Pork Chop Hill
For the Korean War battles, see Battle of Pork Chop Hill. Pork Chop Hill is a 1959 American Korean War film starring Gregory Peck, Rip Torn and George Peppard; the film, the final war film directed by Lewis Milestone, is based upon the book by U. S. military historian Brigadier General S. L. A. Marshall, it depicts the first fierce Battle of Pork Chop Hill between the U. S. Army's 7th Infantry Division and Chinese and North Korean forces in April 1953; the film features numerous actors who would go on to become movie and television stars in the 1960s and the 1970s such as Woody Strode, Harry Guardino, Robert Blake, Norman Fell, Abel Fernandez, Gavin MacLeod, Harry Dean Stanton, Clarence Williams III. It is the screen debut of Martin Landau and George Shibata, a West Point classmate of Lieutenant Joe Clemons, who acted as technical adviser on the film. In April 1953, during the Korean War, a company of American infantry, led by Lieutenant Joe Clemons and Lt. Suki Ohashi are to recapture Pork Chop Hill from a larger Communist Chinese army force.
They prepare for a large-scale Chinese counter-attack which they know will overwhelm and kill them in vicious fire fights and hand-to-hand fighting while the Panmunjeom cease-fire negotiations continue. Higher command is shown as being unwilling to either reinforce the hill, they will not reinforce the hill. They will not abandon the hill; the American negotiators come to the conclusion that the Chinese are pouring soldiers into the battle for a militarily insignificant hill to test the resolve of the Americans in the negotiations. The decision is made at the last minute to reinforce the hill. S. L. A. Marshall disliked the fact that he had sold the movie rights to his book for next-to-nothing, vowed not to make the same mistake again. Strode and Edwards' portrayal of African American soldiers is based on the 24th Infantry Regiment, still racially segregated in Korea. Like its cinematic portrayal, the real regiment was poorly trained, poorly equipped and poorly led. More than once when this all-black unit was placed on the front lines, a unit in reserve was positioned directly behind because they were expected to break.
The regiment was considered so unreliable it was disbanded. Its personnel were reassigned to other combat units just as in the film, which portrays Edwards' character - with good leadership - becoming an effective soldier; some of the location shooting was conducted in California near Westlake Village and in San Fernando Valley. Peck, although not credited, directed a few scenes despite protests by Milestone. Before the film's premier in May 1959, United Artists cut the film by nearly 20 minutes. Director Lewis Milestone claimed changes were made because Veronique Peck, the wife of star Gregory Peck, felt her husband made his first entrance too late into the picture. While that claim stands as unconfirmed, the film does show signs of post-production editing, with segments of several excised scenes showing up under the main title credits; the New York Times applauded the film's "grim and rugged" style, the way it captured the "resentment" of the American GIs, how it "tacitly points the obsoleteness of ground warfare".
George Shibata, who stars at Lt. Suki Ohashi, became the first Nisei appointed to West Point through the sponsorship of Sen. Elbert D. Thomas. Shibata would become the first Asian American graduate of the United States Military Academy, Class of 1951 and he was commissioned in the United States Air Force in that same year. During the Korean War he flew an F-86 Sabre out of Taegu Air Force Base; the film Pork Chop Hill was about Shibata's classmate Joseph G. Clemons, a 1951 West Point graduate; this came about when Clemons accidentally bumped into his old friend Shibata at a drugstore when Clemons was in California acting as a technical adviser for the forthcoming film. He convinced Shibata to try out for the role of the Hawaii born Japanese-American Executive Officer, Lt. Tsugio Ohashi when Hollywood was having a problem casting the role. During the production Clemons decided to play a joke on his Air Force pilot classmate whose accommodations during the war were more comfortable than Clemons' by ensuring that Shibata wore the only actual flak jacket in the film.
List of American films of 1959 Pork Chop Hill on IMDb Pork Chop Hill at AllMovie Pork Chop Hill at the TCM Movie Database Pork Chop Hill at the American Film Institute Catalog
Mickey Spillane's Mike Hammer (1984 TV series)
Mickey Spillane's Mike Hammer, with Stacy Keach in the title role, is a television series that aired on CBS from January 28, 1984, to May 13, 1987. The series consisted of 51 episodes, 46 one hour episodes, a two part pilot episode, three TV Movies (Murder Me, Murder You, The Return of Mickey Spillane's Mike Hammer, Mike Hammer: Murder Takes All. Murder Me, Murder You was envisioned as a stand-alone TV movie, but became a backdoor pilot for the series when it was received positively by audiences; the movies and series were produced under the guidance of Executive Producer Jay Bernstein, who acquired the television rights from his close friend Mickey Spillane for one dollar. The show follows the adventures of Mike Hammer, the fictitious private detective created by crime novelist Mickey Spillane, as he works to solve cases involving murder. A recurring plot line throughout the show focusses on the murder of someone the protagonist was close to, resulting in Hammer seeking out revenge. Keach was familiar with the tough and insensitive novelized version of Hammer and worked to make his version more palatable to a television audience.
"We've softened him up a little bit," Keach told The New York Times. "To sustain a series on television, I think you need a certain humor and vulnerability. Toughness is the least important factor."While situated in the 1980s, the tone of the show incorporated elements of classic film noir detective films, such as The Maltese Falcon. For example, each show featured the protagonist's narrative voice-over and, much like the archetypal hard-boiled detectives of years gone by, Hammer would be seen without his wrinkled suit and trench coat. While his get-up made a awkward fashion statement for the time, the juxtaposition of old and new was a central theme in the show. Indeed, Keach's Mike Hammer left the viewer with the impression that this detective had been somehow transported from a 1940s film set to 1980s New York City; the show's theme song "Harlem Nocturne" by Earle Hagen, a jazz tune featuring a melancholy saxophone, set a gritty tone for each episode. The song proved to be one of the most popular elements of the program.
In contrast to the charming male leads in other popular detective shows of the day, Mike Hammer was unapologetically masculine with little concern for political correctness. A prominent feature of most episodes was the inclusion of a number of female characters who would exchange a double entendre or two with Hammer while wearing low tops and push-up bras emphasizing their ample cleavage. Hammer would wind up in bed with the sexualized female characters in the show, who would never fail to melt once they had fixed their eyes upon the brawny detective; the show's writers latched on to this element of clashing eras and used it as a comic relief in the show. Examples of this include Hammer's love for cigarettes being at odds with the growing social disdain for smoking and the detective's humorous inability to comprehend the youth trends of the decade. Like its 1950s predecessor, Keach's Mike Hammer never shied away from violence. Whether it was with his fists or his trusty gun, "Betsy," a Colt Model 1911A1.45 ACP semi-automatic pistol, always tucked neatly inside a leather shoulder holster worn under his suit jacket, Hammer would never fail to stop a criminal dead in his tracks.
Mickey Spillane insisted that Stacy Keach carry the.45 caliber pistol in the show because, the weapon Mike Hammer carried in all of Spillane's "Mike Hammer" mystery novels. Unlike most detective shows of the decade, the bad guys on Mickey Spillane's Mike Hammer were killed by the protagonist by the time the closing credits rolled. Stacy Keach as Mike Hammer Don Stroud as Captain Pat Chambers Lindsay Bloom as Hammer's secretary Velda Kent Williams as Assistant District Attorney Lawrence D. Barrington Ozzie "The Answer" – A know-it-all barfly at the Lite N Easy Bar. Mickey Spillane had demanded. Production of the show was interrupted in December 1984 when Stacy Keach was sentenced to nine months prison time for drug smuggling. Keach was arrested with his secretary Deborah Steele on April 4 at London's Heathrow Airport for smuggling 36 grams of cocaine, he had arrived in London from France—where he was filming the TV miniseries Mistral's Daughter—when he and Steele were picked out at random to be searched.
Keach was in London to record voiceover for Mickey Spillane's Mike Hammer. On December 7, 1984, Keach plead guilty to the charge and began serving a nine-month sentence in Reading Prison, his unexpected jail term caught producers of the show off guard and with three episodes filmed but unfinished, impersonator Rich Little was called in t
A character actor or character actress is a supporting actor who plays unusual, interesting, or eccentric characters. The term contrasted with that of leading actor, is somewhat abstract and open to interpretation. In a literal sense, all actors can be considered character actors since they all play "characters", but in the usual sense it is an actor who plays a distinctive and important supporting role. A character actor may play characters who are different from the actor's off-screen real-life personality, while in another sense a character actor may be one who specializes in minor roles. In either case, character actor roles are more substantial than non-speaking extras; the term is used to describe television and film actors. An early use of the term was in the 1883 edition of The Stage, which defined a character actor as "one who portrays individualities and eccentricities". Actors with a long career history of playing character roles may be difficult for audiences to recognize as being the same actor.
Unlike leading actors, they are seen as less glamorous. While a leading actor has physical beauty needed to play the love interest, a character actor may be short or tall, heavy or thin, older, or unconventional-looking and distinctive in some physical way. For example, the face of Chicago character actor William Schutz was disfigured in a car accident when he was five years old, but his appearance despite reconstructive surgery helped him to be memorable and distinctive to theater audiences; the names of character actors are not featured prominently in movie and television advertising on the marquee, since a character actor's name is not expected to attract film audiences. The roles that character actors play in film or television are identified by only one name, such as "Officer Fred", while roles of leading actors have a full name, such as "Captain Jack Sparrow"; some character actors have distinctive voices or accents. A character actor with a long career may not have a well-known name, yet may be recognizable.
During the course of an acting career, an actor can sometimes shift between leading roles and secondary roles. Some leading actors, as they get older, find that access to leading roles is limited by their increasing age. In the past, actors of color, who were barred from roles for which they were otherwise suited, found work performing ethnic stereotypes. Sometimes character actors have developed careers based on specific talents needed in genre films, such as dancing, acrobatics, swimming ability, or boxing. Many up-and-coming actors find themselves typecast in character roles due to an early success with a particular part or in a certain genre, such that the actor becomes so identified with a particular type of role that casting directors steer the actor to similar roles; some character actors play the same character over and over, as with Andy Devine's humorous but resourceful sidekick, while other actors, such as Sir Laurence Olivier, have the capacity of submerging themselves in any role they play.
That being said, some character actors can be known as "chameleons", actors who can play roles that vary wildly. One such example of this is Gary Oldman; some character actors develop a cult following with a particular audience, such as with the fans of Star Trek or The Rocky Horror Picture Show. Character actors tend to play the same type of role throughout their careers, including Harvey Keitel as a "tough and determined guy", Dame Maggie Smith as an "upstanding lady matriarch", Christopher Lloyd as an eccentric, Claude Rains as a "sophisticated, sometimes ambiguously moral man", Abe Vigoda as a "leathery, sunken-eyed" and tired hoodlum on the verge of retirement, Christopher Walken as a "speech maker", Vincent Schiavelli as "the confused guy", Fairuza Balk as a "moody goth girl", Steve Buscemi as "a quirky, smart guy with a mind just outside of reality" and Forest Whitaker as a "calm, composed character with an edge and potential to explode". Ed Lauter portrayed a menacing figure because of his "long, angular face", recognized in public, although audiences knew his name.
Character actors can play a variety of types, such as the femme fatale, sidekick, town drunk, whore with a heart of gold, many others. A character actor's roles are perceived as being different from their perceived real-life persona, meaning that they do not portray an extension of themselves, but rather a character different from their off-screen persona. Character actors subsume themselves into the characters they portray, such that their off-screen acting persona is unrecognizable. According to one view, great character actors are out of work, have long careers that span decades, they are often regarded by fellow actors. Commedia dell ` David. Quinlan's Illustrated Directory of Film Character Actors. USA: Batsford Press. ISBN 0713470402. Voisin, Scott. Character Kings: Hollywood's Familiar Faces Discuss the Art & Business of Acting. BearManor Media. ISBN 978-1-59393-342-5
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Twelve O'Clock High (TV series)
12 O'Clock High is an American drama series set in World War II. This TV series was broadcast on ABC-TV for two-and-one-half TV seasons from September 18, 1964, through January 13, 1967; the series was a co-production of 20th Century Fox QM Productions. This show is one of the two QM shows not to display a copyright notice at the beginning, but rather at the end and the only one not to display the standard "A QM Production" closing card on the closing credits; the series follows the missions of the fictitious 918th Bombardment Group of the U. S. Army Air Forces, equipped with B-17 Flying Fortress heavy bombers, stationed at Archbury Field, England. For the first season, many of the characters from the book and 1949 movie were retained, including Brigadier General Frank Savage, Major Harvey Stovall, Major Cobb, Doc Kaiser, General Pritchard, albeit played by different actors from in the motion picture. In addition to these characters, several other infrequently reappearing characters were introduced, including Captain Joseph "Joe" Gallagher, who appeared in two episodes.
At the end of the first season, the studio executives decided a younger-looking lead actor was needed. In the first episode of the second season, General Savage, played by Robert Lansing, was killed in action and replaced by Colonel Joe Gallagher, played by Paul Burke; the decision proved unpopular and the ratings began to drop. The character Joe Gallagher's father was Lt. General Maxwell Gallagher, played by Barry Sullivan. Burke and Sullivan had worked together in the TV series Harbormaster. In an interview given by Lansing on The Mike Douglas Show in 1965, Lansing mentioned that had he known what a boost to his career 12 O'Clock High was, he never would have fired himself. Savage was killed off in a way. According to TV Guide, ABC moved the show from a 10:00 pm Friday time slot to a 7:30 pm Monday time slot for the second season to capture a younger audience, it was hoped that TV viewers would identify more with a colonel rather than an Army Air Corps general. Lansing, had he remained, would have received limited air time with Burke's addition.
For the second season, most of the supporting cast from the first season was replaced, with the exception of Major Stovall, Doc Kaiser, an occasional appearance by General Pritchard. Other actors who did reappear after the first season played other characters. Edward Mulhare appeared twice – as different Luftwaffe officers. Bruce Dern appeared four times as three different characters. Tom Skerritt appeared each time in a different role; the first two seasons were filmed in black-and-white, as ABC did not mandate prime time shows to be in color until the 1966-1967 season, but it allowed the inclusion of actual World War II combat footage supplied by the U. S. Air Force and the library of 20th Century Fox movies; the inclusion of combat footage was obvious, as it was quite degraded. Limited usable combat footage resulted in the same shot being reused in multiple episodes. For the third season, the TV series was filmed in color, but this season only ran for 17 episodes, with the series being canceled in midseason.
Some of the combat footage used for the third season seemed to be in black-and-white footage tinted blue. Film footage from the 1940s was used for take-offs and landings since the one B-17 to which the show had access could only taxi. To simulate different aircraft, it was repainted. In episodes, Gallagher flew as "mission control" in a North American P-51 Mustang; this plot scheme was added to cut production costs. The single-engine Mustang costs less to fly than the four-engined B-17, requires only a single pilot rather than two pilots and several crewmen. A wartime precedent for this existed, however: Maj.-Gen. Earle E. Partridge, the G-3 commander of the 8th Air Force, used a P-51 modified for photo-reconnaissance work to take photographs of his bomber group formations for training and critiquing purposes.12 O'Clock High was created in an episodic format, with no particular order for the episodes. A trio of episodes produced about a shuttle air raid to North Africa was in fact never aired in story order.
The stories were based more on character drama than action involving individuals who felt the need to redeem themselves in the eyes of others. Other story lines focused on actual war events, such as the development of bombing through cloud cover using radar, the complexities of operating a large fleet of B-17s. Much of the filming was carried out on the Chino Airport, just east of Los Angeles County, California, in San Bernardino County. Chino had been a USAAF training field for World War II, its combination of long, heavy-duty runways and wide-open farmland for miles in all directions was turning the field into a haven for World War II aviation enthusiasts and their restored aircraft. Former Army Air Forces P-51 Mustangs, Republic P-47 Thunderbolts, Lockheed P-38 Lightnings, B-26 Invaders, former U. S. Navy and U. S. Marine Corps F4U Corsairs and F6F Hellcats could be found, along with a vintage B-17 and the P-51 Mustang used in 12 O'Clock High; the B-17 belonged to Ed Maloney's Air Museum, B-17E, F, G models of the Flyi
The Hollywood Reporter
The Hollywood Reporter is an American digital and print magazine, website, which focuses on the Hollywood film and entertainment industries. It was founded in 1930 as a daily trade paper, in 2010 switched to a weekly large-format print magazine with a revamped website. Headquartered in Los Angeles, THR is part of the Billboard-Hollywood Reporter Media Group, a group of properties that includes Billboard and SpinMedia, it is owned by Valence Media, a holding company co-founded by Todd Boehly, an executive of its previous owners, Guggenheim Partners and Eldridge Industries. THR was founded in 1930 by William R. "Billy" Wilkerson as Hollywood's first daily entertainment trade newspaper. The first edition appeared on September 3, 1930 and featured Wilkerson's front-page "Tradeviews" column, which became influential; the newspaper appeared Monday to Saturday for the first 10 years, except for a brief period Monday to Friday from 1940. Wilkerson ran the THR until his death in September 1962, although his final column appeared 18 months prior.
Wilkerson's wife, Tichi Wilkerson Kassel, took over as publisher and editor-in-chief when her husband died. From the late 1930s, Wilkerson used THR to push the view that the industry was a communist stronghold. In particular, he opposed the screenplay writers' trade union, the Screen Writers Guild, which he called the "Red Beachhead." In 1946 the Guild considered creating an American Authors' Authority to hold copyright for writers, instead of ownership passing to the studios. Wilkerson devoted his "Tradeviews" column to the issue on July 29, 1946, headlined "A Vote for Joe Stalin." He went to confession before publishing it, knowing the damage it would cause, but was encouraged by the priest to go ahead with it. The column contained the first industry names, including Dalton Trumbo and Howard Koch, on what became the Hollywood blacklist, known as "Billy's list." Eight of the 11 people Wilkerson named were among the "Hollywood Ten" who were blacklisted after hearings in 1947 by the House Un-American Activities Committee.
When Wilkerson died, his THR obituary said that he had "named names and card numbers and was credited with being chiefly responsible for preventing communists from becoming entrenched in Hollywood production."In 1997, THR reporter David Robb wrote a story about the newspaper's involvement, but the editor, Robert J. Dowling, declined to run it. For the blacklist's 65th anniversary in 2012, the THR published a lengthy investigative piece about Wilkerson's role, by reporters Gary Baum and Daniel Miller; the same edition carried an apology from Wilkerson's son W. R. Wilkerson III, he wrote. On April 11, 1988, Tichi Wilkerson Kassel sold the paper to BPI Communications, owned by Affiliated Publications, for $26.7 million. Robert J. Dowling became THR president in 1988, editor-in-chief and publisher in 1991. Dowling hired Alex Ben Block as editor in 1990. Block and Teri Ritzer dampened much of the sensationalism and cronyism, prominent in the paper under the Wilkersons. In 1994, BPI Communications was sold to Verenigde Nederlandse Uitgeverijen for $220 million.
After Block left, former Variety film editor, Anita Busch, became editor between 1999 and 2001. Busch was credited with making the paper competitive with Variety. Tony Uphoff assumed the publisher position in November 2005. In March 2006, a private equity consortium led by Blackstone and KKR, both with ties to the conservative movement in the United States, acquired THR along with the other assets of VNU, it joined those publications with AdWeek and A. C. Nielsen to form The Nielsen Company. In December 2009, Prometheus Global Media, a newly formed company formed by Pluribus Capital Management and Guggenheim Partners, chaired by Jimmy Finkelstein, CEO of News Communications, parent of political journal The Hill, acquired THR from Nielsen Business Media, it pledged to grow the company. Richard Beckman of Condé Nast, was appointed as CEO. In 2010, Beckman purchased THR from Guggenheim Partners and Pluribus Capital, recruited Janice Min, the former editor-in-chief of Us Weekly, to "eviscerate" the existing daily trade paper and reinvent it as a glossy, large-format weekly magazine.
The Hollywood Reporter relaunched with a weekly print edition and a revamped website that enabled it to break news. Eight months after its initial report, The New York Times took note of the many scoops THR had generated, adding that the new glossy format seemed to be succeeding with its "rarefied demographic", stating, "They managed to change the subject by going weekly... The large photos, lush paper stock and great design are a kind of narcotic here."By February 2013, the Times returned to THR, filing a report on a party for Academy Award nominees the magazine had hosted at the Los Angeles restaurant Spago. Noting the crowd of top celebrities in attendance, the Times alluded to the fact that many Hollywood insiders were now referring to THR as "the new Vanity Fair". Ad sales since Min's hiring were up more than 50%, while traffic to the magazine's website had grown by 800%. Since January 2014, The Hollywood Reporter has been led by co-presidents Janice John Amato. John Kilcullen replaced Uphoff in October 2006, as publisher of Billboard.
Kilcullen was a defendant in Billboard's infamous "dildo" lawsuit, in which he was accused of race discrimination and sexual harassment. VNU settled the suit on the courthouse steps. Kilcullen "exited" Nielsen in February 2008 "to pursue his passion as an entrepreneur." Matthew King, vice president for content and audience, editorial director Howard Burns, executive editor Peter Pryor left the paper in a wave of layoffs in December 2006.