second chance ( 1947 film )
two people learn to love each other in the afterlife and get a second chance .
the second of which he judged
a terrible picture
. he then got the chance to make
with the headline:' second chance,' with kent taylor, at the rialto - - italian - made film bill at cinema verdi .
we don' t have enough data to suggest any movies based on second chance. you can help by rating movies you' ve seen .
sol m. wurtzel productions, inc. , twentieth century - fox film corp .
, a film about an innocent man’s willingness to forgive the greatest injustice, i propose to hollywood that it’s time to forgive mel gibson. he has been in the doghouse long enough. it’s time to give the guy another chance .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
), but he was a highly accomplished film director who was known to be sympathetic to the screenwriters he worked with and the authors whose work he adapted. the similarity between the film
boy! what a girl! (1947) 70 min. tim moore, elwood smith, duke williams. a couple of theatrical producers try to get backing for their musical show .
a lot of dazzling gems are shown off in
second chance ,
which came to the rialto yesterday, but absolutely none of their luster has been imparted to the film. it is just another tiresome go - around with a standard assortment of jewel thieves, one of whom falls in love (to his advantage) with the beautiful lady set by the cops to trap the gang. view full article in timesmachine »
reet, petite and gone (1947) 67 min. bandleader louis jordan stars in a dual role. with “cab calloway’s jitterbug party, ”
scrub me mama
cartoon and louis armstrong soundie. special program !
dirty gertie from harlem (1946) 65 min. francine everett, don wilson. a sexy, enticing dancer from harlem makes things happen in a sleepy caribbean island resort. second smash feature: sepia cinderella (1947) with billy daniels and sheila guyse. a struggling band leader' s rise to fame after overcoming many obstacles, including a bad - girl vs. good - girl situation .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
deadly impact (1984) 80 min. action film star fred williamson teams with bo svenson in this thrill - packed crime drama .
hi de ho (1947) 64 min. cab calloway is a band leader pressured to work in a gangster bar. special program with 2 mills brothers soundies, amos' n andy cartoon and duke ellington' s
symphony in black
with billie holiday .
, sartre argues that having the ability to make choices freely does not necessarily mean that we are free to decide what becomes of us. the two main protagonists in the film choose to act in a way that seems rational to them but, to the spectactor, their behaviour appears totally perverse, as if they are merely actors in a scripted drama. given a second chance at life, they both slip into their earlier grooves and end up merely repeating what has already happened to them. pierre and ève think they are free but in fact what happens to them the second time round is completely predictable. once the bets have been placed and the roulette wheel of fate has been set spinning, there is only one hole into which the ball can land .
some black features, cartoons, shorts and musical soundies from the 1940s have been put together into black heritage programs for theaters and film societies .
elia kazan' s smalltown potboiler was the first film the director considered to be his own. photograph: allstar / cinetext / 20 century fox
jivin’ in be - bop (1946) 58 min. dizzie gillespie and his musical friends have a ball. now as a double feature with fats waller singing
the joint is jumping
and second feature: juke joint (1947) 58 min. spencer williams is a con man who poses as a hollywood acto to advance the fortunes of a small town beauty contest. plus
the joint is jumpin'
by fats waller and
frim fram sauce
by nat king cole. special program !
the black six (1974) action film with carl eller, mercury morris, willie lanier, ben davidson, gene washington ,
mean
joe green .
gibson went well beyond a mea culpa tour. he came out of that experience determined to film the jewish version of braveheart. he set at warner bros a film about judah maccabee, who with his father and four brothers led the jewish revolt against the greek - syrian armies that had conquered judea in the second century b. c. that seminal story is celebrated by jews all over the world through hanukkah, the festival of lights. gibson planned to direct, but the effort was undermined by the decision to hire joe eszterhas to write it. the screenwriter’s penchant for making public spectacles of private matters (he famously leaked a conversation when he said ex - agent mike ovitz threatened him), and gibson’s unwillingness to publicly defend himself, doomed the film .
the duke is tops (aka bronze venus) (1938) 63 min. lena horne plays a night club singer who gets a chance at broadway. one of our special programs with
little black sambo
cartoon, fats waller soundie and ethel waters in
bubbling over .
cast in the lead male role is marcello pagliero, a prominent italian actor and director of the 1940s and' 50s who was closely associated with the neo - realist movement. this was his second screen appearance, after his memorable debut in roberto rossellini' s
the blood of jesus (1941) 57 min. spencer williams film about an atheist who accidentally shoots his baptist wife, who must fight the devil for her soul. with second religious themed feature: go down death (1940) 56 min. myra d. hemmings, samuel h. james. a bar owner attempts to discredit the new preacher with whom he is feuding by framing him with a photograph showing him drinking with women with bad reputations. old time religion special program !
i’m telling you, my friend mel gibson has pulled himself together. he is sober seven years, hitting the gym for a role in an independent film, and thinking positively about the future. it has been 11 years since he was paid by a major studio to star in a film, and he hasn’t directed a studio film since braveheart won five oscars including best picture and best director. he wasn’t the bad person i thought he was back when i first wrote about him, and i’m telling you, he is now not the person you think he is. as one a - list star told me recently, “mel has spent enough time in the penalty box. ”
this was a beautifully romantic classical film that had just the right amount of surrealism. romantic love isn' t non - existant, that' s a cowards answer. the things we bring inside of ourselves make it impossible though .
the devil’s daughter (1939) 59 min. nina mae mckinney runs afoul of voodoo in jamaica. double feature with son of ingagi (1940) 61 min. , only fair quality. spencer williams in haunted house horror film .
an influential post - second world war hybrid, boomerang! was shot in harsh black and white and entirely in authentic locations. it combined the documentary, the social - conscience picture, italian neo - realism and the thriller; in their commentary to this dvd / blu - ray version, the film noir experts james orsini and alain silver call it
docu - noir
. kazan recalls thinking that
i really will be able to do this picture the way i think pictures should be made. it was our neo - realism
, and considered it his first work to bear an individual stamp .
rock, rock, rock (1956) early rock' n roll film starring tuesday weld, but also featuring performances by these black singers and groups: the moonglows, the flamingos, frankie lymon and the teenagers, la vern baker and chuck berry .
king of the zombies (1941) 67 min. dick purcell, joan woodbury, mantan moreland. fiendish mad doctor creates zombies for the axis. mantan moreland turns this chiller into a hilariously funny film. dvd includes revolt of the zombies (1936) (no mantan) .
and its identically titled novel is striking and suggests that sartre was more than happy with delannoy' s treatment of his screenplay. certainly, the film is one of the most eloquent expressions of sartre' s theories about free will and the autonomy of the individual, and also the most accessible .
gang war (1940) 63 min. ralph cooper in gangster film set in harlem. double feature with: moon over harlem (1939) 68 min. a girl’s mother marries a philanderer, who then pursues the daughter. when caught, the mother throws her out into the world of broadway shows. harlem gangsters special program !
in his second apology on the anti - semitic statements, gibson promised to reach out to jewish leaders. gibson followed up by meeting with a wide variety of them. he gave me their names when i asked, but gibson asked me not to publish them because he didn’t want them dragged into public controversy or worse, think he was using them. the meetings were not some photo op to him, he told me, but rather his desire to understand judaism and personally apologize for the unkind things he said. he has learned much about the jewish religion, befriending a number of rabbis and attending his share of shabbat dinners, passover seders and rosh hashanah and yom kippur dinners. i believe that effort, along with our conversations, helped him understand why jewish people reacted as they did to the passion of the christ and why there was jewish support for the second vatican council. gibson has quietly donated millions to charitable jewish causes, in keeping with one of the highest forms of tzedakah in the jewish faith, giving when the recipient doesn’t know your identity .
how ironic is it that hollywood studios walk on eggshells with faith - based groups hoping their religious epics like noah do a fraction of the business mel gibson did with the passion of the christ, while those studios continue to shun gibson like a leper? what better way to commemorate passion ‘s 10th anniversary than journalist allison hope weiner ‘s examination of her relationship with gibson and how it evolved from harsh coverage to the point where she feels strongly enough about his good qualities and recovery to urge hollywood to consider giving him another chance. weiner has written about gibson for deadline before, as well as the new york times and other national magazines. – mf
). the film' s juiciest supporting role went to marguerite moreno, one of the great eccentrics of french cinema who, by this stage in her career, was often cast for her comedic talents. here, moreno is magnificent as the clock - watching functionary who checks us all into the afterlife, dishing out suitably withering putdowns or sweet grandmotherly smiles, according to the way in which we quit the mortal sphere .
would contemptuously label' la tradition de qualité'. serge piménoff' s elegant production design and christian matras' s moody cinematography provide a subtle but effective demarcation between the realist and fantastic elements of the story. there are no distracting transitions and the few special effects which the film employs are extremely effective. the humour and poetry in sartre' s screenplay are skilfully rendered by delannoy and the result is one of the director' s most satisfying films .
where' s my man tonight? aka .
marching on
( 1943) 63 min. the film focuses on a young african american who continues his family’s tradition of military service when he is drafted into the united states army during world war ii. despite complications that arise during his basic training, including his jealousy following his girlfriend' s flirtatious attention to his sergeant, the young soldier becomes a hero when he locates japanese saboteurs operating a radio station outside of his military base .
it has been a decade since mel gibson made the passion of the christ and watched it become the biggest - grossing independent film with $ 612 million in worldwide ticket sales. in the years that followed, gibson made several comments that went public, made him seem anti - semitic and racist. they made him persona non grata at major studios and agencies, the same ones that work with others who’ve committed felonies and done things far more serious than gibson, who essentially used his tongue as a lethal weapon. as a journalist who vilified gibson in the new york times and entertainment weekly until my coverage allowed me to get to know him, i want to make the case here that it is time for those hollywood agencies and studios to end their quiet blacklisting of mel gibson. once hollywood’s biggest movie star whose film braveheart won five oscars and whose collective box office totals $ 3. 6 billion, gibson hasn’t been directly employed by a studio since passion of the christ was released in 2004 .
ierre dumaine is the leader of a resistance movement in an unnamed police state. he is preparing an insurrection when he is shot dead by an informer. at the exact instant that pierre dies, ève charlier is poisoned by her husband andré charlier, the chief of police, so that he can marry her sister. pierre and ève meet in the afterlife, where they are condemned to roam the world they knew as ghosts, unable to change anything they see. when they begin to fall in love, they are offered the chance to return to life for one day. if, in that time, they can prove that they are committed to one another they will be allowed to remain and live a full life. unfortunately, once pierre is back in the land of the living he cannot prevent himself from intervening to save his resistance friends, and ève feels equally bound to warn her sister of her husband' s wicked intentions ...
members of the cast were to have major roles in four of the greatest plays of postwar theatre: police chief lee j cobb (willy loman in death of a salesman), minor cop karl malden (mitch in a streetcar named desire), cynical reporter sam levene (nathan detroit in guys and dolls), and wrongly accused suspect arthur kennedy (john proctor in the crucible). a decade later, lee j cobb and ed begley, who plays the most corrupt of the local politicians, were to play jurors in 12 angry men, a film for which boomerang! clearly prepared the way .
i’ve discussed the holocaust with gibson and whether his views differed from those of his father. just as he refused to condemn his father in that tv interview with diane sawyer, gibson refused to discuss his dad with me. similar to what he told sawyer, gibson told me that he believed that 6 million jews were murdered in the holocaust. “do i believe that there were concentration camps where defenseless and innocent jews died cruelly under the nazi regime? of course i do; absolutely, ” he told sawyer. “it was an atrocity of monumental proportion. ” in our conversations, i took that a step further. why, i asked him “did you say those things about the jews starting all the wars? where did those unkind things come from? ” gibson thought for a moment, then answered that he’d been terribly hurt by the very personal criticism of him from the jewish community over the passion of the christ. he said that while he’d been criticized for films before, this was personal and cruel. he said that when he drinks, he can be a mean drunk and “stuff comes out in a distorted manner…” his own faith led him to make his version of christ’s story, and he found himself being attacked for making a film that might get jews killed, and that he was insensitive that his depiction of jews as christ’s killer could inflame religious tensions. he was called names by numerous jewish leaders and a few people literally spat on him. “the criticism was still eating at me, ” he told me. “this was a different kind of hammering. a very personal attack. ”
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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joan summers (louise currie) enters the office of jewel merchant montclaire (francis pierlot) closely followed by kendal wolf (kent taylor). each recognizes the other to be a jewel thief, ... see full summary »
buzzing comedies such as the spy who dumped me await you in our summer movie guide. check in for all the info you need .
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joan summers (louise currie) enters the office of jewel merchant montclaire (francis pierlot) closely followed by kendal wolf (kent taylor). each recognizes the other to be a jewel thief, and wordlessly they team together to steal a $ 30, 000 diamond. searched and questioned when the gem is missed, they are released... . with the gem. detective sharpe (larry blake) is still suspicious and so is the head of jeweler' s indemnity, who puts two underworld men on to retrieve the diamond. kendal agrees to meet the two but the police are tipped and sharpe confiscates the gem and the fence' s money. again kendal and joan are released, but each suspects the other of being an informer despite a growing romantic attachment. kendal and joan attend an exhibition of the malabar diamonds, leave to follow a diamond - lade guest, overtake her car, shoot the chauffeur and slug the woman. at kendal' s apartment, joan makes it clear that robbery, not murder, is her game. two men and the robbed couple arrive and ...
originally a list made prior to cannes 2014, now updated every mid - april .
films mentioned in andré bazin' s published writings [ incomplete list ]. source: urltoken
a jewel thief goes into partnership with a girl who turns out to be an insurance agent, and turns him over to the police. but she is in love with him and promises to wait .
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a female and male customer enters a jewel merchant’s office and each recognizes the other as a jewel thief. the two wordlessly team up to steal a $ 30, 000 diamond. the two would - be thieves feel frustrated because police anticipate their every move. later, the two fall in love. eventually, the female thief admits she is a detective hired by an insurance company to impede the male’s thievery. she pleads with her partner - lover to give up crime .
s free will an illusion or do we really have the ability to shape our own destinies? that is the question that the leading existentialist philosopher jean - paul sartre poses in this, the first of his few contributions to cinema, which he subsequently made into a well - known novel. anyone familiar with sartre' s work will know that he was of the view that we
have free will, and that this is the central curse of human existence. in
( 1943), director jean delannoy was the natural choice to bring jean - paul sartre' s dark parable about free will to the big screen. delannoy may not have been an auteur in the nouvelle vague sense of the term (indeed this is what made him such an easy target for the young turks on the
( 1945). pagliero was presumably chosen on account of his unpolished, working class persona, making him an effective contrast with his co - star, the supremely elegant micheline presle, who is just as well - cast for the role of a society heiress. the chalk - and - cheese pairing of pagliero and presle works extraordinarily well - the evident class - separation of their characters accentuates the animalistic nature of their mutual attraction whilst providing the dramatic tension that gradually undermines their relationship .
offers many delights, but moreno' s presence is the icing on the cake, an example of directorial free will at its most reckless and inspired .
the gibson i’ve come to know isn’t a man who’ll shout from the rooftops that he’s not anti - semitic, or hold a press conference to tell media those audiotapes were released as part of a shakedown, and that he never assaulted the mother of his infant daughter. he won’t explain to people that he first got himself into a career spiral because he’s a long struggling alcoholic who fell off the wagon and spewed hateful anti - semitic remarks to an arresting officer who was jewish. he won’t tell you that he’s still got a lot to offer hollywood as a filmmaker .
the fact that he won’t jump to his own defense is part of his problem, but also part of why i have grown to respect him. that is why on the occasion of this 10th anniversary of
for those who are skeptical, i understand. for the longest time, i disliked gibson and thought he was a holocaust - denier, homophobic, misogynistic, racist drunk. i wrote as much in articles for ew and the ny times. and whenever i wrote about him, i would get irate calls from his representatives saying i didn’t know him .
then something happened that i never expected. i came to rethink my harsh assessment after i got to know the man. it started when i interviewed him in 2006 for an ew cover. i could see that he was smart, expressing sincere empathy for the people he’d hurt. i had to admit to myself that i was impressed that he hadn’t shied away from answering my tough questions .
we next spoke when he was working on a script about vikings with his braveheart writer randall wallace. after that, we spoke occasionally on the phone and met for lunch at his icon production offices to discuss get the gringo. our conversations were mostly about business, but would carry over to movies or books we liked, trips we’d taken. i liked how his mind worked. like the movies he directs, the stories he told were incredibly visual. he never asked me for anything or tried to play me, and i’ve interviewed enough movie stars to know when they are working you. gibson was unafraid to disagree with and challenge me. our conversations broadened to family, our relationships, religion .
it developed into something that felt like friendship, which doesn’t often happen with investigative journalists and the subjects they cover. odder still was that it happened with a man disdained by my colleagues, friends and my family, who, like me, are observant jews. at this point, gibson’s career had gone all kinds of wrong, starting with that 2006 dui arrest, when he told that cop that “the jews are responsible for all the wars in the world. ” four years later, he sounded positively unhinged and racist in surreptitious recordings of an angry phone exchange between gibson and ex - girlfriend oksana grigorieva — the mother of his infant daughter. the whole world heard him shout abusively at her and make racist remarks .
it was after the latter episode that my relationship with gibson truly changed. it’s very difficult to get to know anyone in a journalistic context — one rarely gets any real insight into the person you’re interviewing. in gibson’s case, this was particularly true. he wasn’t the kind of person to open up a vein and publicly plead for forgiveness as some do. but a conversation that came months after that changed our relationship .
i was on vacation with my family when gibson called me. during his breakup with grigorieva, he’d gone through a terrible emotional breakdown and struggled to get healthy, gain joint custody of his infant daughter and deal with the fallout from the publication of those awful tapes. he was in a very bad place and we talked for some time about how difficult it was for him to deal with the pain he’d inflicted on his family — his ex - wife robyn and his seven children, his infant daughter. he got so upset talking about that period in his life that he ended our call abruptly. he’d shared some very deep, personal feelings with me and was in so much pain, that i was honestly worried about him. it wasn’t the type of conversation that one has with an interview subjects. i decided we were friends now and that i could no longer write objectively about him .
since then, i’ve gotten to know gibson extremely well. i thought it would be difficult for him to have a friend in the media, but he has been surprisingly honest and trusting. as a lawyer - turned - reporter, i have no problem asking tough questions, even of friends. gibson never wavered or equivocated when i confronted him, whether the subject was his drinking, his politics, his religion or his relationships with women. it soon became clear that my early journalistic assessment of him wasn’t right .
this crystallized when we met each other’s families. it was hard to blame his family for being skeptical of a journalist, but the issues with my own family were more challenging. gibson asked to meet them at my son’s bar mitzvah celebration. imagine the scene: a room filled with jews. in walks the person who, in their minds, might be the most notorious anti - semite in america. gibson attended alone and i can only imagine what was going through his head when he walked into the party .
before the evening was over, he was chatting with many of my relatives, who saw a funny, kind, charming guy and not the demon they’d read about. gutsier still, he attended our yom kippur break fast dinner. anyone who has attended such a gathering knows there is nothing more imposing than making friends in a room full of jews who haven’t eaten in 24 hours .
it might sound naïve after 20 years writing about celebrities, but my friendship with gibson made me reconsider other celebrities whose public images became tarnished by the media’s rush to judge and marginalize the rich and famous. whether it’s gibson, tom cruise or alec baldwin, the descent from media darling to pariah can happen quickly after they do something dumb. i was part of that pack of journalists paid to pounce, so i know. i consider myself intelligent, someone who makes up her own mind, but just like readers do, i have accepted some reports at face value. the press said that based on gibson’s statements, he was a homophobe, a misogynist, a bully, an ant - semite, so he must be. what he was, i discovered, was an alcoholic whose first outburst was captured after he fell off the wagon. what the later release of audiotapes showed was a man with a frightening temper, capable of saying whatever will most offend the target of his anger .
based on my exchanges with gibson and my own reporting on his transgressions, i’ve stopped doubting him. he worked in hollywood for 30 years without a single report he was anti - semitic. before that drunken evening in july 2006, he worked all the time with producers, directors, actors and crew who happened to be jewish, without incident. but, even if i accept the comments from those who believe his drunken remarks tapped into some deep - seated anti - semitism back then, the gibson i know now is clearly a different man, one who has worked on his sobriety since that awful night in malibu .
gibson would later tell me that he was grateful the officer pulled him off the road that night because he might have killed someone else or himself. he felt so badly for verbally attacking la county sheriff’s deputy james mee that night that he later asked him out for coffee to personally apologize. like many things he does, gibson never publicized that .
i am not nominating gibson as an altar boy. it takes a certain kind of person to make movies with the intensity of braveheart, the passion of the christ, and apocalypto. as i’ve seen with other temperamental stars, there is a wildness in his blue eyes, an electricity that is part of what has made him a big movie star and a great director. one has only to interview the man to see that there’s something a little different in how he sees the world. he’s intense and rash, and he struggles with alcoholism. despite the australian bravado, and the crude humor, he is actually quite sensitive to criticism, even if he doesn’t publicly challenge or deflect it .
after eszterhas traveled to gibson’s costa rica estate to discuss a draft he’d written, things got ugly. i’ve heard from sources at warner bros that eszterhas turned in a shoddy script that was rejected. gibson was upset, the writer’s son taped the outburst and eszterhas leaked a nine - page memo to a website happy to take his side. eszterhas said he did all this for reasons that ranged from persuading gibson to get help to protecting the jews and gibson’s estranged girlfriend from his violent rage. was it possibly a convenient smokescreen to obscure taking a studio paycheck and not putting in the work, or maybe something more, since the writer turned the episode into a windfall when he used the controversy to get an e - book deal ?
gibson will never win in some quarters, but his penchant for not hitting back makes him the dictionary definition of a good punching bag. i’ve observed hypocrisy in several examples where gibson was vilified. for instance, when agent ari emanuel wrote a column for the huffington post urging hollywood to shun gibson, the actor’s longtime agent, ed limato, told me that emanuel tried to poach gibson as a client as recently as when the passion of the christ was released. “for some people in my business to publicly try to destroy mel gibson because of this incident the other night i find very hypocritical, ” limato told me, “since i know ari and a few others, who even after the passion of the christ have been calling mr. gibson and trying to entice him to their agency as a client weekly. ”
while talent including director roman polanski (drugged and sodomized a minor, and fled), mike tyson (rape conviction), chris brown (beat up ex - girlfriend rihanna), t. i. (weapons charge), and many others are repped by major agencies, no agency has touched gibson since emanuel discharged him as a wme client after those tapes surfaced and he used the “n” word. gibson has been shunned not for doing anything criminal; his greatest offenses amount to use of harsh language .
i’ve spoken to numerous colleagues who forgave gibson for his anti - semitic remarks (that list includes dean devlin, mike medavoy and richard donner) and they are quick to remind you who gibson helped along the way. start with robert downey jr, who at one point was broke and an insurance risk on films. gibson put up the insurance bond himself to secure downey to star in the singing detective, which gibson’s icon produced. it was a performance that ignited the actor’s resurgence. i know that he also helped britney spears when she hit bottom, and that he tried to save whitney houston from the drug abuse that ultimately killed her. not everybody is that generous: when gibson himself needed a break that came when warner bros hired him for a showy role in the hangover part ii, he was abruptly dropped when cast complained to director todd phillips. mind you, these same actors happily worked with tyson despite his felony conviction for rape .
i don’t bring all this up to excuse anything gibson has done wrong, but sometimes it’s worth a closer look. take the notorious audiotapes released during his row with ex - girlfriend grigorieva. from my own investigation of the incident, i am persuaded gibson did not beat her or give her a black eye. i base this on interviews with her lawyer and the deputy district attorney who handled the case. gibson admitted to “tapping” grigorieva on the head during an argument in which she shook their infant daughter. this was at a time when gibson was going through an emotional breakdown, and grigorieva capitalized on that by secretly taping their calls in an effort to shake money out of him .
on march 11, 2011, gibson was charged with misdemeanor battery and pleaded no contest, without admitting guilt. i covered the case for newsweek (before gibson and i crossed the friendship line). the l. a. district attorney’s office determined that gibson was responsible for misdemeanor assault but that there was also evidence of extortion by grigorieva. “there is no question there was admissible evidence of extortion, ” former deputy district attorney john lynch said at the time. “the problem, however, was whether the d. a. could get a jury to convict. ” lynch added, “as a practical matter, you have to choose between the two cases. in the one case of domestic abuse, the victim could potentially be a defendant in the other case of extortion. if we’d filed an extortion charge against ms. grigorieva and tried to call her as a witness in the domestic abuse case, no defense attorney on the planet would allow her to answer questions. ”
although the police initially contemplated charging gibson with a felony, they declined. as one investigator with knowledge of the case told me at the time, “they had enormous problems with the credibility of the complaining witness [ grigorieva ]. ” this statement was also confirmed by sources within the district attorney’s office .
i’ve since learned from gibson about his personal spiral that occurred between his 2006 dui arrest and the breakup with grigorieva. the day after the dui, gibson’s wife asked him to leave the family home. gibson was suddenly single and alone for the first time in 30 years, cut off from his seven children and wife as he struggled to stop drinking. he was depressed and lonely, his career in shambles as he apologized to anyone who’d listen. alone in a new house, he tried to stay off the sauce. it was then that he met grigorieva, a russian pianist who’d dated composer david foster after being married to actor timothy dalton .
the relationship got rocky when gibson asked her to sign a co - habitation agreement. shortly after, according to published emails, grigorieva began arguing with gibson about whether he would provide for her if they split. this intensified after the birth of their daughter in october 2009, when she began taping the recordings that she allegedly leaked to the press despite a judge’s order. those recordings revealed a man in personal turmoil. while they contain racist and misogynistic statements, there is also evidence that the comments she made to provoke those statements were conveniently edited out. no matter. you can’t make any of what he said ok, and gibson paid a price much higher than whatever monies grigorieva walked away with. whatever good will gibson had in hollywood evaporated .
i’ve asked him why he didn’t defend himself when the tapes surfaced. why didn’t he challenge the assertion he was crazy? he shrugged his shoulders and said his comments just seem to make things worse. so he continues to say nothing .
hollywood has long been a town famous for loving a good comeback story. in gibson’s case, i believe that a few powerful people have gone out of their way to prevent that .
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black heritage films with all - negro casts, famous black actors and jazz performers .
from the 1920s thru the mid - 1950s many films were made with all african - american casts for distribution to black cinemas and all - black audiences. these inexpensive but heartfelt little gems spanned all genres - - musical, dramatic, western, comedy and even horror - - and give a fascinating peak today inside a culture and world that has been largely overlooked by history .
all films are available in dvd - r format. some come with musical shorts or cartoon extras, as noted below, or as double features .
the birth of a nation (1915) silent classic with music score. d. w. griffith' s civil war epic with controversial racial stereotypes during the black - ruled anarachy after the war leading to the rise of the ku klux klan .
boarding house blues (1948) 86 min. moms mabley and dusty fletcher. tenants of a harlem boarding house put on a show to save their home .
the bronze buckaroo (1939) 58 min. herb jeffries sings and shoots in a black cast western. with “bubbling over” musical short .
( 1939) 54 min. in a quiet, all - black oklahoma community live the wilsons, whose pretty daughter margaret is courted by awkward buster and suave stage mentalist prince alihabad. on one busy night, mr. wilson shows his valuables to alihabad, who plans to elope with margaret; a mysterious man hangs around while another burglarizes the house; and someone murders mr. wilson! will the killer be caught by the police, or by bumbling correspondence - school detective junior lingley ?
murder in harlem (1935) 96 min. a black night watchman at a chemical factory finds the body of a murdered white woman. after he reports it, he finds himself accused of the murder. directed by oscar micheaux .
murder on lenox avenue (1941) 65 min. mamie smith, alec lovejoy. dramatic events in a harlem apartment house. pa wilkins is chosen by the better business league to replace their ousted, crooked leader marshall. double feature with: murder with music (1941) 57 min. night club singer nelle hill has many suitors - - an escaped convict, a piano player and a newspaper man. one is killed. plus cab calloway sings
we the cats shall hep ya (1945). harlem murder spree special program !
paradise in harlem (1939) 85 min. crime drama centered on a club singer who aspires to be a great dramatic actor .
rock ‘n’ roll revue and rhythm & blues revue (1955) two one - hour compilations of black performers on stage: dinah washington, mantan moreland, duke ellington, nat king cole, sarah vaughn, lionel hampton, herb jeffries, etc .
showtime at the apollo (1954) 80 min. musical variety show filmed in new york’s apollo theater with many stars: nipsey russell, duke ellington, the clovers, herb jeffries, dinah washington, count basie, lionel hampton, etc. 3 separate episodes of the 1954 tv show .
souls of sin (1949) 64 min. unsuccessful gambler' dollar bill' burton lives in a crummy new york basement room with old friend bob and a new roommate, friendly blues singer' alabama' lee. but, tired of being broke, dollar bill gets more steady employment... doing illegal errands for gangster bad boy george. the now prosperous bill ignores pretty, adoring etta and takes up with sultry singer regina. will bill' s way of life catch up with him? will his upright friends be more successful in the end? all - black cast .
spirit of youth (1938) 66 min. boxer joe louis stars in the story of the rise of boxer joe thomas, which paralleled the life of joe louis .
check and double check (1930) 80 min. radio’s amos ‘n andy (white actors freeman gosden and charles correll in black face) in a feature comedy. with duke ellington .
the emperor jones (1933) 72 min. paul robeson plays a porter who escapes from a chain gang to become king of a caribbean island. based on the play by eugene o’neil. special program with
uncle tom and little eva
cartoon, delta rhythm boys
take the a train
and bessie smith in
st. louis blues .
the jackie robinson story (1950) 76 min. jackie robinson stars in own biography as first black baseball player in majors .
judge priest (1934) 80 min. will rogers comedy is a showcase for black comedian stepin fetchit .
the joe louis story (1953) 88 min. coley wallace in biography of the heaveyweight champ .
topper returns (1941) rochester is featured in this mystery - comedy about cosmo topper (roland young) helping ghost joan blondell find her own killer .
freckles comes home (1942) gale storm, johnny downs, mantan moreland. two pals encounter an obstinate hick town sheriff who accuses them of murder. double feature with law of the jungle (1942) arline judge, mantan moreland. nazis hide among jungle natives in this classic monogram thriller .
the gang’s all here (1941) frankie darro, mantan moreland comedy / crime b - picture. double feature with irish luck (1939) frankie darro, mantan moreland. an amateur detective teams up with a frightened bell - hop to solve a series of hotel murders .
let’s go collegiate (1941) frankie darro & mantan moreland in a college musical. double feature with up in the air (1940) frankie darro, mantan moreland in mystery - comedy set in radio station .
all musical black heritage program with a poster to promote your showings! rare musical soundies by billy eckstine, nat king cole, fats waller, count basie, louis armstrong, cab calloway and more, plus
scrub me mama
color cartoon, episode of
showtime at the apollo
and
rock' n roll revue
wth dozens of stars .
these shorts are all collected onto one disc: bessie smith in
st. louis blues
lena horne in
boogie - woogie dream
ethel waters in
bubbling over
duke ellington in
symphony in black
cab calloway’s
jitterbug party
“murder in swingtime” “mr. adam’s bomb” “open the door richard” fats waller “ain’t misbehaving” louis armstrong “shine” the mills brothers, dorothy dandridge: “paper doll”
first television series to feature black actors. beulah is a negro domestic in a white family who pulls the weekly family situations together with more common sense than all of the others. the role of beulah was played by 3 distinguished black women: ethel waters, hattie mcdaniel and louise beavers .
louise beavers as beulah. beulah draws her own conclusions when she see young johnny with a baby buggy and mrs. henderson tells her that she has a secret from her husband. beulah then plans a baby shower .
louise beavers as beulah. oriole convinces beulah that the hendersons are headed for divorce .
hattie mcdaniel as beulah. miss first of the henderson household, volunteers to doctor henry’s pet rose bush; beulah becomes distressed and the henderson’s impressed, as the plant changes size, color, shape and everything under her mysterious ministrations .
ethel waters as beulah # 1, with dooley wilson as bill and butterfly mcqueen as oriole. bill becomes a babysitter when the hendersons take out a would - be client of harry’s .
hattie mcdaniel as beulah. mr. and mrs. henderson are worried about son donnie' s social skills. he just doesn' t seem to be able to get a handle on how to dance, and the big dance class party is approaching. beulah and bill fix that by teaching him to dance - - not the stuffy dances he' s learning in class, but jive .
willie was a popular black comedian who had featured roles in the early tv situation comedy trouble with father (1950 - 1955) starring stu erwin .
black saturday when the neighbors get a dishwasher, june becomes jealous so stu decides to build her a dishwasher from of a do - it - yourself kit with help of handyman willie. stu' s holiday refusing to pay a plumber, stu insists on handling a leaky pipe himself, placing the erwin household on a flood alert. father picks a queen a conflict of interest arises when stu is chosen to judge a beauty competition that joyce has entered. a quiet place stu takes june to hotel (where willie is a waiter) for a needed rest that turns into disaster .
us government films about the black soldier in world war - 2. the negro soldier a baptist minister addresses his congregation with a rousing account of the outstanding contributions of blacks to american arms and society from revolutionary times to the present. he urges his congregants to contribute to the current fight to preserve freedom. 1944. the navy steward this fascinating study describes the duties and essential role played by the navy steward in america' s maritime war effort. 1955. the negro sailor a newspaper reporter follows
bill johnson
from induction, through basic training and ultimately, actual combat in this stirring call to arms, urging african - americans to throw their might behind the battle to preserve democracy in the raging global conflict. 1945.
second chance is a 1947 american film noir crime film directed by james tinling and written by arnold belgard . the film stars kent taylor , louise currie , dennis hoey , larry j. blake , ann doran and john eldredge . the film was released on july 18 , 1947 , by 20th century fox . 
second chance is a 1947 american film noir crime film directed by james tinling and written by arnold belgard. the film stars kent taylor, louise currie, dennis hoey, larry j. blake, ann doran and john eldredge. the film was released on july 18, 1947, by 20th century fox.
second chance is a 1947 american film noir crime film directed by james tinling and written by arnold belgard. the film stars kent taylor, louise currie, dennis hoey, larry j. blake, ann doran and john eldredge. the film was released on july 18, 1947, by 20th century fox.