fingers ( 1941 film )
in 1941, a mysterious somaliland native woman helps the british against the nazis .
for this cartoon, goofy has five fingers on each hand instead of the customary four .
betsy ross 1941. old glory is turned out en masse by busy fingers at an eastern navy yard. national and signal flags are needed in abundance for expanding navy | library of congress
photo, print, drawing betsy ross 1941. old glory is turned out en masse by busy fingers at an eastern navy yard. national and signal flags are needed in abundance for expanding navy
madison (n. c .) and mayodan (n. c .), circa 1939 - 1941 (reel 2) (rl10075dvd0016020) - h. lee waters film collection - duke libraries
lc - use6 - d - 000476 (b & w film neg. )
“i’m peter tewksbury, and i want to make a film of esmé. ”
1. the film was initially patched together from different ideas for separate movies .
14. an international flight into lax inspired one of the film’s later scenes .
madison (n. c .) and mayodan (n. c .), circa 1939 - 1941 (reel 2 )
united states office for emergency management, palmer, a. t. , photographer. (1941) betsy ross. old glory is turned out en masse by busy fingers at an eastern navy yard. national and signal flags are needed in abundance for expanding navy. brooklyn brooklyn. new york new york state united states, 1941. ?. [ photograph ] retrieved from the library of congress, urltoken
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salinger agreed to allow tewksbury to make the film on one condition: salinger would cast esmé .
11. harrison ford appeared in one scene, but it was cut from the final film .
united states office for emergency management, palmer, alfred t, photographer. betsy ross. old glory is turned out en masse by busy fingers at an eastern navy yard. national and signal flags are needed in abundance for expanding navy. brooklyn brooklyn. new york new york state united states, 1941. ?. photograph. urltoken
the snakerama gas station seen in the film also appears in spielberg' s 1979 world war ii comedy, 1941, with actress lucille benson again appearing as the proprietor. the two elderly people weaver tries to flag down in a car also appear as helpless motorists in close encounters of the third kind .
in november 1941, american news photographer johnny' bugsy' williams manages to escape from the japanese and finds himself back in burma where he meets the beautiful miss haoli young... . see full summary »
tewksbury left washington. he’d been hired to direct an m - g - m film, “sunday in new york, ” starring jane fonda. but he kept working on the “esmé” script. after more back - and - forth, he acceded to salinger’s demands. he told schuyler, “we’ll just film this exactly as he wrote it, because if we don’t, we won’t be doing this film. ”
the film was nominated for a total of ten awards and walked away with five oscars: best picture (darryl f. zanuck for 20th century fox), best director, best supporting actor (donald crisp), best cinematography (arthur miller), and best art direction. its other nominations were for best supporting actress (sara allgood), best screenplay (philip dunne), best editing, best score and best sound. the most controversial aspect of its best picture / director win was that it defeated two of the greatest pictures ever made: orson welles' citizen kane (1941) and john huston' s the maltese falcon (1941) .
the h. lee waters film collection was received by the david m. rubenstein rare book & manuscript library as a series of gifts and purchases beginning in 1988
united states office for emergency management, photographer by palmer, alfred t. betsy ross. old glory is turned out en masse by busy fingers at an eastern navy yard. national and signal flags are needed in abundance for expanding navy. ?. photograph. retrieved from the library of congress, < urltoken > .
for the lowly protagonist, david mann, spielberg hand - picked character actor dennis weaver because he loved his performance as the jittery and feeble hotel night manager in orson welles’s 1958 film touch of evil .
as the truck rams the car over the cliff and falls off in the final film, there is a low roar sound effect that the filmmaker included to emphasize the death of the truck. spielberg, who wanted the truck to seem
this film is part of a series of films taken by h. lee waters titled movies of local people. the series captures residents of small towns across north carolina, south carolina, and virginia between 1936 and 1942. digitized from dvd .
when the project was shelved, spielberg moved on to another big budget film, 1941, but the basic idea stayed with him. around the same time, columbia pictures demanded a sequel to close encounters. spielberg wanted no part of that, though he had a small idea about what would have happened if an alien didn’t go back to the mothership at the end of that movie. to ensure they didn’t make the sequel without him, he instead commissioned writer / director john sayles to create a script for a pseudo - sequel called night skies, about a suburban family terrorized by a group of aliens with one befriending the family’s son .
eagle - eyed viewers will catch the word “flammable” scrawled across the back of the truck, yet when it careens off the cliff at the end of the movie it doesn’t go boom. the studio wanted a big explosion, but the director wanted a slower demise for his film’s villain .
the remarkable outdoor set, with a row of houses sloping uphill toward the mine colliery, was convincingly realistic, although it was part of a set built in southern california (the hills of malibu). originally, 20th century fox had planned for the film to be a four - hour technicolor epic, akin to gone with the wind (1939), filmed on location in south wales, but the war made that an impossibility. the welsh tone of the film, from director ford' s recollections, is buoyed by welsh singers (vocalizing as themselves) performing much of the choral work .
mamoulian’s sole screwball comedy is a delightful confection starring a radiantly young gene tierney as a girdle salesgirl lured into the world of two con artists intent on fleecing a hapless accountant, played by henry fonda, who they mistakenly take for a millionaire. fueled by lighting quick and sexually sparked comic dialogue, rings on her fingers is a charming and little - known late entry into the screwball cycle. mamoulian’s flair for theatrical fantasy is wonderfully embodied in the figures of the con artists vividly rendered by the unforgettable pairing of bold character actors laird cregar and spring byington. print courtesy of 20th century fox .
everything i ever learnt as a small boy came from my father, and i never found anything he ever told me to be wrong or worthless. the simple lessons he taught me are as sharp and clear in my mind as if i had heard them only yesterday. in those days, the black slag - the waste of the coalpits - had only begun to cover the side of our hill, not yet enough to mar the countryside nor blacken the beauty of our village. for the colliery had only begun to poke its skinny black fingers through the green. i can hear, even now, the voice of my sister angharad .
spielberg got his start directing for tv at the age of 21, helming episodes of such shows as night gallery and marcus welby, m. d. but the aspiring filmmaker was desperately searching for a property he could turn into a feature film. it was spielberg' s secretary, nona tyson, who found matheson’s story in playboy and first sent it to her boss to potentially adapt into a movie .
a puppet can only do so much, so to breathe a little bit more balletic life into his creature, spielberg hired professional mime caprice rothe to provide fluid and naturalistic hand motions. each time the puppet was meant to interact with elliott or pick certain things up during a scene, rothe would have to lay horizontally underneath the puppet and extend her hands vertically, for take after take. she wore sleeve - length gloves that were made up to look like e. t. ’s leathery skin, and mimicked his long, slender, four - fingered hands with her ring and pinky fingers sneakily tucked away in the fourth digit. in the final cut, she was credited as the “e. t. movement coordinator. ”
the project was too dark in tone for spielberg, though, and ultimately, he had columbia just re - release close encounters in a special edition with additional scenes. but he still recognized the potential of a film like night skies, so he and screenwriter melissa mathison then combined spielberg’s semi - autobiographical story with the benevolent alien visiting a boy on earth to create e. t. the idea of the terrorized family was refashioned as another eventual spielberg production: poltergeist .
with his newfound success following the back - to - back smash hits of jaws in 1975 and close encounters of the third kind in 1977, director steven spielberg wanted to tell a smaller, more personal story for his next film. entitled growing up, the proposed movie was inspired by the divorce of his parents when he was 15 years old. it included the feelings of alienation spielberg felt being jewish in an all gentile neighborhood in arizona and was told from the perspective of three children .
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tyson helped track down whether the movie rights to matheson’s story had been optioned, and eventually discovered that a teleplay was in development at abc and universal with producer george eckstein. spielberg took a meeting with eckstein, and brought a rough cut of his legendary 73 - minute series premiere episode of columbo, “murder by the book. ” eckstein was impressed, and gave spielberg the job to direct duel after a follow - up meeting where the filmmaker laid out how he envisioned the film from matheson’s screenplay in full .
both spielberg and mathison wrote a story treatment for a potential sequel to e. t. during its initial theatrical run. dated july 17, 1982, the treatment is titled “e. t. ii: nocturnal fears, ” and takes place the summer after the events in the first film. the story describes a plot in which elliott and his friends are abducted by a mutated race of e. t. s led by an evil entity named korel who is looking for zrek, another alien stranded on earth. eventually, e. t. manages to save the group of kids and helps them back to earth. ultimately, spielberg decided not to do a sequel because doing so
would do nothing but rob the original of its virginity. ” you can read the 10 - page treatment by clicking here. a novelized sequel by author william kotzwinkle—who also penned the novelization of the original film—was published in 1985. e. t. : the book of the green planet was set on e. t. ’s home planet, which kotzwinkle dubbed brodo asogi .
most films go through several drafts before a final shooting script is locked into place, but melissa mathison’s first draft is what spielberg used during the shoot of the film. instead of constantly revising individual drafts, spielberg gave mathison the general narrative plot for her to round out. she would write for five straight days and then collaborate with him for five successive days of feedback. this process went on for eight weeks, and spielberg later called the resulting screenplay “the best first draft i’ve ever read. ” in order to maintain a spontaneous and streamlined shoot (and unlike
visual effects supervisor dennis muren and his team at industrial light and magic were tasked with creating organic special effects to surround the potentially inorganic looking e. t. puppet. surprisingly, the iconic shot of the boy and alien flying across the full moon was mostly a
real
shot. it took muren and his team weeks to find the right spot to film a low moon among trees, so they used maps and charts to coordinate the scene once they found the right spot. in the shot, elliott and e. t. are puppets that were added with special effects in post - production, but the rest is photo - real .
have to say this but i do: she’s too old. so there will be no film. ” in july, 1964, salinger wrote jan a rambling, three - page letter of explanation—a tangle of regret, apology, and misdirection. “a long talk on the phone with peter tewksbury, ” he began. “what he mainly said to me was that at this point in your life you would have to act your way through the part of esmé, and he felt certain in his own mind that there was something not really suitable about that. he really meant, i think, that you’ve grown up into a full - fledged ingénue. ” she was distraught .
by bringing together beautiful prints and recent preservations of his complete feature film oeuvre, this retrospective is offered as a rebuke and challenge to those who have sighed and glanced past mamoulian’s films and career. together, mamoulian’s sixteen features, we argue, make clear his status as undoubtedly one of the most talented and versatile filmmakers working within the studio system, an artist not accidently trusted with some of the greatest performers and stars of his era. ultimately, mamoulian offers an important challenge to manicheistic ideas of auterism as a battle of director against “the system” by suggesting another and subtler mode of auteur—a changeling voice and identity expressed across a wider range of genres and themes and stylistic tendencies than can fit into any easy categories. - haden guest
the two friends and collaborators had hidden little nods to each other’s films in their work before, but for e. t. , spielberg didn’t need to hide anything at all. in one of the film’s cheekiest jokes, e. t. sees a child dressed up as yoda for halloween, prompting the little alien to exclaim, “home! home! ” spielberg didn’t tell lucas about the joke until he held a personal screening for his friend at his skywalker ranch, which lucas approved of with laughter. when he went on to make the phantom menace, lucas returned the favor and made e. t. ’s race of aliens part of the galactic senate. you can see them acting uncharacteristically hostile in the video above .
ford was already an iconic spielberg alum, so to play with that image, the filmmaker cast his raiders of the lost ark star as the principal of elliott’s school. other than elliott’s mother, another adult' s face wasn' t shown until the third act, so ford was always filmed from behind. ford reprimands the youngster after the scene where elliott frees all of the frogs about to be dissected (when he passionately kisses his classmate in an homage to john ford’s 1952 film the quiet man). in another example of elliott' s and e. t. ’s consciences melding, he’s seen levitating just out of his principal’s view until his mother barges in to take him home. these scenes were ultimately cut for time .
this is one of the scariest movies i ever saw. it really plays with your mind. i admit that i first saw this movie as a kid int the back seat of my parent' s car at the drive - in, and for years, i was very afraid of the hand coming out from under sofas, beds and anywhere dark. it connects with something deep in the subconscious as the hand is the part of the body that does all things and in this movie it is a power all unto itself. the black and white film makes this movie a perfect expression of the subconscious, fearful and malevolent. definitely one that i hope would eventually make it to dvd, and one to own if you' re into the classics of this genre .
meanwhile, tewksbury was waging a campaign to save “it’s a man’s world. ” he called the network’s decision a slap in the face of newton minow. he put together a press release, amassing evidence of the show’s popularity with high - school and college students. he wrote to hundreds of newspaper editors, called critics, and took out classified ads. he insisted that the ratings were meaningless. bessel and boone drove across the country in wes’s jeep, stopping at college campuses and at rallies, where protesters carried signs that read, “no cancellation without representation. ” bessel said, “look, it’s everything everybody’s been yelling about, minow and the rest. we’re the first film show that put improvisations on the air. ” tens of thousands of fans wrote letters of protest to nbc .
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following the film’s resounding worldwide success, a claim of plagiarism arose when indian director satyajit ray alleged that spielberg had stolen the idea from a script he wrote in 1967, titled the alien. columbia pictures had optioned the concept with peter sellers and marlon brando in the lead roles, but legal troubles forced ray to abandon the project. when e. t. broke the bank in 1982, ray felt certain that the similarities weren’t mere coincidence. ray told the press ,
e. t. would not have been possible without my script of the alien being available throughout america in mimeographed copies ,
but spielberg denied plagiarizing the script, saying, “i was a kid in high school when his script was circulating in hollywood. ” no further legal action was taken, and ray would continue to make films until his death in 1992 .
this is a pretty good goofy film from the early days - - just after goofy got his own series of cartoons. in this installment, you see a five - fingered version (a rarity) of goofy working as a baggage handler for the railroad. there is a magician' s trunk that needs to be loaded on the next train but this is easier said than done, as things from inside the trunk keep popping out and make the job practically impossible. at first, it' s the expected magician' s top hat and rabbits but later the menagerie gets pretty weird and definitely taxes goofy' s talents to the max. the cartoon is the same beautiful quality you' d expect from this era and the whole thing is quite fun. while not among the best goofy films, this is solid fun from start to finish .
for a long time, salinger had the same policy for “esmé. ” a month after the story appeared, “an english film maggot, ” as salinger called him, said he wanted to make a movie out of it; salinger wasn’t interested. in 1953, “esmé” was reprinted in salinger’s “nine stories, ” a collection whose u. k. edition was titled “for esmé—with love and squalor: and other stories. ” the following year, the bbc tried to acquire the rights to adapt “esmé” for a radio drama series hosted by laurence olivier. salinger said no. in 1958, salinger’s u. k. publisher sold paperback rights to the story collection to a publishing house that issued a cheap pocketbook whose flashy cover pictured esmé as a dishy blonde, with the tagline “explosive and absorbing—a painful and pitiable gallery of men, women, adolescents, and children. ” salinger never spoke to the publisher again .
spielberg brought his idea to mars incorporated, the company that owns m & ms, to ask if they could use their little candies in a scene where elliott attracts the inquisitive alien back to his house. universal studios legally barred the company from seeing the final script, so mars passed on the cross - promotional opportunity. spielberg and company then brought the idea to the hershey company to see if they could use hershey kisses, but the company was looking to get more exposure for their newest creation, reese’s pieces, and suggested the peanut butter filled treats instead. hershey agreed to spend $ 1 million for the rights to promote the use of their product in e. t. , and reese’s pieces became the little alien' s candy of choice. the agreement certainly paid off for hershey, as the company reported a 65 percent increase in profits on reese' s pieces just two weeks after the film premiere .
an east end criminal falls in love with a socialite but after failing to reform, he starts a relationship with a working class girl .
the ghost and mrs. muir (joseph l. mankiewicz; january - april; fox) 1947
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another
line of defense .
the lunch - time whistle blows and workers file from an eastern navy yard ...
tooled up
with somewhere to go. part of the vast machine shop at an eastern navy ...
metal for munitions. hot brass pours into moulds at an eastern navy yard, rush foundary operations ...
work for steady hands. carelessness does not mix with molten brass as the concentration of workers ...
putting on the heat. brass ingots are brought to the
boiling
point in fiery furnances at ...
atlas of the brooklyn borough of the city of new york: originally kings co. , complete ...
includes index. available also through the library of congress web site as a raster image. vendor: john carbonell acquisitions control no. 2008 - 021
perspective map not drawn to scale. lc panoramic maps (2nd ed .), 541. 2 available also through the library of congress web site as a raster image. aacr2: 651 / 1
bird' s - eye - view of the borough of brooklyn showing parks, cemeteries, principal buildings, suburbs .
perspective map not drawn to scale. dealers annotated title. lc panoramic maps (2nd ed .), 541. 1 available also through the library of congress web site as a raster image. lc copy annotated in ...
73846 u. s. copyright office available also through the library of congress web site as a raster image. low - angle aerial view. oriented with north toward the lower left. lc copy brittle, torn, and ...
map of valuable property in the 6th ward of the city of brooklyn belonging to john ...
scale not given. oriented with north to the left. cadastral map. includes text and inset. available also through the library of congress web site as a raster image. aacr2: 651 / 1; 650 / 2
brooklyn. city surveyor - graves, roswell - franklin & jenkins - miller & co .
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special features: karen kramer introduction (2: 11) dr. t on screen (14: 33) a little nightmare music (11: 45 )
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silent films documenting communities in north carolina, virginia, and south carolina, from 1936 to 1942 .
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urltoken
although ford was better known for his westerns, including such films as stagecoach (1939), my darling clementine (1946), his celebrated cavalry trilogy and the searchers (1956), this was another of ford' s non - western films that won him the best director academy award - in addition, he set a record by becoming the first director to win two consecutive oscars with this win. [ his win was his third in six years - he had won earlier for the informer (1935) and the grapes of wrath (1940). ]
i am packing my belongings in the shawl my mother used to wear when she went to the market. and i' m going from my valley. and this time, i shall never return. i am leaving behind me my fifty years of memory. memory. strange that the mind will forget so much of what only this moment has passed, and yet hold clear and bright the memory of what happened years ago - of men and women long since dead. yet who shall say what is real and what is not? can i believe my friends all gone when their voices are still a glory in my ears? no. and i will stand to say no and no again, for they remain a living truth within my mind. there is no fence nor hedge round time that is gone. you can go back and have what you like of it, if you can remember. so i can close my eyes on my valley as it is today - and it is gone - and i see it as it was when i was a boy. green it was, and possessed of the plenty of the earth. in all wales, there was none so beautiful .
the ten year old boy characterizes his stern and firm but respected father gwillym morgan (donald crisp). they slowly climb up a hill in the attire of 1890' s residents. he is the youngest of six sons and one beautiful seventeen year - old daughter angharad (maureen o' hara) in the morgan family :
angharad and huw sing a greeting to each other across the mountainside. the morgans are one of many hard - working coal mining families :
coal miners were my father and all my brothers and proud of their trade .
the five other morgan sons, in descending chronological order, are introduced as they collect their weekly wages (gold coins) - with less earned by the younger boys - from a paymaster in a booth: ianto morgan (john loder), ivor morgan (patrick knowles), davy morgan (richard fraser), owen morgan (james monks), and young gwilym morgan (evan s. evans). huw remembers welsh voices singing in the valley as the blackened - faced men leave the colliery and happily march down the hill past stone cottages to their own homes :
someone would strike up a song, and the valley would ring with the sound of many voices - for singing is in my people as sight is in the eye .
mrs. beth morgan (sara allgood), sitting on a stool at the gate to the morgan cottage, spreads her white apron - each morgan family member, beginning with the father, tosses his wage coins into her lap and passes into the house. huw also describes the evening washing ritual - his father and brothers stripped to the waist and scrubbing coal dust from their backs with buckets of water. a close - up of grimy hands being washed opens the sequence :
then came the scrubbing - out in the back yard. it was the duty of my sister angharad to bring the buckets of hot water and cold. and i performed what little tasks i could as my father and brothers scrubbed the coal dust from their backs. most would come off them, but some would stay for life. it is the honorable badge of the coal miner - and i envied it on my father and grown - up brothers. scrub and scrub, and mr. coal would lie there and laugh at you .
in the morgan kitchen / dining room for the evening meal, huw is impatient to eat and eagerly reaches for a piece of bread. restrained with playful frowns, the patriarchal morgan offers grace at the head of the table - his lips move. at the table with bountiful food, mr. morgan carves the meat and angharad serves soup. a rule was obeyed and observed during meals :
there was always a baron of beef or a shoulder or leg of lamb before my father. there was never any talk while we were eating. i never met anybody whose talk was better than good food .
his gentle, wise and loving mother, mrs. morgan doesn' t escape notice either :
my mother was always on the run - always the last to start her dinner and the first to finish. for, if my father was the head of our house, my mother was its heart .
another ritual occurs in the parlor following dinner. a box from the mantelpiece is set down on a table before pipe - smoking mr. morgan. with everyone gathered around, coins are distributed to each of the children as they step up in order of their age. the youngest boy huw is the last in line to receive one coin - it clinks noisily on the plate he holds out :
after dinner, when dishes had been washed, the box was brought to the table, for the spending money to be handed out. no one in our valley had ever seen a bank. we kept our savings on the mantelpiece. my father used to say that money was made to be spent, just as men spend their strength and brains in earning it - and as willingly - but always with a purpose .
huw rushes from the house, respectfully slowing down in front of the chapel (
softly now, for chapel was the first thing my father taught us
), and then running straight to mrs. tossall' s bakery and confectionary shop. huw pauses outside and eagerly looks in the window of
the shop for that toffee which you could chew for hours, it seems to me now, and even after it had gone down, you could swallow and still find the taste of it hiding behind your tongue. it is with me now, so many years later. it makes me think of so much that was good that is gone .
huw is awed at the appearance of bronwyn (anna lee), ivor' s fiancee, who is walking down steps with a double basket held by her hip and a pretty bonnet on her head :
it was on this afternoon that i first saw bron - bronwyn. she had come over from the next valley for her first call on my father and mother .
speechless, huw falls immediately in love with her and gazes dreamily and wistfully at her :
i think i fell in love with bronwyn then. perhaps it is foolish to think a child could fall in love. but i am the child that was, and nobody knows how i felt, except only me .
bronwyn and ivor were to be married by the new preacher, mr. gruffydd (walter pidgeon), who had come from the university at cardiff. this was my first sight of him .
with the preacher' s entrance, angharad takes a sudden interest - and like huw with bronwyn - instantly falls in love with him with an adoring gaze. at the conclusion of the ceremony, celebrants line the steps singing and tossing rice at the couple, as the chapel bell rings. the interior of the morgan household is filled with the happy wedding guests - a wide - eyed huw watches from the staircase as an enormous wedding cake is brought into the throng of people. outside, beer gushes from an opened tankard. everyone joins in vigorous singing - both angharad and rev. gruffydd, isolated by the camera, burst into gales of laughter at each other. the echoes of happy voices will soon give way to the gradual collapse and disintegration of the idyllic vision and simple way of life and its tragic breakup over a fifty year period .
through his eyes, huw witnesses all the transitions, tragedies, and events as he grows toward manhood - wage reductions, unionization, strikes, mine accidents, and family struggles. a notice is posted at the mine of a wage reduction by greedy mine owners :
notice beginning august 3, the scale of wages will be reduced 1 shilling, 2 pence the shift for all labor in this mine. c. evans, prop .
huw' s old - fashioned father reacts non - chalantly :
come on, boys, back to work .
mr. morgan thinks
this is a matter for the older men
- accompanied by two older miners dai griffiths and idris john, he consults with the mine manager and represents them as a spokesman. when he returns home, he is tensely confronted at the door by his sons - he tells them :
the cut is only a few shillings. there will still be plenty for all of us... it is because they are not getting the old price for coal .
the eldest son ianto explains the
real reason for this cut
- the workers from the closed down iron works at dowlais
have come to the colliery, willing to work for any wage - so all our wages must come down .
the sons fear further cuts, but their father disputes with them :
nonsense, a good worker is worth good wages, and he will get them .
to gain power and
stand together
to deal with the owners, the morgan sons suggest
a union of all the men .
restoring mastery over his boys, mr. morgan rejects talk about the move toward unionization following the cut in wages, calling their ideas
socialist nonsense .
union, is it? i never thought i' d hear my own sons talking socialist nonsense... i have had enough of this talk .
on a rainy day at the colliery, mr. morgan stands in the pouring rain, checking out the trams with their loads of coal. he makes a check mark and waves one son' s tram past. in another dinner scene, now tense and silent, davy suddenly jumps to his feet, angered that his father is being humiliated by the mine owners :
do you think i will let them make my father stand like a dog in the rain and not raise my hands to stop it? ... this matter is too important for silence. they' re trying to punish you... but what are we going to do about it? you will die of the cold when it comes to snow .
ianto pipes up for worker solidarity :
let us all stand together and see how they will act, then .
the authoritarian morgan steadfastly refuses to succumb to their political agenda and will tolerate no more discussion :
you will not make me a plank for your politics. i will not be the excuse for any strike .
the older sons owen, young gwilym, davy and ianto stand and challenge their father, leaving him isolated at the table. only huw, the youngest, remains at the table with his father and loudly indicates (by clearing his throat) that he hasn' t deserted him. his father finally acknowledges the impotent yet admiring presence of his dutiful son :
yes, my son. i know you are there .
the five sons move out of the house because of the disagreement, finding other lodging accommodations in the village .
the reverend, beth, angharad, and bronwyn emerge from their houses and look anxiously up toward the colliery as the men slowly trudge home, without singing :
the men have struck .
huw asks mr. gruffydd the meaning of what is occurring, and is told in a somber tone :
it means that something has gone out of this valley that may never be replaced .
a miner' s strike lasts many months, causing tremendous tension and bitterness in the valley as winter approaches and snow blankets the town. huw walks hand in hand with his father past a group of shivering men with scarfs and overcoats who stand idly in the streets :
twenty - two weeks the men were out, as the strike moved into winter. it was strange to go out into the street and find the men there in the daytime. it had a feeling of fright in it. and always the mood of the men grew uglier as empty bellies and desperation began to conquer reason. any man who was not their friend became their enemy. they knew that my father had opposed the strike and now it was they who opposed him .
a rock is thrown crashing through the front window of the morgan home, as mr. morgan sits quietly in the parlor smoking before the fireplace. in a secret union meeting of a menacing mob of men in the hills that night during a driving, howling snowstorm, mrs. morgan courageously confronts the men who might harm her husband :
i have come up here to tell you what i think of you all, because you are talking against my husband. you are a lot of cowards to go against him. he has done nothing against you and he never has and you know it well. how some of you, you smug - faced hypocrites, can sit in the same chapel with him i cannot tell. to say he is with the owners is not only nonsense but downright wickedness. there' s one thing more i' ve got to say and it is this. if harm comes to my gwilym, i will find out the men and i will kill them with my two hands. and this i will swear by god almighty .
returning home, huw helps to rescue his mother from a slippery fall down a steep embankment into an icy pond. he keeps her head above the freezing water, until his brothers (returning from the meeting) see them and pull them out. the next day, dr. richards (frederic worlock) diagnoses that the sensitive boy will suffer paralysis of his frozen legs for many months - a fate that huw overhears :
his legs were frozen to the bone. a year, two years, quiet like that. but i can' t promise that he' ll ever walk again. nature must take her course .
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directed by rouben mamoulian. with helen morgan, joan peers, fuller mellish jr .
city streets is a relatively early example from the gangster genre, but so imbued with poetry that it more closely resembles the rough beauty of sternberg’s early crime films than the more violent works that would follow in the wake of scarface ’s success the following year. paramount star gary cooper is the kid, a sweet, roguish naïf working at a shooting gallery when he falls in love with a mobster’s daughter. her ambivalence towards her father’s life of crime and the kid’s resistance to becoming a gangster present obstacles to the consummation of their love in this touching romance with exquisite cinematography by the great lee garmes. print courtesy universal pictures .
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salinger was always saying no to movie deals. but a tv producer got a yes .
the woods, someone had built a labyrinth, a maze edged with stones. it began where a spoked handwheel, rusted red, had been pressed into the dirt as if it were a sundial, a clock, stopped. the path was overgrown with ferns. it twisted and turned and snaked around in a coil until it ended at a murky well fed from a spring where a person, quiet of heart, is meant to meditate. that person is not me. nearby, a stone buddha the size of a small girl watched from the crooked stump of a fallen birch .
usually, i need to know who lived in an old place or else the curiosity bores through my bones. i pore over deeds. i dig up gardens. i once found, beneath the floorboards of a three - story queen anne, an issue of “the golden library of choice reading for boys and girls, ” from 1886. i figured out the name of the little girl who must have owned it, and when i found her gravestone i read her a story. everyone has a labyrinth. history is mine .
i discovered that the man who built the farmhouse, in 1779, felled trees and hewed timbers in a wilderness where an alarming number of settlers quite entirely lost their minds. one filled his house with thousands of books, declared it a college, and then tried to beat his brains out with an axe; a surgeon saved him by drilling a hole in his skull, but the poor man later cut his throat with a razor and lay down to die between two hemlock logs. another man left town, cut his throat in a field, regretted it, and tried to stuff grass into the wound but was unable to stanch it .
more recently, there was henry. he lived in the farmhouse, very happily, until his death, in 2003, when he was nearly eighty. “henry used to have a big vegetable garden over there, ” neighbors told me, pointing to a cleared field. the woodstove in the barn? that was henry’s. the labyrinth? built by henry’s wife. henry had been a miller. henry once had a cow. henry made cheese. people called him henry the cheeseman. henry read stories to schoolchildren; he did all the voices. he wrote and performed in a one - man play about thoreau. henry wasn’t his real name; he may have taken it from thoreau. henry, when he was younger, and in hollywood, was named peter tewksbury. he directed elvis, fred macmurray, danny thomas. and, when he was peter tewksbury, henry the cheeseman persuaded j. d. salinger to make a movie of “for esmé—with love and squalor. ”
fingers is a 1941 british drama film directed by herbert mason , produced by a.m.salomon for warner bros and starring clifford evans , leonora corbett and esmond knight . its plot involves a london jeweller and fence for stolen goods who falls in love and tries to reform . 
fingers is a 1941 british drama film directed by herbert mason, produced by a.m.salomon for warner bros and starring clifford evans, leonora corbett and esmond knight. its plot involves a london jeweller and fence for stolen goods who falls in love and tries to reform.
fingers is a 1941 british drama film directed by herbert mason, produced by a.m.salomon for warner bros and starring clifford evans, leonora corbett and esmond knight. its plot involves a london jeweller and fence for stolen goods who falls in love and tries to reform.