glorifying the american girl
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glorifying the american girl, 1929 on flickr. click image for... (art deco) | american girls, girls and 1920s
the rise of a showgirl, gloria hughes, culminating in a ziegfeld extravaganza
glorifying the american girl
.
american girl: 4 - movie coll... - american girl: 4 - movie collection (4pc) / dvd new
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glorifying the american girl
is a film about a girl who must decide just how far she is willing to go to be a star. the girl (mary eaton), must ...
5. 0 out of 5 stars - american girl: 4 - movie coll... - american girl: 4 - movie collection (4pc) / dvd new
the present film occupying the paramount' s screen is
glorifying the american girl ,
a title that is far more glamourous than the picture. view full article in timesmachine »
urltoken glorifying the american girl (the film detective restored version): mary eaton, eddie cantor, helen morgan, millard webb, j. p. mcevoy: movies & tv
glorifying the american girl by john w. harkrider, millard webb | john w. harkrider, millard webb, mary eaton, edward crandall | 889290261625 | dvd | barnes & noble®
dvd: american girl: lea to the rescue [ blu - ray ], nadia tass. new cond. : laysla d
the combination of jazz & ballet is experimentally bizarre in the best sense, & with johnny weissmuller turning up in his first film in the role of adonis, the film ends up glorifying the beauty of the american boy as well as girl .
this film exceeded my expectations in just about every way and has easily earned a spot on my list of favorite discoveries from mill creek’s 50 classic musicals set. glorifying the american girl is definitely worth a watch. the score: 4 / 5
in its first two thirds, glorifying the american girl is a light and fun watch. the story is a pretty standard one: small town girl seeks fame in the big city. mishaps and little laughs ensue. plenty more memorable films have been made on the subject, but the story here is still enjoyable to watch .
glorifying the american girl is a 1929 pre - code musical comedy film produced by florenz ziegfeld that highlights ziegfeld follies performers. the last third of the film (which was filmed in early technicolor) is basically a follies production, with cameo appearances by rudy vallee, helen morgan, and eddie cantor .
glorifying the american girl is an early talkie, released in 1929 and directed by john harkrider and millard webb. cameo appearances are made by plenty of big names including irving berlin, eddie cantor, rudy vallee, johnny weissmuller, adolph zukor, billie burke and even flo ziegfeld himself .
grease' s girl gang had a real - life model on the northwest side .
this satirical look at the ambivalent relationship between hollywood power brokers and african - american performers marked ...
filled with great singing and dancing performances, and graced with onscreen appearances by eddie cantor, helen morgan, rudy vallee, billie burke, irving berlin and even johnny weismuller, glorifying the american girl is a glowing tribute to show biz itself, unafraid to show the grit as well as the glamour. mary eaton, one of the seven little eatons of vaudeville fame, was a star of the 1920 and 1929 ziegfeld follies shows. her stint as eddie cantor' s leading lady in the broadway smash hits, kid boots (1923) and sunny (1927) led to her being cast in both glorifying the american girl and the marx brothers' first film, the cocoanuts, in 1929 .
the ballet components of the big numbers at the end were choreographed by ted shawn, meaning the film is additionally significant for the history of american dance .
this is some assorted rare color footage from the ziegfeld extravaganza glorifying the american girl. the footage is very fragmented, so is the sound. but we don' t get to see this every day... this important movie has made it to our times and has been restored but no dvd release is still in sight which is a shame .
check out a fun video on the history of cursing in hollywood movies and the first utterances of curse words on screen. movies featured in this video: glorifying the american girl, hell' s angels, bosko' s picture show, gone with the wind, holiday, in cold blood, midnight cowboy, the boys in the band, mash, carnal knowledge, scarface, battleship and the south park movie .
glorifying the american girl appears in mill creek’s 50 classic musicals set, and i’m impressed with the quality of their print considering the film’s age and copyright status. the sound is clear and the contrast is pretty good throughout most of the film. (some of the brighter stage sequences are more washed out .) there is some film grain, but nothing overwhelming. near the end there are a few more concerning blips, but overall the print is highly watchable .
so many names, phrases, images, pieces of music, and concepts became part of the american vernacular and culture thanks to the vision of ziegfeld, this is a much watch for any student of american art, history, and culture. in setting out to glorify the american girl, he set a new standard for entertainment, and made it american. he balanced the line of lust and desire, the lurid and the tasteful - folks like vargas picked up on it - and i think any artist can still admire and learn from him today. if you can walk away from watching this without humming the bars of no foolin' or any of the other music... you' re soul is lost .
eddie cantor, rudy vallee and other ziegfeld stars appear in the story of a struggling chorus girl (mary eaton) .
it would take busby berkeley to take what ziegfeld tried to do on stage to give it full expression on film. it would also take rival mgm studio to preserve the legacy of florenz ziegfeld with their films, the great ziegfeld, ziegfeld girl, and ziegfeld follies. but paramount got the real deal in glorifying the american girl as the man himself made an appearance in this early talkie. with a minor backstage plot about mary eaton who here and in real life epitomized the ziegfeld girl paramount did this film where eaton like ruby keeler in 42nd street gets to become a star, the real follies with real ziegfeld performers like eddie cantor and helen morgan made appearances. rudy vallee did appear on broadway as well, but it was for rival producer george white. other than the story line glorifying the american girl is like so many early talkie musicals just a filmed stage play. but this is a valuable historical record of what the man' s fabled follies must have been like for theater audiences. too bad florenz ziegfeld didn' t live another decade, he died in 1932. had he done so he might have made a mark in film. this film done at paramount' s astoria studio is a hint of what he could have accomplished. mary eaton herself had a most tragic life. you might remember her as the young love interest in the marx brothers debut film, the cocoanuts, also a photographed stage play. like her fellow cast member helen morgan, eaton fell pray to too much prohibition booze and her health went south. for the historically minded among us, glorifying the american girl is a valuable piece of cinema .
joan terry, a girl from the country wants to become a broadway star, but this proves to be not so easy .
nothing remastered here this is the same print that was available 8 years ago! i think this is deceiving when. the film was restored, to the length of 96 minutes, with the original technicolor sequences, by the ucla film and television the back description says
color | 1929 | 96 minutes
b & w; | 1929 | 94 minutes
is what you get. the remastered print is still at ucla and amazon knows that! goto youtube, search glorifying the american girl (1929), stjn00 uploaded a actual remastered clip of the
remastered
version
don’t tell people that man is a helpless, twisted, drooling, sniveling, neurotic weakling. show the world an american kind of man, for a change .
some of the films from the paramount collection which have been preserved and restored by the archive include: the wild party (1929, dorothy arzner); morocco (1930, josef von sternberg); the virginian (1929, victor fleming); the scoundrel (1935, ben hecht and charles macarthur); remember the night (1940, mitchell leisen); high, wide and handsome (1937, rouben mamoulian); the moon' s our home (1936, william a. seiter); road to utopia (l945, hal walker); glorifying the american girl (1929, millard webb) .
rand has had an enduring legacy on american political thinking. but one area that remains to be studied thoroughly in the popular press is rand’s direct and indirect influence on hollywood .
the angry - girl zines, coming in homocore' s wake, took advantage of an intact, politically fertile community to spread their own message. in the past two years the readership of girl zines has multiplied exponentially. this is largely due to their regular coverage in sassy magazine. five years ago, the teen - girl magazine sassy came into being, offering a far more realistic, politically risky vision of teenage life than any other magazine on the market. each issue features a
zine of the month
column, often girl zines. with a readership around 3 million, sassy has been an effective means of spreading the word .
the section on glorifying depravity is particularly interesting given rand’s own obsession with and glorification of serial killer william edward hickman. in the 1920s, after hickman had killed and dismembered a 12 - year - old girl, rand wrote that the murderer was a “genuinely beautiful soul” who had “the true, innate psychology of a superman. ” but that’s a discussion for another time. the entire pamphlet is a fascinating artifact of the cold war .
pretty girl is like a melody
opens the show with badly staged fashion show representing the march of time from 1919 to 1928. we' re tossed right into the main theme of
mcclure' s messages, however, weren' t written on a bathroom wall but in a small fanzine called my super secret circulating through the riot girl network. riot girl (or grrrrl) was started by a group of musicians and writers and friends who decided to aggressively co - opt the values and rhetoric of punk, 15 years later, in the name of feminism - - or as they call it ,
the revolution girl - style now .
riot girl was organized in the wake of the
angry girl
mood, which has overwhelmed the postpunk scene in the form of confrontational female - led bands (bikini kill, hole, babes in toyland, calamity jane), and a flood of fanzines by and about women (jigsaw, sister nobody, chainsaw, girl germs, bikini kill). this anger didn' t feel like a fad, it felt like hope - - compelling girls to organize weekly meetings, start calling themselves soldiers, messengers .
even if you wear the cool clothes, you’re wearing them wrong. because nobody wants to see the girl with the overlarge ass try to squeeze her way into those tight, high - waisted jeans .
there’s a lot to like about this film, but where glorifying the american girl really excels is in its final third, that previously - mentioned lengthy stage sequence. though the extravagance is pared down slightly and a few interjections are made to follow gloria’s experience with the show, this section of the film really makes the viewer feel as though they’re sitting in a theater watching a ziegfeld show. the lovely music, the stunning costumes, the lavish stage decoration… if you’re interested in the follies, this is a real treat. time travel isn’t possible, so we can’t go back and see the shows first - hand. there are other films that recreate the follies, but few seem as close to watching a real show as this one does .
if the riot girls are grounded in the girl - punk past, they are also rooted in modern american feminism. it' s surprising how many are daughters of 70s women' s libbers - - and the children of divorce. for all their anger and violence, many of these girls come from nurturing, healthy mother - daughter relationships. allison wolfe of bratmobile and girl germs says ,
my mom' s real cool; she was a 60s feminist .
d. c. riot girl organizer erika reinstein was first turned on to these ideas by reading her mother' s books: the
old school
betty friedan, gloria steinem. for christmas her mother gave her susan faludi' s backlash .
when show boat was presented in 1927 by florenz ziegfeld, it was unlike anything the great showman had yet produced. his legendary follies were really just vaudeville shows on a grand scale, featuring popular headliners of the day in unrelated scenes. legendary performers such as fanny brice, will rogers, w. c. fields and sophie tucker did their acts along side huge production numbers featuring scantily clad young women. ziegfeld was ‘glorifying the american girl’, he claimed. he also presented light musical comedies such as sally and sunny with music by jerome kern. these were shows with wispy plots that were usually just vehicles for the star in question .
20th century - fox gussied up its 1954 hit three coins in the fountain for the 1960s, and the result was the pleasure seekers. three american girls in search of wealthy husbands head to madrid. ann - margaret is an aspiring performer, carol lynley ...
as of now there are approximately ten weekly riot girl meetings nationwide, more than 20
girlcore
fanzines, and bands multiplying faster than can be counted. this summer washington, d. c. , hosted the first - ever national riot girl convention with workshops in fanzine making and surviving sexual abuse, and long, drawn - out jam sessions. the members of riot girl are quite young, ranging in age from about 14 to 25, although i once encountered a woman wearing a riot grrrl t - shirt who was at least 45. the unofficial centers of the girl revolution are the punk - rock meccas of olympia, washington, and washington, d. c. , but the movement keeps growing and dispersing, drowning itself out then resurfacing .
in the early part of the century, musical theater consisted of vaudeville shows, operettas imported from europe or minstrel shows. in the 1910s a new type of musical that was purely american began to be seen. jerome kern, along with lyricist p. g. wodehouse, created a string of this light, american style comedies about young people on long island estates and their love troubles. once again, wispy plots that featured amusing tunes for the stars to sing .
while motion pictures have a strict code that forbids us to offend or insult any group or nation—while we dare not present in an unfavorable light the tiniest balkan kingdom—we permit ourselves to smear and slander american businessmen in the most irresponsibly dishonest manner .
the series includes anna may wong in'' the toll of the sea'' (1922);'' liliom'' (1930) starring charles farrell; a 1925'' wizard of oz'' with piano accompaniment; ben hecht' s'' specter of the rose'' (1946) starring judith anderson;'' group theater screen tests'' (1937), featuring luther adler, morris carnovsky, lee j. cobb and elia kazan;'' glorifying the american girl'' (1929), with helen morgan, rudy vallee and eddie cantor, and'' the shining future,'' in which frank sinatra, cary grant, bing crosby and benny goodman appear .
this satirical look at the ambivalent relationship between hollywood power brokers and african - american performers marked the writing, producing, and directing debut of robert townsend. the filmmaker also stars as bobby taylor, a struggling actor looking for his big break despite ...
the girl revolutionaries, many of whom are too old and worldly to reasonably be called
girls ,
take this name because they remember that loud, untamed figure, because their utopia lies in the past. the bikini kill girls often talk nostalgically about an early
girl culture
that is destroyed upon contact with boys. that' s when competition and jealousy interfere. bikini kill often chant ,
struggle against the j - word, killer of girl love .
if that seems rather innocuous, more interesting is their sense that this
organic
girl community allowed an unregulated sexuality .
girls' first erotic experiences are usually with each other ,
says hanna ,
but we' re taught to forget that .
more prudent financially) shoot the whole film in two - strip technicolor, he and cantor brought in busby berkeley to direct the numbers (his film debut) and berkeley delivered a series of dazzling ensembles, many of them with the overhead kaleidoscope shots that would be his trademark throughout his career; for glorifying the american girl director webb and his choreographer, ted shawn (husband of modern dancer ruth st. denis and dance teacher of myrna loy !), keep their cameras at a discreet distance from the action and don’t move them during the number. the only time the camera goes overhead is when we least want it to — during mary eaton’s big solo, when we want the camera front - and - center, astaire - rogers style, so we can see how good she is .
ted shawn is the imaginative choreographer who arranges the dancers up and down ziegfeld’s stairs dressed as exotic animals, graceful swans, and art nouveau beauties clutching glass globes. shawn would create the jacob’s pillow dance festival and was instrumental in forming a uniquely american branch of modern dance .
murray was the best known and easily the most flamboyant. several years later she would star with john gilbert in the extravagant stroheim feature the merry widow, photographed by oliver marsh. mary eaton was the star of the 1929 musical variety feature glorifying the american girl, directed by millard webb, but with the guiding hand of the redoubtable florenz ziegfeld. the great george folsey, who ended his career by teaching at the afi, photographed it. hope hampton had just recently starred in a clarence brown picture called light in the dark, and wore that film’s wardrobe for the test. a french born cinematographer named alfred ortlieb, whose credits on imdb end in 1926, photographed that film. the film was long considered lost until a near complete print was discovered in the garage of a former projectionist and was restored at the george eastman house. such are the ongoing amazing stories of discovery and digital restoration that we read about weekly. one can only wonder if movies from our own digital infancy will be so lucky .
curiously, as far as i can tell, she didn’t sign her name to this pamphlet. the only credit is given to the motion picture alliance for the preservation of american ideals in beverly hills, california. collective credit for the work of one woman? sounds a lot like communism to me .
titled the “screen guide for americans, ” the pamphlet was distributed in 1947. michigan state university has a copy of the guide, which advises producers on everything from spotting communist subversion in their writers to the practical advice of how to avoid celebrating “the common man. ” as rand explains, glorifying “the common man” is “communist doctrine” which “preaches the reign of mediocrity. ” i’m not making this stuff up, i swear .
feminist
girl groups
- - from early british bands like the slits and the raincoats to americans like the avengers - - are nothing new in punk. in the early 80s, bush tetras sang ,
i don' t want to walk out on the street no more / too many creeps ,
and before that the slits declared ,
i don' t want to be no one' s little girl .
women in bands had begun using the form of punk rage for their own purposes, focusing specifically on women' s experiences .
something often left unacknowledged is that vassar students, living in close proximity to one of the fashion capitals of the world, and mostly coming from privileged enough backgrounds to buy expensive clothing, work in tandem with the fashion industry. just walk around campus and you will see any number of students wearing tommy hilfiger, calvin klein, j. crew, american apparel or urban outfitters. by glorifying and normalizing these fashion giants, vassar culture glorifies, normalizes and inherently supports an industry which perpetuates an idealized, sometimes unhealthy body type. in september, tim gunn wrote a powerful editorial for the washington post stating just as much. gunn wrote :
under the american system, all men are equal before the law. therefore, if anyone is classified as “common”—he can be called “common” only in regard to his personal qualities. it then means that he has no outstanding abilities, no outstanding virtues, no outstanding intelligence. is that an object of glorification ?
james stewart stars alongside judy garland, lana turner, and hedy lamarr in this musical from director robert z. leonard. telling the story of three women who jump at the opportunity to perform on broadway, ziegfeld girl has received a full - screen ...
riot girl olympia first met on a cold night last february when the sky was bright violet, an unreal light. girls started drifting in around six o' clock, the room slowly filling until there were 17, sitting on the floor, waiting for something to happen. most were dressed in traditional olympia girl - style: short - cropped dyed hair; rumpled vintage dresses; bright woolworth' s lipstick. allison wolfe, coeditor of girl germs and the unofficial leader, broke the ice :
ok, i mean this meeting is really figuring out what we want riot girl to be here. it' s a different thing in every city. i personally would like to see us rent out space and put on shows, just put on a whole bunch of shows and blow their minds .
yes, almost everyone agrees, and we can pass out fanzines about sexism and rape small enough to fit in your pocket at the shows. men can come, but they' ll have to wear dresses .
it’s a musical mellerdrammer starring mary eaton as gloria hughes, a young woman with aspirations to be a ziegfeld follies girl…but until such a time as that dream comes true, gloria’s toiling away in the sheet music department of a local department store .
eaton discovers her beau has moved on just before she goes out for the finale in the follies, and you see the emotions hit her as she struggles under the weight of an enormous headpiece that cascades around her like a fountain. ok, so it’s not exactly deep, but at least she doesn’t die of alcohol poisoning or get slapped around like in the exploitational ziegfeld girl .
glorifying the american girl gives us a rare glimpse into ziegfeld' s world of the american showgirl. we see gloria, a sheet music sales girl, yearn for the big time, and reach it, but at a cost. gloria is played by genuine ziegfeld star, mary eaton, an actress who didn' t fare too well in real life, and died in 1948. she was sister to both doris eaton, another ziegfeld star, and pearl eaton, who choreographed musicals at rko back in the late' 20s and early' 30s. gloria has a monstrous stage mother, played by sarah edwards. she says
dammit
several times during the proceedings. other cast members are edward crandall and dan healy who i believe hail from the new york stage. the
guest stars
are helen morgan, rudy vallee, and eddie cantor, who perform in the revue section at the end of the film. there is a completely restored version moulding away at ucla film archive, but unless you go there or to a film
event
that is featuring it, you' ll never see it. the dvd print that is out there generally runs 94 out of 96 minutes and presents the revue section in black - and - white instead of two - color technicolor. the early sections of the film are rather sharp in clarity and contrast, with the black - and - white versions of the color footage grainer and less sharp. it' s still an enjoyable film for buffs even in it' s public domain version. the upside is that it is not at all expensive like, say, on with the show, a 1929 warners technicolor film which also exsists only in black - and - white, and coming from warner archive is considerably pricier. it won' t be everyone' s cup of tea, but it' s fun for us buffs, and a bargain, at that .
d. c. riot girl started in the summer of' 91, shortly before hanna and bikini kill migrated there. it' s a younger, more racially diverse group than olympia riot girl, with most of its members in or just out of high school. maybe because the meetings are now led by the emotional cyclone of hanna, they tend to be more personal, less about political organizing: at one meeting a series of girls came out, and at others discussions have involved the members' feeling, as do many 16 - year - old girls, like they are disappearing .
only savages and communists get rich by force—that is, by looting the property of others. it is a basic american principle that each man is free to work for his own benefit and to go as far as his ability will carry him; and his property is his—whether he has made one dollar or one million dollars .
if the girl revolution expresses itself in ear - splitting noise, it also happens through writing. girl fanzines, or zines, are time bombs disguised as thick letters. they come with titles like g - force, fantastic fanzine, chainsaw, sister nobody. they are crazy mishmashes of politics, scene reports, top - ten lists, love and hate mail, blurry photographs. all across the country, girls wait to hear from the fanzine network, a phantom community they belong to but never see - - it' s an underground with no nucleus, built of paper .
mary eaton is a chorus girl with an internal struggle: does she want the love of edward crandall or the love of teeming millions as she performs in the ziegfeld follies? the thin plot line is really just an excuse for the production numbers, songs, and sketches contained in this film, along with eddie cantor' s marvelous tailor bit, and a host of celebrity... read more
america is the land of the self - made man. say so on the screen .
after their zine was reviewed in sassy, molly and allison of girl germs say their mail multiplied overnight :
we couldn' t keep up with it... . we got hundreds of letters from teenage girls across the country .
the same happened when riot girl was covered there, and bikini kill. one of the most common sights in the apartments of fanzine makers now is piles of letters, often written on pink, flowery stationery, with circles or hearts dotting the i' s .
i want to start riot girl in my town ,
they write from oklahoma, nevada, alabama .
your zine changed my life .
one fan writes ,
i want to start a band now. since i can' t really scream in my house, i know i belong on a stage .
these girls might be sleeping in canopy beds, but they dream of starting a hardcore band .
it’s nice to hear mary eaton speak frankly to her boyfriend (a dreamy edward crandall) about wanting to live a little and see what she can do before settling down and raising children. he’s visibly hurt, but not petulant or insulting (like every boyfriend / husband in ziegfeld girl and the dolly sisters). he does wait for her and seems genuinely supportive of her success…, but eventually settles for available girl - next - door gloria shea — who actually is treated pretty badly by the film: abandoned and hit by a car! that’s what chasing love gets you… .
marrs was also one of the first women to organize collective punk girl activities in olympia. her girl city store was a punk - rock collective where women sold clothes and artwork. her remarkable 1986 performance piece 50 girls 50 states, in which, she says ,
i assembled 50 women and told them to make dresses based on a given state and the idea of world peace ,
was a twisted beauty pageant, a punk debutante parade, where all girls in outlandish dresses marched down the streets of olympia. one attendee said the spectacle was like a combination
political march and craft show .
the proceeds from the reception afterward went to safeplace, a rape - relief shelter. yet although she has been active in the community for years, marrs, like many of the older women i spoke with, is suspicious of the hard - line ideologues of the girl revolution. she feels they may be taking their power for granted .
it' s all gaining momentum so fast. but they don' t realize how long it has taken. how hard it was .
here the revolution girl - style becomes a revolution not about spiritual freedom but about bodily freedom. when 424 women are raped in the united states each day and roughly half of those are under 19, it seems a logical focus for any feminism, particularly a youth movement. for the riot girls, the new world might be nothing more than a world where they can walk down the street at night, as far as they want, even into the early hours of the morning .
during his great communist witch hunt of the 1940s and 50s, congressman joseph mccarthy infamously turned his eye to hollywood. mccarthy sought to purge tinseltown of any possible speck of pinko influence. and an organization of conservative activists known as the motion picture alliance for the preservation of american ideals was more than happy to name names of alleged communists working in hollywood and provide any other assistance necessary. they even had rand write up a guide for the movie industry .
olympia is an important stop on the underground, the birthplace of that quickly evolving cliche, the seattle scene. sub pop and nirvana both have their spiritual roots here. it' s also home to the dedicated indie label k records, run by candice pedersen and calvin johnson, who' ve been instrumental in encouraging girl bands. in the summer of' 91 k hosted the week - long international pop underground convention. more than 50 bands came from all over the world, overrunning the town. the waitresses at the local diner were ruined, serving one table of broke, elated kids after another. the quiet sidewalks were suddenly crowded; people sat out on curbs and wandered in front of traffic, trying to find friends or idols. the convention opened with girl day, an event allison wolfe and molly neuman, the editors of girl germs, like to call
prdct ,
punk rock dream come true. for one night, only girls took the stage: kreviss (eight ragged girls playing electric guitars), jean smith, seven year bitch, rose melberg of tiger trap, members of bikini kill, one after another. tracy, of the band heavens to betsy, who played their first show that night, said breathlessly ,
it was the most incredible thing in the world .
many riot girls see that night as a kind of beginning .
it is true that there have been vicious congressmen and judges, and politicians who have stolen elections, just as there are vicious men in any profession. but if you present them in a story, be sure to make it clear that you are criticizing particular men— not the system. the american system, as such, is the best ever devised in history. if some men do not live up to it—let us damn these men, not the system which they betray .
among a host of treasured american feature films and esteemed documentaries considered for the 2012 registry of the national film preservation board, there is an unlikely hopeful: a film test. it was made in 1922 at the paragon studios in fort lee, new jersey, a decade after d. w. griffith and his cinematographer billy bitzer had migrated to los angeles. (update: the test was in fact included in this year' s registry, announced on dec. 19) .
the girl revolution looks back to a peaceful female prehistory; they romanticize the past, much like some new - age goddess groups. yet there' s another quality of this vanished girl that comes across, most strikingly in the performances of bands like bikini kill, hole, and babes in toyland, and that' s the inherent anarchy of little girls. when kat bjelland of babes in toyland, wearing a sweet velvet dress, sings ,
vomit my heart / pull my legs apart ,
she seems both to be reviving that anarchy and bringing to it an immense exhaustion. it has taken a long time to return to this first self and discover not an innocence but a violated, tantrum - throwing, terrifying girl hero. she is as far from the self - sacrificing, nurturing woman as you can get, and she implies that beneath this daylight woman' s surface there is another dark, powerful life. the riot girls refuse to cross the threshold into womanhood and lose that ferocious child. they don' t want her to recede. they want her to ascend .
is a major piece of american social history — not only because it was the only film ziegfeld actually produced himself (more or less) but also because it’s a marvelous fragment of the 1920’s spirit, finished just before the stock market crash and thereby reproducing the devil - may - care zeitgeist of the pre - depression era. a newspaper clipping informs us that the price of a ticket to the ziegfeld show that gives the film its name is $ 25 — in 1929 dollars! apparently broadway tickets aren’t really any more expensive now, when you adjust for inflation, than they were then. — 8 / 21 / 96
marilyn miller was not the star of this film. marilyn miller was a beautiful tall, leggy showgirl who was broadway' s brightest star of the 20s. she was in
sally
,
sunny
- she also filmed them in 1929 and 1930. the star of
glorifying the american girl
was mary eaton. mary eaton was picked by ziegfeld in the 20s to be the successor to marilyn miller (because miss miller was getting uppity .) she replaced miss miller in
kid boots
with eddie cantor. mary eaton, in my opinion, couldn' t hold a candle to marilyn miller. i think mary eaton was showcased far better in
the cocoanuts
( 1929). i loved this film because this is my era - i feel so at home watching musicals and movies from the late 20s, early 30s - the songs are so catchy. i loved the start as it showed girls from all over america walking to broadway and instantly went into mary eaton singing
no foolin'
. i also liked olive shea - i was glad when she got her
buddy
- she seemed quite a natural actress. i didn' t particularly like mary eaton - she didn' t seem very starry eyed - she came across as tough and jaded. helen morgan' s song i loved but i also thought eddie cantor' s skit went on far too long .
the flicker could also have been made by the conveyance technology employed in the coating machines at the time - the use of festoon loop sticks. early coating machines conveyed the coated film by the use of these long sticks that supported the film and the sticks were driven by chain drives on each side. the film hung over the sticks and where the stick contacted the base side of the coated film, the film' s thickness - and thus density, could be slightly altered. after processing, that would result in a flicker .
as nirvana goes number one, some believe that boy punk is dying as an underground and the girls are rising out of their ashes. independent labels (and majors too) are scrambling to sign girl bands, and it' s getting harder to find a show without a woman somewhere in the lineup. yet it has taken years for it to be possible for a contributor to write, in girl germs, no. 3 :
i hear these girls, girls i don' t know, girls i have never met, make these same promises and these same threats. they speak to me and i speak to you and i know our time has come .
yet as the riot girls guard their integrity ,
purifying
themselves against a sick society, they also isolate themselves. everyone in the embassy living room is white, as are most of the riot girls. most come from upper - or upper - middle - class backgrounds. like a religious sect, they huddle together, superior to the rest of the world but also somewhat afraid of it. glorifying
youth rebellion ,
they sometimes will themselves into a comforting naivete. while the riot girls talk in a cursory way about branching out, they haven' t. and until the riot girls address the socioeconomic basis of their movement - - the way their somewhat privileged lives have given them the time and the freedom to express their rage, have given them enough economic power to desire other types of power - - their force will be limited .
mooney' s a girl who sings & dances. miller' s a guy who dances, jokes, sings. the act is very cute, especially when they sing
spooning with the one you love .
but they don' t get along with each other off stage, & miller pretty much railroads the young woman (kaye renard) constantly assuring her he can always find another hoofer & call her mooney .
below i’ve pulled some of the most interesting quotes from the document. the emphasis in bold is entirely rand’s .
# # # the history of sound at the movies the inclusion of sound at the movies was one of the most dramatic changes in all of film history. dive into the early experiments of edison trying to incorporate sound from film' s inception, through the experiments in the early 1920s, the jazz singer and... more
the riot girl manifesto (a rushed, two - page document that' s constantly being revised) declares
we seek to create revolution in our own lives every day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things .
they urge their members to
resist psychic death
and
cry in public .
their goals include getting
all girls to be in bands
and making it so
girls rule all towns .
they teach each other to play guitar or drums, talk and write about sexism, even encourage women to arm themselves. riot girls are often accused of being separatist: they want to form a life away from men and invent
girl culture .
the greatest cable channel known to mankind™ rolled out a righteous premiere on the first day of the new year: the joseph losey - directed ...
judge william hooks cited the defendant’s “remorse” for the crime, but the victim’s loved ones say that claim rings false .
in the year of the pig (dir. emile de antonio, 1968 )
the power and the glory (dir. william k. howard, 1933 )
the sign of the cross (dir. cecil b. demille, 1932 )
with the greeks in the firing line (dir. robert schwobthaler, 1913 )
the girl revolutionaries have a long way to go before they rule all towns. as they exist now, they are a self - proclaimed movement of very young, very angry women discovering their own power through frenzied productivity: fanzines, music, public - access shows, performance events. they meet in massachusetts, new york, pennsylvania - - in apartments, rock clubs, cluttered kitchens, pink bedrooms. riot girl olympia meet sundays in a white apartment - house laundry room, usually in the late afternoon. the world they are trying to change right now is the world of olympia, an isolated small town with one main street, a few wide, clear alleys perfect for graffiti (
your desires are reality
), a theater where movies are always a dollar. the bars are full of quiet regulars, who occasionally start short - lived, halfhearted brawls .
remember that america is the country of the pioneer, the non - conformist, the inventor, the originator, the innovator. remember that all the great thinkers, artists, scientists were single, individual, independent men who stood alone, and discovered new directions of achievement— alone .
the cakewalk performed by ellie and frank is also danced to an authentic song of the period, goodbye, ma lady love. the dancing is staged in such a way as to recall the style of the minstrel shows that would have been current at the time the movie is depicting .
the black widow (1947) – chapter 2: the stolen for ...
glorifying the american girl
is an extremely dated film and it comes off as very quaint and old fashioned. the audio quality varies widely and is, at times, almost incomprehensible. in addition, the original two - color technicolor sequences are gone - - faded over time. it' s a darn shame the film is in this condition and i' d love to see it restored someday. the first 2 / 3 of the film is a story about a woman who gets a dance partner and sets off for the stage. her boyfriend is left alone... . waiting and hoping for her return. as for the dreams of success, it doesn' t come quickly and the lady has a serious problem with her sleazy partner. however, with hard work she' s discovered by the folks at the ziegfeld follies and she' s about to become a star. now because she isn' t available back home, her boyfriend slowly drifts away and falls for a co - worker. by the end, the lady is a star and the show is a success... but she' s alone and so ends the picture. the final 2 / 3 is the big show and you get a chance to see one of ziegfeld' s shows filmed and shown to a wider audience. i was a bit surprised as the routines were a lot rougher and less amazing than they' d be portrayed over a decade later in
the great ziegfeld
- - which isn' t surprising as this biopic seemed to have little to do with the man anyway. in addition, you hear rudy vallee and helen morgan sing as well as a very stereotypically jewish comedy routine with eddie cantor. it' s a shame, however, that you don' t get to hear cantor sing in the film, as i loved his clever songs in his other films. all in all, if you can get past the rough condition of the film, it gives you a rare peek at a bygone era - - like a time capsule. rough but full of energy and fun - - mostly for fans of early films and historians but still might be of some interest to the average person if they give the film a chance. while it is very dated, for 1929 it was a heck of a picture - - hence my relatively high rating .
as magnolia’s performing career on the cotton blossom itself blossoms, we get to see many of her performances. the scene between the school teacher and her beloved hamilton is an affectionate depiction of what types of melodramas were being performed in the days of the cotton blossom. the histrionic acting and overheated dialogue seem right. the audience’s reaction confirms this. the humor of the scene comes not from the film’s condescension to the play, but to the woodsmen’s reaction – their belief that reality is happening on stage. the play itself is performed almost in documentary fashion .
recently psychologist carol gilligan, author of in a different voice, published a ground - breaking study of young girls that concluded that as they enter the
feminine role ,
somewhere between the ages of 11 and 13, their confidence plummets. sensing the violence and injustice there, many girls derail on the verge of entering society. brash and self - assured at 11, they become shy and insecure, even self - destructive. they feel the new limits drawn around their bodies. what' s interesting about gilligan' s study is not so much her evocation of the familiar image of the masochistic teen as that earlier wild and unafraid girl who disappeared .
the paramount holdings at the ucla film & television archive include the entire studio output from the coming of sound in the late 1920s to 1948. in many cases these studio prints are the best, or only, available materials for preservation. paramount features and shorts have been at the forefront of the archive' s preservation program and the archive staged a major retrospective of paramount titles in 1987 .
- all films - american animals ant - man and the wasp ant - man and the wasp 3d ant - man and the wasp: an imax 3d experience ant - man and the wasp: the imax 2d experience avengers: infinity war bolshoi ballet: giselle (encore) brother of the year damsel deadpool 2 dr. seuss' horton hears a who! eating animals the first purge first reformed gotti hearts beat loud hereditary the house of tomorrow incredibles 2 the iron giant jurassic world jurassic world: fallen kingdom jurassic world: fallen kingdom 3d leave no trace let the sunshine in love, cecil the misandrists no postage necessary ocean' s 8 one flew over the cuckoo' s nest rbg sanju sicario: day of the soldado solo: a star wars story sorry to bother you summer interlude superfly tag three identical strangers uncle drew whitney won' t you be my neighbor? yellow submarine today tuesday, july 10 wednesday, july 11 thursday, july 12 friday, july 13 saturday, july 14 sunday, july 15
one of the more original spirits in the evolution of the punk girl scene is stella marrs, an olympia - based artist and performer whose styles and theories can easily be detected in the work of bikini kill. for years marrs has been exploring images of femininity, rummaging through patriarchy' s memory and building art out of the debris she finds there: ribbons, high heels, debutante dresses, old slips .
i grew up with a set of images ,
she says .
they don' t make sense to me. they' re not my reality. so i take those images and reinterpret the meaning .
she' s used high heels as drumsticks in a performance and turned hundreds of old slips into canvases. she splits them down the seams and spatters paint across them .
i made a lot of lesbian separatists mad; they thought it was violence against women ,
she remarks. but for marrs it was a way to connect femininity and rage, in the same way the name
riot girl
does, in the same way courtney love of hole does when she wears a lacy dress and screams ,
ugly, ugly, ugly, ugly.
glorifying the american girl is a 1929 american pre-code , musical comedy film produced by florenz ziegfeld that highlights ziegfeld follies performers . the last third of the film ( which was filmed in early technicolor ) is basically a follies production , with cameo appearances by rudy vallee , helen morgan , and eddie cantor . rex beach was paid $ 35,000 for the original story . the script for the film was written by j.p. mcevoy and millard webb and directed by john w. harkrider and millard webb . the songs were written by irving berlin , walter donaldson , rudolf friml , james e. hanley , larry spier and dave stamper . the film is in the public domain , and many prints exhibited on television are in black-and-white only , and do not include pre-code material , such as nudity . 
glorifying the american girl is a 1929 american pre-code, musical comedy film produced by florenz ziegfeld that highlights ziegfeld follies performers. the last third of the film (which was filmed in early technicolor) is basically a follies production, with cameo appearances by rudy vallee, helen morgan, and eddie cantor. rex beach was paid $ 35,000 for the original story. the script for the film was written by j.p. mcevoy and millard webb and directed by john w. harkrider and millard webb. the songs were written by irving berlin, walter donaldson, rudolf friml, james e. hanley, larry spier and dave stamper. the film is in the public domain, and many prints exhibited on television are in black-and-white only, and do not include pre-code material, such as nudity.
glorifying the american girl is a 1929 american pre-code, musical comedy film produced by florenz ziegfeld that highlights ziegfeld follies performers. the last third of the film (which was filmed in early technicolor) is basically a follies production, with cameo appearances by rudy vallee, helen morgan, and eddie cantor. rex beach was paid $ 35,000 for the original story. the script for the film was written by j.p. mcevoy and millard webb and directed by john w. harkrider and millard webb. the songs were written by irving berlin, walter donaldson, rudolf friml, james e. hanley, larry spier and dave stamper. the film is in the public domain, and many prints exhibited on television are in black-and-white only, and do not include pre-code material, such as nudity.