Jerry Wald was an American screenwriter and a producer of films and radio programs. Born Jerome Irving Wald to a Jewish family in Brooklyn, New York, he had a brother and sons who were active in show business, he attended James Madison High School. He began writing a radio column for the New York Evening Graphic, while studying journalism at New York University; this led to him producing several Rambling'Round Radio Row featurettes for Vitaphone, Warner Brothers' short subject division. Krasna's first feature credit was for the Warners movie Twenty Million Sweethearts. Wald provided the story for Universal's Gift of Gab. Wald signed with Warners where would be based for many years, he worked on the script for Maybe It's the Rudy Valee musical Sweet Music. Wald worked on a series of scripts with Julius J. Epstein: the drama Living on Velvet. Other writers with whom Wald worked were Sid Herzig and Warren Duff who were both on Sing Me a Love Song. Wald worked on Ready and Able based on a story by Richard Macaulay.
Wald, Macaulay and Herzig worked on Varsity Show. Wald did some work on Ever Since Eve. Wald and Macaulay collaborated on scripts for Hollywood Hotel. Wald and Herig were among the writers on Going Places with Powell, he and Macaulay worked on The Kid from a story by Dalton Trumbo. Wald and Macaulay had both worked on musicals but they had a big hit with the gangster film The Roaring Twenties, with James Cagney and Humphrey Bogart, co-written with Robert Rossen, they worked on a Baby. Wald was promoted to producer at the recommendation of Mark Hellinger, his first credit was Navy Blues, which he wrote with Macaulay. Wald was associate producer on The Man. Wald was promoted to full producer, soon established himself as one of the leading filmmakers on the lot: Across the Pacific, with Bogart and director John Huston, written by Macaulay. Wald went on to produce Action in the North Atlantic with Bogart. Wald produced Joan Crawford's first film at Warners, Mildred Pierce which won her an Oscar and earned Wald an Oscar Nomination for Best Picture.
He did her next film, written by Clifford Odets and directed by Jean Negulesco. Wald produced The Unfaithful with director Vincent Sherman, he produced a series of classic films: Key Largo with Bogart and Edward G. Robinson. Wald's credits included One Sunday Afternoon, with Morgan. Wald produced Young Man with a Horn with Kirk Douglas. An old story of his "Hot Air", shot as Twenty Million Sweethearts, was filmed as the Day musical My Dream Is Yours. Wald and Norman Krasna formed Wald/Krasna Productions to release films through RKO Radio Pictures. Howard Hughes paid Warners $150,000 to release Wald from his contract with them, they were to make 12 films a year for five years with a budget of $50 million. Their movies together included Two Tickets to a musical. Wald did some uncredited producing on Macao with Robert Mitchum. Krasna and Wald dissolved their partnership because of interference from Howard Hughes head of RKO, in their productions. Wald went
Turner Classic Movies
Turner Classic Movies is an American movie-oriented pay-TV network operated by Warner Bros. Entertainment, a subsidiary of AT&T's WarnerMedia. Launched in 1994, TCM is headquartered at Turner's Techwood broadcasting campus in the Midtown business district of Atlanta, Georgia; the channel's programming consisted of classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. and Metro-Goldwyn-Mayer. However, TCM licenses films from other studios, shows more recent films; the channel is available in the United States, the United Kingdom, Malta, Latin America, Italy, Cyprus, the Nordic countries, the Middle East and Asia-Pacific. In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before.
As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; the film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. Turner Classic Movies debuted on April 14, 1994, at 6 p.m. Eastern Time, with Ted Turner launching the channel at a ceremony in New York City's Times Square district; the date and time were chosen for their historical significance as "the exact centennial anniversary of the first public movie showing in New York City". The first movie broadcast on TCM was the 1939 film Gone with the Wind, the same film that served as the debut broadcast of its sister channel TNT six years earlier in October 1988.
At the time of its launch, TCM was available to one million cable television subscribers. The network served as a competitor to AMC—which at the time was known as "American Movie Classics" and maintained a identical format to TCM, as both networks focused on films released prior to 1970 and aired them in an uncut and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002. In 1996, Turner Broadcasting System merged with Time Warner which, besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella gave TCM access to Warner Bros.' Library of films released after 1950. In the early 2000s, AMC abandoned its commercial-free format, which led to TCM being the only movie-oriented basic cable channel to devote its programming to classic films without commercial interruption or content editing. On March 4, 2019, Time Warner's new owner AT&T announced a planned reorganization that would dissolve Turner Broadcasting.
TCM, along with Cartoon Network, Adult Swim, over-the-top video company Otter Media, will be moved directly under Warner Bros.. Speaking about the move, then-Warner Bros. CEO Kevin Tsujihara explained that TCM was "a natural fit with Warner Bros." due the company's massive film library. In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network; as of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown and Greta Garbo's 1926 film The Temptress. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event—now held annually—at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood.
Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, featured celebrity appearances, special events, screenings of around 50 classic movies including several newly restored by The Film Foundation, an organization devoted to preserving Hollywood's classic film legacy. Turner Classic Movies operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM, featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, Robert Benchley – under the banner name TCM Extras (formerly On
George Barnes (cinematographer)
George S. Barnes, A. S. C. was an American cinematographer active from the era of silent films to the early 1950s. Over the course of his career, Barnes was nominated for an Academy Award eight times, including for his work on The Devil Dancer with Gilda Gray and Clive Brook. However, he won only once, for his work on the Alfred Hitchcock film Rebecca. "Barnes’ photographic interpretation of Rebecca is the sort of thing to which his fellow cinematographers may point, as indeed they did in bestowing upon it the industry's premiere Award, as a complete example of what great camerawork can mean to a production". He was married to Joan Blondell from 1933 to 1936 and filmed five of Blondell's Warner Bros. pictures. In fact, they met on The Greeks, their relationship is said to have been intense. In an interview, Blondell explained. Barnes was the biological father of Blondell's son, the television executive Norman Powell, adopted by Blondell's second husband. Barnes had two daughters from his marriage to Melba Marshal Kruger: Barbara Ann Barnes and Georgene S. Barnes.
He was married to Elizabeth Wood and had a son named George Carlton Barnes. He died at the age of 60 in Los Angeles, after having worked on at least 142 films, he is interred at Hollywood Forever Cemetery in Los Angeles, California. At the 13th Awards Banquet of the Academy of Motion Picture Arts and Sciences, Barnes was proclaimed the winner of the 1940 Academy Award for the year's best black-and-white cinematography in recognition of his skill in filming Rebecca. Https://archive.org/stream/american22asch#page/n107/mode/2up/search/barnes https://archive.org/stream/modernscreen34unse#page/n827/mode/2up/search/Barnes https://archive.org/stream/modernscreen78unse#page/n1049/mode/2up/search/George+Barnes George Barnes on IMDb George Barnes at Find a Grave
Musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs advance the plot or develop the film's characters, but in some cases, they serve as breaks in the storyline as elaborate "production numbers." The musical film was a natural development of the stage musical after the emergence of sound film technology. The biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater. In a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it; the 1930's through the early 1950's are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the Western world. Disney's Snow White and the Seven Dwarfs, the earliest Disney animated feature film, was a musical which won an honorary Oscar for Walt Disney at the 11th Academy Awards.
Musical short films were made by Lee de Forest in 1923–24. Beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands and dancers; the earliest feature-length films with synchronized sound had only a soundtrack of music and occasional sound effects that played while the actors portrayed their characters just as they did in silent films: without audible dialogue. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include an audio track including non-dietetic music and diegetic music, but it had only a short sequence of spoken dialogue; this feature-length film was a musical, featuring Al Jolson singing "Dirty Hands, Dirty Face", "Toot, Tootsie", "Blue Skies", "My Mammy". Historian Scott Eyman wrote, "As the film ended and applause grew with the houselights, Sam Goldwyn's wife Frances looked around at the celebrities in the crowd, she saw'terror in all their faces', she said, as if they knew that'the game they had been playing for years was over'." Still, only isolated sequences featured "live" sound.
In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, a blockbuster hit. Theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen; the first all-talking feature, Lights of New York, included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively; the Broadway Melody had a show-biz plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first "All-Talking, All-Singing, All-Dancing" feature film, it was a hit and won the Academy Award for Best Picture for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits; the Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton. Warner Brothers produced the first screen operetta, The Desert Song in 1929.
They photographed a large percentage of the film in Technicolor. This was followed by the first all-color, all-talking musical feature, entitled On with the Show; the most popular film of 1929 was the second all-color, all-talking feature, entitled Gold Diggers of Broadway. This film broke all box office records and remained the highest-grossing film produced until 1939; the market became flooded with musicals and operettas. The following all-color musicals were produced in 1929 and 1930 alone: The Show of Shows, The Vagabond King, Follow Thru, Bright Lights, Golden Dawn, Hold Everything, The Rogue Song, Song of the Flame, Song of the West, Sweet Kitty Bellairs, Under a Texas Moon, Bride of the Regiment, Whoopee!, King of Jazz, Viennese Nights, Kiss Me Again. In addition, there were scores of musical features released with color sequences. Hollywood released more than 100 musical films in 1930, but only 14 in 1931. By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were being released.
For example, Life of the Party was produced as an all-color, all-talking musical comedy. Before it was released, the songs were cut out; the same thing happened to Fifty Million Frenchmen and Manhattan Parade both of, filmed in Technicolor. Marlene Dietrich sang songs in her films, Rodgers and Hart wrote a few well-received films, but their popularity waned by 1932; the public had come to associate color with musicals and thus the decline in their popularity resulted in a decline in color productions. The taste in musicals revived again in 1933 when director Busby Berkeley began to enhance the traditional dance number with ideas drawn from the drill precision he had experienced as a soldier during World War I. In films such as 42nd Street and Gold Diggers of 1933, Berkeley choreographed a number of films in his unique style. Berkeley's numbers begin on a stage but transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above.
Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly
George Melville Cooper was an English stage and television actor. His many notable screen roles include the High Sheriff of Nottingham in The Adventures of Robin Hood, Mr. Collins in Pride and Prejudice and the wedding-rehearsal supervisor Mr. Tringle in Father of the Bride. George Melville Cooper was born on 15 October 1896 in Aston, Warwickshire to W. C. J. and Frances Cooper. He was brought up in Britain and attended public schools, including King Edward's School in Birmingham, he began to develop an interest in acting as a teenager. At the age of eighteen, he made his professional stage debut in a production at Stratford-upon-Avon, his budding acting career was interrupted by his military service in the Scottish regiment during the First World War, in which he was captured on the Western Front and held prisoner by the Germans for a brief time. After the war, Cooper resumed his stage career, appearing in numerous stage productions, including The Farmer's Wife, Back to Methuselah, The Third Finger and Journey's End.
He transitioned to film work in the early 1930s, appearing in Black Coffee with Austin Trevor and Adrianne Allen, Alexander Korda's The Private Life of Don Juan with Douglas Fairbanks and Merle Oberon and The Scarlet Pimpernel with Leslie Howard and Merle Oberon. In 1934, after receiving good reviews for his performance in The Private Life of Don Juan, Cooper moved to the United States. In Hollywood, Cooper was cast as a snobbish, ineffectual society type or as a confidence trickster, his more memorable roles in the 1930s include M. W. Picard in The Great Garrick with Olivia de Havilland, Bingham the butler in Four's a Crowd with Errol Flynn and Olivia de Havilland, Boulin in Dramatic School with Luise Rainer and Paulette Goddard, the cowardly Sheriff of Nottingham in The Adventures of Robin Hood with Errol Flynn and Olivia de Havilland. During the 1940s, Cooper continued to appear in some of the more popular films of the decade, including Alfred Hitchcock's Rebecca with Joan Fontaine and Prejudice with Greer Garson, The Lady Eve and You Belong to Me with Barbara Stanwyck and Henry Fonda, This Above All with Joan Fontaine, Random Harvest with Greer Garson, Henry Hathaway's 13 Rue Madeleine with James Cagney and The Red Danube with Walter Pidgeon.
Cooper appeared in Harvey, with James Stewart. In the 1950s, he continued to appear in popular feature films, such as Father of the Bride, It Should Happen to You, Around the World in 80 Days, his second supporting role in an Academy Award winning film. In addition to his film work throughout the decade, Cooper appeared in numerous television series, including Musical Comedy Time, Fireside Theatre, Kraft Television Theatre, Robert Montgomery Presents, Broadway Television Theatre, Schlitz Playhouse of Stars, Lux Video Theatre, The Red Skelton Show, Studio 57, Playhouse 90, Alfred Hitchcock Presents and Shirley Temple's Storybook. Cooper's final television appearance was on The Best of the Post. Towards the end of his career, Cooper focused on stage work and appeared in such productions as Much Ado About Nothing, Escapade, My Fair Lady and Hostile Witness. Cooper's final acting role was Brassett in the revival of Charley's Aunt, which closed on 11 July 1970. After a brief first marriage to Gladys Grice that ended in divorce, Cooper married actress Rita Page.
Their marriage produced one child and ended with her death in London on 19 December 1954. Cooper's third marriage to Elizabeth Sutherland lasted until his death. Cooper died of cancer on 13 March 1973 in California, he was buried in Valhalla Memorial Park Cemetery in Los Angeles. Melville Cooper on IMDb Melville Cooper at the Internet Broadway Database Melville Cooper at Find a Grave
Peggy Moran was an American film actress who appeared in films between 1938 and 1943. Born in Clinton, Moran was the daughter of Earl Moran, an artist who specialized in pin-ups for calendars and magazines, her mother was a dancer before marriage. She and her mother moved west after Moran's 1937 high school graduation. Moran's film career began at Warner Bros. in the late 1930s. She starred in a number of B movies, including The Mummy's Hand, Slightly Tempted, Horror Island, Treat'Em Rough, King of the Cowboys, played smaller parts in A pictures, such as the "first cigarette girl" in Ninotchka. After marrying director Henry Koster on October 30, 1942, a bust of Moran was featured in every picture her husband directed. After her marriage, Moran appeared in only one other film. Koster and Moran had two sons. After Koster retired in 1966, the couple traveled extensively until his death in 1988. On October 24, 2002, only one day after her 84th birthday, Moran died of complications from injuries she had suffered in a car accident on August 26, 2002.
She was cremated and her ashes were scattered at sea. Peggy Moran on IMDb Peggy Moran at AllMovie Interview About The Mummy's Hand Peggy Moran at Find a Grave
Gold Diggers of 1937
Gold Diggers of 1937 is a Warner Bros. movie musical directed by Lloyd Bacon with musical numbers created and directed by Busby Berkeley. The film stars Dick Powell and Joan Blondell, who were married at the time, with Glenda Farrell and Victor Moore; the film features songs by the teams of Harold Arlen, E. Y. Harburg, Harry Warren and Al Dubin, it was based on the play "Sweet Mystery of Life" by Richard Maibaum, Michael Wallach and George Haight, which ran on Broadway in 1935. Warren Duff wrote the screenplay with the assistance of Tom Warren, billed as "Screenplay constructor"; this is the fifth movie in Warner Bros.' Series of "Gold Digger" films, following the now lost films The Gold Diggers and Gold Diggers of Broadway, as well as a remake of the earlier film Gold Diggers of 1933 and Gold Diggers of 1935. The film was followed by Gold Diggers in Paris. Meek, hypochondriac stage producer J. J. Hobart, who always thinks he is about to die, is going to mount a new show, but his partners Morty Wethered and Tom Hugo lost the money for the show in the stock market.
On the advice of chorus girl Genevieve Larkin, they insure J. J. for a million dollars, so that when he dies, they will have the money they need to produce the show. Genevieve's friend, ex-chorus girl Norma Perry is sweet on insurance salesman Rosmer "Rossi" Peek, he writes the policy; when Rosmer's boss, Andy Callahan finds out how old J. J. is, he is afraid he wil not pass the physical, but when Hobart does, Rosmer decides he has to keep J. J. alive as long as possible. On the other hand and Hugo have everything to gain if J. J. dies, they try to help things along. When that fails, they talk Genevieve into seducing J. J. but she ends up falling in love with him instead. Rosmer finds out the reason for the insurance policy, talks his boss, into investing in J. J.'s show, to save the company the money it would have to pay if J. J. dropped dead after learning he could not put on the show. When the show is a success Genevieve and J. J. get married, so do Norma and Rosmer. Dick Powell as Rosmer'Rossi' Peek Joan Blondell as Norma Perry Glenda Farrell as Genevieve'Gen' Larkin Victor Moore as J. J. Hobart Lee Dixon as Boop Oglethorpe Osgood Perkins as Morty Wethered Charles D. Brown as Mr. Tom Hugo Rosalind Marquis as Sally LaVerne Irene Ware as Irene William B.
Davidson as Andy Callahan Olin Howland as Dr. MacDuffy Charles Halton as Dr. Bell The production numbers were created, designed and directed by Busby Berkeley. All the songs for the film were to have been written by Harold Arlen and E. Y. "Yip" Harburg, but Berkeley was dissatisfied and brought in Harry Warren and Al Dubin, who had contributed songs to his previous Warner Bros. films. Their song "With Plenty of Money and You" became a hit. "All's Fair in Love and War" - by Harry Warren and Al Dubin – The staging for this number utilized 104 women in white military uniforms tapping in military formations and geometric patterns. "With Plenty of Money and You" - by Harry Warren and Al Dubin "Speaking of the Weather" - by Harold Arlen and E. Y. Harburg "Let's Put Our Heads Together" - by Harold Arlen and E. Y. Harburg "Life Insurance Song" - by Harold Arlen and E. Y. Harburg "Hush Mah Mouth" - by Harold Arlen and E. Y. Harburg Although Busby Berkeley had directed Gold Diggers of 1935, for this film the director's chair was occupied by Lloyd Bacon, who had collaborated with Berkeley on 42nd Street.
Gold Diggers of 1937 marked Victor Moore's return to the screen after a two-year absence following Gift of Gab, during which he starred in Anything Goes on Broadway. The film was in production at Warner Bros. Burbank studio beginning in mid-July 1936, premiered on 26 December 1936, it went into general release two days later. In 1937, Busby Berkeley was nominated for an Academy Award for Best Dance Direction for the "All's Fair in Love and War" production number. Gold Diggers of 1937 on IMDb Gold Diggers of 1937 at the TCM Movie Database Gold Diggers of 1937 at AllMovie