. 479–480.
- ^ a b Dickstein 2010, p. 479.
- ^ Dickstein 2010, p. 480.
- ^ Capra 1971, p. 468.
- ^ "Awards granted by George Eastman House International Museum of Photography & Film". George Eastman House. Retrieved April 30, 2012.
- ^ a b Capra 1971, p. 488.
- Bibliography
- Barney, Richard A. David Lynch: Interviews (Conversations with Filmmakers Series). Jackson, Mississippi: University Press of Mississippi, 2009. ISBN 978-1-60473-237-5.
- Barson, Michael. The Illustrated Who's Who of Hollywood Directors: The Sound Era . New York: Noonday Press, 1995. ISBN 0-374-52428-9.
- Beauchamp, Cari. Joseph P. Kennedy Presents: His Hollywood Years. New York: Vintage, 2010. ISBN 978-0-307-47522-0.
- Capra, Frank. Frank Capra, The Name Above the Title: An Autobiography. New York: The Macmillan Company, 1971. ISBN 0-306-80771-8.
- Chandler, Charlotte. The Girl Who Walked Home Alone: Bette Davis, A Personal Biography. New York: Simon & Schuster, 2006. ISBN 0-7862-8639-3.
- Dickstein, Morris. Dancing in The Dark: A Cultural History of The Great Depression. New York: W.W. Norton & Company, 2010. ISBN 978-0-393-07225-9.
- Dixon, Wheeler W. The Early Film Criticism of Francois Truffaut. Bloomington, Indiana: Indiana University Press, 1993. ISBN 978-0-253-20771-5.
- Freer, Ian. Movie Makers: 50 Iconic Directors from Chaplin to the Coen Brothers. London: Quercus Publishing Plc, 2009. ISBN 978-1-84724-512-0.
- Kotsabilas-Davis, James and Myrna Loy. Being and Becoming. New York: Primus, Donald I Fine Inc., 1987. ISBN 1-55611-101-0.
- Lazere, Donald. American Media and Mass Culture: Left Perspectives. Berkeley, California: University of California Press, 1987. ISBN 978-0-520-04496-8.
- Medved, Michael. Hollywood vs. America: Popular Culture and the War on Traditional Values. New York: HarperCollins, 1992. ISBN 978-0-06-016882-7.
- McBride, Joseph. Frank Capra: The Catastrophe of Success. New York: Touchstone Books, 1992. ISBN 0-671-79788-3.
- Oderman, Stuart. Talking To the Piano Player: Silent Film Stars, Writers and Directors Remember. Albany, Georgia: BearManor Media, 2005. ISBN 1-59393-013-5.
- Poague, Leland. Frank Capra: Interviews (Conversations With Filmmakers Series). Jackson, Mississippi: University Press of Mississippi, 2004. ISBN 978-1-57806-617-9.
- Pendergast, Tom and Sara, eds. St. James Encyclopedia of Popular Culture, Vol. 1. Detroit: St. James Press, 2000. ISBN 1-55862-348-5.
- Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age. New York: Alfred A. Knopf, 2006. ISBN 978-1-4000-4054-4.
- Wakeman, John, ed. World Film Directors: Volume One, 1890-1945. New York: H.W. Wilson Co., 1987. ISBN 978-0-8242-0757-1.
- Wiley, Mason and Damien Bona. Inside Oscar: The Unofficial History of the Academy Awards. New York: Ballantine Books, 1987. ISBN 0-345-34453-7.
External links[link]
|
Wikimedia Commons has media related to: Frank Capra |
- Capra Smith and Doe: Filming the American Hero from American Studies at the University of Virginia
- Frank Capra at the Internet Movie Database Retrieved on May 19, 2009
- Frank Capra at the TCM Movie Database Retrieved on May 19, 2009
- Bibliography
- Capra before he became "Capraesque" BFI Sight & Sound magazine November 2010 article on Capra's early career, by Joseph McBride
- "Sentimental Hogwash?: On Capra's It's A Wonderful Life", Humanitas, Vol. XVIII, No's 1&2, 2005
work=Motion picture director, writer, producer|author=A. J. Mack|date=January 1, 2001|accessdate=July 1, 2011}}
Video clips[link]
- 10th annual AFI Life Achievement Award ceremony, 1982
- Frank Capra introduced on YouTube
- Frank Capra accepts Life Achievement Award on YouTube
- Charlton Heston introduction on YouTube
- James Stewart at the "Tribute to Frank Capra" on YouTube
- Bette Davis at the "Tribute to Frank Capra") on YouTube
- Jack Lemmon at the "Tribute to Frank Capra" on YouTube
- Frank Capra receiving Academy Awards on YouTube
- Misc documentaries
- The short film "Our Mr. Sun (1956)" is available for free download at the Internet Archive [more]
- War documentaries
- The short film "Attack! Battle of New Britain (1944)" is available for free download at the Internet Archive [more] Producer
- "Attack in the Pacific (1944)" is available for free download at the Internet Archive [more]
- "Here is Germany (1945)" is available for free download at the Internet Archive [more]
- "Know Your Ally - Britain (1944)" is available for free download at the Internet Archive [more] Producer
- The short film "The Negro Soldier (1943)" is available for free download at the Internet Archive [more] Producer
- The short film "The Battle of San Pietro (1945)" is available for free download at the Internet Archive [more] Co-Supervising Producer
- "Tunisian Victory (1944)" is available for free download at the Internet Archive [more]
- The short film "Two Down and One to Go (1945)" is available for free download at the Internet Archive [more]
- The short film "Your Job In Germany (1945)" is available for free download at the Internet Archive [more]
- Movie trailers and interviews
- A film clip "It Happened One Night trailer (1934)" is available for free download at the Internet Archive [more]
- Mr. Deeds Goes to Town(1936) on YouTube
- Lost Horizon (1937) on YouTube
- Mr. Smith Goes to Washington (1939 on YouTube
- Meet John Doe (1941) on YouTube
- It's a Wonderful Life (1946) on YouTube
- State of the Union (1948) on YouTube
- A Hole in the Head (1959) on YouTube
- Feature Films
- "Meet John Doe (1941)" is available for free download at the Internet Archive [more]
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||||||||
| Persondata | |
|---|---|
| Name | Capra, Frank |
| Alternative names | Capra, Francesco Rosario |
| Short description | Italian-American film director |
| Date of birth | May 18, 1897 |
| Place of birth | Bisacquino, Sicily, Italy |
| Date of death | September 3, 1991 |
| Place of death | La Quinta, California, U.S. |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Frank_Capra
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
For the film critic and journalist, see Ben Lyons.
| Ben Lyon | |
|---|---|
 in I Cover the Waterfront (1933) |
|
| Born | (1901-02-06)February 6, 1901 Atlanta, Georgia |
| Died | March 22, 1979(1979-03-22) (aged 78) near Honolulu, Hawaii |
| Resting place | Hollywood Forever Cemetery |
| Spouse | Bebe Daniels (m.1930-1971; her death) Marian Nixon (m.1974-1979; his death) |
| Awards | Hollywood Walk of Fame |
Ben Lyon (February 6, 1901 – March 22, 1979) was an American film actor and a 20th Century Fox studio executive.
Life[link]
Born in Atlanta, Georgia, Lyon entered films in 1918 after a successful appearance on Broadway opposite Jeanne Eagels. He attracted attention in the highly successful film Flaming Youth (1923), and steadily developed into a leading man. He was most successfully paired with some of the leading actresses of the silent era including Pola Negri, Gloria Swanson, Colleen Moore, Barbara La Marr, Viola Dana, Anna Q. Nilsson, Mary Astor and Blanche Sweet.
His greatest success as an actor came in 1930 with the film Hell's Angels. The film was a major success and brought Jean Harlow to prominence, but Lyon's performance as an heroic World War I aviator was also highly regarded. For the next decade he was constantly in demand, but his popularity began to wane by the early 1940s.
File:SwansonIndiscreet.JPG
With Gloria Swanson in Indiscreet
By the mid 1940s he was working for 20th Century Fox. In 1946 he met a young aspiring actress named Norma Jeane Dougherty. After his first meeting with her he stated that she was "Jean Harlow all over again". He organised a color screen test for the actress, renamed her, and finally signed her as Marilyn Monroe to her first studio contract.
In 1930 he married the actress Bebe Daniels. Together they were a notable couple in show business society, and sometimes acted together. Ben Lyon and Bebe Daniels settled in London during the Second World War and featured with the comedian Vic Oliver in the radio series Hi, Gang! that ran from 1940 to 1949. Hi Gang was succeeded in 1950 by Life With The Lyons, which also featured their real life son Richard and daughter Barbara, and had a run on BBC and independent television from 1954 until 1960. When Daniels's health declined during the 1960s following a series of strokes, Lyon cared for her until her death in 1971.
He then married the actress Marian Nixon. Lyon and Nixon were vacationing together on the QE2 cruise ship near Honolulu, Hawaii, when Lyon suffered a heart attack and died. Nixon died in 1983.
Lyon was one of the many notable figures of Hollywood's silent film era interviewed for the documentary series Hollywood which was broadcast in 1980.
Ben Lyon has a star on the Hollywood Walk of Fame for his contribution to motion pictures. He is interred in the Hollywood Forever Cemetery.
Selected filmography[link]
- Potash and Perlmutter (1923)
- The White Moth (1924)
- Lily of the Dust (1924)
- Wine of Youth (1924)
- For the Love of Mike (1927)
- Hell's Angels (1930)
- A Soldier's Plaything (1930)
- Indiscreet (1931)
- Night Nurse (1931)
- Lady with a Past (1932)
- The Big Timer (1932)
- Week Ends Only (1932)
- The Crooked Circle (1932)
- I Cover the Waterfront (1933)
- Girl Missing (1933)
- The Women in His Life (1933)
- I Killed the Count (1939)
- Confidential Lady (1939)
- Hi Gang! (1941)
- The Dark Tower (1943)
External links[link]
|
Wikimedia Commons has media related to: Ben Lyon |
- Ben Lyon photo gallery
- Ben Lyon at the Internet Movie Database
- Ben Lyon at the Internet Broadway Database
| Persondata | |
|---|---|
| Name | Lyon, Ben |
| Alternative names | |
| Short description | |
| Date of birth | February 6, 1901 |
| Place of birth | Atlanta, Georgia, USA |
| Date of death | March 22, 1979 |
| Place of death | near Honolulu, Hawaii, USA |
http://wn.com/Ben_Lyon
Related pages:
http://fr.wn.com/Ben Lyon
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Ben_Lyon
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Miriam Hopkins | |
|---|---|
 |
|
| Born | Ellen Miriam Hopkins (1902-10-18)October 18, 1902 Savannah, Georgia, United States |
| Died | October 9, 1972(1972-10-09) (aged 69) New York City, New York, United States |
| Occupation | Actress |
| Years active | 1928–70 |
| Spouse | Brandon Peters (1926–31) Austin Parker (1931–1932) Anatole Litvak (1937–39) Raymond B. Brock (1945–51) |
Ellen Miriam Hopkins (October 18, 1902 – October 9, 1972) was an American actress known for her versatility in a wide variety of roles.[1]
Hopkins was born in Savannah, Georgia, and raised in Bainbridge, near the Alabama border. She attended Goddard Seminary in Barre, Vermont (which later became Goddard College in Plainfield, Vermont) and Syracuse University (in New York), but apparently did not matriculate.
Contents |
Career[link]
At age 20, Hopkins became a chorus girl in New York City. In 1930, she signed with Paramount Pictures, and made her official film debut in Fast and Loose. Her first great success was in the 1931 horror drama film Dr. Jekyll and Mr. Hyde, in which she portrayed the character Ivy Pearson; a prostitute who becomes entangled with the lead protagonists Jekyll and Hyde. Hopkins received rave reviews, however due to the controversy that surrounded the finished film and in particular, her character, many of Hopkins's scenes were cut before the official release. This reduced Hopkins to approximately five minutes of screen time.[2]
Nevertheless her career ascended swiftly thereafter and in 1932 she scored her breakthrough in Ernst Lubitsch's Trouble in Paradise, where she proved her charm and wit as a beautiful and jealous pickpocket. During the pre-code Hollywood era in the early 1930s, she appeared in such other films as The Smiling Lieutenant, The Story of Temple Drake and Design for Living, all of which were box office successes and critically acclaimed.[3] Her pre-code films were also considered quite risqué for their time, with The Story of Temple Drake depicting a rape scene and Design for Living featuring a menage-a-trois plot with Fredric March and Gary Cooper. Hopkins also had great success during the remainder of the decade with the romantic screwball comedy The Richest Girl in the World (1934), the historical drama Becky Sharp (1935), for which she was nominated for the Academy Award for Best Actress, Barbary Coast (1935), These Three (1936) (the first of four films with director William Wyler) and The Old Maid (1939). Hopkins was one of the first actresses approached to play the role of Ellie Andrews in It Happened One Night (1934), however she famously rejected the part.[4] The role went to Claudette Colbert and resulted in an Academy Award win.
Hopkins had well-publicized fights with her arch-enemy Bette Davis (Davis was having an affair with Hopkins' husband at the time, Anatole Litvak), when they co-starred in their two films The Old Maid (1939) and Old Acquaintance (1943).[5] Davis admitted to enjoying very much a scene in Old Acquaintance in which she shakes Hopkins forcefully during a scene where Hopkins' character makes unfounded allegations against hers. There were even press photos taken with both divas in boxing rings with gloves up and director Vincent Sherman between the two.
After Old Acquaintance, she did not work again in films until The Heiress (1949), where she played the lead character's aunt. In Mitchell Leisen's 1951's screwball comedy The Mating Season, she gave a comic performance as Gene Tierney's character's mother. She also acted in The Children's Hour, which is the theatrical basis of her film These Three (1936). In the remake, she played the aunt to Shirley MacLaine, while MacLaine took Hopkins' original role. Hopkins auditioned for the role of Scarlett O'Hara in Gone with the Wind, having one advantage none of the other candidates had: she was a native Georgian. However, the part went to Vivien Leigh.
She was a television pioneer, performing in teleplays in three decades, spanning the late 1940s through the late 1960s, in such programs as The Chevrolet Tele-Theatre (1949), Pulitzer Prize Playhouse (1951), Lux Video Theatre (1951–1955), "The Outer Limits" (1964) and even an episode of The Flying Nun in 1969.
She has two stars on the Hollywood Walk of Fame: one for motion pictures at 1701 Vine Street, and one for television at 1708 Vine Street.
Private life[link]
Hopkins was married and divorced four times: first to actor Brandon Peters, second to aviator Austin Parker, third to the director Anatole Litvak, and fourth to war correspondent Raymond B. Brock. In 1932, Hopkins adopted a son, Michael Hopkins.
Hopkins died in New York, New York from a heart attack nine days before her 70th birthday.
Filmography[link]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1930 | Fast and Loose | Marion Lenox | Hopkins's film debut |
| 1931 | Smiling Lieutenant, TheThe Smiling Lieutenant | Princess Anna | The first of three films Hopkins made with Lubitsch |
| 1931 | 24 Hours | Rosie Duggan | |
| 1931 | Dr. Jekyll and Mr. Hyde | Ivy Pearson | |
| 1932 | Two Kinds of Women | Emma Krull | |
| 1932 | Dancers in the Dark | Gloria Bishop | |
| 1932 | World and the Flesh | Maria Yaskaya | |
| 1932 | Trouble in Paradise | Lily | Second film directed by Lubitsch and starring Hopkins |
| 1933 | Story of Temple Drake, TheThe Story of Temple Drake | Temple Drake | |
| 1933 | Stranger's Return, TheThe Stranger's Return | Louise Starr | |
| 1933 | Design for Living | Gilda Farrell | Third and final film Hopkins and Lubitsch made together |
| 1934 | All of Me | Lydia Darrow | |
| 1934 | She Loves Me Not | Curly Flagg | |
| 1934 | Richest Girl in the World, TheThe Richest Girl in the World | Dorothy Hunter | First of five films Hopkins and McCrea made together |
| 1935 | Becky Sharp | Becky Sharp | Nominated - Academy Award for Best Actress The first feature film made in the three strip technicolor process |
| 1935 | Barbary Coast | Mary 'Swan' Rutledge | Second film starring Hopkins and McCrea |
| 1935 | Splendor | Phyllis Manning Lorrimore | Third film starring Hopkins and McCrea |
| 1936 | These Three | Martha Dobie | The film was adapted from the 1934 play The Children's Hour by Lillian Hellman. Fourth film starring Hopkins and McCrea |
| 1936 | Men Are Not Gods | Ann Williams | |
| 1937 | Woman I Love, TheThe Woman I Love | Madame Helene Maury | Hopkins married director Anatole Litvak shortly after this film was made. It is the only film Hopkins made with Paul Muni |
| 1937 | Woman Chases Man | Virginia Travis | Final film Hopkins and McCrea made together |
| 1937 | Wise Girl | Susan 'Susie' Fletcher | |
| 1939 | Old Maid, TheThe Old Maid | Delia Lovell Ralston | The first of two films Hopkins made with Bette Davis |
| 1940 | Virginia City | Julia Hayne | Hopkins co-starred with Errol Flynn |
| 1940 | Lady with Red Hair | Mrs. Leslie Carter | |
| 1942 | Gentleman After Dark, AA Gentleman After Dark | Flo Melton | |
| 1943 | Old Acquaintance | Millie Drake | Second of two films Hopkins made with Bette Davis. |
| 1949 | Heiress, TheThe Heiress | Aunt Lavinia | Nominated - Golden Globe Award for Best Supporting Actress - Motion Picture |
| 1951 | Mating Season, TheThe Mating Season | Fran Carleton | |
| 1952 | Outcasts of Poker Flat, TheThe Outcasts of Poker Flat | Mrs. Shipton/'The Duchess' | |
| 1952 | Carrie | Julie Hurstwood | |
| 1961 | Children's Hour, TheThe Children's Hour | Lily Mortar | Hopkins had starred in the original film adaptation of the play The Children's Hour entitled These Three in the role of Martha Dobie. In this film Shirley MacLaine played Martha and Miriam Hopkins played her Aunt Lily. |
| 1964 | Fanny Hill | Mrs. Maude Brown | |
| 1966 | Chase, TheThe Chase | Mrs. Reeves | Hopkins played the mother of Robert Redford's character |
| 1970 | Savage Intruder | Katharine Parker | Hopkins's last film |
Short Subjects:
- "The Home Girl" (1928)
- "Hollywood on Parade No. B-1" (1933)
References[link]
- ^ Obituary Variety, October 11, 1972, p. 71.
- ^ http://allanellenberger.com/tag/miriam-hopkins/
- ^ http://www.imdb.com/name/nm0394244/bio
- ^ Wiley, Mason; Damien Bona (1987). Inside Oscar: The Unofficial History of the Academy Awards. Ballantine Books. pp. 54. ISBN 0-345-34453-7.
- ^ Soares, Andre (December 3, 2006). "Miriam Hopkins Biography in the Works". Alternative Film Guide. http://www.altfg.com/blog/actors/miriam-hopkins/.
External links[link]
|
Wikimedia Commons has media related to: Miriam Hopkins |
- Miriam Hopkins at the Internet Movie Database
- Miriam Hopkins at the Internet Broadway Database
- Miriam Hopkins at Find a Grave
- Photographs of Miriam Hopkins
- Miriam Hopkins Interview with Biographer Allan Ellenberger
- Miriam Hopkins in June 1933 Vanity Fair photographed by Edward Steichen
| Persondata | |
|---|---|
| Name | Hopkins, Miriam |
| Alternative names | Hopkins, Ellen Miriam |
| Short description | American actress |
| Date of birth | October 18, 1902 |
| Place of birth | Savannah, Georgia, U.S. |
| Date of death | October 9, 1972 |
| Place of death | New York City, New York, U.S. |
http://wn.com/Miriam_Hopkins
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
"Groucho" redirects here. For other uses, see Groucho (disambiguation).
 |
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| Groucho Marx | |
|---|---|
 |
|
| Birth name | Julius Henry Marx |
| Born | (1890-10-02)October 2, 1890 New York City, United States |
| Died | August 19, 1977(1977-08-19) (aged 86) Los Angeles, California |
| Medium | Film, television, stage, radio, music |
| Nationality | American |
| Years active | 1905–1976 |
| Genres | Wit/Wordplay Slapstick |
| Influenced | Johnny Carson, Woody Allen, Brendon Small, Milton Berle, Bill Cosby, Conan O'Brien, Ricky Gervais |
| Spouse | Ruth Johnson (1920–42); 2 children: Arthur Marx and Miriam Marx Kay Marvis Gorcey(1945–51); 1 child: Melinda Marx Eden Hartford (1954–69) |
Julius Henry "Groucho" Marx (October 2, 1890[1] – August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era.[2] His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life[3]. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as "Groucho glasses", a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.[4]
Contents |
Early life[link]
In a 1950 radio episode of You Bet Your Life, Groucho stated that he was born in a room above a butcher's shop on 78th Street in New York City.
The Marx children grew up on East 93rd Street off Lexington Avenue in a neighborhood now known as Carnegie Hill on the Upper East Side of the borough of Manhattan, in New York City. The turn-of-the-century building that Harpo called "the first real home they ever knew" (in his memoir Harpo Speaks) was populated with European immigrants, mostly artisans. Just across the street were the oldest brownstones in the area, owned by people such as the well-connected Loew Brothers and William Orth.
Groucho's mother was Miene "Minnie" Schoenberg, whose family came from Dornum in northern Germany when she was 16 years old. His father was Simon "Sam" Marx, who changed his name from Marrix, and was called "Frenchie" throughout his life because of he and his family came from Alsace-Lorraine.[5] Minnie's brother was Al Schoenberg, who shortened his name to Al Shean when he went into show business as half of Gallagher and Shean, a noted vaudeville act of the early 20th century. According to Groucho, when Shean visited he would throw the local waifs a few coins so that when he knocked at the door he would be surrounded by adoring fans. Marx and his brothers respected his opinions and asked him on several occasions to write some material for them.
Minnie Marx did not have an entertainment industry career, but had intense ambition for her sons to go on the stage like their uncle. While pushing her eldest son Leonard (Chico Marx) in piano lessons, she found that Julius had a pleasant soprano voice and the ability to remain on key. Even though Julius's early career goal was to become a doctor, the family's need for income forced Julius out of school at the age of twelve. By that time, Julius had become a voracious reader, particularly fond of Horatio Alger. Throughout the rest of his life, Marx would overcome his lack of formal education by becoming very well-read.
After a few unsuccessful stabs at entry-level office work and other jobs suitable for adolescents, Julius took to the stage as a boy singer in 1905. Though he reputedly claimed that as a vaudevillian he was "hopelessly average," it was merely a wisecrack. By 1909, Minnie Marx successfully managed to assemble her sons into a low-quality vaudeville singing group. Billed as "The Four Nightingales", Julius, Milton (Gummo Marx), Arthur (originally Adolph; Harpo Marx), and another boy singer, Lou Levy, traveled the U.S. vaudeville circuits to little fanfare. After exhausting their prospects in the East, the family moved to La Grange, Illinois, to play the Midwest.
After a particularly dispiriting performance in Nacogdoches, Texas, Julius, Milton, and Arthur began cracking jokes onstage for their own amusement. Much to their surprise, the audience liked them better as comedians than as singers. They modified the then-popular Gus Edwards comedy skit "School Days" and renamed it "Fun In Hi Skule". The Marx Brothers would perform variations on this routine for the next seven years.
For a time in vaudeville all the brothers performed using ethnic accents. Leonard, the oldest, developed the Italian accent he used as Chico Marx to convince some roving bullies that he was Italian, not Jewish. Adolph, the next oldest, donned a curly red wig and became "Patsy Brannigan", a stereotypical Irish character. His discomfort speaking on stage led to his uncle Al Shean's suggestion that he stop speaking altogether and play the role in pantomime. Julius Marx's character from "Fun In Hi Skule" was an ethnic German, so Julius played him with a German accent. After the sinking of the RMS Lusitania in 1915, public anti-German sentiment was widespread, and Marx's German character was booed, so he quickly dropped the accent and developed the fast-talking wise-guy character he would be remembered for.
The Marx Brothers became the biggest comedic stars of the Palace Theatre, which billed itself as the "Valhalla of Vaudeville". Brother Chico's deal-making skills resulted in three hit plays on Broadway. No comedy routine had ever infected the hallowed Broadway circuit.
All of this predated their Hollywood career. By the time the Marxes made their first movie, they were major stars with sharply honed skills, and when Groucho was relaunched to stardom on You Bet Your Life, he had already been performing successfully for half a century.
Career[link]
Hollywood[link]
Groucho Marx made 26 movies, 13 of them with his brothers Chico and Harpo.[6] Marx developed a routine as a wise-cracking hustler with a distinctive chicken-walking lope, an exaggerated greasepaint mustache and eyebrows, and an ever-present cigar, improvising insults to stuffy dowagers (often played by Margaret Dumont) and anyone else who stood in his way. As the Marx Brothers, he and his brothers starred in a series of popular stage shows and movies.
Their first movie was a silent film made in 1921 that was never released,[6] and is believed to have been destroyed at the time. A decade later, the team made some of their Broadway hits into movies, including The Cocoanuts and Animal Crackers.[6] Other successful films were Monkey Business, Horse Feathers, Duck Soup, and A Night at the Opera.[6] One quip from Marx concerned his response to Sam Wood, the director of the classic film A Night at the Opera. Furious with the Marx Brothers' ad-libs and antics on the set, Wood yelled in disgust: "You can't make an actor out of clay." Groucho responded, "Nor a director out of Wood."[7]
Marx worked as a radio comedian and show host. One of his earliest stints was in a short-lived series in 1932 Flywheel, Shyster, and Flywheel, co-starring Chico. Most of the scripts and discs were thought to have been destroyed, but all but one of the scripts were found in 1988 in the Library of Congress.
In 1947, Marx was chosen to host a radio quiz program You Bet Your Life broadcast by ABC and then CBS, before moving over to NBC radio and television in 1960. Filmed before a live audience, the television show consisted of Marx interviewing the contestants and ad libbing jokes, before playing a brief quiz. The show was responsible for the phrases "Say the secret woid [word] and divide $100" (that is, each contestant would get $50); and "Who's buried in Grant's Tomb?" or "What color is the White House?" (asked when Marx felt sorry for a contestant who had not won anything). It ran for eleven years on television.
Groucho was the subject of an urban legend about a supposed response to a contestant who had nine children which supposedly brought down the house. In response to Marx asking in disbelief why she had so many children, the contestant replied, "I love my husband." To this, Marx responded, "I love my cigar, too, but I take it out of my mouth once in a while." Groucho often asserted in interviews that this exchange never took place, but it remains one of the most often quoted "Groucho-isms" nonetheless.[8]
Throughout his career he introduced a number of memorable songs in films, including "Hooray for Captain Spaulding" and "Hello, I Must Be Going", in Animal Crackers, "Whatever It Is, I'm Against It", "Everyone Says I Love You" and "Lydia the Tattooed Lady". Frank Sinatra, who once quipped that the only thing he could do better than Marx was sing, made a film with Marx and Jane Russell in 1951 entitled Double Dynamite.
Mustache, eyebrows and walk[link]
 |
This unreferenced section requires citations to ensure verifiability. |
See also: Groucho glasses
In public and off-camera, Harpo and Chico were difficult to recognize by their fans without their wigs and costumes, but it was almost impossible to recognize Groucho without his trademark eye-glasses, fake eyebrows and mustache.
The greasepaint mustache and eyebrows originated spontaneously prior to a vaudeville performance in the early 1920s when he did not have time to apply the pasted-on mustache he had been using (or, according to his autobiography, simply did not enjoy the removal of the mustache every night because of the effects of tearing an adhesive bandage off the same patch of skin every night). After applying the greasepaint mustache, a quick glance in the mirror revealed his natural hair eyebrows were too undertoned and did not match the rest of his face, so Marx added the greasepaint to his eyebrows and headed for the stage. The absurdity of the greasepaint was never discussed on-screen, but in a famous scene in Duck Soup, where both Chicolini (Chico) and Pinky (Harpo) disguise themselves as Groucho, they are briefly seen applying the greasepaint, implicitly answering any question a viewer might have had about where he got his mustache and eyebrows.
Marx was asked to apply the greasepaint mustache once more for You Bet Your Life when it came to television, but he refused, opting instead to grow a real one, which he wore for the rest of his life. By this time, his eyesight had weakened enough for him actually to need corrective lenses; before then, his eye-glasses had merely been a stage prop. He debuted this new, and now much-older, appearance in Love Happy, the Marx Brothers's last film as a comedy team.
He did paint the old character mustache over his real one on a few rare performing occasions, including a TV sketch with Jackie Gleason on the latter's variety show in the 1960s (in which they performed a variation on the song "Mister Gallagher and Mister Shean," co-written by Marx's uncle Al Shean) and the 1968 Otto Preminger film Skidoo. In his late 70s at the time, Marx remarked on his appearance: "I looked like I was embalmed." He played a mob boss called "God" and, according to Marx, "both my performance and the film were God-awful!".
The exaggerated walk, with one hand on the small of his back and his torso bent almost 90 degrees at the waist was a parody of a fad from the 1880s and 1890s. Fashionable young men of the upper classes would affect a walk with their right hand held fast to the base of their spines, and with a slight lean forward at the waist and a very slight twist toward the right with the left shoulder, allowing the left hand to swing free with the gait. Edmund Morris, in his biography The Rise of Theodore Roosevelt, describes a young Roosevelt, newly elected to the State Assembly, walking into the House Chamber for the first time in this trendy, affected gait, somewhat to the amusement of the older and more rural Members who were present. Groucho exaggerated this fad to a marked degree, and the comedy effect was enhanced by how out of date the fashion was by the 1940s and 1950s.[citation needed]
Personal life[link]
Groucho's three marriages all ended in divorce. His first wife was chorus girl Ruth Johnson. He was 29 and she 19 at the time of their wedding. The couple had two children, Arthur Marx and Miriam Marx. His second wife was Kay Marvis (m. 1945–51), née Catherine Dittig[9], former wife of Leo Gorcey. Groucho was 54 and Kay 21 at the time of their marriage. They had a daughter, Melinda Marx. His third wife was actress Eden Hartford.[10] She was 24 when she married the 63-year-old Groucho.
During the early 1950s, Groucho described his perfect woman: “Someone who looks like Marilyn Monroe and talks like George S. Kaufman.”[11]
Often when the Marxes arrived at restaurants, there would be a long wait for a table. "Just tell the maître d' who we are," his wife would say. (In his pre-mustache days, he was rarely recognized in public.) Groucho would say, "OK, OK. Good evening, sir. My name is Jones. This is Mrs. Jones, and here are all the little Joneses." Now his wife would be furious and insist that he tell the maître d' the truth. "Oh, all right," said Groucho. "My name is Smith. This is Mrs. Smith, and here are all the little Smiths."[citation needed]
Similar anecdotes are corroborated by Groucho's friends, not one of whom went without being publicly embarrassed by Groucho on at least one occasion. Once, at a restaurant (the most common location of Groucho's antics), a fan came up to him and said, "Excuse me, but aren't you Groucho Marx?" "Yes," Groucho answered annoyedly. "Oh, I'm your biggest fan! Could I ask you a favor?" the man asked. "Sure, what is it?" asked the even-more annoyed Groucho. "See my wife sitting over there? She's an even bigger fan of yours than I am! Would you be willing to insult her?" Groucho replied, "Sir, if my wife looked like that, I wouldn't need any help thinking of insults!"[citation needed]
Groucho's son Arthur published a brief account of an incident that occurred when Arthur was a child. The family was going through customs and, while filling out a form, Groucho listed his name as "Julius Henry Marx" and his occupation as "smuggler." Thereafter, chaos ensued. [12]
Later in life, Groucho would sometimes note to talk-show hosts, not entirely jokingly, that he was unable to actually insult anyone, because the target of his comment assumed it was a Groucho-esque joke and would laugh.
Despite his lack of formal education, he wrote many books, including his autobiography, Groucho and Me (1959) and Memoirs of a Mangy Lover (1963). He was personal friends with such literary figures as T. S. Eliot and Carl Sandburg. Much of his personal correspondence with those and other figures is featured in the book The Groucho Letters (1967) with an introduction and commentary on the letters written by Groucho, who donated his letters to the Library of Congress.
Irving Berlin quipped, "The world would not be in such a snarl, had Marx been Groucho instead of Karl",[13] In his book The Groucho Phile, Marx says "I've been a liberal Democrat all my life", and "I frankly find Democrats a better, more sympathetic crowd.... I'll continue to believe that Democrats have a greater regard for the common man than Republicans do".[14] Marx & Lennon: The Parallel Sayings was published in 2005; the book records similar sayings between Groucho Marx and John Lennon.
Later years[link]
[edit] You Bet Your Life
|
This unreferenced section requires citations to ensure verifiability. |
Groucho's radio life was not as successful as his life on stage and in film, though historians such as Gerald Nachman and Michael Barson suggest that, in the case of the single-season Flywheel, Shyster, and Flywheel (1932), the failure may have been a combination of a poor time slot and the Marx Brothers' returning to Hollywood to make another film.
In the mid-1940s, during a depressing lull in his career (his radio show Blue Ribbon Town had failed to hold on, and the Marx Brothers looked finished as film performers), Groucho was scheduled to appear on a radio show with Bob Hope. Annoyed that he was made to wait in the waiting room for 40 minutes, Groucho went on the air in a foul mood.
Hope started by saying "Why, it's Groucho Marx, ladies and gentlemen! (applause) Groucho, what brings you here from the hot desert?" Groucho retorted, "Hot desert my foot, I've been standing in the cold waiting room for forty minutes!" Groucho continued to ignore the script, and although Hope was a formidable ad-libber in his own right, he could not begin to keep up with Groucho, who lengthened the scene well beyond its allotted time slot with a veritable onslaught of improvised wisecracks.
Listening in on the show was producer John Guedel, who got a brainstorm. He approached Groucho about doing a quiz show, to which Groucho derisively retorted, "A quiz show? Only actors who are completely washed up resort to a quiz show!" Undeterred, Guedel explained that the quiz would be only a backdrop for Groucho's interviews of people, and the storm of ad-libbing that they would elicit. Groucho said, "Well, I've had no success in radio, and I can't hold on to a sponsor. At this point, I'll try anything!"
You Bet Your Life debuted in October 1947 on radio on ABC (which aired it from 1947–49), sponsored by costume jewelry manufacturer Allen Gellman;[15] and then on CBS (1949–50), and finally NBC, continuing until May 1961—on radio only, 1947–1950; on both radio and television, 1950–1960; and on television only, 1960-1961. The show proved a huge hit, being one of the most popular on television by the mid-1950s. With George Fenneman, as his announcer and straight man, Groucho slayed his audiences with improvised conversation with his guests. Since You Bet Your Life was mostly ad-libbed and unscripted—although writers did pre-interview the guests and feed Groucho ready-made lines in advance—the producers insisted that the network prerecord it (instead of being broadcast live).[citation needed] There were two reasons for this: prerecording provided Groucho with time to fish around for funny exchanges and any intervening dead spots to be edited out; and secondly to protect the network, since Groucho was a notorious loose cannon and known to say almost anything. The television show ran for 11 successful seasons until it was canceled in 1961. DeSoto was a long-time major sponsor. For the DeSoto ads Marx would sometimes say "Tell 'em Groucho sent you", or "Try a DeSoto before you decide".
The program's theme music was an instrumental version of "Hooray for Captain Spaulding", which became increasingly identified as Groucho's personal theme song. Groucho released a record of the song with the Ken Lane singers and orchestra directed by Victor Young in 1952. Another recording made by Groucho during this period was "The Funniest Song in the World", released on the Young Peoples' Records label in 1949. It was a series of five original children's songs with a connecting narrative about a monkey and his fellow zoo creatures.
Other work[link]
By the time You Bet Your Life debuted on TV on October 5, 1950, Groucho had grown a real mustache (which he had already sported earlier in the films Copacabana and Love Happy).
During a tour of Germany in 1958, accompanied by then-wife Eden, daughter Melinda, Robert Dwan and Dwan's daughter Judith, he climbed a pile of rubble that marked the site of Adolf Hitler's bunker, the site of Hitler's death, and performed a two-minute Charleston.[16] He later remarked to Richard J. Anobile in The Marx Brothers Scrapbook, "Not much satisfaction after he killed six million Jews!"
In 1960, Groucho, a lifelong devotee of the comic operas of Gilbert and Sullivan, appeared as Koko the Lord High Executioner in a televised production of The Mikado on NBC's Bell Telephone Hour.
Another TV show, Tell It To Groucho, premiered January 11, 1962 on CBS, but only lasted five months. On October 1, 1962, Groucho, after acting as occasional guest host of The Tonight Show during the six-month interval between Jack Paar and Johnny Carson, introduced Carson as the new host. In 1965, a weekly show for British TV titled Groucho was poorly received and only lasted 11 weeks.
Groucho appeared as a gangster named God in the movie Skidoo (1968), co-starring Jackie Gleason and Carol Channing, directed by Otto Preminger, and released by the studio where he got his Hollywood start, Paramount Pictures. The film got almost universally negative reviews. As a side note, writer Paul Krassner published a story in the February 1981 issue of High Times, relating how Groucho prepared for the LSD-themed movie by taking a dose of the drug in Krassner's company, and had a moving, largely pleasant experience. Four years later came Groucho's last theatrical film appearance; a brief, uncredited cameo in Michael Ritchie's The Candidate (1972).
In the early 1970s, largely at the behest of companion Erin Fleming, Groucho, now aged 82, made a comeback with a live one-man show, including one recorded at Carnegie Hall in 1972 and released as a double album, An Evening with Groucho, on A&M Records. He also made an appearance in 1973 on a short-lived variety show hosted by Bill Cosby, who idolized Groucho.
Groucho developed friendships with rock star Alice Cooper—the two were photographed together for Rolling Stone magazine—and television host Dick Cavett, becoming a frequent guest on Cavett's late-night talk show. He befriended Elton John when the British singer was staying in California in 1972, insisting on calling him "John Elton." According to writer Philip Norman, when Groucho jokingly pointed his index fingers as if holding a pair of six-shooters, Elton John put up his hands and said, "Don't shoot me, I'm only the piano player," thereby naming the album he had just completed. Elton John accompanied Groucho to a performance of Jesus Christ Superstar. As the lights went down, Groucho called out, "Does it have a happy ending?" And during the Crucifixion scene, he declared, "This is sure to offend the Jews."[citation needed]
Groucho's previous works regained popularity and were accompanied by new books of transcribed conversations by Richard J. Anobile and Charlotte Chandler. In a BBC interview in 1975, Groucho called his greatest achievement having a book selected for cultural preservation in the American Library of Congress. As a man who never had formal schooling, to have his writings declared to be culturally important was a point of great satisfaction. As he passed his 81st birthday in October 1971, however, Groucho became increasingly frail physically and mentally as a result of several minor strokes he suffered.[17][18] Controversy surrounded the companionship he had developed with Erin Fleming, which consequently raised disputes over his estate.
Jack Lemmon presented Groucho with an honorary Academy Award in 1974, his final major public appearance, in which he received a standing ovation. Noticeably frail and sluggish, Groucho took a bow for his deceased brothers, saying, "I wish that Harpo and Chico could be here to share with me this great honor." He also wished that Margaret Dumont could have been present, adding that she was a great straight woman for him and that she never understood any of his jokes.[19] Groucho's final appearance was a brief sketch with George Burns in the Bob Hope television Special Joys in 1976.
His health was noticeably worsening by the following year and when Gummo died, aged 84, on April 21, 1977, in Palm Springs, California, the death of his younger brother was not reported to Groucho because it was thought too detrimental to his health.[20]
Groucho maintained his irrepressible sense of humor to the very end, however. According to Dick Cavett's New York Times blog, when the elderly Groucho visited an old friend in the hospital, he said to the elevator attendant, as if in a department store, "Men's tonsils, please." When Groucho himself was on his deathbed, and a nurse came around with a thermometer, explaining that she wanted to see if he had a temperature, he responded, "Don't be silly—everybody has a temperature." [21] George Fenneman, his radio and TV announcer, good-natured foil, and lifelong friend, often related a story in subsequent years of one of his final visits to Groucho's home: When the time came to end the visit, Fenneman lifted Groucho from his wheelchair, put his arms around his torso, and began to "walk" the frail comedian backwards across the room toward his bed. As he did, he heard a weak voice in his ear: "Fenneman," whispered Groucho, "you always were a lousy dancer."[22]
Death[link]
Marx's children, particularly his son Arthur, felt strongly that Fleming was pushing their weak father beyond his physical and mental limits. Writer Mark Evanier concurred.[17][18] Fleming's influence on Marx was controversial. Many close to him believed that she did much to revive his popularity.[citation needed] Also, some observers felt the apparent relationship with a young starlet boosted Groucho's ego, adding to his vitality.[citation needed] Others, described her in Svengali-esque terms, accusing her of exploiting an increasingly senile Marx in pursuit of her own stardom, while reportedly exhibiting erratic and violent behavior suggesting mental instability.[citation needed] Marx was hospitalized for pneumonia on June 22, 1977 and died on August 19 at Cedars Sinai Medical Center in Los Angeles.[3] Fleming, increasingly mentally unstable through the years, committed suicide in 2003.
He was cremated and the ashes were interred in the Eden Memorial Park Cemetery in Los Angeles. Groucho had the longest lifespan of all the Marx Brothers and was survived only by younger brother Zeppo, who outlived him by two years, dying in 1979 at the age of 78. Sadly, Groucho's death was somewhat overshadowed, having occurred just three days after the death of Elvis Presley. In an interview, he jokingly suggested his epitaph read: "Excuse me, I can't stand up." But his mausoleum marker bears only his stage name, a Star of David that represents his Judaism, and the years of his birth and death.[23]
Legacy[link]
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as "Groucho glasses", "nose-glasses," and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960's TV Series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).[citation needed]
Alan Alda often vamped in a Groucho-esque manner on M*A*S*H. In one episode, Yankee Doodle Doctor, after "borrowing" a USO movie camera, Hawkeye and Trapper put on a Marx brothers-esque film at the 4077, with Hawkeye imitating Groucho and Trapper imitating Harpo. Also, in three episodes, a character in the series (played by Loudon Wainwright III) was named Captain Calvin Spalding in an obvious nod to Groucho's character in Animal Crackers, Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Micheal Stivic, portrayed by Rob Reiner, would briefly imitate Groucho Marx and his mannerism.
Two of the British rock band Queen's albums, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed "'39" a capella.[24] A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice.[25] On the famous Hollywood Sign in California, one of the "O"s is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in which he performed on stage.[26] He would also imitate Marx frequently on his sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of "Hooray for Captain Spaulding"—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named "Waiting For Groucho" about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.[27]
Solo filmography[link]
Features[link]
- Yours for the Asking (as sunbather, uncredited) (1936), released by Paramount Pictures
- The King and the Chorus Girl (1937), co-writer with Norman Krasna
- Instatanes (1943)
- Copacabana (1947), released by United Artists
- Mr. Music (as himself) (1950), released by Paramount Pictures
- Double Dynamite (as Emile J. Keck) (1951), released by RKO
- A Girl in Every Port (as Benjamin Linn) (1952), released by RKO
- Will Success Spoil Rock Hunter? (1957) (as George Schmidlap, uncredited), released by 20th Century Fox
- The Story of Mankind, (1957) (Harpo and Chico also appeared, but in individual scenes)
- The Mikado (as Koko) (1960), made for television
- Skidoo (as God) (1968), released by Paramount
Short subjects[link]
- Hollywood on Parade No. 11 (1933)
- Screen Snapshots Series 16, No. 3 (1936)
- Sunday Night at the Trocadero (1937)
- Screen Snapshots: The Great Al Jolson (1955)
- Showdown at Ulcer Gulch (1956) (voice)
- Screen Snapshots: Playtime in Hollywood (1956)
See also[link]
- Time flies like an arrow; fruit flies like a banana. - a quotation attributed to Marx
- Paraprosdokian, a phrase type Marx was known for
References[link]
- ^ WWI draft registration as Julius Henry Marx, Chicago, Illinois Roll #1452474 - is noted that the 1900 census has him born in October 1842.
- ^ Billboard Magazine May 4, 1974 pg 35: "Groucho Marx was the best comedian this country ever produced – Woody Allen"
- ^ a b "Groucho Marx, Comedian, Dead. Movie Star and TV Host Was 86. Master of the Insult Groucho Marx, Film Comedian and Host of 'You Bet Your Life,' Dies.". New York Times. August 20, 1977, Saturday. "Los Angeles, August 19, 1977 Groucho Marx, the comedian, died tonight at the Cedars-Sinai Medical Center here after failing to recover from a respiratory ailment that hospitalized him June 22. He was 86 years and 10 months old."
- ^ Giddins, Gary (2001). The New York Times Book Reviews 2000, volume 1. Fitzroy Dearborn Publishers. ISBN 1-57958-058-0. "The most enduring masks of the 20th century—likely to take their place alongside Comedy and Tragedy or Pulcinella and Pierrot"
- ^ Bland, Frank. "The Marx Brothers Family". http://www.marx-brothers.org/biography/marxes.htm. Retrieved 15 May 2012.
- ^ a b c d "Groucho Marx Biography". groucho-marx.com. http://www.groucho-marx.com/bio.html. Retrieved 2008-06-25.
- ^ Boller, Paul F.; Davis, Ronald L. (1988). Hollywood Anecdotes (reprint ed.). Ballantine Books. p. 220. ISBN 0-345-35654-3.
- ^ Mikkelson, Barbara and David P.. "Groucho Marx: "I Love My Cigar"". snopes.com. http://www.snopes.com/radiotv/tv/grouchocigar.asp. Retrieved 28 June 2010.
- ^ Boxoffice, 3 June 1939, p. 89.
- ^ Eden Hartford Biography, imdb.com.
- ^ Marx, Arthur (1954). Life With Groucho. New York: Simon and Schuster. p. 294.
- ^ Marx, Arthur (1954). Life With Groucho. New York: Simon and Schuster. p. 158.
- ^ Irving Berlin, Robert Kimball, Linda Emmet. The Complete Lyrics of Irving Berlin, p. 489. Hal Leonard Corporation, 2005. ISBN 1-55783-681-7
- ^ Marx, Groucho. The Groucho Phile, p. 238. Wallaby, 1977.
- ^ Charlotte Chandler. Hello, I must be going: Groucho and his friends. Doubleday, 1978, p 190
- ^ Hallett, Judith Dwan. "What's So Funny & Why?". Sarah Lawrence College. http://www.slc.edu/magazine/whats-so-funny/Whats_So_Funny_and_Why.php. Retrieved 2007-07-29.
- ^ a b Point of View, Mark Evanier, 1999-06-04, retrieved, 2007-08-09.
- ^ a b Point of View, Mark Evanier, 1999-06-11, retrieved, 2007-08-09.
- ^ youtube.com
- ^ "Gummo Marx, Managed Comedians.". New York Times. "Palm Springs, California, April 21, 1977 (Reuters) Gummo Marks, an original member of the Marx brothers' comedy team, died here today. He was 84 years old."
- ^ "They Dressed like Groucho" NY Times Opinionator (April 20, 20120 Retrieved 5/1/2012.
- ^ "George Fenneman, Sidekick To Groucho Marx, Dies at 77" New York Times (June 5, 1997). Retrieved 2010-06-21.
- ^ Groucho Marx at Find a Grave
- ^ Queen: The Ultimate Illustrated History of the Crown Kings of Rock. p.96. Voyageur Press, 2009
- ^ Stuart Elliott, Pink or Blue? These Bundles of Joy Are Always Green, New York Times, 2007-05-30.
- ^ Internet Movie Database. Groucho (1982).
- ^ Rhymes with Purple Productions - Theatre, Cabaret, Burlesque.
Further reading[link]
- Miriam Marx Allen, Love, Groucho: Letters From Groucho Marx to His Daughter Miriam (1992, ISBN 0-571-12915-3)
- Charlotte Chandler, Hello, I Must Be Going (1979, ISBN 0-14-005222-4)
- Stefan Kanfer, Groucho: The Life and Times of Julius Henry Marx (2000, ISBN 0-375-70207-5)
- Simon Louvish, Monkey Business: The Lives and Legends of the Marx Brothers (2001, ISBN 0-312-25292-7)
- Arthur Marx, Life With Groucho (1954, revised as My Life with Groucho: A Son's Eye View 1988, ISBN 0-330-31132-8))
- Arthur Marx, Son of Groucho (1972, ISBN 0-679-50355-2)
- Groucho Marx, Groucho and Me (1959, ISBN 0-306-80666-5)
- Groucho Marx, Memoirs of a Mangy Lover (1963, ISBN 0-306-81104-9)
- Groucho Marx, The Groucho Letters: Letters From and To Groucho Marx (1967, ISBN 0-306-80607-X)
- Groucho Marx, Beds (1977, ISBN 0-672-52224-1)
- Harpo Marx, Harpo Speaks (1961, revised as Harpo Speaks! 1985, ISBN 0-87910-036-2)
- Glenn Mitchell, The Marx Brothers Encyclopedia (1996, ISBN 0-7134-7838-1)
- Steve Stoliar, Raised Eyebrows: My Years Inside Groucho's House (1996, ISBN 1-881649-73-3)
- Julius H. (Groucho) Marx v. Commissioner of Internal Revenue, 29 T.C. 88 (1957)
External links[link]
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Wikimedia Commons has media related to: Groucho Marx |
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Wikiquote has a collection of quotations related to: Groucho Marx |
- Groucho Marx at the Internet Movie Database
- Groucho Marx at the TCM Movie Database
- Groucho Marx at the Internet Broadway Database
- Groucho Marx at Find a Grave
- Alistair Cooke's reflections on his friendship with Groucho
- Lydia's Marx Brothers Tribute Website
- Groucho Marx Old Time Radio Mp3s from Archive.org
- Groucho's letter to Warner Brothers when they threatened to sue him
- Urban Legends Reference Page: Groucho Marx: "I Love My Cigar"
- Esquire magazine profile of Groucho Marx in 1972, by Roger Ebert
- 1922 passport photo of Groucho and first wife Ruth Johnson(courtesy of the Puzzlemaster, Flickr.com)
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| Persondata | |
|---|---|
| Name | Marx, Groucho |
| Alternative names | |
| Short description | Comedian |
| Date of birth | October 2, 1890 |
| Place of birth | New York City, New York, U.S. |
| Date of death | August 19, 1977 |
| Place of death | Los Angeles, California, U.S. |
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