Plot
Biopic of J. Edgar Hoover told by Hoover as he recalls his career for a biography. Early in his career, Hoover fixated on Communists, anarchists and any other revolutionary taking action against the U.S. government. He slowly builds the agency's reputation, becoming the sole arbiter of who gets hired and fired. One of his hires is Clyde Tolson who is quickly promoted to Assistant Director and would be Hoover's confidant and companion for the rest of Hoover's life. Hoover's memories have him playing a greater role in the many high profile cases the FBI was involved in - the Lindbergh baby kidnapping, the arrest of bank robbers like John Dillinger - and also show him to be quite adept at manipulating the various politicians he's worked with over his career, thanks in large part to his secret files.
Keywords: 1920s, 1930s, 1960s, 1970s, airplane, alvin-karpis, ambition, anarchist, anti-communism, archival-footage
The Most Powerful Man in the World
J. Edgar Hoover: Find Agent Purvis. He is to be demoted or, better yet, fired.
J. Edgar Hoover: What's important at this time is to re-clarify the difference between hero and villain.
J. Edgar Hoover: No one freely shares power in Washington, D.C.
Agent Stokes: The crimes we are investigating aren't crimes, they are ideas.
Harlan Fiske Stone: Lower the treble, son, you didn't call this meeting, I did.
J. Edgar Hoover: McCarthy was an opportunist not a patriot.
Albert Osborne: Is that all, Mr. Hoover? I have a 2:30 class to teach.::J. Edgar Hoover: No, you don't. Consider your pay doubled; you now work for your country. Congratulations, Dr. Osborne.
Annie Hoover: [Contemptuously to Edgar] I would rather have a dead son than a daffodil for a son.
J. Edgar Hoover: Do I kill everything that I love?
[first lines]::J. Edgar Hoover: Let me tell you something. The SCLC has direct Communist ties. Even great men can be corrupted, can't they? Communism is not a political party. It is a disease. It corrupts the soul, turning men, even the gentlest of men, into vicious evil tyrants.
I can give you a choice....a choice to choose.
Plot
This Broadway revue is about two love affairs. The romance between the comedienne Joan Mason and Jack Evans of Boston is easily disturbed by Jack's cynical sister, Clara Belle Evans, who is against their relationship. The romance between the wealthy British Jill Martin and Tom McGrath, the assistant to the impresario George White Brodway is a love hate relationship. Gene Krupa and his band keep, together with the virtuoso organist Ethel Smith, both couples dancing a lot.
Keywords: 1940s, actor-shares-first-and-last-name-with-character, actor-shares-first-name-with-character, actor-shares-last-name-with-character, archive-footage, backstage, band-member, bandleader, broadway-manhattan-new-york-city, burlesque
IT'S TEMPO-TERRIFIC! IT'S LAUGH-LOADED! IT'S GIRL-GLAMOROUS! (original ad - all caps)
Always a tradition on the stage...now a sensation on the screen!
LAUGH * SWING * THRILL*! (original poster - all caps)
Side-splitting laughs...ear-tingling music...eye-dazzling girls! Here's a SCANDALS to make even Broadway raise its eyebrows! You, too! (original poster)
TUNES you'll whistle! GIRLS you'll whistle AT! (original poster)
Ginger Rogers (July 16, 1911 – April 25, 1995) was an American actress, dancer, and singer who appeared in film, and on stage, radio, and television throughout much of the 20th century.
During her long career, she made a total of 73 films, and was best known as Fred Astaire's romantic interest and dancing partner in a series of ten Hollywood musical films that revolutionized the genre. She achieved great success on her own in a variety of film roles and won the Academy Award for Best Actress for her performance in Kitty Foyle (1940). She ranks #14 on the AFI's 100 Years...100 Stars list of actress screen legends.
Rogers was born Virginia Katherine McMath in Independence, Missouri, the only child of William Eddins McMath, an electrical engineer, and his wife, Lela Emogene (née Owens; 1891–1977). Ginger's parents separated soon after her birth, and she and her mother went to live with her grandparents, Walter and Saphrona (née Ball) Owens, in nearby Kansas City. Rogers' parents fought over her custody. After her mother denied him visitation, her father reportedly absconded with his daughter twice. After her parents divorced, Rogers stayed with her grandparents while her mother wrote scripts for two years in Hollywood. Rogers was to remain close to her grandfather (much later, when she was a star in 1939, she bought him a home at 5115 Greenbush Avenue in Sherman Oaks, California so that he could be close to her while she was filming at the studios).[citation needed]