lady be good ( 1928 film )
broadway, 1927; the blue danube, 1928, and the strong boy, 1928 .
the only resemblance between this film and the broadway musical and silent film of lady be good from 1928 is purely coincidental. all that mgm took for this film was the title and two songs from the original broadway score .
one day maybe i' ll see a theatrical production of george & ira gershwin' s lady be good. till then this will do nicely .
irrepressible mother and fantastic father. it has been my good luck and extreme pleasure to have this lovely lady in my life. god bless
her first talking film was mgm' s 1928 superhit, the bellamy trial. again she recalled for author william m. drew in his fascinating
i’m sorry to have to be the bearer of sad news. toronto film society’s good friend james cozart from the library of congress, died yesterday, saturday, march 25th. james ...
so popular was it that mgm i' m sure paid a pretty penny for the rights and to interpolate into lady be good. tony martin and lanny ross and kate smith and the great concert singer john charles thomas had made some good selling records of the last time i saw paris. ann sothern sang it beautifully in the film, the last chorus with her voice over newsreels of the occupation .
indeed, leatrice gilbert fountain' s mother and father had top hollywood film careers. her story is fascinating. now in this lovely lady' s
leatrice: i was born in the good samaritan hospital in los angeles on september 6, 1924 .
that being said this version of lady be good about a pair of husband and wife songwriters is good entertainment. robert young and ann sothern are the married pair and it' s the same old story of two who can' t live and can' t live without each other. in fact the story is told in flashback by sothern on the witness stand to judge lionel barrymore in her divorce hearing .
an archivist working at the herbert hoover presidential library has stumbled upon color home movies taken in the late 1920s by former first lady lou hoover. incredibly, this is very likely the first color film to show a us president, the first lady, and the white house .
kodacolor film debuted in august 1928, and it looks like plain old black and white film. but when projected through a special filtered lens, called the kodacolor projection filter, the color embedded in the film appears on screen. a post from the national archives explains how it works :
red schoolhouse (with judy garland and lana turner), i appeared in a wonderful film titled, of human hearts. i had a couple of good
scenes and some dialogue. the great character actress beulah bondi was in that film, and she went on to be nominated for an
lady be good is an mgm musical film released in 1941. the film stars dancer eleanor powell, along with ann sothern, robert young, lionel barrymore, and red skelton. it was directed by norman z. mcleod and produced by arthur freed. this was the first of several films powell made with skelton. powell received top billing, but sothern and young are the main stars. they play, respectively, dixie donegan, a would - be lyric writer and eddie crane, a struggling composer .
triangle, and paramount artcraft studio in 1917 and 1918. she appeared as billy west' s leading lady in many comedy shorts
i found lady be good to be a refreshing, surprisingly intelligent and upbeat musical with great songs and dances. the story is about a married song writing team who divorces. the story starts with ann southern explaining the story and follows on from there. the script is incredibly witty, and there is some great physical comedy. some of the of the best music of all time written for this movie, including
lady be good
which always gets in my head and the more famous
the last time i saw paris
. the gershwin' s are incredible. so a combination of a witty script, great acting, great music and great dancing makes this a wonderful musical - a stand out from the rest! a truly lighthearted and entertaining musical .
heather linville, a film preservationist, and michael pogorzelski, director of the academy film archive .
he wanted to be a film director and loved writing. father (john gilbert) was the direct opposite of mother. he hated being recognized
was in an unreleased movie, the folly of revenge, 1914 nola film company. her second film, his turning point, 1915, nola film
quite touched and moved by this. the hostess was a little short, overweight french lady who greeted us quite warmly. we asked her
“i realized some of [ lou hoover’s ] home movies used kodacolor film but, because it appears like black and white film, previous archivists assumed it must be black and white, ” explained smith in a hoover archives release. knowing that the former first lady was fascinated by emerging technologies, and that she had access to kodacolor film and camera, smith decided to take a closer look at the film, wherein she came to the discovery .
“the general” was voted one of the 10 greatest films of all time in the authoritative sight & sound poll. who knows if it is even keaton' s greatest? others might choose “steamboat bill, jr. ” (1928). his other classics include “our hospitality” (1923), “the navigator” (1924), “go west” (1925) and “the cameraman” (1928), in which he played a would - be newsreel photographer who lucks into his career .
( 1927), and four walls, (1928). his other credits include director monta bell' s critic pleaser man, woman, and sin (1927) co - starring
one such action was taken by the uk. it passed the cinematographic films act of 1927, which came into effect in 1928. the law stipulated that 15 per cent of films shown in britain had to be of british or commonwealth origin. from 1928 to 1937, a total of 22 low - budget feature films — commonly referred to as “quota quickies” — were produced in canada by canadian - based, american - financed companies in order to take advantage of the quota .
scotland, produced by goldwyn. the new york times thought that leatrice joy was
a promising player of ability as well as good
last film was for 20th century fox, love nest, 1951, which also featured a soon - to - be cinema superstar, miss marilyn monroe. miss
pride of the clan, (1917), to becoming a starlet at universal studios. the early 1920s brought miss joy leading lady status and finally
toronto international film festival the website for the toronto international film festival. check out the latest film news and links to the bell lightbox, the film reference library, cinematheque ontario, sprockets, reel learning, film circuit, canada' s top ten, and related features .
talking films, her first
all talking
photoplay being a most immoral lady, first national 1929, followed by 1930' s the love trader .
dressed young lady in a waiting room. mgm was
trying me out
and getting me used to the motion picture camera. i was called a
david cronenberg a profile of celebrated canadian writer and film director david cronenberg. from the toronto international film group .
roger ebert was born on this day in 1942, and died a little over five years ago. i owe a good part of my success…
leatrice: well, i think mayer loved the movies and producing. he cared about making good movies, but he cared about profits more .
hired his last crooked attorney, and the two of them destroyed or repressed it or whatever. anyway, marlene kept up the good fight and
leatrice: oh, she was such a sweet, wonderful woman, such a lady. so elegant and wonderful, yes, on screen and off. when my
love and interest in film preservation, especially silent film preservation. it seems to me she inherited the best qualities from her
phillipe de lacy, and i really liked judy garland. she was very sweet and fun. i' ve always been close to that good looking don
barbara lamarr. mother made a movie with her — cecil b. demille' s the ten commandments. i thought she was good in that part .
“the first kodacolor home movies were shown by george eastman on july 30, 1928, a mere seven months and four days before president calvin coolidge left office, ” said smith. “the patent for the ‘optical system for color processes’ was issued september 25, 1928, just over five months before coolidge left. as a retiring president, it seems unlikely that mr. or mrs. coolidge would have taken home movies at the white house. ”
writing in the manchester guardian, c. a. lejeune wrote
for all its cleverness, [ it ] is not a good film
[ 9 ] and the bioscope review was critical of the source material :
leatrice: well, i really liked harold lloyd' s girls. they were sweet to me. i was pretty good friends with freddie bartholomew. i knew
bodies more. some film artists though transcended film with subtle great realistic acting in silent films like garbo did. towards the end
busy days happily. not only does the delightful mrs. fountain enjoy sharing her wonderful memories, she must be commended for her
although it has been widely accepted that hitchcock made a cameo appearance in the film — walking past a tennis court — the british film institute has cast doubt on it, stating
on close inspection it does not appear to be him
. [ 7 ]
and whoever to try to control them. i think they had a good laugh on her. in the early 1970s, i attended a birthday party given in the
and quite good. i' ve never seen a bad barbra streisand movie. prince of tides is so lovely, and miss streisand was lovely in it. i love
simply loved animals. he would really be in sympathy with the animal rights people of today. he was almost a vegetarian. he always
with king vidor and how it was supposed to be a double wedding with gilbert and garbo. she was standing with my father when she
saturday night. he ended up really ruining my mother' s career. he could be very cold, hateful, and vindictive — enough said about
to suggest that stanwyck never belonged in the first rank of screen beauties would be ungallant but true. to argue, however, that she lacked a ready supply of male victims would be demonstrable nonsense. she had cheekbones of a wicked cut and curve, archable eyebrows, and a nose whose beaky hauteur came in handy when she rose to playing the loftier classes, or, as in “the lady eve” (1941), slicing them to shreds. it was a face that launched a thousand inquisitions: the mouth too tight to be rosy, and a voice pitched for slang, all bite and huskiness. when i think of the glory days of american film, at its speediest and most velvety, i think of barbara stanwyck .
actors from universal’s movies, gathering to promote the big pictures of the 1925 - 26 season, celebrating the films about to be shipped to new york .
was a heartbreaking finale to one of the truly great matinee idols of film .
i think the only way to enjoy this musical is how i did it. i came across it scrolling through the channels while semi - napping. the wonderful songs and dance numbers woke me up, but then i was happy to doze through the linking dialogue, so i can' t tell you much about that. eleanor powell should be recognized as the premier female dancer of that era. she is amazing, and really showed her stuff in two lengthy wonderful numbers. the vocals were lovely too. you can' t beat the last time i saw paris and lady be good and fascinating rhythm - some of the best of the american songbook. so all in all, great musical scenes; the rest is a yawn .
. the material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of condé nast .
leatrice: i never knew mae murray, but i know the wonderful film the merry widow. it' s a beautiful, brilliant film, and for some reason
leatrice: well, i appeared in numerous films in the early 1940s. for instance, i would be used in party scenes or as a nurse or a well
that line always gets a laugh, as it should, for it springs from “the lady eve” (1941), one of the most liberatingly funny films ever made. step back for a second, though, and you can still hear the “alert, precocious, and savage” tone that stanwyck ascribed to her ruptured childhood. “the lady eve” is a preston sturges movie, which means that it does not and probably cannot stop, hurling stanwyck headlong into the chase .
jb: leatrice, from the time you were born, you have had so many famous people in your life. i think it would be of great interest to our
all movies are time machines, and restoration helps bring the moving - image present together with a past that is always — as prints decay, labs close and money ebbs — moving further away. “we want to preserve films for future generations, ” ms. linville said. “so we try to think ahead and think about what future audiences may be interested in. ” some restorations play at festivals, museums and other archival - centric places. they’re available for research, and the preservationists hope that a museum the academy has proposed will be yet another place to see them. “even if every cinema in the world can only show digital, ” mr. pogorzelski said, “we know there are going to be at least four theaters that the academy runs that are still going to be showing film. ”
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
while every effort has been made to follow citation style rules, there may be some discrepancies. please refer to the appropriate style manual or other sources if you have any questions .
kodacolor appears to the human eye as black and white images, but the base side of the film is embossed with hundreds of tiny lenses (called lenticules) that look like minuscule ridges on the surface of the film base. the lenticules captured the color information from the scene while it was filmed through a color filter with red, green, and blue - violet stripes. in order to see the color the film then had to be projected back through a similar color filter .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
douglas fetherling, ed. , documents in canadian film (toronto: broadview press, 1988) .
wyndham wise, ed. , take one' s essential guide to canadian film (2001) .
hitchcock has done the best possible for a subject which does not lend itself readily to the medium of the screen, and he is to be congratulated on having maintained interest throughout with what proves to be very slight material... in spite of an excellent performance by isabel jeans, and hitchcock' s always - apparent resourcefulness and occasional brilliance, this was not one of his more effective films .
the industry shift from film to digital has been swift and dramatic and — despite the activist efforts of the high - profile likes of christopher nolan and the patron saint of preservation, martin scorsese — film on film has almost disappeared from theaters. even features shot on film are digitally projected. (almost all theaters worldwide are now digital .) last year, i started following after mr. pogorzelski and ms. linville to understand the complexities of film restoration, largely because the medium is fast becoming a relic. more than 50 years ago, andré bazin asked “what is cinema? ” but what is film ?
i have to give this film an eight simply because the berry brothers appeared in it (i love them – what incredible talent) which was pretty unusual for a 1940' s
white
film, and also because of the incredible, breathtaking, amazingly choreographed and executed dance sequences at the end of the film .
gilbert fountain told me this film always brings tears to her eyes and is one of her personal favorites. )
, a series of classic and contemporary films from around the world shown in their original 35mm format as they were meant to be seen. these screenings are always free and open to the public, and are held in the
unlike the frankly sexual movie flappers who came after—clara bow, louise brooks, joan crawford—moore is rather the flapper - next - door, a good girl who pretends to drink and would be humiliated if anyone knew that she wasn’t sexually experienced. in this, her flapper’s lineage descends from annabelle moore, of edison’s flapping butterfly dance shorts, a former ziegfeld follies girl and probable model for the gibson girl, and olive thomas, another ziegfeld girl, a risqué dancer, and the star of the first flapper feature ,
( 1922) — were not as profitable as his first, they were not failures. only his last film —
sandra gathercole, “the best film policy this country never had, ” cinema canada (june 1978), 28–31 .
katherine monk, weird sex and snowshoes: and other canadian film phenomena (vancouver: raincoast books, 2001) .
the totten foundation, a scholarly establishment on the upper west side, a professor of english bids farewell to a young lady who has been assisting him in his research. “make no mistake, ” he says, “i shall regret the absence of your keen mind. unfortunately, it is inseparable from an extremely disturbing body. ”
the canadian cooperation project helps to explain why, during the 1940s and 1950s, there was virtually no feature film production in canada outside of québec (see the cinema of québec). however, thanks to the economic boom in canada following the second world war, a number of small, independent producers began to establish themselves, making primarily industrial films and shorts. in 1941, nat taylor founded the trade magazine canadian film weekly, and in recognition of the nascent private film sector, the canadian film awards were established in 1949. (the canadian film awards would become the genie awards in 1980 and the canadian screen awards in 2012 .) the inaugural presentation was held in ottawa, and crawley films of ottawa won the first film of the year award for the short film, the loon' s necklace (1949) .
i said something to the effect that ‘unfortunately, this is a lost film. ’ film historian joseph yranski, who ran the film library at the donnell media center [ a now - closed repository of the new york public library system ], was a friend of colleen moore and knew more about this film than probably anybody on the planet, yelled out ‘no it’s not! i know where it is! ’ the full house at film forum cheered. ” those cheers were premature, however. it was not until 2012 that cineteca italiana di milano, which housed the print, returned it to the united states for restoration. it was synched with the jazzy vitaphone soundtrack, which is available on the warner bros. dvd. the silent film festival is presenting the film with live music, as was common during the transition to sound .
i have to give this film an eight simply because the berry brothers appeared in it (i love them - what incredible talent) which was pretty unusual for a 1940' s
white
film, and also because of the incredible, breathtaking, amazingly choreographed and executed dance sequences at the end of the film. the film also has sublime bits throughout, such as the tap dances that includes eleanor powell tap - dancing with
blackie ,
a captivating black and white terrier - mix dog ,
miss deadpan
( virginia o' brien) who delivers her own style of comedic twists to the songs she sings in the film and, of course, robert young and ann sothern contribute their own charm to enrich the film. tivo the film and fast - forward to the song and dance numbers - they are worth the wait !
anthony lane has been a film critic for the new yorker since 1993. he is the author of “nobody’s perfect. ”
( 1927) was found among the previously unidentified films at the czech national film archive in 2001, which led to its restoration and public exhibition at festivals and art houses around the world, including the san francisco silent film festival in 2008 .
magnificent travis banton in this wondrful flick. she was also to wear film wardrobe provided by adrian, madame frances, howard
of the silent film making era, movies were more beautiful than ever. cinematographers reached all time heights in camera work and
while it is now possible to speak of a canadian film industry as a whole, with a thriving domestic industry in québec, feature films made by english - speaking canadians remain the weak link in the chain. government money continues to be crucial to their success and the link between english canada' s feature filmmakers and their canadian audiences is a tenuous one at best .
national film board of canada watch full - length films, clips, and trailers - all free for home viewing. scroll down the page to see links to online animated shorts and films in other categories. from the national film board of canada .
noël coward' s play was first staged in london on july 9th, 1926 and ran at the duke of york' s theatre for 132 performances. initially, the trade press reported that graham cutts would be filming the adaptation. [ 1 ]
nobody knows for sure whether capra and his leading lady were ever an item. his biographer joseph mcbride proclaims it as fact; hers, axel madsen, is less certain, one of the abiding mysteries of stanwyck being that her public image—unlike jean harlow’s, say—could never be mapped in any detail onto the contours of her private existence. she was definitely there, funny and silvery, up on the screen, but the definition faded as you tried to peek behind. her movies felt like cryptic clues to a backstory of will power and frustration, the truth of which would not have pleased her fans .
audio - visual archivist lynn smith was working on a preservation project at the library when she realized that seven reels of 16mm film from the hoover collection were not black and white as originally assumed, but an early form of color film known as kodacolor .
the brilliant biography
dark star, the meteoric rise and eclipse of john gilbert
and lastly film historian and preservation advocate .
wife of early film icon wallace reid). leading man status was attained appearing in such melodramas as the white circle and deep
louis b. mayer, the badger - faced mogul of metro goldwyn mayer, effectively destroyed the film career of john gilbert. leatrice
1923 saw the apex of leatrice joy' s exciting film career. starting off with the wonderful java head, leatrice convincingly plays a
photography. movies were more beautiful than ever and more beautiful than even today. there is nothing like it now. film lighting was
sexual rivals. he did direct some great films. the big parade is still considered a famous movie and a silent film masterpiece .
you, leatrice gilbert fountain, and may your love and quest for silent film preservation catch on and spread like california wild fire .
one of the most significant events in canadian film history was the establishment of the national film board of canada (nfb). in 1938, the federal government commissioned scottish filmmaker john grierson — who had coined the term “documentary, ” and had been head of the empire marketing board and the general post office in britain — to study the state of film production in canada. he wrote a report that year that led to the creation of the nfb in may 1939, and was named the board’s first film commissioner in october 1939 .
the academy rules were tightened up and now songs had to be written specifically for the film. so sweet leilani and the last time i saw paris remain the only two songs not written for the films they were in. by the way jerome kern fought for the rule change himself, saying he voted for harold arlen - johnny mercer' s blues in the night as the best song for 1941 .
it was common practice to shoot multiple versions in the silent era, one for the domestic market and the rest for export. talking pictures complicated matters, and, with subtitling and dubbing not yet a workable solution, companies shot multiple - language versions. in the case of “the front page, ” the multiples may have been shot more for cultural and censorship reasons, which may be why the middle finger isn’t in the american version. the best takes were reserved for the american version: that’s the one in which the camera crew keeps pace with a speed - walking adolphe menjou, as burns; in another version, he slips out of frame. the other version is good, yes, but the american is the film at its greatest .
and like grand opera. they were simplifying the cinema, and they were telling the film story with fewer and fewer titles. certainly silent
wonderful mr. turner is showing these wonderful classics on his tv channels to a whole new generation of film fans. right there in los
jb: leatrice, who cared more about their film career, your mother, miss joy, or your father, mr. gilbert ?
only one english canadian feature film was made in the 1940s — bush pilot (1946), an imitation of hollywood’s captains of the clouds (1942). a print of the film was restored by the national archives (now library and archives canada) and tmn television network .
the film also has sublime bits throughout, such as the tap dances that includes eleanor powell tap - dancing with
blackie ,
a captivating black and white terrier - mix dog ,
miss deadpan
( virginia o' brien) who delivers her own style of comedic twists to the songs she sings in the film and, of course, robert young and ann sothern contribute their own charm to enrich the film .
along with theda bara, valeska suratt, and virginia pearson, formed the first film quartet of wicked vamps of the silent era). the
cecil b. demille. her first film with him was the incredible saturday night, paramount 1922, co - starring conrad nagel. she followed
chinese (manchu) princess. the ten commandments, (1923), is today considered leatrice joy' s most famous film. her performance
is brilliant, painting an endearing cinematic portrait. miss joy covers a lot of emotional territory in this classic epic along with the film' s
so many of the english film stars — emma thompson is so wonderful, and i think jeremy irons is most talented. i really like liam
) and the world’s first movie studio to rely entirely on artificial light (in new york city), it is almost impossible to speak of a canadian film industry at the birth of cinema. the first public screening of a film in canada took place on 28 june 1896, in
the effervescent leatrice joy was born leatrice joy zeidler in
the big easy ,
new orleans, on november 7, 1893. her film debut
entrusted the care of little don to zasu. really, zasu was a brilliant, brilliant dramatic actress in silent film. did you ever see her
leatrice: mr. thalberg was respected by the entire film industry, unlike louis b. mayer. he was close, very close friends with my
manjunath pendakur, canadian dreams and american control: the political economy of the canadian film industry (detroit: wayne state university press, 1990) .
, 1919), veidt portrayed a closeted homosexual violinist threatened by an extortionist aware of his passion for a student. the film was an attempt to build public opposition to paragraph 175, a german law criminalizing homosexuality (the film created a sensation, but the law was not repealed until 1994) .
for a film to qualify as canadian, it had to be at least 75 minutes long, have at least one producer and two - thirds of the “above the line” creative team who were canadian, and perform at least 75 per cent of the production and post - production services in canada. the tax shelter approach echoed the conclusion of the tompkins report, issued by the secretary of state in 1976, which argued that, since american control of canada’s theatrical marketplace made it virtually impossible for canadian films to turn a profit domestically, the canadian film industry should focus instead on producing commercial products for export .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
mr. pogorzelski, 44, is the director of the academy film archive, which is part of the academy of motion picture arts and sciences, the organization behind the oscars; ms. linville, 38, is one of its film preservationists. in 2014, the university of nevada, las vegas, deposited the howard hughes film collection with the academy archive, and the preservationists zeroed in on “the front page. ” archives are designed to store film under proper conditions, which is why collections like this sometimes land there. other titles are piling up at the academy archive because people are dumping their films .
( 1940), for which he was both the producer and the star, veidt was cast by louis b. mayer in the anti - nazi propaganda film
hits of all time. co - starring that gallic rose of talent, renee adoree, the big parade is by consensus of film historians one of the ten
morris, magder and handling. r. the canadian encyclopedia. (2012). history of the canadian film industry. retrieved july 9, 2018 from urltoken
morris, magder and handling. r. the canadian encyclopedia. (2012). history of the canadian film industry. retrieved july 9, 2018 from urltoken
pierre véronneau, peter morris, piers handling. 2012. history of the canadian film industry. the canadian encyclopedia urltoken (accessed july 9, 2018) .
it’s a question worth asking, because for most of its history, cinema was medium - specific — it was shot, processed and distributed on film. the movies we watch today, by contrast, are rarely made through mechanical and photochemical processes, but with computer code, with strings of zeros and ones: bits. each medium has its advantages, although for many lovers of film the crucial difference is its vivid, alive look. much of the cinema i love — buster keaton comedies, fred - and - ginger musicals, stan brakhage avant - garde landmarks, charles burnett’s masterpiece “killer of sheep” — was made with film. what happens to an art when its foundational medium disappears? we don’t yet know, because it’s happening right now. if you care about movies, you should be wondering .
although, the development of feature filmmaking in canada was still sputtering, pioneering work was being done at the nfb. by the late 1950s, norman mclaren had won eight canadian film awards, two major prizes at the berlin international film festival, an academy award for his short film neighbours (1952) and an oscar nomination for a chairy tale (1957). the board’s unit b was putting out work of consistent quality and the candid eye series was producing groundbreaking direct cinema films .
( hollywood studio museum, where the silent film society shows films), u. c. l. a. , festivals like cinecon (at the venerable hollywood
leatrice: oh, i' m so glad to hear that and thrilled that a new generation coming up has such knowledge and interest in silent film. i truly
further initiatives were taken to assist in the marketing and promotion of english canadian feature films, an area always perceived as the industry’s achilles heel. amid the monumental missed opportunities of the failed québec cinema act and the film products importation bill, telefilm created the feature film fund in 1986. in 1998, the organization increased the broadcast fund to $ 60 million and created the feature film distribution fund, which introduced lines of credit for canadian companies to draw from in order to distribute films internationally .
peter urquhart, 1979: reading the tax shelter boom in canadian film history, department of art history and communication studies, mcgill university (montréal, 2004) .
and a play called “barbara frietchie. ” from here on, stanwyck’s story quickens its pace, so much so that the reader of madsen’s biography can be left floundering in her wake; it feels as if, having notched all the main misfortunes of life in her first twenty years, she grabbed her first lucky break and refused to let go. from “the noose” she slipped into “burlesque, ” at the plymouth, which just happened to be seen by louis b. mayer, of m - g - m, and joe schenck, of united artists. “if you ever want to do a movie part, just telephone me, ” schenck said .
preservationists seek out both the best - preserved prints and elements from different film copies, and often work with outside technicians. (some handle the visuals, others the audio; some work with photochemical elements, others with digital .) it’s like assembling a jigsaw puzzle with pieces from many copies of that puzzle — pieces that sometimes need to be shipped from france and spruced up in los angeles. flaws remain because, mr. pogorzelski said, he has “to stretch dollars as far as they can go. ” carrying out a “100 percent frame - by - frame cleaning” and focusing all of the archive’s resources on one film might mean ignoring dozens of others .
at its peak in 1925, the ompb distributed 1, 500 reels of film per month, using 28mm, non - theatrical safety stock in order to avoid the fire hazard posed by 35mm nitrate stock. its distribution system became outdated in the late 1920s when 16mm film stock replaced 28mm. after becoming inefficient and irrelevant, the ompb was shut down in october 1934. however, it established a legacy of government involvement in canadian filmmaking which would become a defining feature of the canadian film industry .
the film was completed in june 1927 and hitchcock left gainsborough to start his new three - year contract at british international pictures (formerly british national). [ 8 ]
all of these films were made on modest budgets and only a few enjoyed modest commercial success. the cfdc was pressured to raise the visibility of the material it was funding, either by legislating the marketplace in order to guarantee the distribution and exhibition of canadian films, or by employing foreign talent in conjunction with canadians. the ontario ministry of industry and tourism appointed producer and broadcasting executive john bassett to head a task force to study the canadian film industry. the conclusion of the bassett report was that “a basic film industry exists. it’s the audiences that need to be nurtured through theatrical exposure. the optimum method of accomplishing this is to establish a quota system for theatres. ”
when the quota law was renewed by the british government in 1938, it was amended to remove the inclusion of commonwealth films, mainly due to the manner in which canada had allowed the law to be subverted. there were attempts in ontario, québec and alberta to introduce provincial quotas for british films, but none of these bills became law .
now: in addition to reprising his role in & apos; home alone 2 & apos; , pesci went on to star in & apos; my cousin vinny & apos; and the & apos; lethal weapon & apos; series. he retired from acting in the late & apos; 90s, but came out of retirement in 2006 to land a role in the robert deniro film & apos; the good sheperd, & apos; and later in 2010 & apos; s & apos; love ranch & apos; with helen mirren. in 2011, he played himself in a snickers commercial .
pleasant musical comedy about a songwriting couple (ann sothern, robert young) who get a divorce because success goes to his head. but they' re still in love so their friends conspire to get them back together. lovely songs, including
the last time i saw paris .
ann sothern, adorable as always, does her own singing here and she actually has a nice voice. great cast includes (in addition to sothern and young) eleanor powell, red skelton, reginald owen, lionel barrymore, and virginia o' brien. powell' s dance number with her dog and
fascinating rhythm
finale are classics. perhaps a little longer than it needed to be for such a simple story but it doesn' t drag. it' s good fun .
morris, peter, magder, ted and handling, piers. 2012. history of the canadian film industry. the canadian encyclopedia urltoken (accessed july 9, 2018) .
leatrice: yes, jimmy, but like i' ve told you before, i didn' t have much of a film career. the biggest thing in hollywood to almost happen
peter morris, ted magder and piers handling .
history of the canadian film industry .
in the canadian encyclopedia. historica canada, 1985—. article published january 11, 2012
pierre véronneau, peter morris, piers handling, r. the canadian encyclopedia. (2012). history of the canadian film industry. retrieved july 9, 2018, from urltoken
the treasures from the yale film archive series is presented with generous support from paul l. joskow, ’70 m. phil, ’72 ph. d. , and in partnership with
book ,
speaking of silents ,
i didn' t do much after that (the film the bellamy trial). i had no trouble with the sound. my stage
the first time i saw my father' s great performance in this movie, it made me cry. i love the merry widow. it is a very special film to me .
pierre véronneau, peter morris, piers handling .
history of the canadian film industry
in the canadian encyclopedia. historica canada, 1985–. article published january 10, 2012. urltoken
in 2011, telefilm announced a new system to measure the success of canadian films, one that takes into account the sales of a film’s worldwide rights and gives points based on film festival appearances and awards, as well as the amount of private investment a film generates. in 2013, a group led by robert lantos that included david cronenberg, atom egoyan, paul gross and former alliance ceo victor loewy attempted to launch starlight, a television channel devoted to canadian movies. however, the proposed channel died when it was denied mandatory distribution by the crtc .
it & apos; s been 25 years since the mccallister family went to paris for christmas, leaving little kevin home alone to fend off the wet bandits, old man marley and that terrifying basement furnace. thanks to john hughes & apos; trademark
kid & apos; s perspective
viewpoint and a feel - good ending, & apos; home alone & apos; has become a christmas classic, with countless families gathering around the television to watch the movie year after year. we know you & apos; re curious, so read on to find out what the mccallister clan (and other film favorites !) are up to now .
this movie was sooooo boring. i love good old - fashioned movie musicals like no one else but this on was blah. you have to sit through at least an hour of watching the cliché and boring antics of robert young and ann sothern before eleanor powell actually does some dancing. the only reason to watch this movie is for the few bright spots that red skelton and the berry brothers bring, and of course, ellie two amazing dance numbers. you may be amused by the comedic plot but i found it way too reused and slow and boring. do yourself a favor and skip watching this movie for now unless you are a huge huge eleanor powell fan. hunt up some really enjoyable musicals of this time, like thousands cheer or down argentine way. this movie does not do justice to ellie' s amazing talent .
now: ratray has continued to act, with a small role in & apos; the prince and me, & apos; and stints on & apos; law & order, & apos; & apos; supernatural, & apos; & apos; the good wife & apos; and in the horror film & apos; r. i. p. d. & apos; but the greatest thing ratray has done post - & apos; home alone & apos; is the 2007 documentary & apos; courting condi, & apos; in which he travels all over the country in an attempt to court then - secretary of state condoleezza rice .
in 2006 the québec comedy bon cop bad cop grossed nearly $ 12 million, making it the most successful canadian film at the domestic box office to date. in 2010, resident evil: afterlife 3d, a co - production with germany, became the top - grossing canadian film of all time, surpassing porky' s with a worldwide box office of $ 250 million .
in one version, a character quips about pocahontas, while in the other the wisecrack involves lady godiva. other changes involve camerawork, staging and performances. some of the differences seemed intentional, others accidental. ms. linville did some sleuthing and discovered that the production files for “the front page” include references to several versions of the film: “scene take 5 – ok – english version print” reads one line, “scene take 6 – ok – amer. version print” reads another. and while the budget includes costs like wardrobe ($ 2, 858. 53) and railroad fares ($ 1, 438. 28), it also refers to an american negative, a british negative and a “general foreign” negative .
experience modern times, the iconic film written by, directed by and starring charlie chaplin as a factory worker at the beginning of the industrial revolution. the orchestral score, also ...
morris, peter, ted magder and piers handling .
history of the canadian film industry
. the canadian encyclopedia. toronto: historica canada, 2012. web. 11 jan 2012 .
morris, peter, ted magder and piers handling .
history of the canadian film industry
. the canadian encyclopedia. toronto: historica canada, 2012. web. 11 jan 2012 .
, created the most controversy. the sex scenes in the film turned it into an overnight sensation. kent went on to direct two more features on the west coast before moving to montréal .
i had to make the monocle oversized so it would be in focus at close range. then i put a mirror in it instead of clear glass, and put the attorney character behind the camera, with a double for him in the long shot. and so, when the monocle came up the camera, you saw the man in close - up, without a cut .
in 1997 atom egoyan' s the sweet hereafter won the grand jury prize, the international critics prize and the ecumenical award at the cannes film festival, making it the most honoured canadian film ever to play the festival. it was nominated for academy awards for adapted screenplay and best director, the first for a canadian director. in 2001, zacharias kunuk ’s atanarjuat (the fast runner), the first dramatic feature to be shot entirely in inuktituk with an all - inuit cast, won the caméra d' or at cannes. in 2004, denys arcand ‘s les invasions barbares / the barbarian invasions (2003) won the academy award for best foreign language film, another first for a canadian. four canadian films in the next eight years earned oscar nominations in the same category: mehta’s water (2006); villeneuve’s incendies (2010); falardeau’s monsieur lazhar (2011); and kim nguyen ’s rebelle (war witch) (2012) .
if you have ever seen the 1931 film of “the front page, ” based on the jauntily cynical play, you might have been startled by the moment when a wisecracking newspaperman silences his machine - gun - fast patter to raise his middle finger at the mayor and sheriff. is this what the new york times reviewer mordaunt hall was thinking of when he wrote that the film’s humor is “frequently harsh” ?
this film was nearing completion when the jazz singer (1927) was released. dialogue was written for gary cooper and nancy carroll to compete with
talking pictures
. the last scene was a wedding and the only lines of dialogue spoken in the film are cooper' s
i do
and carroll' s
i do
. in addition, carroll is also heard singing the theme song .
perhaps due to the speed at which the film went into production, many of the cast of downhill stayed on to appear in easy virtue — isabel jeans, robin irvine, ian hunter and violet farebrother .
theatre ownership was traditionally the most lucrative sector of the film industry, with the theatre owner typically taking 50 per cent of every ticket sold. because of the high cost of film production, widespread distribution is vital to a film' s commercial success. in the 1920s, the major hollywood studios (paramount, rko, 20th century fox, mgm and warner bros .) adopted a vertically - integrated model of ownership, combining production and distribution under one umbrella. the majors then aligned themselves with the large national theatre chains in order to guarantee an outlet for their product, in some cases purchasing theatre chains outright .
it would seem logically difficult to have much of a chase involving trains, since they must remain on tracks, and so one must forever be behind the other one - - right? keaton defies logic with one ingenious silent comic sequence after another, and it is important to note that he never used a double and did all of his own stunts, even very dangerous ones, with a calm acrobatic grace.
lady be good was a 1928 american silent romantic comedy film directed by richard wallace . the film is based on the 1924 musical of the same name by george gershwin and starred jack mulhall and dorothy mackaill . 
lady be good was a 1928 american silent romantic comedy film directed by richard wallace. the film is based on the 1924 musical of the same name by george gershwin and starred jack mulhall and dorothy mackaill.
lady be good was a 1928 american silent romantic comedy film directed by richard wallace. the film is based on the 1924 musical of the same name by george gershwin and starred jack mulhall and dorothy mackaill.