Miss Susie Slagle's
Miss Susie Slagle's is a 1946 American drama film directed by John Berry. It was based on the popular novel by Augusta Tucker; the film was Berry's directorial debut and first starring role for Joan Caulfield. A nursing student falls in love with a young medical intern in 1910 Baltimore, but their lives start to fall apart when he catches a deadly disease. Augusta Tucker's novel was published in 1939. Paramount paid $20,000 for the film rights; the novel became a best seller. A sequel came out in The Man Miss Susie Loved. In 1939 Martin Berkley was assigned to write the script. John Cromwell was assigned to direct under the supervision of Arthur Hornblow. In January 1941 Paramount announced Jean Arthur would star and Sam Wood would produce and direct with Lorraine Nobel writing a script. Jack Oakie was to play the comic male lead. In May 1941 Irene Dunne was named as lead. In June 1941 filming was postponed. In August 1943 the project was reactivated when Paramount head of production Buddy De Sylva have it to producer John Houseman, who had just made The Unseen for the studio.
In January 1944 the project was put back on Paramount's schedule with a new screenplay done and Betty Field listed as star. The novel was set in Baltimore at John Hopkings Hospital but references to that specific city and hospital were removed from the script, it was thought Houseman might get Orson Welles involved as a director. However Welles did not have anything to do with the film. At one stage Harold Clurman was going to direct - he worked on the script - but left the project and in May 1944 signed a contract with RKO.. In June the job of directing was given to theatre director John Berry, who had worked with Houseman and Welles in the theatre, he had never made a movie before but Berry spent a number of months at Paramount observing other directors and filming screen tests to get experience. In April 1944 Sonny Tufts was signed for the male lead. Lilian Gish joined the cast, making her first film in a number of years. In July Joan Caulfield, who had enjoyed Broadway success in Kiss and Tell, was given the female lead, in her motion picture debut.
Veronica Lake joined the cast in August, along with Pat Phelan, discovered doing theatre. (Lake said her role - along with ones in The Blue Dahlie, Out of this World and Hold That Blonde were "not noteworthy." Filming took place in November 1944. At one stage the film was going to be called The Golden Years but the title was changed back. "I did 54 takes on my first shot," remembered Berry years later. Bosley Crowther of The New York Times thought the film was flawed but decent: Miss Susie Slagle's was presented on Lux Radio Theatre October 21, 1946. Caulfield reprised her role from the film, William Holden co-starred; the story was adapted for Lux Video Theatre in 1955 with Dorothy McGuire. Miss Susie Slagle's on IMDb Miss Susie Slagle's at AllMovie Miss Susie Slagle at TCMDB Review of film at Variety
Harold Edward James Aldridge was an Australian-British writer and journalist. His World War II despatches were published worldwide and he was the author of over 30 books, both fiction and non-fiction works, including war and adventure novels and books for children. Aldridge was born in a suburb of Bendigo, Victoria. By the mid-1920s the Aldridge family had moved to Swan Hill, many of his Australian stories are based on his life growing up there, he studied at the London School of Economics. He returned to Australia and worked for The Sun News-Pictorial in Melbourne from 1935 to 1938. Aldridge moved to London in 1938 where he remained his base until his death in 2015. During the Second World War, Aldridge served in the Middle-East as a war correspondent, reporting on the Axis invasions of Greece and Crete. Based on his experiences, he wrote his first novel Signed with Their Honour and the book was published in both Britain and the United States in 1942, becoming an immediate best-seller; the novel centred on a fictional young British Royal Air Force pilot named John Quayle who flies obsolete Gladiator biplanes for the true-life 80 Squadron against the larger and more powerful Axis air-forces over Greece and North Africa 1940-41.
The novel received considerable praise from reviewers including the Miami News which said "...so graphic are the descriptive passages that the reader tastes the dust and feels the insect stings in the Egyptian heat". American critic Herbert Faulkner West stated that the book "showed real promise" and ranked it the best of his wartime novels; the book proved to be one of Aldridge's most successful, remaining in print until 1988. An attempt in 1943 to make a film based on the novel was abandoned when two Gloster Gladiator biplanes were destroyed in a mid-air collision during filming at an RAF base at Shropshire in the UK, his second novel The Sea Eagle, which centred on Australian soldiers during and after the fall of Crete in 1941, was successful but received less favourable reviews than his first book. American critic N. L. Rothman, writing in the Saturday Review, praised the novel for its "timeless-ness" and the high quality of its prose. Aldridge's early novels were influenced by the literary mannerisms of US author Ernest Hemingway.
For The Sea Eagle, Aldridge won the John Llewellyn Rhys Prize. Aldridge's most successful and most published novel The Diplomat was released in 1949. An espionage and political drama set amidst the Azerbaijan Revolution in Iran, the novel received mixed reviews; the Anglo-Soviet Journal called it impressive. An American review for Kirkus, while acknowledging the book's premise to be promising and original, labelled it as slow and awkward in style, his 1950 novel The Hunter proved that Aldridge was willing to attempt a variety of genres and settings. A drama about fur-hunters living in the wilds of the Ontario bushlands in Canada, the novel was, according to Walter O'Meara in the Saturday Review, written in a "flat direct prose that just when you decide to be bored straightens you up with an incisive and revealing word or phrase." He went on to say it was "a sincere and penetrating study of man against the eternal odds". Aldridge's next book appeared in 1954, a novel entitled Heroes of the Empty View, depicting an English hero-adventurer in the Middle-East in the vein of T. E. Lawrence and Charles Gordon.
Mervyn Jones writing in Tribune magazine criticised the novel's shortage of action, the un-convincing lead character and the book's lack of passion. Jones said that Aldridge had "impressive gifts" as a novelist but needed to find a subject that "really fires him"; the novel got a better response from Walter Havighurst, writing in the Saturday Review, who called it "a provocative novel...written with authoritative knowledge of men and politics". A review for Kirkus Reviews praised the novel as being "perhaps his most important work, implicit in its picture of the conflicts, the contradictions, the dilemmas of the Arabs.... There is a wider view of the battle for freedom in a world where a machine-ruled society is becoming the norm". Aldridge returned to the Second World War with his next novel, I Wish He Would Not Die, a drama set in the Desert Air Force in Egypt. Kirkus Reviews labelled it as an effective work, dealing with "men living under stress and with a heightened sense of humanity present the issues that haunt them..."
Aldridge's direct experiences of Egypt, where he lived for much of the Post-War era, both as a Foreign Correspondent and as a novelist, inspired the 1961 novel The Last Exile, set amidst the turbulence of the Suez Crisis in 1957. The novel, one of Aldridge's most lengthy and most ambitious, drew a less favourable response than previous works. Hal Lehrman, writing in the Saturday Review, labelled it "a swollen bore". Aldridge continued to draw inspiration from topical events and the Cold War tensions between the East and West gave him the subject for his next novel A Captive in the Land, set in the frozen wastes of the Arctic where an English scientist rescues the sole survivor of a crashed Russian aircraft. Like all of his politically themed works, Aldridge attempted to explore all viewpoints and portray the "grey" area in-between opposing forces and beliefs. In this case, the Englishman is viewed by his fellow Westerners as a hero but he is treated with increasing suspicision due to his efforts to allow the Russian to be freed.
W. G. Rogers, writing in the Saturday Review, praised the novel thus: "...the moral adventure here is more challenging and better and faster reading than the physical. But all the way its a gripping story that gets under your skin and stays there." The novel was made into a film of the same name in 1993
Maya (1966 film)
Maya is a 1966 American drama in Metrocolor and Panavision, the coming of age story of a young man in the jungles of India. It was directed by John Berry and starred Clint Walker, Jay North, Sajid Khan. Fourteen-year-old Terry Bowen travels from the US to India to meet his father Hugh Bowen for the first time. After a dispute with his father, Terry is befriended by Raji. Together and Raji have many adventures in the jungles of India; the cultural and religious differences between American Christian Terry and Indian Hindu Raji add to the conflicts in the plot, but together the two boys overcome their differences to survive and to deliver Maya and her calf to a faraway temple. Clint Walker as Hugh Bowen, an American living in India Jay North as Terry Bowen, Hugh's son Sajid Khan as Raji, an Indian boy who befriends Terry I. S. Johar as One-Eye P. Jairaj as Gammu Ghat Nana Palsikar as Raji's Father Uma Rao as One Eye's Daughter Madhusdan Pathak as Station Master Sonia Sahni as Sheela Dell Movie Classic: Maya Producer King took the story of Maya to television with a television series that aired on NBC during the 1967–1968 season.
Sajid Khan and Jay North reprised the series lasted 18 episodes. The series presented a retcon of the original film premise. In the series, Terry Bowen, a year or so older than in the film, arrives in India to reunite with his father, who he soon learns is missing, presumed killed by a tiger. Facing deportation back to the United States, Terry escapes the authorities, meets up by chance with orphaned runaway Raji and his pet elephant, Maya. Over the course of the series the duo and the elephant continue their search while facing many side-plots, but never succeed in their quest in the episodes made during the series' short run. Japanese singer Rajie got her stage name from the character Raji. List of American films of 1966 Maya on IMDb Jalal din https://www.imdb.com/name/nm0227499/bio Maya at the TCM Movie Database Maya at AllMovie Maya at the American Film Institute Catalog
William Conti is an American composer and conductor best known for his film scores, including Rocky, Karate Kid, For Your Eyes Only and The Right Stuff, which earned him an Academy Award for Best Original Score. He received nominations in the Best Original Song category for "Gonna Fly Now" from Rocky and for the title song of For Your Eyes Only, he was the musical director at the Academy Awards a record nineteen times. Conti, an Italian American, was born in Providence, Rhode Island, the son of Lucetta and William Conti, he graduated from North Miami High School in 1959. He is a past winner of the Silver Knight Award presented by the Miami Herald, he is a graduate of Louisiana State University, studied at the Juilliard School of Music. Conti's big break into celebrity came in 1976, when he was hired to compose the music for a small United Artists film called Rocky; the film became a phenomenon and won three Oscars at the 49th Academy Awards, including Best Picture. The same ceremony was the first time Conti was musical director for the Academy Awards, a role he reprised 18 times subsequently, more than anybody else.
His training montage tune, "Gonna Fly Now", topped the Billboard singles chart in 1977, earned him an Academy Award nomination for Best Original Song. Conti composed music for the sequels Rocky II, Rocky III, Rocky V and Rocky Balboa. Conti worked for some other films and for television series. In 1981, he wrote the music for the James Bond film, For Your Eyes Only, when John Barry was unwilling to return to the United Kingdom for tax reasons, provided the score for playwright Jason Miller's film version of his Pulitzer Prize winning play That Championship Season the following year. In 1983, Conti composed the score for The Terry Fox Story, he did Bad Boys and Mass Appeal. In 1984, he won an Academy Award for composing the score to 1983's The Right Stuff, after which he wrote for the TV series North and South in 1985, he scored the Masters of the Universe live action film. Another score was the 1987 movie Happy New Year. In 1991, Conti composed for a college football movie. In 1993, he wrote the music for The Adventures of Huck Finn starring Elijah Wood and directed by Stephen Sommers.
In 1999, he composed the score for The Thomas Crown Affair remake, starring Pierce Brosnan and Rene Russo. That year, he scored Inferno. Conti composed the themes to The Colbys, Falcon Crest and Cagney & Lacey, he wrote the theme song to the original version of American Gladiators, worked with CBS on their 1980s movie jingle, composed one of the early themes of Inside Edition, wrote the Primetime Live theme for ABC News. He composed the score to the studio altered American version of Luc Besson's The Big Blue. Two of Conti's previously-composed works were reused for the show Lifestyles of the Famous; these were the love theme "Come with Me Now" from the soundtrack for Five Days from Home, "Runaway", from For Your Eyes Only. Conti has been nominated for three Academy Awards, winning one in the Best Original Score category for The Right Stuff, he received nominations in the Best Original Song category for "Gonna Fly Now" from Rocky and for the title song of For Your Eyes Only. He had three Golden Globe nominations.
Conti received thirteen Emmy nominations, all but one for his role as musical director at the Academy Awards. He won five Emmy Awards for Outstanding Musical Direction for the 64th, 70th and 75th Academy Award ceremonies. On April 22, 2008, at the LSU Union Theatre at Louisiana State University, Conti was inducted into the Louisiana Music Hall of Fame. Blume in Love Harry and Tonto Rocky F. I. S. T Paradise Alley Slow Dancing in the Big City An Unmarried Woman Five Days from Home Rocky II Gloria Escape to Victory Carbon Copy For Your Eyes Only Rocky III Theme from Dynasty: The single spent nine weeks on the Billboard Hot 100, peaking at number 52 in December 1982. Emerald Point N. A. S. Bad Boys The Big Chill Grand Canyon: The Hidden Secrets The Karate Kid The Karate Kid I, II, III, IV Original Motion Picture Soundtrack Scores North and South / The Right Stuff Gotcha! F/X The Karate Kid, Part II Nomads Masters of the Universe A Prayer for the Dying Broadcast News A Night in the Life of Jimmy Reardon Cohen & Tate Lock Up Rocky V Necessary Roughness Year of the Gun Falcon Crest Dynasty Rookie of the Year Blood In Blood Out 8 Seconds Bushwhacked Napoleon Spy Hard The Real Macaw Wrongfully Accused Inferno The Thomas Crown Affair Avenging Angelo Boys on the Run Rocky Balboa Rocky Balboa: The Best of Rocky Bill Conti on IMDb Interview Bill Conti at The Interviews: An Oral History of Television
A film poster is a poster used to promote and advertise a film. Studios print several posters that vary in size and content for various domestic and international markets, they contain an image with text. Today's posters feature photographs of the main actors. Prior to the 1980s, illustrations instead of photos were far more common; the text on film posters contains the film title in large lettering and the names of the main actors. It may include a tagline, the name of the director, names of characters, the release date, etc. Film posters are displayed inside and on the outside of movie theaters, elsewhere on the street or in shops; the same images appear in the film exhibitor's pressbook and may be used on websites, DVD packaging, advertisements in newspapers and magazines, etc. Film posters have been used since the earliest public exhibitions of film, they began as outside placards listing the programme of films to be shown inside the hall or movie theater. By the early 1900s, they began to feature illustrations of a film scene or an array of overlaid images from several scenes.
Other posters have used artistic interpretations of a scene or the theme of the film, represented in a wide variety of artistic styles. The first film poster was based on an illustration by Marcellin Auzolle to promote the showing of the Lumiere Brothers film L'Arroseur arrosé at the Grand Café in Paris on December 26, 1895. Film posters were produced for the exclusive use by the theaters exhibiting the film the poster was created for, were required to be returned to the distributor after the film left the theater. In the United States, film posters were returned to a nationwide operation called the National Screen Service which printed and distributed most of the film posters for the studios between 1940 and 1984; as an economy measure, the NSS recycled posters that were returned, sending them back out to be used again at another theater. During this time, a film could stay in circulation for several years, so many old film posters were badly worn before being retired into storage at an NSS warehouse.
Those posters which were not returned were thrown away by the theater owner or damaged by being outside. Beginning in the 1980s, the American film studios began taking over direct production and distribution of their posters from the National Screen Service and the process of making and distributing film posters became decentralized in that country. After the National Screen Service ceased most of its printing and distribution operations in 1985, some of the posters which they had stored in warehouses around the United States ended up in the hands of private collectors and dealers. Today there is a thriving collectibles market in film posters; the first auction by a major auction house of film posters occurred on December 11, 1990, when proceeds of a sale of 271 vintage posters run by Bruce Hershenson at Christie's totaled US$935,000. The record price for a single poster was set on November 15, 2005 when $690,000 was paid for a poster of Fritz Lang's 1927 film Metropolis from the Reel Poster Gallery in London.
Other early horror and science fiction posters are known to bring high prices as well, with an example from The Mummy realizing $452,000 in a 1997 Sotheby's auction, posters from both Bride of Frankenstein and The Black Cat selling for $334,600 in Heritage auctions, in 2007 and 2009, respectively. Rare film posters have been found being used as insulation in attics and walls. In 2011, 33 film posters, including a Dracula Style F one-sheet, from 1930-1931 were discovered in an attic in Berwick and auctioned for $502,000 in March 2012 by Heritage Auctions. Over the years, old Bollywood posters with hand-painted art, have become collectors items; as a result of market demand, some of the more popular older film posters have been reproduced either under license or illegally. Although the artwork on reproductions is the same as originals, reproductions can be distinguished by size, printing quality, paper type. Several websites on the Internet offer "authentication" tests to distinguish originals from reproductions.
Original film posters distributed to theaters and other poster venues by the movie studios are never sold directly to the public. However, most modern posters are produced in large quantities and become available for purchase by collectors indirectly through various secondary markets such as eBay. Accordingly, most modern posters are not as valuable; however some recent posters, such as the Pulp Fiction "Lucky Strike" U. S. one sheet poster, are quite rare. Lobby cards are similar to posters but smaller 11 in × 14 in 8 in × 10 in before 1930. Lobby cards are collectible and values depend on their age and popularity. Issued in sets of eight, each featuring a different scene from the film. In unusual circumstances, some releases were promoted with smaller sets; the set for The Running Man, for example, had only six cards, whereas the set for The Italian Job had twelve. Films released by major production companies experiencing financial difficulties lacked lobby sets, such as Manhunter. A Jumbo Lobby Card is larger, 14 in x 17 in and issued in sets.
Prior to 1940 studios promoted major releases with the larger card sets. In addition to the larger size, the paper quality was better; the title card disp
He Ran All the Way
He Ran All the Way is a 1951 American film noir crime drama directed by John Berry, starring John Garfield and Shelley Winters. The film was Garfield's last, as accusations of his involvement with the Communist Party and a refusal to name names while testifying before the HUAC led to his blacklisting in Hollywood, he died less than a year at age thirty-nine, from coronary thrombosis due to a blood clot blocking an artery in his heart. During the film's initial run, director John Berry and writers Dalton Trumbo and Hugo Butler were uncredited due to Hollywood blacklisting during the Red Scare. Petty thief Nick Robey botches a robbery, leaving his partner Al wounded as Nick escapes with over $10,000. Meeting bakery worker Peg Dobbs in friendly conversation, when Peg takes Nick to her family's apartment, he decides to take the family hostage until he can escape; as a manhunt for Nick begins outside, the robber becomes paranoid. Peg's initial attraction to Nick is overwhelmed by his abusive behavior.
Her mother and father plead with Nick to leave, to no avail. He permits Mr. Dobbs to leave for work, warning him of the consequences should the police be contacted. Still confident that Peg will run away with him, Nick gives her $1,500 to buy a new car, he refuses to believe her when Peg returns and insists the car will be delivered to the front door because she doesn't drive. Nick violently drags her down the stairs toward the exit. Waiting outside is her father; when his own gun drops beyond his reach and Nick orders Peg to hand it to him, she shoots him instead. A mortally wounded Nick crawls outside to the curb. John Garfield as Nick Robey Shelley Winters as Peg Dobbs Wallace Ford as Mr. Dobbs Selena Royle as Mrs. Dobbs Gladys George as Mrs. Robey Norman Lloyd as Al Molin Bobby Hyatt as Tommy Dobbs Keith Hetherington as Captain of Detectives When the film was released, film critic Bosley Crowther praised the work of actor John Garfield, writing: "John Garfield's stark performance of the fugitive who contrives to save himself from capture is full of startling glints from start to end.
He makes a most odd and troubled creature, unused to the normal flow of life, unable to perceive the moral standards of decent people or the tentative advance of a good girl's love. And in Mr. Garfield's performance, vis-a-vis the rest of the cast, is conveyed a small measure of the irony and the pity, in the book."More film critic Dennis Schwartz wrote positively of Garfield's performance, writing: "He Ran All the Way was the last film made by the brilliant John Garfield... Garfield gives a terrific chilling performance as someone, less like a cold-blooded killer than someone, rejected all his life by family and the outside world, like a wounded animal goes on the run as a desperate man in search of someone to trust in this cold world." List of films featuring home invasions He Ran All the Way on IMDb He Ran All the Way at AllMovie He Ran All the Way at the TCM Movie Database He Ran All the Way informational site and DVD review at DVD Beaver He Ran All the Way film scene on YouTube
Cross My Heart (1946 film)
Cross My Heart is a 1946 American comedy film directed by John Berry and starring Betty Hutton, Sonny Tufts and Rhys Williams. It was a remake of the 1937 film True Confession, itself based on an earlier French play. A chorus girl by the name of Peggy Harper quits her job as a chorus girl to get a daytime job to see her lawyer boyfriend Oliver Clark more often, she gets a job as a private secretary for a Mr. Wallace Brent. One day at the office, he keeps pawing Peggy and trying to "neck" with her, so she flees the office, all to come back the same night to get her coat and hat, run into the police. Peggy Harper is accused of murdering her boss, she confesses just so she can get Oliver to be her lawyer and defend her at the jury to showcase his talent. Betty Hutton as Peggy Harper Sonny Tufts as Oliver Clarke Rhys Williams as Prosecutor Ruth Donnelly as Eve Harper Al Bridge as Det. Flynn Iris Adrian as Miss Baggart Howard Freeman as Wallace Brent Lewis L. Russell as Judge Michael Chekhov as Peter Fetrow, Alan G. Feature films, 1950-1959: a United States Filmography.
McFarland & Company, 1999. Cross My Heart on IMDb