First National Pictures
First National Pictures was an American motion picture production and distribution company. It was founded in 1917 as First National Exhibitors' Circuit, Inc. an association of independent theater owners in the United States, became the country's largest theater chain. Expanding from exhibiting movies to distributing them, the company reincorporated in 1919 as Associated First National Theatres, Inc. and Associated First National Pictures, Inc. In 1924 it expanded to become a motion picture production company as First National Pictures, Inc. and became an important studio in the film industry. In September 1928, control of First National passed to Warner Bros. into which it was absorbed on November 4, 1929. A number of Warner Bros. films were thereafter branded First National Pictures until 1936, when First National Pictures, Inc. was dissolved. The First National Exhibitors' Circuit was founded in 1917 by the merger of 26 of the biggest first-run cinema chains in the United States, it controlled over 600 cinemas, more than 200 of them first-run houses.
First National was the brainchild of Thomas L. Tally, reacting to the overwhelming influence of Paramount Pictures, which dominated the market. In 1912, he thought that a conglomerate of theaters throughout the nation could buy or produce and distribute its own films. In 1917 Tally and J. D. Williams formed First National Exhibitors' Circuit; the first film released through First National was The Mother of Dartmoor. Between 1917 and 1918, the company made contracts with Mary Pickford and Charlie Chaplin, the first million-dollar deals in the history of film. Chaplin's contract allowed him to produce his films without a set release schedule. However, the production of the feature film The Kid ran so long that the company started to complain. To address their concerns, Chaplin invited the exhibitors to the studio, they were so impressed by the project and charmed by the players co-star Jackie Coogan, that they agreed to be patient; that patience was rewarded when The Kid became a major critical and box office success.
First National's distribution of films by independent producers is credited with launching careers including that of Louis B. Mayer. Adolph Zukor of Paramount Pictures was threatened by First National's financial power and its control over the lucrative first-run theaters, decided to enter the cinema business as well. With a $10 million investment, Paramount built its own chain of first-run movie theaters after a secret plan to merge with First National failed. First National Exhibitors' Circuit was reincorporated in 1919 as Associated First National Pictures, Inc. and its subsidiary, Associated First National Theatres, Inc. with 5,000 independent theater owners as members. In the early 1920s, Paramount attempted a hostile takeover, buying several of First National's member firms. Associated First National Pictures expanded from only distributing films to producing them in 1924 and changed its corporate name to First National Pictures, Inc, it built its 62-acre studio lot in Burbank in 1926. The Motion Picture Theatre Owners of America and the Independent Producers' Association declared war in 1925 on what they termed a common enemy—the "film trust" of Metro-Goldwyn-Mayer and First National, which they claimed dominated the industry not only by producing and distributing motion pictures but by entering into exhibition as well.
The financial success of The Jazz Singer and The Singing Fool enabled Warner Bros. to purchase a majority interest in First National in September 1928. Warner Bros. held 42,000 shares of common stock out of 72,000 outstanding shares while Fox Pictures held 21,000 shares. Warner Bros. acquired access to First National's affiliated chain of theaters, while First National acquired access to Vitaphone sound equipment. Warner Bros. and First National continued to operate as separate entities. On November 4, 1929, Fox sold its interest in First National to Warner Bros. for $10 million. The First National studio in Burbank became the official home of Warner Bros.–First National Pictures. Thereafter, First National Pictures became a trade name for the distribution of a designated segment of Warner Bros. product. Forty-five of the 86 Warner Bros. feature films released in 1929 were branded as First National Pictures. Half of the 60 feature films Warner Bros. announced for release in 1933–34 were to be First National Pictures.
Although both studios produced "A" and "B" budget pictures the prestige productions, costume dramas, musicals were made by Warner Bros. while First National specialized in modern comedies and crime stories. Short subjects were made by The Vitaphone Corporation. In July 1936, stockholders of First National Pictures, Inc. voted to dissolve the corporation and distribute its assets among the stockholders in line with a new tax law which provided for tax-free consolidations between corporations. From 1929 to 1958, most Warner Bros. films and promotional posters bore the combined trademark and copyright credits in the opening and closing sequences "A Warner Bros.–First National Picture". In 2002, Time Warner sold the rights for the First National name to Ryan Kugler of Distribution Video & Audio, a company specializing in acquiring excess inventory and close-out properties. However, the pre-1936 First National library is owned by Turner Entertainment. United States v. Paramount Pictures, Inc. First National Pictures on IMDb Warner Bros.
Archives at the Uni
Alan Mowbray MM was an English stage and film actor who found success in Hollywood. Born Alfred Ernest Allen in London, England, he served with distinction in the British Army in World War I, being awarded the Military Medal and the French Croix De Guerre for bravery in action. Mowbray applied for transfer to the Royal Air Force, granted just six days before the war ended; this placed him in London on Armistice Day. His service came to an end, he began his stage career in London as an actor and stage manager. In 1923 he was soon acting with New York stock companies, he debuted on Broadway in The Sport of Kings. Mowbray made his film debut in God's Gift to Women playing a butler, a role in which he was thereafter cast, he appeared in five more pictures that year, notably portraying George Washington in Alexander Hamilton. In 1935, he played one of the male leads in Becky Sharp, the first feature-length film in full-colour Technicolor as well as playing the lead in the farcical Night Life of the Gods, based on a Thorne Smith novel.
It was for another Thorne Smith–derived film, that Mowbray may be best remembered. Throughout the 1930s and 1940s Mowbray worked appearing in over 120 films. In the 1950s, Mowbray's film roles decreased, he began to appear on television, he played the title role in the DuMont TV series Colonel Humphrey Flack, which first aired in 1953–54 and was revived in 1958–59. In the 1954–55 television season Mowbray played Mr. Swift, the drama coach of the character Mickey Mulligan in NBC's short-lived The Mickey Rooney Show: Hey, Mulligan, he continued to appear in films. He portrayed the character Stewart Styles, a maitre d with a checkered past in the 1960-1961 adventure/drama series Dante, reprising a role he had played in several episodes of Four Star Theatre. In 1956, he appeared in three major films, The King and I, The Man Who Knew Too Much and Around the World in 80 Days, his final film role was as Captain Norcross in A Majority of One in 1961. In 1963, he returned to Broadway in the successful comedy Enter Laughing, playing David Kolowitz's unscrupulous mentor Marlowe.
Mowbray was a founding member of the Screen Actors Guild in 1933, writing a personal check to fund the group's incorporation and serving as the first vice president. Alan Mowbray was among the founders of the Hollywood Cricket Club, he was a prominent early member of the Masquers Club and donated the group's long-time clubhouse on Sycamore in Hollywood. Mowbray died of a heart attack in 1969 in Hollywood, his body interred in the Holy Cross Cemetery in California. Novelist and screenwriter Raymond Chandler alludes to Mowbray's screen persona in his pulp magazine story Mandarin's Jade: "The Philip Courtney Prendergast's lived on one of those wide, curving streets where the houses seem to be too close together for their size and the amount of money they represent... the house had an English slate roof and a porte-cochère, some nice imported trees, a trellis with a bougainvillea. It was a nice place and not loud, but Beverly Hills is Beverly Hills, so the butler had wing collar and an accent like Alan Mowbray.”
The Patty Duke Show, as director of the high school play in which both Patty and Cathy appeared Four Star Playhouse in Dick Powell's episode "The House Always Wins" Whispering Smith, in "Poet and Peasant Case" episode Maverick, in "The Misfortune Teller" episode as Luke Abigor Alan Mowbray on IMDb Alan Mowbray at the Internet Broadway Database Alan Mowbray at AllMovie The Adventures of Colonel Flack "Alan Mowbray". Find a Grave. Retrieved 6 November 2010. "Up From Central Park: Scenes From an Actor's Life", book review of Mowbray's memoirs at Immortal Ephemera, including excerpts.
Richard A. Whiting
Richard Armstrong Whiting was an American composer of popular songs, including the standards "Hooray for Hollywood", "Ain't We Got Fun?" and "On the Good Ship Lollipop". He wrote lyrics and film scores most notably for the standard "She's Funny That Way", he was nominated for an Academy Award for Best Original Song in 1936 for "When Did You Leave Heaven" from the movie Sing, Baby Sing. Richard Whiting was born in Peoria, into a musical family, his father, Frank Whiting, was gifted violinist. Together they instilled a love of music in their son and worked towards nurturing his natural gift of piano playing, he attended the Harvard Military School in Los Angeles. Upon his graduation, Whiting started a vaudeville act with his college friend Marshall Neilan; the pair toured the U. S. writing songs and playing the piano. Neither one had the stage presence or singing talent to become full-time performers, they broke up the duo and went their separate ways: Neilan to Hollywood, where he would go on to be a successful film director and actor, Whiting to Detroit to try to jump-start a career as a professional songwriter.
In 1913 Whiting began his career as a song plugger for Jerome H. Remick publishing company. Within a year he was the manager of the Detroit office, being paid US$25 per week; as an occasional talent scout, Whiting nurtured the careers of several songwriters from the day, most notably George Gershwin. This act of kindness resulted in a lifelong friendship between the two powerhouse composers. To supplement his income at the time, Whiting worked with a local hotel's Hawaiian band, playing piano in light blackface, earning him an extra $10 a week. In 1914 Whiting had his first two hit songs: "I Wonder Where My Lovin' Man Has Gone" and "It's Tulip Time in Holland." The latter song became a massive hit. Whiting received none of the royalties, having sold off the publishing rights to Remick in exchange for a Steinway Grand. During his time at Remick Whiting had a substantial output with former bank-clerk Ray Egan, including the beloved 1918 classic, "Till We Meet Again"; the song became the largest sheet music seller of all time today: at last count the song was said to have sold over 11 million copies.
Other hit songs written by Whiting during his time at Remick include "Where the Black-Eyed Susans Grow", "The Japanese Sandman", "Bimini Bay", "Ain't We Got Fun?" and "Ukulele Lady". In 1929 Whiting moved to Hollywood, where there were more opportunities for songwriters during the Depression. In Hollywood he wrote a number of classic songs. With Johnny Mercer he wrote the theme song of Tinseltown, "Hooray for Hollywood", shortly before his death. During his career, Whiting collaborated with such songwriting giants as BG DeSylva, Johnny Mercer, Neil Moret, Leo Robin, Ralph Rainger, Gus Kahn, Oscar Hammerstein II, Haven Gillespie, Seymour Simons, Nacio Herb Brown, Harry Akst, Walter Donaldson, Ray Egan, Sidney Clare, to produce a number of hits, he wrote a number of scores for Broadway plays. In the film, Transatlantic Merry-Go-Round, a song performed by The Boswell Sisters, titled "Rock and Roll", written by Richard A. Whiting and Sidney Clare, is sometimes credited as the first use of that term.
Whiting died from a heart attack in 1938 at the height of his career. He was inducted into the Songwriters Hall of Fame as part of the inaugural class in 1970. A tribute to Whiting's music, along with a medley of his best-known songs, formed part of the 1980 Broadway musical A Day in Hollywood / A Night in the Ukraine, his Steinway grand piano was donated to the Great American Songbook Foundation by his granddaughter Debbi and can be seen on display. Whiting was married to the former Eleanor Youngblood, a manager whose clients included Sophie Tucker, he was the father of singer/actress Margaret Whiting and actress Barbara Whiting Smith, the grandson of Rep. Richard H. Whiting. Toot Sweet George White's Scandals of 1919 Take a Chance which featured two major hits with music by Whiting "You're an Old Smoothie," and "Eadie Was a Lady" 1916 "Coaling Up in Colon Town". L: Raymond Egan 1917 "Bravest Heart of All". L: Raymond Egan 1917 "I Wonder Where My Buddies Are To-Night". L: Raymond Egan and Billy Rose 1918 "Dress Up Your Dollars in Khaki".
L: Lister R. Alwood 1918 "I'll Love You More for Losing You a While". L: Raymond Egan 1919 "Eyes of the Army". L: Raymond Egan 1919 "Hand in Hand Again". L: Raymond Egan Original Music by Richard A. Whiting, lyrics by Oscar Hammerstein II Act 1 consists of "I Love Him, the Rat" sung by Anita Allen and Joe Butler "Free For All" sung by Michael Byrne and The Gang "The Girl Next Door" sung by Anita Allen and Steve Potter, Jr. "Living in Sin" sung by Gracie Maynard, Joan Summer, Joe Butler and Andy Bradford "Just Eighteen" sung by Joan Summer and Andy Bradford "Not That I Care" sung by Anita Allen and Steve Potter, Jr. "Slumber Song" Sung by Marishka Tarasov and Michael Byrne Act 2 consists of "When Your Boy Becomes a Man" sung by Silver Dollar Kate and Anita Allen "Tonight" sung by Marishka Tarasov and Anita Allen "Nevada Moonlight" sung by Joe Butler, Gracie Maynard and EnsembleRichar
Louella Parsons was the first American movie columnist and a screenwriter. She was retained by William Randolph Hearst because she had praised Hearst's mistress Marion Davies. At her peak, her columns were read by 20 million people in 400 newspapers worldwide, she remained Queen of Hollywood until the arrival of flamboyant Hedda Hopper, who displayed similar talents, with whom she feuded viciously for years. Louella Parsons was born Louella Rose Oettinger in Freeport, the daughter of Helen and Joshua Oettinger, her father was of German Jewish descent, as was her maternal grandfather, while her maternal grandmother, Jeanette Wilcox, was of Irish origin. During her childhood, her parents attended an Episcopal church, she had two brothers and Fred, a sister, Rae. In 1890, her widowed mother married John H. Edwards, they lived in Dixon, hometown of Ronald Reagan. Parsons decided to become a reporter during high school. On June 4, 1901, at her high school graduation, she gave a foretelling speech, entitled "Great Men", after which her principal announced that she would become a great writer.
After high school, Parsons enrolled in a teacher’s course at a local Dixon college. She received a financial contribution from a distant German relative. While still in college, Parsons obtained her first newspaper job as a part-time writer for the Dixon Star. In 1902, she became the first female journalist in Dixon, where she gossiped about Dixon social circles, making a step towards her Hollywood career, she and her first husband, John Parsons, moved to Iowa. Her only child, who grew up to become a film producer, was born there. While in Burlington, Parsons saw The Great Train Robbery; when her marriage broke up, Parsons moved to Chicago. In 1912, she had her first taste of the movie industry by selling a script for $25 to the Essanay Company, which would soon be employing Charlie Chaplin, her small daughter, was billed as "Baby Parsons" in several movies, which included The Magic Wand, written by Louella Parsons. She wrote a book titled How to Write for the Movies. In 1914, Parsons began writing the first gossip column in the United States for the Chicago Record Herald.
William Randolph Hearst bought that newspaper in 1918 and Parsons was out of a job, as Hearst had not yet discovered that movies and movie personalities were news. Parsons moved to New York City and started working for the New York Morning Telegraph writing a similar movie column, which attracted the attention of Hearst. In 1923, after shrewd bargaining on both sides, she signed a contract and joined the Hearst newspaper the New York American. There was persistent speculation that Parsons was elevated to the Hearst chain's lead gossip columnist because of a scandal she didn't write about. Director Thomas Ince died aboard Hearst's yacht in 1924 under murky circumstances. Hearst newspapers falsely claimed that Ince had not been aboard the boat at all and had fallen ill at Hearst's home. Charlie Chaplin's secretary reported seeing a bullet hole in Ince's head when his body was carried off the yacht, it has been written that Chaplin was conducting an affair with Hearst's mistress, that an attempt to shoot Chaplin may have caused Ince's death.
Aboard the yacht that night was Parsons, who ignored the story in her columns. In 1925, Parsons was told she had six months to live, she moved to Arizona for the dry climate to Los Angeles, where she decided to stay. With the disease in remission, she went back to work, becoming a syndicated Hollywood columnist for Hearst; as she and the publishing mogul developed an ironclad relationship, her Los Angeles Examiner column came to appear in over six hundred newspapers the world over, with a readership of more than twenty-million, Parsons became one of the most powerful voices in the movie business with her daily allotment of gossip. According to Hearst's mistress and protégé Marion Davies, Parsons had encouraged readers to "give this girl a chance" while the majority of critics disparaged Davies. Beginning in 1928, she hosted a weekly radio program featuring movie star interviews, sponsored by SunKist. A similar program in 1931 was sponsored by Charis Foundation Garment. In 1934, she signed a contract with the Campbell's Soup Company and began hosting a program titled Hollywood Hotel, which showcased stars in scenes from their upcoming movies.
She was associated with various Hearst enterprises for the rest of her career. Parsons saw herself as the moral arbiter of Hollywood, her judgments were considered the final word in many cases, many feared her disfavor more than that of movie critics. Parson's daily gossip column appeared in more than 400 newspapers, read by 20 million people around the world, her unofficial title ‘Queen of Hollywood’ was challenged in 1938 by newcomer Hedda Hopper, to whom she was friendly and helpful. But they became Hopper being classed as the more vicious and unforgiving of the two. Parsons appeared in numerous cameo spots in movies, including Hollywood Hotel, Without Reservations, Starlift. In 1944, she wrote her memoirs, The Gay Illiterate, published by Doubleday and Company, which became a bestseller; that was followed by another volume in 1961, Tell It to Louella, published by G. P. Putnam's Sons. After the 1950s, Parsons's influence diminished, she continued her column until December 1965 when it was taken over by her assistant, Dorothy Manners, writing the column for more than a year.
Parsons was married three
The Lane Sisters were a family of American singers and actresses. The sisters were Lola Lane, Rosemary Lane and Priscilla Lane. Lola and Priscilla co-starred in four films together: Four Daughters, Daughters Courageous, Four Wives and Four Mothers. Leota did not find the same success as her sisters and left Hollywood for New York City before the sisters' breakthrough; the four sisters, Dorothy and Priscilla, were from a family of five daughters born to Dr. Lorenzo A. Mullican and his wife, Cora Bell Hicks; the first three children had been born in Macy, but the family moved in 1907 to Indianola, Iowa, a small college town south of Des Moines. Here Dr. Mullican had a dental practice; the Mullicans owned a large house with 22 rooms, some of which they rented out to students attending nearby Simpson College. Before marrying, Cora Bell Hicks had been a reporter with a local newspaper in Macy, had harbored acting ambitions herself, but was frustrated by the strict religious beliefs of her Methodist parents who frowned on any form of public entertainment.
Cora Mullican encouraged her daughters to play musical instruments. All the girls were fond of music, at one time or another studied music in night classes at Simpson College in Indianola. Dorothy was playing piano at age twelve for a silent screen movie house. Leota was the first to leave home to pursue a musical career in New York in the mid-1920s. In 1928, Dorothy followed Leota to New York; the girls made the theatrical rounds. They obtained parts in a Gus Edwards show, Greenwich Village Follies, it was Edwards who changed their names to Lane, Dorothy became Lola Lane. Martha, eloped with a college professor and moved to Des Moines, she had no interest in show business. She had a child divorced, became a medical secretary. Leota and Lola both made their Broadway debuts in the late twenties, Lola in 1928, as Sally Moss in The War Song, which opened on Broadway on August 24, 1928, at the Nederlander Theatre and Leota in 1929 as Contrary Mary in Babes in Toyland, which opened on December 23, 1929 at Jolson's 59th Street Theatre.
The War Song closed four months into its run and Lola went to Hollywood where she made her debut starring as Alice Woods alongside Paul Page in the drama Speakeasy. She was soon teamed with Page again in the film The Girl from Havana as Joan Anders. Meanwhile Babes in Toyland closed after only thirty-two performances. Leota followed her sister to Hollywood where she made her screen appearance in a comedy short film Three Hollywood Girls directed by Roscoe Fatty Arbuckle, but soon returned to New York. Rosemary and Priscilla travelled to Des Moines every weekend to study dancing with Rose Lorenz; the girls made their first professional appearance September 30, 1930, at Des Moines' Paramount Theater. Rosemary 17, Priscilla, 15, performed on stage as part of the entertainment accompanying the release of Lola's Hollywood movie, Good News. Rosemary, a member of the National Honor Society, graduated from Indianola High in 1931 and attended Simpson College for a while, playing on the freshman basketball team.
After graduating from high school, Priscilla was permitted to travel to New York to visit Leota, appearing in a musical revue in Manhattan. Priscilla decided to enroll at the nearby Fagen School of Leota paid the fee. At this time talent agent Al Altman saw Priscilla performing in one of Fagen's school plays and invited her to screentest for MGM, she was 16 years old. Priscilla wrote to a friend in Indianola, "Leota accompanied me to a sort of theater in a New York skyscraper. Others were there being made up. One was a strange-looking girl with her hair slicked back in a sort of a bun, her name is said to be Catherine Hepburn. Not pretty, I thought, but Mr. Altman said she has something. Margaret Sullavan, the Broadway actress, was there too!" A follow-up letter said. Neither Hepburn nor Sullavan were approved, neither received a contract from MGM at the time. In the meantime, Cora had left her husband and in 1932, accompanied by Rosemary, arrived in New York. Cora went to work pushing her two young daughters into attending auditions for various prospective Broadway productions, without success.
It was while the girls were trying out numbers at a music publishing office that Fred Waring, an orchestra leader, heard them harmonizing. He found them attractive and individually talented. In early 1933 with Cora's approval they were signed to a contract with Waring. Cora acted as chaperone to Priscilla who at this time adopted the name Lane. Fred Waring not only toured with his band, known as "The Pennsylvanians", but had a weekly radio show. Priscilla became known as the comedienne of the group. Rosemary sang the ballads while Priscilla performed the swing numbers and wisecracked with Waring and various guests. Dr. Mullican instituted divorce proceedings against his wife on the grounds of desertion, the divorce was granted in 1933. Rosemary and Priscilla remained with Fred Waring for five years. In 1937, Waring was engaged by Warner Bros. in Hollywood to appear with his entire band in Varsity Show, a musical starring Dick Powell. Both Rosemary and Priscilla were awarded feature roles in the film.
Rosemary shared the romantic passages with Powell. Although Lola had been in Hollywood sinc
Richard Ewing Powell was an American singer, film producer, film director and studio head. Though he came to stardom as a musical comedy performer, he showed versatility and transformed into a hardboiled leading man starring in projects of a more dramatic nature, he was the first actor to portray the private detective Philip Marlowe on screen. Powell was born in the seat of Stone County in northern Arkansas; the family moved to Little Rock in 1914, where Powell sang in church choirs and with local orchestras, started his own band. Powell attended the former Little Rock College, before he started his entertainment career as a singer with the Royal Peacock Band which toured throughout the Midwest. During this time, he married Mildred Maund, a model, but she found being married to an entertainer not to her liking. After a final trip to Cuba together, Mildred moved to Hemphill and the couple divorced in 1932. Powell joined the Charlie Davis Orchestra, based in Indianapolis, he recorded a number of records for the Vocalion label in the late 1920s.
Powell moved to Pittsburgh, where he found great local success as the Master of Ceremonies at the Enright Theater and the Stanley Theater. In April 1930, Warner Bros. bought Brunswick Records. Warner Bros. was sufficiently impressed by Powell's singing and stage presence to offer him a film contract in 1932. He made his film debut as a singing bandleader in Blessed Event, he was borrowed by Fox to support Will Rogers in Too Busy to Work. He was the sort of role he specialised in for the next few years. Back at Warners he supported George Arliss in The King's Vacation was in 42nd Street, playing the love interest for Ruby Keeler; the film was a massive hit. Warners got him to repeat the role in Gold Diggers of 1933, another big success. So too was Footlight Parade, with Keeler and James Cagney. Powell was upped to star for College Coach went back to more ensemble pieces like 42nd Street: Convention City, Wonder Bar, Twenty Million Sweethearts, Dames. Happiness Ahead was more of a star vehicle for Powell.
He was top billed both with Joan Blondell. He supported Marion Davies in Page Miss Glory, made for Cosmopolitan Pictures, a production company financed by Davies' lover William Randolph Hearst who released through Warners. Warners gave him a change of pace. More typical was Shipmates Forever with Keeler. 20th Century Fox borrowed him for Thanks a Million back at Warners he did Colleen with Keeler and Blondell. Powell was reunited with Marion Davies in another for Cosmopolitan, Hearts Divided, playing Napoleon's brother, he did two with Blondell, Stage Struck and Gold Diggers of 1937. 20th Century Fox borrowed him again for On the Avenue. Back at Warners: The Singing Marine, Varsity Show, Hollywood Hotel, Cowboy from Brooklyn, Hard to Get, Going Places, Naughty but Nice. Fed up with the repetitive nature of these roles, Powell left Warner Bros and went to work for Paramount. At Paramount he and Blondell were in another musical, I Want a Divorce. Powell got a chance to appear in a non-musical, Christmas in July, a screwball comedy, the second feature directed by Preston Sturges.
Universal borrowed him to support Abbott and Costello in In the Navy, one of the most popular films of 1941. At Paramount he had a cameo in Star Spangled Rhythm and co-starred with Mary Martin in Happy Go Lucky, he supported Dorothy Lamour in Riding High. He was in a fantasy comedy directed by René Clair, It Happened Tomorrow went over to MGM to appear opposite Lucille Ball in Meet the People, a box office flop. During this period, Powell starred in the musical program Campana Serenade, broadcast on NBC radio and CBS radio. By 1944, Powell felt he was too old to play romantic leading men anymore, so he lobbied to play the lead in Double Indemnity, he lost out to another Hollywood nice guy. MacMurray's success, fueled Powell's resolve to pursue projects with greater range. Powell's career changed when he was cast in the first of a series of films noir, as private detective Philip Marlowe in Murder, My Sweet, directed by Edward Dmytryk at RKO; the film was a big hit, Powell had reinvented himself as a dramatic actor.
He was the first actor to play Marlowe – by name – in motion pictures. Powell was the first actor to play Marlowe on radio, in 1944 and 1945, on television, in a 1954 episode of Climax! Powell played the less hard-boiled detective Richard Rogue in the radio series Rogue's Gallery beginning in 1945. In 1945, Dmytryk and Powell reteamed to make the film Cornered, a gripping, post-World War II thriller that helped define the film noir style. For Columbia, he made To the Ends of the Earth. In 1948, he stepped out of the brutish type when he starred in Pitfall, a film noir in which a bored insurance company worker falls for an innocent but dangerous woman, played by Lizabeth Scott, he broadened his range appearing in a Western, Station West, a French Foreign Legion tale, Rogues' Regiment. He was a Mountie in Mrs. Mike. From 1949–1953, Powell played the lead role in the N
Charles G. Rosher, A. S. C. was a two-time Academy Award-winning cinematographer who worked from the early days of silent films through the 1950s. He was the first cinematographer to receive an Academy Award, along with 1929 co-winner Karl Struss. Charles Rosher was born in London in 1885, he studied photography in his youth but earned a reputation early as a newsreel cameraman, before moving to the United States in 1909. He subsequently found work for David Horsley working in his production company in New Jersey; because early film was restricted to using daylight, Horsley relocated his production company to Hollywood in 1911, taking Rosher with him, opened the first movie studio there. This made Rosher the first full-time cameraman in Hollywood. In 1913 he went to Mexico to film newsreel footage of Pancho Villa's rebellion. In 1918, he was one of the founders of the American Society of Cinematographers and served as the group's first Vice-President. In the 1920s he was one of the most sought-after cinematographers in Hollywood, a personal favorite of stars such as Mary Pickford, working with her on films such as Suds, Little Annie Rooney, Coquette, Pickford's first sound film.
His work with Karl Struss on F. W. Murnau's 1927 film Sunrise: A Song of Two Humans is viewed as a milestone in cinematography, he shot five films for producer David O. Selznick, including Rockabye, Our Betters and Little Lord Fauntleroy. Rosher worked at several studios, but spent the last twelve years of his career at Metro-Goldwyn-Mayer, photographing such films as Annie Get Your Gun, Show Boat, Kiss Me Kate, The Yearling. Rosher was the father of actress Joan Marsh and cinematographer Charles Rosher, Jr. Rosher died of an accidental fall in Lisbon, Portugal on January 15, 1974, he was 88. In 1955 and 1957, Rosher was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film. 1952 – Nominated for a Best Cinematography Oscar for Show Boat 1951 – Nominated for a Best Cinematography Oscar for Annie Get Your Gun 1947 – Won a Best Cinematography Oscar, with Leonard Smith and Arthur E. Arling, for The Yearling 1945 – Nominated for a Best Cinematography Oscar for Kismet 1935 – Nominated for a Best Cinematography Oscar for The Affairs of Cellini 1929 – Best Cinematography Oscar for Sunrise: A Song of Two HumansIn addition, Rosher received two Eastman Medals, Photoplay magazine's Gold Medal, the only fellowship awarded by the Society of Motion Picture Engineers.
Charles Rosher on IMDb Biography in the New York Times