now and forever ( 1934 film )
now and forever cast. opened 31 aug. 1934 | toni day (lombard), jerry day (cooper), penny day (temple) charlotte granville, felix evans (guy standi… | pinteres…
a tribute to shirley temple and gary cooper in their 1934 film now and forever. this film was before shirley' s star really took off, so it' s more of a gary film with shirley as a cute add on. they are so sweet together and apparently gary just adored and doted on his young co - star .
‘letters to a little lady’, magazine article on shirley temple’s fanmail, 1934 .
review 1 - - no title; the paramount presents little miss temple in' now and forever' - -' crimson romance.'
tags: auctions, madonna, now and forever, publicity stills, rumba, sir guy standing, the eagle and the hawk, william e. thomas
gary cooper & shirley temple as jerry day penelope' penny' day film title now and forever directed by henry hathaway film company paramount 31 august 1934 * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film. a mandatory credit to the film company (and photographer if known) is required .
shirley temple & gary cooper as penelope' penny' day jerry day film title now and forever directed by henry hathaway film company paramount 31 august 1934 - * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film. a mandatory credit to the film company (and photographer if known) is required .
gary cooper carole lombard & shirley temple as jerry day toni carstairs day & penelope' penny' day film title now and forever film company paramount 31 august 1934 - * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film. a mandatory credit to the film company (and photographer if known) is required .
six degrees of shirley temple urltoken shirley temple sings her version of
the world owes me a living
from the 1934 movie' now and forever.' this song was originally from the disney short
the grasshopper and the ants
and was later goofy' s song .
review 1 - - no title; the paramount presents little miss temple in' now and forever' - -' crimson romance.' - the new york times
with the headline: review 1 - - no title; the paramount presents little miss temple in' now and forever' - -' crimson romance.' .
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now and forever is a unique film. it features three great stars of hollywood' s golden age in a movie unlike any other each of them would ever again make. in that regard it' s an interesting curiosity .
my wife and son both looked at me as if i were a bit off when i rented now and forever. they wanted to know what i saw in a shirley temple movie. other than the bachelor and the bobbie soxer, i have honestly never even seen a shirley temple movie, and was not actually interested in seeing one. however, now and forever stars two of my favorite old time actors, gary cooper and carole lombard. i always like finding great pairings of famous stars .
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title now and forever genre film notes - soundtrack. shirley temple :
the world owes me a living
( alb - 1193) (production and recordings information) - from: show music on record by jack raymond - loc. natlib. smor. 1934 - 67 (digitalid) description film. soundtrack. shirley temple :
the world owes me a living
( alb - 1193) (production and recordings information). from: show music on record by jack raymond additional metadata formats metsxml record
*
floating weeds
( 1959). ozu' s own remake of his 1934 silent film
the story of floating weeds .
a traveling actor meets his grown son. $ 29. 95 .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
when she was younger, said ms. hirano, she considered mizoguchi
more profound and interesting
than ozu. then, in the early 1980' s, she attended a film series that showed one ozu film and one mizoguchi film every day .
from vertigo to la jetée, the best films ever made are now available in the bfi shop .
with the headline: film view; how american intellectuals learned to love ozu .
the honorable profession of second story work comes in for another contemptuous drubbing from the scenarists in
now and forever ,
the new film at the paramount. so simple are the problems of the craft that the photoplay finds it unnecessary to delve into the kindergarten technique by which its larcenous hero makes a success of his chosen calling. view full article in timesmachine »
now and fo ...
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
moore went to hollywood in 1930 and subsequently appeared in the films a lady’s morals (1930), a biography of jenny lind, and new moon (1931). in 1932 she returned to broadway in the operetta the dubarry. back in hollywood she won the starring role in one night of love (1934), a film that features a pioneering attempt to record operatic works with full orchestra. the film was a great popular success and brought moore a medal from the society of arts and sciences for her contribution to “raising the standard of cinema entertainment. ” her other films include love me forever (1935), the king steps out (1936), when you’re in love (1937), and i’ll take romance (1937) .
koichi got married and has children ,
the husband says to his wife of his son. then, of his daughter, he adds ,
and now noriko' s marrying .
in the last decade i’ve watched this first feature many times, and each time, it reveals new treasures. clearly, no single film is the greatest ever made. but if there were one, for me kane would now be the strongest contender, bar none .
now and forever doesn' t fit the temple movie template that twentieth century fox would soon establish for their most bankable star. it' s more adult and slightly darker in tone than her most famous movies, where she sang and danced while melting hearts and playing cupid for whichever stars were given the thankless supporting roles. but then this makes sense since she made this movie on loan out to paramount, which was cooper' s home studio .
this isn' t really a standard gary cooper movie either. he rarely played a father, especially at this early stage in his career, and this low key family melodrama isn' t really his forte. ditto for carole lombard who would soon make her mark as one of the greatest screwball comedy dames of them all. now and forever is an offbeat movie for each of its three main stars .
this is a scene from the movie
early summer .
only one director in history could have made it: the japanese master yasujiro ozu (1903 - 63). ozu is now considered by some film enthusiasts worldwide to be the greatest director japan ever produced and one of the greatest ever to work in the medium. last year, in celebration of the 90th anniversary of the film maker' s birth and the 30th of ozu' s death, the tokyo film institute staged a retrospective of his 35 surviving films, and companion retrospectives were staged elsewhere .
sound. texts below are quotations from our poll entries and magazine coverage of the top ten. links are to the bfi’s explore film section .
amrit nahata' s kissaa kursee kaa, the film which will never be released =
kissā kursī kā
.
we' re happiest now ,
the wife replies. somewhere, very softly, a few musicians are playing a curious, unresolved melody on stringed instruments .
joan was and remains an unassailable giant of early cinema, a transcendental film comprising tears, fire and madness that relies on extreme close - ups of the human face. over the years it has often been a difficult film to see, but even during its lost years joan has remained embedded in the critical consciousness, thanks to the strength of its early reception, the striking stills that appeared in film books, its presence in godard’s vivre sa vie and recently a series of unforgettable live screenings. in 2010 it was designated the most influential film of all time in the toronto international film festival’s ‘essential 100’ list, where jonathan rosenbaum described it as “the pinnacle of silent cinema – and perhaps of the cinema itself. ”
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…
i asked ms. hirano what she thought people meant when they called ozu
the most japanese of film directors .
she and her future husband will be moving far away; no one knows for how long. not only will her parents lose daily contact with her, but they will also lose the income that made their own presence in their son' s house possible. now they must also move out of the city, into the house of a relative, disengaged from their children and their grandchildren, possibly forever. the bubble of stability and satisfaction in which the parents have been living has been destroyed, and by the person they loved most .
, (born dec. 5, 1898, slabtown [ now nough ], tenn. , u. s. —died jan. 26, 1947, in - flight in
is a political science teacher by trade. he buys and watches more movies than is probably sane. he has special affection for french dramas and crime thrillers, giallos, japanese crime and samurai movies, 70' s horror, film noir and literate science fiction .
the programme that wilson and his orchestra are obsessing over at the moment is a celebration of george and ira gershwin, the american songwriting partnership that produced such immortal songs as “i got rhythm”, “’s wonderful” and “funny face”, as well as the 1934 opera porgy and bess. though it might all sound effortless when everyone finally appears in white tie, huge amounts of preparation go into a john wilson concert and they start long before the orchestra begins to rehearse .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
: well, that wins. i guess i' m gonna get a job now. i guess i' ll be anything you want, toni, if you love me ...
, den .), american singer and actress who found great popular and critical success in both opera and motion pictures .
2001: a space odyssey is a stand - along monument, a great visionary leap, unsurpassed in its vision of man and the universe. it was a statement that came at a time which now looks something like the peak of humanity’s technological optimism .
cute film but mediocre performance by peck who is anything but believable... lombard shines as always and temple steals every scene she is in! a lesser entry into her films but good nontheless
but it does mean that hitchcock, who only entered the top ten in 1982 (two years after his death), has risen steadily in esteem over the course of 30 years, with vertigo climbing from seventh place, to fourth in 1992, second in 2002 and now first, to make him the old master. welles, uniquely, had two films (the magnificent ambersons as well as kane) in the list in 1972 and 1982, but now ambersons has slipped to 81st place in the top 100 .
arguably the film that most accurately captures the agonies of creativity and the circus that surrounds filmmaking, equal parts narcissistic, self - deprecating, bitter, nostalgic, warm, critical and funny. dreams, nightmares, reality and memories coexist within the same time - frame; the viewer sees guido’s world not as it is, but more ‘realistically’ as he experiences it, inserting the film in a lineage that stretches from the surrealists to david lynch .
has a degree in medieval literature, but doesn' t use it. in general she believes that film, like fine wine, gets better with age. look for her take on this year' s top films, coming in 2056! allex will watch most anything made before 1955, but has particular interest in silent film and golden age hollywood musicals .
*
an autumn afternoon
( 1962). ozu' s last completed film. a widower' s daughter marries, resignedly. $ 69. 95 .
i was interested to see his silent films from the 1930' s ,
she said .
some of them i was seeing for the first time. his film language in them, the way he made and shot film and directed actors, was not so organized and formal as it was to become, and it was more open to american influences. the action of the bodies in these films seems american. people touch each other more freely. there' s even an element of slapstick .
hitchcock’s supreme and most mysterious piece (as cinema and as an emblem of the art). paranoia and obsession have never looked better .
jenny lind, swedish - born operatic and oratorio soprano admired for her vocal control and agility and for the purity and naturalness of her art. lind made her debut in der freischütz …
obviously, there are conventions of japanese reticence and expressiveness represented in his films ,
ms. sontag said .
he uses discretion and ellipsis. he builds emotion by leaving things out. yet as a japanese film maker - - and ozu seems very japanese to me - - he is also very eccentric .
ozu is definitely a fashion now in academia ,
she said .
especially here. in japan, one sees a reaction against this canonization. the critics charge that other japanese directors are not taken with the same kind of seriousness .
thankfully, the film runs less than 90 minutes. it' s not completely horrible by any means, but with this trio of stars, it should have been something more .
*
tokyo story
( 1953). ozu' s best - known film in the united states. elderly parents visit their preoccupied grown children. $ 69. 95 .
i rented this film because of cooper and lombard, but it is not either of theirs best work. cooper comes across more as a lunk head than a party boy. clark gable, and his shit eating grin, could have added some spark to this role. lombard has very little to do and is fairly forgettable .
it' s an odd sort of film, darker and shadier than i would have expected from shirley or cooper either one. i never expected to watch a shirley temple movie that must be stretched out of shape to fit into the hays code box, and cooper' s portrayal of con man jerry day is a far cry from his usual wholesome image. there are a few predictable plot elements on both sides - - as usual, shirley has several family members and friends fighting for custody of her, and the film' s ending has cooper stoically battling a gunshot wound without bothering to seek medical attention. the film does present a fairly simple moral dilemma and then test the characters' reactions to the challenge, and shirley overwhelms everyone in her path with near toxic levels of cuteness, as she giggles and dances her victims into submission. but shirley is not in every scene, which helps to keep the radiation levels in check, and the story itself is both interesting and original .
a loafer and a manicurist, both planning to marry money, meet and form an uneasy alliance .
this is the third of jarmusch’s fictional films in which he concocts a fantasy realm in which he, the image - maker and aesthete, could lead a comfortable and productive existence. in 2009’s “ the limits of control ” he posited the imaginative realm as one in which an individual could not just escape political oppression but also effectively obliterate it. in 2013’s “ only lovers left alive ” he explored the state of vampirism as a way of building a realm in which one could stay not just forever young but forever young with fantastic taste. here he constructs an idyll out of orderliness and a circumscribed mode of engagement. paterson and laura have no onscreen social life to speak of (the bake sale for which laura creates dozens of delicious looking black and white cupcakes is not depicted), and no nosy or imposing family members. paterson has not published his work, and does not even deign to copy it out of his notebook. and yet there’s a sense of interdependent gears at work here. the man, the bus, the passengers, the bar patrons, all pouring into the poetry .
this collection is home to over 4, 500 images and documents relating to the depression - era child star and her life beyond hollywood. all posts are tagged by year, decade, media, film, and more. if you have any enquiries, please get in contact via the inbox button above or e - mail shirleytemplearchive @ urltoken
so does 2012 – the first poll to be conducted since the internet became almost certainly the main channel of communication about films – mark a revolution in taste, such as happened in 1962? back then a brand - new film, antonioni’s l’avventura, vaulted into second place. if there was going to be an equivalent today, it might have been malick’s the tree of life, which only polled one vote less than the last title in the top 100. in fact the highest film from the new century is wong kar - wai’s in the mood for love, just 12 years old, now sharing joint 24th slot with dreyer’s venerable ordet…
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only renoir has managed to express on film the most elevated notion of naturalism, examining this world from a perspective that is dark, cruel but objective, before going on to achieve the serenity of the work of his old age. with him, one has no qualms about using superlatives: la règle du jeu is quite simply the greatest french film by the greatest of french directors .
is dziga vertov’s cine - city symphony a film whose time has finally come? ranked only no. 27 in our last critics’ poll, it now displaces eisenstein’s erstwhile perennial battleship potemkin as the constructivist soviet silent of choice. like eisenstein’s warhorse, it’s an agit - experiment that sees montage as the means to a revolutionary consciousness; but rather than proceeding through fable and illusion, it’s explicitly engaged both with recording the modern urban everyday (which makes it the top documentary in our poll) and with its representation back to its participant - subjects (thus the top meta - movie) .
after half a century of monopolising the top spot, citizen kane was beginning to look smugly inviolable. call it schadenfreude, but let’s rejoice that this now conventional and ritualised symbol of ‘the greatest’ has finally been taken down a peg. the accession of vertigo is hardly in the nature of a coup d’état. tying for 11th place in 1972, hitchcock’s masterpiece steadily inched up the poll over the next three decades, and by 2002 was clearly the heir apparent. still, even ardent wellesians should feel gratified at the modest revolution – if only for the proof that film canons (and the versions of history they legitimate) are not completely fossilised .
we were breathless waiting for' breathless,'
he said .
it was a very different way from now of going to the movies .
ozu' s films were seen by this crowd as
a new kind of movie making ,
mr. cornfield explained .
in our redesigned, expanded new issue: the greatest films of all time by 846 critics and 358 directors. plus more pages, sections and columns, and ...
when f. w. murnau left germany for america in 1926, did cinema foresee what was coming? did it sense that change was around the corner – that now was the time to fill up on fantasy, delirium and spectacle before talking actors wrenched the artform closer to reality? many things make this film more than just a morality tale about temptation and lust, a fable about a young husband so crazy with desire for a city girl that he contemplates drowning his wife, an elemental but sweet story of a husband and wife rediscovering their love for each other. sunrise was an example – perhaps never again repeated on the same scale – of unfettered imagination and the clout of the studio system working together rather than at cross purposes .
why did it take me so long to warm to these films? what faculty was i missing, for i was definitely missing something? down at film forum, you could have seen the director louis malle standing in line, and the playwright john guare, the arts critic annette michelson and the performance artists eiko and koma, who brought their children. at these ozu screenings, one had the sensation that nearly everybody in the audience was a somebody. so, in the spirit of a film maker whose movies are primarily taken up with people talking, i decided to get in touch with a few of them and listen to what they had to say .
at the japan society, kyoko hirano, the director of the film program there, has attended and overseen several ozu retrospectives since the mid - 80' s, all of them so popular that hundreds of people had to be turned away from many showings. i asked her to compare his audiences in new york and in tokyo .
eric, you may not remember this but i have a distinct memory of us watching stand up and cheer at our grandparents house in the early 1970s. and i' m also certain we watched the blue bird together as well. at any rate i agree that shirley temple does indeed steal the movie away from gary cooper and carole lombard. 1934 was the year she became america' s sweetheart. she only sings one song ,
the world owes me a living
, but she proves just what an accomplished actress she had already become by the tender age of six. after the release of this movie temple' s fan mail reached 500 letters a day .
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moore continued in opera throughout her film career. she made her london debut at covent garden in la bohème in june 1935 to tremendous ovations. she starred in a film version of louise (1938) in france and then performed it at the met the following year. in 1941 she sang l’amore dei tre re. radio broadcasts and public appearances further increased her popularity. during world war ii she made numerous appearances at bond rallies, benefits, and army camp shows, for which she was decorated by several governments. her autobiography, you’re only human once, appeared in 1944. moore died in an airplane crash in copenhagen following a command performance there .
the current ozu renaissance is also a cumulative result of periodic mini - rediscoveries that have taken place in europe and in the united states since the late 50' s, when his films first began to be shown outside japan. a number of new york venues have been crucial to ozu' s growing prestige: the museum of modern art, various revival houses (notably the old new yorker theater, now gone), the japan society and film forum. movie theaters of one sort or another, not home video, have kept ozu alive in this city, and continue to keep him alive. although a handful of his films are available on video, all of them date from after world war ii and give a limited perspective on his emotional range, his world of character types and, especially, his sly humor, in literary as well as visual terms. (ozu co - wrote his own scripts. )
. at any rate, these early shenanigans are more than enough to make jerry day about the most nefarious cooper character i' ve seen yet, and that' s before he turns jewelry thief later in the film and then (horror of horrors !) lies to his daughter penny (temple) about the stolen necklace even after swearing
honor bright
to tell the truth .
toni suddenly gets a conscious and goes her own way. jerry makes the trip and seals the deal, until he happens to run into his daughter. they spend the afternoon playing pirates, and jerry falls under her charm. he forgoes the money and takes penny with him .
film. 1946 records by dick haymes of orig cast .
another night like this
( 78 / dec 23731, alb - 299, alb - 397 )
mi vida
( 78 / dec 23731, alb - 299) (production and recordings information). from: show music on record by ...
his conducting work spans much more than his hollywood musical reconstruction projects. wilson is a principal conductor with the royal northern sinfonia and has performed or recorded with most of the major ensembles in britain. and his great passion is for english music: the romanticism of elgar, vaughan williams and delius needs advocates, too, he says. he insists that these two strands of his career are of equivalent importance. “i make no separation between my activities conducting classical music and [ film scores ]. they’re just all different rooms in the same house. ”
the first scene gary and shirley share is very cute and pleasing; it' s probably the stand - out sequence of the film. i thought their rapport with each other, especially at the beginning of their relationship, was lovely. on the other hand... some of the more dramatic scenes with gary and carole... it was almost as if she was bouncing her lines off of a brick wall (am i terrible for saying that? sorry coop! )
there is a moment of silence as wilson holds the whole hall, audience and orchestra alike, in stasis, his baton raised expectantly. then it slices down and the orchestra bursts into a tightly controlled mass of sound, complete with swirling strings and blowsy brass. you are instantly transported: this is the music to which fred astaire and ginger rogers danced, the music of george gershwin, cole porter, irving berlin, which reverberated around the cauldron of creativity that was hollywood of the early 20th century, when composers were as sought after as film directors .
it was an opportunity to compare two great directors ,
she said .
i was surprised to discover that i preferred ozu. he is very simple, but he has a universal message that can travel across time and borders. i can go back 10 or 20 times to his movies, and it' s always a pleasure to rediscover him. that' s not true of every film maker .
the new movie written and directed by jim jarmusch is a total fantasy. this in spite of being shot on the streets of the new jersey city in which it is set, and for which the movie itself and its lead character are named. it’s as much of a fantasy as jean cocteau’s “ orpheus, ” another great film about a poet that was at least partially set in the “real” contemporary world. it’s maybe not as much of a fantasy as the “lord of the rings” trilogy .
film. soundtrack. music: josef myrow. words: mack gordon. orch & cond: alfred newman. cast: dan dailey, betty grable, mona freeman, lee patrick, chick chandler, imogene lynch, connie marshall. (classic international filmusicals 3008, ...
the title of the concert he conducted at this year’s proms was “george and ira gershwin rediscovered”, which hints at the full scale of wilson’s work. not only does he select his music from the surviving repertoire of 20th - century hollywood: in many cases, he unearths scores that weren’t considered worth keeping at the time and resurrects the music into a playable state. at times, there is no written trace at all and he must reconstruct a score by ear from a ­recording or the soundtrack of a film .
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directors: robert hamer, hal e. chester, and 1 more credit »
shirley temple and john agar at their wedding reception, september 19th, 1945 .
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while on a business trip, an ambitious young lawyer meets and immediately falls in love with a stranger. they wed the following day, and tragedy soon strikes .
846 critics, programmers, academics and distributors have voted – and the 50 - year reign of kane is over. our critics’ poll has a new number one .
film. album (c 1947) by charles kullman of orig cast. music: nicolai rimsky - korsakov, arranged by miklos rozsa. words: jack brooks. cond: julius burger .
song of india ,
hymn to the sun ,
gypsy song ,
...
what a disappointment! all i knew when sitting down to watch this film was the title, the cast and the year it was released. with that knowledge, i think i can be excused for assuming this was going to be a comedy. instead, apart from a few lighthearted moments, this is, as patrick so accurately called it, a low key, family melodrama .
a tribute to the late tab hunter, a gay matinee idol and hollywood trailblazer .
gary cooper isn' t very likable in this melodrama. carole lombard and shirley temple make it tolerable. nice performances from sir guy standing and charlotte granville, too .
still, this moment together in the park has a special grace. the sun shines, they bask in it, and the food they eat is wholesome and good .
ozu used to liken himself to a “tofu - maker”, in reference to the way his films – at least the post - war ones – were all variations on a small number of themes. so why is it tokyo story that is acclaimed by most as his masterpiece? dvd releases have made available such prewar films as i was born, but…, and yet the ozu vote has not been split, and tokyo story has actually climbed two places since 2002. it may simply be that in tokyo story this most japanese tofu - maker refined his art to the point of perfection, and crafted a truly universal film about family, time and loss .
toni is torn between her love for jerry and her mistrust of his intentions towards her and towards penny, and the frostiness this creates in her makes even penny wary of letting her too close, and it takes a while for them to warm up to each other at all. the three of them move through life without any clear idea what they' re doing, and it quickly emerges that penny, at the ripe old age of five, is the wisest and most mature of the group. there' s a lot of love here, though, and it' s not all saccharine .
a wealthy new york socialite falls for and marries a cowboy while out west. her father disinherits her, and after trying to make a go of it as a cowboy' s wife, they agree to divorce and she... see full summary »
gary cooper, shirley temple, and carole lombard make an uncomfortable family, at best .
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and the loser is – citizen kane. after 50 years at the top of the sight
the real saving grace in this film is that the characterizations of all three leads and their relationships with each other are sympathetic and believable. jerry falls for penny in spite of his best intentions (it seems no one is immune), and turns down the $ 75, 000 in favor of taking penny to paris with him to rejoin his
wife
toni. he hasn' t really changed - -
i don' t like life any better than i ever did ,
he tells toni ,
and nothing can make me settle down ,
- - but the more attached he becomes to penny the more he realizes that there is more to life than just having fun, and even manages to develop a little responsibility. or, at least he tries .
following appearances in suite sixteen, just a minute, and up in the clouds, moore made her broadway debut in the 1920 edition of the revue hitchy - koo, which featured jerome kern ’s music. she then sang in town gossip and went to paris to train for a career on the operatic stage. moore circulated easily in café society. when she had exhausted her funds, she returned to broadway to star in irving berlin ’s music box revue of 1923. in 1925 she went back to france, where the opera singer mary garden, long her idol and now her friend, recommended her to operatic coach richard barthelemy. auditioning for giulio catti - casazza in 1927, moore finally won a contract with the metropolitan opera .
like my brothers, i thought temple completely stole the show. i' ve never really been a huge fan of her or her films, but even i have to admit that she' s pretty darn adorable here. she' s cute without being cloying and she manages to deliver her lines very naturally and without sounding as if she' s parrot. her scenes with gary cooper, particularly their first meeting, are the highlight of the film. reportedly the two bonded off screen as well where cooper charmed her on the first day by asking temple for her autograph and nicknaming her “wiggle - britches” .
a rich young society girl falls in love with a car mechanic. her family is appalled and stops her seeing him. the girl attempts to commit suicide and then decides to elope .
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
for details of our methodology, and the ‘further reading’ links at the end of this page .
susan sontag, the novelist and essayist, cautions against stereotyping ozu' s work, however .
film. 1947 records by betty hutton of orig cast. music & words: frank loesser .
poppa, don' t preach to me
( 78 / cap 380, alb - 285, alb - 1014, alb - 1635, alb - 2123 )
the sewing machine ,
i wish i didn' t ...
wilson, 44, who also conducts the more conventional classical repertoire, says that his interest in so - called light music came early on. “when you’re a kid, you don’t know that you shouldn’t like the beatles, or you shouldn’t like fred astaire, or whatever, ” he says. “you just like anything that’s good. so i grew up loving beethoven and brahms and ravel and frank sinatra and the beatles. ” at home in gateshead – he still has the geordie accent – the only music in the house was “what was on the radio and telly”, and the young boy acquired his taste from what he encountered playing with local brass bands and amateur orchestras .
several people to whom ozu meant the most linked him to their cultural experience of new york city, where they were living when they saw their first ozu film, which, in all cases, turned out to be
tokyo story
( 1953), another movie about ozu' s recurring theme of parents, their grown children and the dissolution of the family. their discovery of ozu was part of the story of what made them new yorkers .
in new york, the walter reade theater in lincoln center presented some of his best - known movies during january and february in a program called
cinema' s sacred treasure: the films of yasujiro ozu .
( the title refers to an honorific coined by wim wenders, an ozu disciple .) and for eight mondays from january to march, film forum in soho presented a series devoted to the director' s early films, with special attention to his silent movies, a medium in which ozu worked through the mid - 1930' s .
she and cooper introduced me to a phrase i had never heard of before - -
honor bright
. it was used instead of
cross my heart and hope to die
and meant on my honor. i couldn' t find an origin for it. anyone familiar with this ?
film. records by danny kaye of orig cast .
anatole of paris
( 1942: alb - 70, alb - 107, alb - 518, alb - 1370, alb - 1567, alb - 1613, alb - 1825, alb - 1831, alb - 1974, alb - 2186) (1952: alb - 6, alb - 515 )
the little fiddle
( 1949: alb - 55) (production and ...
the black sheep of a family and the local minister discover their true vocations during the revolutionary war .
young freewheeling wanderer jerry day and his beautiful wife toni are at odds over their lifestyle. jerry can' t accept responsibility but toni yearns for a family and a settled life. then ...
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charlotte granville and guy standing are both excellent in their respective supporting roles. she' s a domineering dowager with a heart of gold and he' s a debonair charmer with the morals of a rattlesnake .
a chronicle of the life of william friese - greene, a british inventor and early pioneer in cinema .
wilson’s shows are tremendously popular. since he presented the mgm musicals programme at the proms in 2009, which was watched by 3. 5 million people on tv and is still selling on dvd, his concerts have been among the first to sell out in every proms season. there are international tours and popular cds, too. but a great deal of behind - the - scenes work goes into bringing this music – much of which had been lost to history – back to life. there are familiar tunes among the complex arrangements that he and his orchestra play, to be sure, but the music sounds fresher and sharper than it ever does on old records or in movies. whether you’re a film fan or not, you will find something about the irrepressible energy of these tunes that lifts the spirits .
carole has always been one of my favorite actresses and this movie has helped me realize that a lot of my love and appreciation for her work comes from her voice. i think gary' s infamous stilted delivery really made me pay attention to the ups and downs in her tone. one moment she could be a sharp wisecracker; the next, a warm and enchanting lover. she truly made it all look so effortless .
she sees the films of akira kurosawa, kenji mizoguchi, shohei imamura and nagisa oshima as very different from ozu' s .
it' s like comparing emily dickinson and whitman, both americans ,
she said .
ozu is a supreme artist because he gives you all the pleasures of formal or abstract art and evokes profound emotions and sympathies. does that make him universal? no. that makes him accessible .
sound poll, orson welles’s debut film has been convincingly ousted by alfred hitchcock’s 45th feature vertigo – and by a whopping 34 votes, compared with the mere five that separated them a decade ago. so what does it mean? given that kane actually clocked over three times as many votes this year as it did last time, it hasn’t exactly been snubbed by the vastly larger number of voters taking part in this new poll, which has spread its net far wider than any of its six predecessors .
although penny is the catalyst that makes jerry want to change and be a better man, he doesn' t really do it for her. it is toni that he really loves, but bringing penny into their lives lets him see toni' s pain and vulnerability for the first time. it is for her, and not for penny, that he agrees to stop
chasing trains
and go get a job. these are two broken, desperate people, lonely even when they' re together and unable to commit to each other in any traditional way yet each physically incapable of living without the other. a handful of catch phrases and inside jokes make the characterization of these two beautifully three dimensional, and create, almost in the background, a genuinely touching love story .
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jerry is still without employment and is soon back to his old ways. he sells a phony goldmine to some sucker, felix, and then hops a ship with penny to europe. the only problem is that felix is likewise aboard .
i' m not about to rush out and complete my
little darling
collection, but it was a pleasant surprise to find i could watch one of temple' s movies all the way through without wanting to throw up in my mouth. shirley is far more sickeningly sweet than i' d like, but she was also a very capable actress even as a very young girl, which is itself certainly worthy of respect. as a whole, the film was sincere and unpredictable, a worthwhile showcase for the exceptional talent of all three leads. shirley comes on a little strong for many people, including myself, but if you' re willing to look past this ,
it' s interesting to see cooper play a total cock of a man though he doesn' t fully convince of it until after his supposed redemption. in short it is a pretty great though very small messing with his image. it threatens to become alfie with cooper being as charming as usual and the film giving him excessive allowances early on. much less messy is temple who really proves her star, and greene' s criticism, with a shockingly adult performance that frankly outclasses everyone else while still playing up that idea of naive child. which leaves poor carole lombard who has a truly nothing role the she treats as such. a nagging stick could do just as well .
a swindler and his girlfriend take in his young daughter, who has been living with the family of his deceased wife .
a dissolute rich society boy marries a worldly nightclub singer, and she begins to have a wholly unexpected effect on him .
the movie’s protagonist, played with spectacular attention to detail and what feels like a genuine sense of affinity by adam driver, is named paterson, and he drives a new jersey transit bus around the new jersey city of paterson, where he also lives. paterson, new jersey was once an industrial center of the united states—a storied manufacturer of silks and textiles—that fell into a kind of ruin by the time this film reviewer moved there, to live, in 1978. it has undergone several not - quite - revivals since that time. its main fame today is in its being the ostensible subject of an epic modernist american poem by william carlos williams, who lived in nearby rutherford. “ [ a ] nd so to man / to paterson, ” williams wrote in the preface to that work, underlining an ambition that was potentially pantheistic .
his nemesis is an english bulldog named marvin, who belongs to the couple but is clearly not crazy about paterson. every night, though, paterson walks the growling, grumbling beast, and leashes him outside a bar. there, paterson has precisely one beer and talks things over with bartender doc (barry shabaka henley), discussing doc’s paterson wall of fame (featuring lou costello, floyd and jimmy vivino, and others) and contemplating life and love. paterson gets food for thought on his bus, too; he overhears a teenage girl explaining italian anarchist gaetano bresci to a fellow student, say, or two construction works discussing (in incredibly polite terms) their potential amorous conquests, which they say they’re too tired or preoccupied to follow through on .
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jean - luc godard’s extraordinary debut almost singlehandedly changed the face of french cinema and went on to inspire filmmakers around the world .
one of the early scenes in the film has jerry posing as a hotel auditor to collect past due rent from other guests in order to pay his own bill, and i can' t help but think that any other cooper character would punch jerry in the face if he got wind of such a stunt. as if that weren' t enough, soon after he excitedly explains to toni that his next project involves a visit to his former in - laws to
sell
them custody of his daughter for $ 75, 000. maybe this was the dark past cooper shuddered to remember in
now and forever is a 1934 american drama film directed by henry hathaway . the screenplay by vincent lawrence and sylvia thalberg was based on a story by jack kirkland and melville baker . the film stars gary cooper , carole lombard , and shirley temple in a story about a criminal going straight for his child 's sake . temple sang " the world owes me a living " . the film was critically well received . temple adored cooper who nicknamed her ' wigglebritches ' ( windeler 140 ) . this is the only film in which lombard and temple appeared together . 
now and forever is a 1934 american drama film directed by henry hathaway. the screenplay by vincent lawrence and sylvia thalberg was based on a story by jack kirkland and melville baker. the film stars gary cooper, carole lombard, and shirley temple in a story about a criminal going straight for his child's sake. temple sang " the world owes me a living ". the film was critically well received. temple adored cooper who nicknamed her' wigglebritches' (windeler 140). this is the only film in which lombard and temple appeared together.
now and forever is a 1934 american drama film directed by henry hathaway. the screenplay by vincent lawrence and sylvia thalberg was based on a story by jack kirkland and melville baker. the film stars gary cooper, carole lombard, and shirley temple in a story about a criminal going straight for his child's sake. temple sang " the world owes me a living ". the film was critically well received. temple adored cooper who nicknamed her' wigglebritches' (windeler 140). this is the only film in which lombard and temple appeared together.