kid galahad ( 1937 film )
( rare !) kid galahad (1937) - humphrey bogart - edward g. robinson
( rare !) kid galahad (1937) - humphrey bogart - edward g. robinson - youtube
kid galahad (1937) jane bryan. a michael curtiz film. | 30' s classics (screenshots) | pinterest
kid galahad (1937) wayne morris, a michael curtiz film. | 30' s classics (screenshots) | pinterest
humphrey bogart, dressed for his role as turkey morgan, reaches for his gun in a scene from the 1937 film kid galahad .
kid galahad (1937) humphrey bogart, a michael curtiz film. | 30' s classics (screenshots) | pinterest | humphrey bogart
humphrey bogart appears in kid galahad and san quentin. champion (1949). humphrey bogart and bette davis appear in kid galahad and marked woman. humphrey bogart appears in kid galahad and the harder they fall. bette davis appears in kid galahad and the cabin in the cotton .
a clip from the 1937 film
kid galahad ,
with edward g. robinson, harry carey and wayne morris. please visit my blog at: urltoken
kid galahad [ region 2 ] [ 1937 ] starring edward g. robinson, bette davis, humphrey bogart (dvd by edward g. robinson
' kid galahad' - (october 26 - 27 1961. 27 tracks, 76 mins )
1937 film starring edward g. robinson, bette davis and humphrey bogart. (to be distinguished from the 1962 elvis presley boxing musical film. )
when i played with her in kid galahad, i did not admire bette davis; i admire her now .
kid galahad is a 1937 boxing film starring edward g. robinson, bette davis, humphrey bogart and, in the title role, rising newcomer wayne morris. it was scripted by seton i. miller and directed by michael curtiz .
kid galahad is a 1937 boxing film starring edward g. robinson, bette davis, humphrey bogart and, in the title role, rising newcomer wayne morris. it was scripted by seton i. miller and directed by michael curtiz .
…film of the year was kid galahad (also released as the battling bellhop), a boxing film with edward g. robinson in the role of a promoter and wayne morris as a prizefighter .
the film index: a bibliography. vol. 1: the film as art .
denmark; dir. jytte rex; norsk film production and the danish film institute .
kid galahad 1937 - official wb region 2 pal, english audio & subtitles: urltoken edward g. robinson, bette davis, humphrey bogart, wayne morris, jane bryan, harry carey, michael curtis: dvd & blu - ray
19 september 1991: arts and film 86; 20 september 1991: arts and film 37 .
kid galahad region 2 1937 starring edward g. robinson, bette davis, humphrey bogart dvd by edward g. robinson: urltoken edward g. robinson, bette davis, humphrey bogart, wayne morris, jane bryan, michael curtis: dvd & blu - ray
( 1962) which had been a box office winner for warner brothers in 1937. it was based on a
the american film institute catalog of motion pictures produced in the united states: film beginnings, 1893 - 1910 .
the american film institute catalog of motion pictures produced in the united states, film beginnings, 1893 - 1910 .
crew: (b & w) available on vhs. extract of a review from 1937. running time: 100 min .
kid galahad (1937) - official wb region 2 pal, english audio & subtitles: official warner bros. spanish region 2 pal dvd release as pictured. full audio options: english, german, italian, spanish. full subtitle options: english hoh, german hoh, italian hoh; italian, spanish. runtime 97 mins. bonus features: commentary by historians art simon and robert sklar; warner' s night at the movies 1937: newsreel, short' alibi mark', short' postal union', animated shorts' egghead rides again',' i wanna be a sailor' and' porky' s super service', trailers for 1937 movies' kid galahad' &' it' s love i' m after' .
when a bellhop knocks out fighter chuck mcgraw, promoter nick donati realizes he' s a potential champ .
kid galahad
justifies nick' s confidence, but nick' s mistress falls for the kid while the kid falls for nick' s young sister. now overprotective nick turns against his new fighter, leading to a near - disastrous title fight and a murderous confrontation .
as it turns out, i own kid galahad, as part of a warner bros. set, but haven’t yet seen it. now i’m wondering what’s taking me so long to watch it… !
under curtiz' direction, robinson' s performance as the oddly obsessed manager is tart, but for once he doesn' t quite dominate a film. as the kind - hearted mistress who falls for the kid, and who smothers her feelings in honour of young love, bette plays with a warmth that claims the movie as hers. kid galahad was designed as a robinson movie, but it turns out instead to be an uncharacteristic davis film .
columnists had predicted davis would turn down the part of fluff in kid galahad, fight - manager robinson' s mistress, who falls for the kid but loses him to a younger girl (jane bryan) and walks off into the fog alone. davis surprised them by stating ,
kid galahad, while not giving me much of a role in the artistic sense, has such a lot of good robust fight stuff in it that it is bound to appeal to a totally different cinema audience, an audience with which i nevertheless need to be kept in touch .
kid galahad (1937) - official wb region 2 pal, english audio & subtitles: official warner bros. spanish region 2 pal dvd release as pictured. full audio options: english, german, italian, spanish. full subtitle options: english hoh, german hoh, italian hoh; italian, spanish. runtime 97 mins. bonus features: commentary by historians art simon and robert sklar; warner & apos; s night at the movies 1937: newsreel, short & apos; alibi mark & apos; , short & apos; postal union & apos; , animated shorts & apos; egghead rides again & apos; , & apos; i wanna be a sailor & apos; and & apos; porky & apos; s super service & apos; , trailers for 1937 movies & apos; kid galahad & apos; & & apos; it & apos; s love i & apos; m after & apos; .
, caeserini' s film still suffers from a problem common to many early filmed operas, the inability to synchronize the film itself with the musical accompaniment .
elvis' 10th movie was still being filmed as' blue hawaii' opened to packed theatres across the states. this would be elvis' last film made before the
travelogue formula
became the routine. even then, kid galahad, a remake of the edward g. robinson 1937 film, still had the feeling of a meaningful drama with six songs randomly dropped into the plot. the seriousness of the film however was shown by the fact that former world - champion boxer, mushy callahan, was brought in to help coach elvis. despite this, the lacklustre script, elvis' worry about his increased weight and his mutual dislike of co - star charles bronson stopped the film from being particularly memorable .
kid galahad
is bland on nearly every single level from its direction to its cinematography and editing and score and screenplay and even in its performances - aside from bette davis, who does manage some decent work in an underdeveloped role .
the characters are generic and the boxing sequences are rather dull. the romances between davis / edwardgrobinson / kid galahad / robinson’scharacter’ssister are poorly written on all sides and the humphrey bogart’s threat isnt threatening in the slightest regard. there is no depth, no drama, no real stakes. no emotional core. you need that in a quality boxing movie. you need a reason to root on the hero and kid galahad is just so uninteresting and one dimensional that you dont care .
in 1941 and gave it a circus backdrop with humphrey bogart once again taking a leading role. in 1962 paramount bought the rights and fine - tuned the premise for an elvis film while warner brothers changed the title of their original 1937 version to
lacy, norris j .
arthurian film and the tyranny of tradition .
the use of arthurian legend in hollywood film from connecticut yankees to fisher kings .
the use of arthurian legend in hollywood film from connecticut yankees to fisher kings .
images in the dark, an encyclopedia of gay and lesbian film and video .
london: rank film distributors, [ 1963 ]. [ press book. ]
kid galahad trains for the climactic big fight during the middle of summer, independence day to labor day, yet when you see all the orange and yellow leaves on the trees and on the ground it is obvious that these scenes were filmed in autumn .
according to his new york times obituary of december 3, 1975, the playwright and screenwriter lawrence riley, famous for his broadway hit personal appearance (basis of mae wests go west, young man), contributed to kid galahad s screenplay, although uncredited .
there can definitely be a similarity between some of these dramas – like kid galahad and bullets and ballots…which both end the same way, so i see what you mean. partly, i think i like this one because i really love the actors involved. 🙂
the' kid galahad' e. p only made number 30 in the us charts. in the uk, released one month after' return to sender' was # 1, it got to # 23 and became elvis' highest charting uk extended play .
presents probably the most faithful film version of the medieval legend of tristan and isolde .
when a bellhop knocks out fighter chuck mcgraw, promoter nick donati realizes he' s a potential champ .
kid galahad
justifies nick' s confidence, but nick' s mistress fluff falls for him; in turn, the kid falls for nick' s young sister. now overprotective brother nick turns against his new fighter, leading to a near - disastrous title fight and a murderous confrontation .
fight promoter nick donati grooms a bellhop as a future champ, but has second thoughts when the' kid' falls for his sister .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
wachhorst, wyn .
time - travel romance on film: archetypes and structures .
- - - - - .
they' re getting a terry gilliam film .
kid galahad is just an okay boxing movie when you consider the talent involved. edward g. robinson seems to be just kind of... there and humphrey bogart merely turns in a canned murderer' s row performance. bette davis plays a forgettable role but considering she' s never looked better, i didn' t mind. kid galahad definitely doesn' t fall into the essential viewing category but if you' re on an edward g or bogie kick that just won' t die, its not a bad way to chase the dragon ...
in kid galahad, a boxing film made about a decade before hollywood learnt how to do them properly - exploring the fighter' s psyche in classics like body and soul, the set - up, and champion - she injects middling, even hokey material with both a wit and an enrapturing sincerity, as a conflicted, selfless moll knocked out by the hand of fate .
for me, the best film ever made about corruption in boxing is humphrey bogart' s last film
the harder they fall .
it' s the true story ...
proceedings of the purdue university fifth annual conference on film october 30 - november 1, 1980 .
germany - great britain - ireland - united states; dir. anthony hickox; constantin film .
every michael curtiz directed feature film i' ve seen, ranked from my favorite to least favorite .
critic' s picks: a january to - do list for film buffs in l. a .
tarpley, fred .
king arthur on film .
in william e. tanner, ed .
thynne, jane .
£500 can buy slice of the action in a new british film .
as their source, but the film' s real debt is to the american movie western and the classics illustrated series. the film' s significance lies in its being the first mgm film in cinemascope, not in any new light it sheds on the legend of arthur and the knights of the round table .
: narrative time and space in medieval literature and film .
in maud s. walther, ed .
sitney, alan p .
bruce baillie and the lyrical film .
in annette michelson, ed .
( plot spoiler) the end of the film involves a shootout and bette davis gets the last scene, as she sadly walks away down the street…on to better things, one presumes, like an academy award for jezebel the following year. it would take a few more years for humphrey bogart to move on to better things. but kid galahad makes a nice send - off for bette davis. you just know you will be seeing her again .
, this film has had few neutral critics, most of whom responded negatively to it. the charges leveled against the film are generally that the lead roles were miscast, that the direction was ponderous, and that, at nearly three hours, the film was too long. the film did, nonetheless, win academy awards for art and set direction, costume, and best musical scoring. it was also nominated for best cinematography and sound .
the american film institute catalog of motion pictures produced in the united states, feature films, 1931 - 1940 .
- - - - - .
une' figure obligé' du film de chevalerie: le tournoi .
nickel, helmut .
arms and armor in arthurian film .
in kevin j. harty, ed .
the american film institute catalog of motion pictures produced in the united states, feature films, 1911 - 1920 .
de la brétèque, françois .
une' figure oblige' du film de chevalrie: le tournoi .
in the reviews, davis got singled out occasionally, but usually found herself congratulated en masse with robinson, morris and the others. the new york times nailed down kid galahad aptly enough with the words :
a good little picture - lively, suspenseful and positively echoing with the bone - bruising thud of right hooks to the jaw .
in its retelling of scenes selected from the thirteenth century french prose vulgate cycle, this film presents the stories of arthur and guinevere, of morgan and her jealousy, of merlin and his enchantment by vivien, and of the fisher king bron, his daughter, and her son, galahad .
france; dir. ugo falena; il film d' arte italiana, s. a. p. f .
is also notable as the film debut of edward asner and for its location filming in idyllwild, california, a popular resort ninety miles east of los angeles, which is an effective stand - in for the catskill town in the film .
i guess i would be drawn and quartered if i passed kid galahad without telling you that its leading lady was bette davis. in any case, i may, of course, be drawn and quartered for what i' m about to say of her. let me assure you, early on, that it is not what i had to say about miriam hopkins .
kid galahad feels like an ensemble film rather than a showcase for any particular actor. however, bette davis does use the opportunity to make an impression. as donati’s knowing girlfriend, who is grateful for his kindness towards her and keeps him out of trouble, she gets to play a person who definitely has an air of experience, but is still young and fresh enough not to feel jaded. though her large and expressive eyes belie the happiness she professes to feel at the beginning of the story .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
thompson, raymond h .
the ironic tradition in arthurian film since 1960 .
in kevin j. harty, ed .
harty, kevin j .
the arthurian legends on film: an overview .
in kevin j. harty, ed .
two racketeers stop at nothing in winning fights; nick donati takes up a bellboy when he knocks out boxing champion chuck mcgraw in a tussle at the hotel and sends him off to be trained, calling him
kid galahad
. he falls in love with nick' s sister marie, and also has fluff, nick' s girl making a play for him. in revenge nick arranges a fight with mcgraw before nick is really ready and he and gangster morgan, who manages mcgraw, make a betting deal together on the basis that
kid
will lose the fight. however, in spite of a punishing boxing match, the
kid
wins and morgan confronts nick over being double - crossed. the two shoot it out and both end up being shot and killed .
, a hybrid gangster - boxing film in 1937. although far from the types of vehicles that would make her the studio' s top box office star in a few years, it served both her and the studio well. warner' s got her name on the marquee to draw her growing legions of female fans to an otherwise male - oriented film, while she got the chance to appeal to a more masculine audience than usual. the result was a hit for her that would remain a classic boxing flick for decades .
edward g. robinson and humphrey bogart actually appeared in five movies together, always ending with one or the other killing each other…. or sometimes both at the same time. in fact, many actors in kid galahad appeared in many different roles with each other throughout their careers at warner bros. bette davis appeared in at least four movies with jane bryan, once as her mother (the old maid), twice as her sister (marked woman, the sisters), and once as romantic rival (in kid galahad). jane bryan also once played edward g. robinson’s daughter, as well as his sister. not to mention the four movies bette davis and humphrey bogart appeared in (though never after humphrey bogart hit the big time). the studios could be very flexible about these things .
my new picture was kid galahad. it was a story about prizefighters and a good one. mr. curtiz was again my director and i will never forget wayne 's knocking out a fighter in a take .
fake fight! retake! fake fight - awful !
curtiz screamed - but it was difficult to redo because wayne' s opponent was unconscious. he had knocked him out cold .
blanch, robert j. , and julian n. wasserman .
gawain on film .
in kevin j. harty, ed .
romero' s film is nonetheless undervalued. it represents one of the better attempts to link the story of arthur with the american dream .
made for german television, this film of the story of parsifal is unusual in its use of wolfram rather than wagner as a source .
rod steiger and humphrey bogart talking in front of boxing ring in a scene from the film' the harder they fall', 1956 .
with a killer cast of classic hollywood legends including: edward g. robinson, bette davis, and humphrey bogart, what would have been an overplayed introspective of boxing' s criminal underbelly was elevated by the masterful direction of michael curtiz. robinson brought his definitive charisma as the hard headed boxing promoter, while davis used her vintage allure to supply nuance as his caring yet sardonic girlfriend. since this was one of bogie' s earlier works, his role as the villainous gangster was nothing more than effective .
kid galahad
himself, played by wayne morris, was surprisingly wonderful to watch as the handsome, clean cut, farmer turned boxer, akin to the country boy charm of clark kent. kid galahad is certainly an underrated classic, and a must watch for those interested in the early works of davis and bogart before their ascension into hollywood royalty .
: galahad was what they call a knight of the round table, howie. he was also something of a square. i can' t state this as a positive fact, but he probably died very young .
the interview cause snickers among those in the know, because it was obvious that davis had developed a genuine temperature over handsome, muscular 23 year old wayne morris, who became a star after the release of kid galahad. morris was perfect for the role, for he was a clean, decent kid off - screen who later became a wwii hero as a navy aviator, earning four distinguished flying crosses and two air medals. discharged as a lieutenant commander, he went back to films but never recovered his initial flush of fame. in 1959, when he was just 45, he died of a heart attack while watching aerial manoeuvres from a carrier .
absolutelyy love this film! it’s one of my go - to films when i can’t choose something to watch. and as you point out – this is a fun film to watch. a classic warner bros combination of gangsters, romance and great characterisations. thanks for a great piece !
mayberry' s film - - despite the license it takes with plot - - may be truest to the humor found in the original novel .
for her next 1937
post reconciliation
picture, davis found herself co - starring for the first time with edward g. robinson. they were hardly a mutual admiration society, and their relations during kid galahad were professionally correct but cool. in his autobiography, robinson indicated that he found davis callow, overly dependent on mannerisms, and insufficiently trained in technique and projection. davis in her autobiography made fun of robinson, calling him a kind of male prima donna who protested to the director, during his final death scene, that davis was doing too much weeping as she hovered over him. according to her, that was precisely the way the character would have behaved; according to him, she was overacting all over the place .
it is worth noting just how much elvis achieved in 1961. four films were completed; wild in the country, blue hawaii, follow that dream and kid galahad. as well as the movie soundtrack material, elvis recorded the' something for everybody' lp along with 3 classic number one singles. in concert elvis performed the pearl harbour benefit concert in hawaii, plus the ellis auditorium, memphis charity show. it was an extraordinary year .
the arrangement of films here is alphabetical for both main and alternate titles. each main entry includes the film' s title and date of release, the film' s country of origin, the director, the production company, any alternate title (s), and the cast. in the case of some silent films, surviving records do not always provide all of this information. i then briefly discuss each film and offer a short critical assessment, which admittedly at times betrays my own biases. finally, i provide an exhaustive a list of reviews and additional discussions of each film .
holly, linda tarte .
medievalism in film: the matter of arthur, a filmography .
in jürgen kühnel et al. , eds .
( 1859), this film was critically well received because of its effective use of pageantry and the skill with which it told a love story .
levinson' s film lacks the ironic tone of its original and changes the novel' s ending. clearly, this film was meant as a star - vehicle for redford more than as a faithful adaptation of a literary source, and the arthurian dimensions of the novel are obscured in the process .
for the actor, but they went to columbia, instead, where the 1939 film made william holden a star. ultimately, the studio would fail to come up with suitable follow - ups for the young actor, who would fade into supporting roles. the film became a minor triumph for davis when, along with
even though bette davis got second billing in this film, it’s her performance that i will remember. you can see she’s a star in the making here .
- - - - - .
parzival 1980 - - auf der bühne, im fernsehem und im film .
in jürgen kühnel et al, eds .
lagrange filmed this visually striking if not always coherent retelling of the legend of tristan in iceland. the director characterized his film as a
visual opera .
principal cast: edward g. robinson (nick donati), bette davis (louise
fluff
phillips), humphrey bogart (turkey morgan), wayne morris (kid galahad / ward guisenberry), jane bryan (marie donati), joseph crehan (editor brady), veda ann borg (redhead at party), frank faylen (barney), joyce compton (drunken girl on phone), horace mcmahon (reporter), mary doran (operator), don defore (reporter) .
, boorman' s film is a dark brooding meditation on the arthurian legend in which arthur becomes the grail king. the film has not, however, aged well. it seems now too much a product of its times, dominated by a heavy musical score that is designed to cue audience reactions to scenes sometimes before they occur .
humphrey bogart and rod steiger discuss plans for a phony buildup for a giant heavyweight boxing prospect in a scene from the film' the harder they fall', 1956 .
this was certainly not the most original movie made by warner brothers, but it was an excellent showcase for the talents of edward g. robinson and cast. it' s a perfect example of the type of film this company made so well in the 1930s - - a simple and predictable story combined with excellent dialog and acting and breezy direction. while this story will not change the world, it is well worth the watching. by the way, this story has been remade several times - - - such as the wagons roll at midnight (with humphrey bogart taking on the edward g. robineson part and eddie albert playing a lion tamer instead of a boxer) and kid galahad (with elvis). none of these films are quite as satisfying as this film. so my advice is, if you only want to see one, watch this one .
but in 1937 wayne was at the top of the movie heap with galahad and had his pick of eager young ladies, on and off the studio lot .
bette really fell for him ,
her friend jerry asher remembered .
she was living her unrequited love off as well as on screen; it imparted a particular poignancy to her performance. jack warner always said bette played love scenes best when she was actually in love, and she was overwhelmed by wayne .
two things saved her, because he was obviously unaware of her feelings. first, she was 29 to his 23, and wayne, as was well known, liked girls in their late teens or early 20s. second, she was technically still a married woman (to first husband ham nelson), and fooling with other men' s wives went against the young wayne' s code. another factor was also a saving grace; when shooting was over they went on to other films .
and then the fact that she didn' t have one kiss, not one clinch with him throughout kid galahad gave her no memories of what she was potentially missing ,
jerry asher laughed .
robinson is once again edged out at the end; he' s killed in a locker - room shoot - out with a nasty rival manager (humphrey bogart). as in barbary coast, his removal clears the way for romance. with the sour, disapproving robinson character out of the way, the young lovers are freed. but robinson did not think of nick as one of his anti - romantic roles. in an interview with regina crewe for new york american on may 23, 1937 robinson said :
it has softer moments, the romantic element is strongly stressed. there is an odd sort of romance between nick and fluff but it is warm and sincere, nevertheless .
it' s true that he and fluff have a mature understanding, but their real passion is directed elsewhere - robinson' s, toward protecting his sister' s virginity, davis', toward the unattainable kid galahad .
no doubt about it: michael curtiz can direct a movie. as tyrannical as the man may have been to his cast and crew, he has the uncanny ability to tell stories in a purely visual way. kid galahad doesn' t reinvent the wheel for sports movies or love triangles, but the film succeeds based on the wonderful cast and curtiz' s assured direction. wayne morris is wooden but his weak performance is more than compensated by the presence of davis, bogart, and robinson putting in good work in their respective roles. davis is hot as hell, bogart is entertainingly devious in another villainous role, and robinson plays his always - likeable rogue whose diminutive size belies the passionate intensity within (though he also gets…
yes, i think the cast really makes this film an entertaining one! it’s just so fun to see these particular actors. 🙂 hope you get a chance to see it !
the treatment is sophisticated and production deluxe. also more than the usual amount of romance for a slugfest. this allows room for bette davis to moon over the clean kid from the farm, and for the fight manager’s convent - bred sister to also fall in love with him .
but essentially it’s the story of the kid’s manager (edward g. robinson) who maneuvers to match the bellhop - pugilist (wayne morris) in order to pay off the grudge he holds for a felonious fellow - manager (humphrey bogart) whose methods are always on the muscle side .
ward, rechristened
kid galahad
, wins a string of fights by knockout. he tells fluff that his goal is to earn enough to buy a farm. fluff falls for him, and is crushed when he confides to her that he is in love with marie. she hides her disappointment, and with her encouragement, he drives up to tell marie. it turns out that she is just as much in love with him. fluff leaves nick, confessing to him that she loves ward and cannot bear to be around the young man. she gets a job singing in a nightclub .
despite bogie, edward g and bette davis, the film is just ok. the usual boxing cliches... anyway it' s gotta be better than the musical remake with elvis: p
i haven’t watched this film yet, but there is certainly danger of combustion if bette, ed g and bogie are together! thanks for the review and for the kind comment. kisses! le
burns, e. jane .
nostalgia isn' t what it used to be: the middle ages in literature and film .
in george slusser and eric s. rabkin, eds .
forget the film, watch the titles from the submarinechannel. on submarinechannel, we love a good main title. that’s why we started this online collection in 1997 of the most stunning and original film title sequences. some are engaging and wildly entertaining, some are funny, exhilarating or simply deadly beautiful. some are oozing with visual treats, while others hit you hard with their bold and audacious style .
arthur sees his kingdom dissolve in squabbles among his knights over the innocence or guilt of guinevere. this made - for - television film of the last two books of sir thomas malory' s fifteenth century
calvin plays baseball for the reseda knights. the film' s only bright spot is that it counters the largely misogynic arthurian tradition by having princess sarah disguised as the black knight help calvin save the day .
needs to be read against the politics of the 1950s. against such a backdrop, the film can be
seen as an allegory for the triumph of american values over a communist threat
( 38) .
the world title bout at the end of this film includes a cameo appearance by well - known manager and referee george blake as the third man in the ring, and may have been filmed in the olympic auditorium .
check out the list of new film studies books and dvds acquired at temple libraries in march. some highlights: the paley reference collection is now home to harrison’s reports and film reviews. this 15 volume set reprints the film reviews and some editorials originally published by p. s. harrison in harrison’s reports, 1919 - 1962, with some corrections. harrison’s reports was a weekly sent out to independent exhibitors. the reviews and editorials were directed toward independent theater owners to assist them with booking. articles in harrison’s take positions on a variety of the concerns of cinema distributors and exhibitors ranging from topics such as censorship to the advent of 3d. a large number of scripts now appear in the library catalog now that we’ve uploaded records for the scripts that are available in the full text online database american film scripts online. there are currently 823 scripts in the database, ranging from 1903 to 2006 .
when bette was rushed into another gangster picture, she quailed when she heard curtiz would direct it but there was nothing she could do. she was consoled by a tight, fast - moving script and by the cast - not by bogey again, but by robinson and her beloved jane bryan (who played her kid sister in marked woman) .
thank you! yes, it a really fun film – so glad to know you really enjoys it, too! warner bros. really knew how to make those kinds of movies, didn’t they? and a great cast !
wealthy young martin cavendish wants to marry his mother' s secretary rather than a snooty titled woman his mother has chosen for his bride. one night while reading a book about chivalry, cavendish is knocked unconscious by a burglar, and, in a dream, he finds himself in in camelot in the sixthcentury. thereafter, the film follows the general outline of the events in twain' s novel with abundant contemporaneous touches added to the screenplay. douglas fairbanks was originally offered the title role in this film, but he turned it down. as with the other screen adaptations of twain' s novel, this film eschews any of the misanthropy in the original in favor of comedy .
while everyone else is in a slightly superior gangster movie; davis' s film is timeless, an arresting, heart - wrenching tale of mutual reliance cast to the wind, crippling self - sacrifice and unrequited passion. the scene in…
baillie presents a modern day reinterpretation of the legend of parsifal set against the backdrop of the sierra nevadas. the director has commented that his film is a tribute to the hero, who never appears, and to wagner' s opera .
- - this film relies on the predictable to advance its plot. ackland' s arthur is a doddering fool, and moody returns to the screen as merlin a second time, having played the role with a more sinister twist in 1979 in
in this silly remake, conan the barbarian meets foster' s comic strip characters. missing here are the hollywood touches that at least made the 1954 film visually interesting. in its more interesting scenes, hickox' s film fades to panels from the original strip, but there is little else to recommend it, except perhaps joanna lumley' s over - the - top portrayal of morgan in full - length black leather gown and chain - mail headdress. edward fox plays an aging arthur (cf .
the celtic warrior arthur fights saxons, picts and jutes, as well as king mark of cornwall, to protect his people and the integrity of his homeland. never commercially released, this film is really just a cobbled together videotape version of three episodes of
but it is one thing to borrow, and another thing to know how to use what has been borrowed. weeks manages here to reduce great literature to silly cinema. not content to leave bad enough alone, weeks remade the film in 1983 under the title
in kid galahad, robinson' s nick donati has a problem with his sister (jane bryan). when a young fighter (wayne morris) whose career he' s managing falls for his sister, robinson bitterly turns against his protégé. until the last moment, when he has a characteristic change of heart, he threatens to fix the big fight against his man. nick' s reaction is extreme; he' s overly protective, having moved his mother and sister to the country in order to shield them from big city corruption. he thinks of women as being either virgins or whores, either pure (and therefore unable to contend with the world) or tough (like his mistress fluff who can handle herself in a harsh, competitive man' s world like the fight game) .
already, in this second picture after her return (warners had sued her for breach of contract), bette had begun to assert a formidable degree of power. irving rapper, who later became director of two of her most famous pictures, now, voyager and deception, recalls that kid galahad, on which he was dialogue director, offered his first chance to meet her. he says ,
i asked the script girl,' what' s bette davis like?' and the girl rolled her eyes toward heaven .
oh, god, don' t ask me!' she replied .
now rapper asked michael curtiz for his comment .
son of a bitch, don' t ask me ,
he also said .
you' ll see her when she comes in .
rob hobbs, an aging baseball player, returns at the invitation of pop fisher to play for the new york knights, but his past, which the film explores in terms of the arthurian legend, comes to haunt him. based on bernard malamud' s novel ,
in fifth - century spain as the barbarians invade, parsifal seeks and eventually finds the holy grail, bringing peace to his troubled homeland. this little - known film version of the grail story blends elements from wagner' s opera with elements from medieval legend and literature .
was getting to train with former world welterweight champion mushy callahan and his assistant al silvani, who was a trainer for floyd patterson and rocky graziano. a young undefeated welterweight boxer named orlando de la fuente was also cast in the film as elvis' opponent, sugarboy romero .
griffith had hoped to make a film based on edwin austin abbey' s famous series of grail frescos in the boston public library. the project was temporarily shelved in 1915, but an attempt to revive it after the first world war also failed, and the project remained unrealized .
after assassinating king arthur, edmund of cornwall seizes the throne and kidnaps arthur' s daughter katherine in the hopes of forcing her to marry him to legitimize his claim to the throne. the outlaw robert marshall intervenes, rescues katherine, and, with the aid of merlin, overthrows edmund and the saxons. katherine is crowned queen and takes robert as her consort. this unorthodox film version of the legend of arthur incorporates elements of the legend of robin hood into its plot, but the end result is still a flatly - directed and only moderately interesting adventure film .
john, a poor blacksmith, learns that the viking attacks on england are really the handiwork of sir palamides, a knight of the round table, and his ally, king mark, both intend to overthrow arthur and supplant christianity in england with paganism. john becomes a knight and saves the kingdom from palamides and mark, while also winning the hand of his lady love, the fair linet. when it was originally released, most critics dismissed this film as unintentionally funny. more recently, however, alan lupack has advanced an alternate reading of the film arguing convincingly that
using a highly exaggerated style of acting, interspersed with trick camera effects, a group of actors present the following scenes from wagner' s opera: parsifal ascends the throne, ruins of a magic garden, exterior of klingson' s castle, magic garden, interior of the temple, scene outside the temple, return of parsifal, and in the woods. with this film, edison had hoped to capitalize on the success of the 1903 stage production of the opera in new york, but the film' s run had to be shortened when the owner of the copyright successfully sued edison for using the script without permission .
when he completes his military service walter gulick returns to his birthplace, cream valley, new york. he was orphaned as an infant and grew up elsewhere but always wanted to return to where he was from. he hopes to be a mechanic but soon after his arrival finds himself working as a sparring partner at a boxing camp. having lost all of his money in a crap game, walter is happy to take any kind of work but a devastating right hook sends him down a different path. willy grogan thinks he has a winner in walter who, after helping a lady out, is dubbed kid galahad. willy is a likable man but gambles too much and may have been a witness to a mobster' s conversation that would best be forgotten. as walter gains more success, and falls in love with willy' s sister rose, willy grogan finds himself coming under pressure from mobsters to make walter takes a dive at his next big fight .
the film contains crime and boxing, gambling and gangsters, murder, romantic triangles, and nightclubs. the boxing sequences are also quite well done and exciting on their own and in the context of the plot. it has that 1930s warner bro. crime drama feel that is always entertaining. as is the cast .
california businessman pendragon is actually a medieval tyrant intent upon seizing excalibur from merlin' s equally ageless disciple loong tao. pendragon hopes to use the sword to make time stand still and plunge the world into chaos on october 32nd. his plans are thwarted by christy lake, a reporter who is the reincarnation of merlin' s daughter, the lady of the lake, and geologist john pope who is her eternal protector. this perfectly silly film, which understandably was dumped directly to american video in 1994, owes a debt to a variety of film traditions, including the kung - fu action yarn and the western. less clear is its debt to anything recognizably arthurian .
temple university cinematheque presents pier paolo pasolini birthday tribute thursday, march 5, 5: 30 pm tuttleman learning center room 101 teorema 1968, 98 min, color, italian with english subtitles a seductive stranger insinuates himself into the life of a bourgeois family in this mysterious allegoric tale adapted from pasolini’s own novel. starring terence stamp (billy budd, the collector, the limey) and silvana mangano (winner 1968 venice film festival). with music by ennio morricone. preceded by a brief introduction to the life and work of the writer - director who would have been 87 years old this thursday. * * this film will be a dvd projected onto a big screen .
originally, studio head jack warner had considered casting newcomer sarah jane fulks in the female lead, but with davis now back at the studio and in a more pliable mood, he couldn' t resist adding her star power to the film. ms. fulks would have to wait a few more years for stardom - - as jane wyman .
truer to the details of its source than either the 1921 or the 1931 films, this third screen version of twain' s novel is, nonetheless, in many ways the least successful of the three. the novel has been turned into a musical vehicle - - not based for reasons of copyright on the 1927 rodgers and hart broadway musical - - for crosby, and the plot advances by a mix of song and silly dialogue. twain' s novel was an example of comic genius; this film is anything but an example of such genius. as with the other screen adaptations of twain' s novel, this film also eschews any of the misanthropy in the original in favor of at times clumsy musical comedy .
as usual, davis was right. although her part was subordinate to the others, and the film concentrated on some unusually brutal boxing scenes, she gave her role such warmth and humor that she appeared to hold the story together. her conciliatory scenes with the temperamental robinson, her muted expressions of love for morris, gave the character more depth than it deserved .
hank martin, a radio repairman, is knocked unconscious by an armored figure while trying to fix a radio for a slightly crazed customer who believes he is listening in on discussions from arthur' s round table. in a dream, martin finds himself in england in the year 528, where he amazes arthur' s court with his cigarette lighter, motorcycles, automobiles, machine guns, sawed - off shotguns, tanks, and airplanes. all these modern additions to life in camelot only serve to reinforce a plot designed to unite two lovers. like the other adaptations of twain' s famous 1889 novel, this film takes some license with details from its source. rogers' yankee is wry and unassuming; loy' s morgan is drawn from the long tradition of the cinematic vamp. in a wonderful would - be seduction scene, loy forces rogers to blush bright red - - an effect achieved in this black and white film by progressively tinting each frame for the scene a darker shade of pink. as with the other adaptations of twain' s novel, the makers of this film eschew any of the misanthropy in the original in favor of comedy .
a group of children, whose leader, alex, is an arthurian enthusiast, are terrorized by three bullies. alex stumbles upon excalibur while running through the woods to escape the bullies and meets merlin. warned to use the power of excalibur only for good, alex summons its power to defeat a new boy in town, luke, with whom alex' s girlfriend, jenny, has fallen in love. alex looses excalibur and merlin' s counsel, but finds both restored when he single - handedly captures three armed bank robbers who hold his friends hostage. this film attempts to trade on the image of the return of arthur, but the acting is terrible; the plot drags. even children, the intended audience here, are likely to find the film boring .
arthur, king of the britons, rules uneasily. as he journeys throughout his kingdom on his trusty steed patsy, he encounters peasants who yell marxist socio - economic theory at him, the black knight, whom he defeats (eventually), and the knights who say
ni ,
whom he placates with a shrubbery. meanwhile, arthur' s knights are having their own difficulties. lancelot cannot seem to find anyone genuinely in need of rescue, and sir robin and sir galahad seem a bit reluctant to join arthur in the quest for the grail. perhaps the funniest movie set in medieval times,
kid galahad is a 1937 boxing film starring edward g. robinson , bette davis , humphrey bogart and , in the title role , rising newcomer wayne morris . it was scripted by seton i. miller and directed by michael curtiz . it was remade in 1941 , this time in a circus setting , as the wagons roll at night , also with bogart , and in 1962 as an elvis presley musical . the original version was re-titled the battling bellhop for television distribution in order to avoid confusion with the presley remake . 
kid galahad is a 1937 boxing film starring edward g. robinson, bette davis, humphrey bogart and, in the title role, rising newcomer wayne morris. it was scripted by seton i. miller and directed by michael curtiz. it was remade in 1941, this time in a circus setting, as the wagons roll at night, also with bogart, and in 1962 as an elvis presley musical. the original version was re-titled the battling bellhop for television distribution in order to avoid confusion with the presley remake.
kid galahad is a 1937 boxing film starring edward g. robinson, bette davis, humphrey bogart and, in the title role, rising newcomer wayne morris. it was scripted by seton i. miller and directed by michael curtiz. it was remade in 1941, this time in a circus setting, as the wagons roll at night, also with bogart, and in 1962 as an elvis presley musical. the original version was re-titled the battling bellhop for television distribution in order to avoid confusion with the presley remake.