The Bachelor Party
The Bachelor Party is a 1953 television play by Paddy Chayefsky, adapted by Chayefsky for a 1957 film. The play premiered to critical acclaim. Chayefsky's teleplay was produced by Fred Coe for The Philco Television Playhouse on October 11, 1953. Delbert Mann directed the following cast: Kathleen Maguire as Helen Eddie Albert as Charlie Bob Emmett as Kenneth James Westerfield as The Bookkeeper Joseph Mantell as The Bachelor Douglas Gordon as The Groom Anna Minot as Julie Ely Segall as The Bartender Elaine Eldridge as The Bar Hag Walter Kelly as The Young Fellow Bettye Ackerman as The Girl Olive Dunbar as The Fiancée The 1957 film was directed by Delbert Mann, with Don Murray as Charlie, co-starring E. G. Marshall, Jack Warden and Carolyn Jones. Jones was nominated for the 1958 Best Supporting Actress Academy Award for her portrayal of a party girl, very lonely. Mary Grant designed the film's costumes. Bosley Crowther wrote of the film, "Mr. Chayefsky in his writing and Delbert Mann in his direction of this film have made it delightfully amusing and compensating as it flows.
For the most poignant revelations of emptiness and fear, they have provided hilarious explosions in the serio-comic vein." Charlie Samson is a hard-working married bookkeeper, struggling to advance himself by attending night school to become an accountant. He and four co-workers throw a bachelor party for a fellow bookkeeper, Arnold Craig, about to get married. After the party, they decide to go bar-hopping. Charlie is to be Arnold's best man. Colleagues attending the party include the older married man, diagnosed with asthma, Eddie, a happy-go-lucky bachelor; the night becomes a turning point for all five men. Charlie finds his loyalty to his wife tested during the evening, he has an affair with a young woman he meets on the street heading to a Greenwich Village party. Walter, in despair about his situation, wanders off during the evening. Arnold becomes drunk and ambivalent about getting married, he breaks off the wedding only to change his mind after he sobers up and Charlie gives him a lecture about the benefits of married life.
This, in spite of the fact that in the beginning of the story, Charlie had been regretting his marriage and had gone to the party with a serious intention of committing adultery. We last see Eddie at a bar. In the end, Charlie decides that married life is the way to go, that his struggle to build a home with his wife is worthwhile, better than the empty and lonely existence of his friend Eddie, whom he used to envy. Don Murray as Charlie Samson E. G. Marshall as Walter Jack Warden as Eddie Watkins, the Bachelor Philip Abbott as Arnold Craig Larry Blyden as Kenneth Patricia Smith as Helen Samson Carolyn Jones as The Existentialist Nancy Marchand as Mrs. Julie Samson The Bachelor Party was nominated for one Oscar, one BAFTA award, one award at the 1957 Cannes Film Festival: Afterword to The Bachelor Party: List of American films of 1957 The Bachelor Party on IMDb The Bachelor Party at AllMovie The Bachelor Party at the TCM Movie Database The Bachelor Party at Rotten Tomatoes The Bachelor Party at Box Office Mojo
As Young as You Feel
As Young as You Feel is a comedy film starring Monty Woolley, Thelma Ritter, David Wayne, with Marilyn Monroe in a small role. When printer John R. Hodges is forced to retire at age 65 because of a company policy, he decides to do something about it. Dyeing his hair black, he poses as Harold P. Cleveland, the president of his former employer's parent company, goes on an inspection tour of his old workplace, with the firm's nervous, mystified executives in tow. While walking around the plant, Hodges runs into Joe Elliott, the boyfriend of his granddaughter Alice, winks at him to let him in on the joke. Afterward, Hodges complains about the lack of experienced, older employees, causing company president Louis McKinley to promise to rescind the retirement policy and rehire all those affected by it within the past year. However, before he can depart, Hodges finds that McKinley has arranged for him to address the local chamber of commerce. Hodges is up to the challenge, delivering a rousing speech about the virtues of the older worker.
He receives a standing ovation, the newspapers praise him, the stock market rises on the optimism generated. Hodges is taken to dinner by his neglected wife Lucille. McKinley, is more interested in his curvaceous private secretary Harriet. Hodges has a wonderful time. Swept away by his compliments and attention, she fancies herself in love with him; that night, she tells her dumbfounded husband that she wants a divorce. Meanwhile, Joe is unable to convince anybody that Cleveland is an impostor. Frank Erickson, his rival for a promotion, the entire Hodges family - son George, daughter-in-law Della, Alice - all think Joe is crazy. However, when Hodges returns home with his dyed hair, Joe is vindicated; because Hodges will be exposed anyway, Della proposes that Joe turn him in so that he can get the promotion, but Joe refuses to do it. The next day, Erickson believes Joe and tries to warn their mutual boss Horace Gallagher, but Gallagher thinks Erickson is mentally unstable and gives the promotion to Joe.
This enables Joe to propose to Alice. Meanwhile, the real Harold Cleveland is in an awkward position; the speech has done wonders for his and his company's image and raised the price of the company's stock, but he is unsure of his impostor's motives. When McKinley discovers Hodges' identity and informs Cleveland, he decides to pay him a visit. Lucille gets there first, but Hodges tells her that he will not come between a man and his wife, that he suspects she is still in love with her husband. McKinley barges in and apologizes to his wife, the happy couple reconcile and kiss; when Cleveland meets Hodges, he is reassured. Cleveland is so impressed that he offers Hodges a job advising him on public relations, but gets turned down. Monty Woolley as John R. Hodges Thelma Ritter as Della Hodges David Wayne as Joe Elliott Jean Peters as Alice Hodges Constance Bennett as Lucille McKinley Marilyn Monroe as Harriet Allyn Joslyn as George Hodges Albert Dekker as Louis McKinley Clinton Sundberg as Frank Erickson Minor Watson as Harold P. Cleveland Wally Brown as Horace Gallagher Russ Tamblyn as Willie McKinley, the McKinleys' son A review in the New York Post stated: "It is an uncommonly pleasing picture if no critical solvents are applied to it.
Being short on probability and long on popular laugh devices of plot and character, it can be recommended to most of the people most of the time."The New York Times review said: "The unpretentious little picture, which Lamar Trotti has written and produced and which Harmon Jones has directed in a deliciously nimble comic style, is a vastly superior entertainment so far as ingenuity and taste are concerned, it confronts its audience on a much more appropriately adult plane... Albert Dekker is mighty amusing as a fatheaded small-business boss, Marilyn Monroe is superb as his secretary..." The story was filmed for TV as The Great American Hoax. List of American films of 1951 As Young as You Feel on IMDb As Young as You Feel at AllMovie As Young as You Feel at the TCM Movie Database As Young as You Feel at the American Film Institute Catalog As Young as You Feel at Rotten Tomatoes
Delbert Martin Mann Jr. was an American television and film director. He won the Academy Award for Best Director for the film Marty, adapted from a 1953 teleplay of the same name which he had directed. From 1967 to 1971, he was president of the Directors Guild of America. In 2002, he received the DGA's honorary life member award. Mann was credited to have "helped bring TV techniques to the film world." Delbert Martin Mann Jr. was born on January 30, 1920 in Lawrence, Kansas, to Delbert Mann Sr. and Ora Mann. His father taught sociology at the University of Kansas from 1920 to 1926. In 1926, the Manns left Lawrence and moved to Pennsylvania and Chicago before settling in Nashville in 1931. There, his father continued to teach sociology at the Scarritt College for Christian Workers, his mother was a schoolteacher. Mann was head of his high school drama club when he met Fred Coe, the future television producer and director, leading a church-sponsored acting society. Coe would figure prominently in Mann's career as a director.
Coe would serve as Mann's mentor. Mann studied political science in Vanderbilt University, he graduated there in 1941 with a bachelor's degree on political science. During World War II, Mann served with the Army Air Corps as a B-24 bomber pilot and as an intelligence officer with the 8th Air Force stationed in England. Mann attended the Yale School of Drama, where he earned a master's fine arts degree in directing. Mann took a directing job at a community playhouse in Columbia, South Carolina. Mann was affiliated with the Town Theatre from 1947 to 1949, before moving to New York to work with Coe in television. In 1949, at Coe's invitation, Mann joined him in New York, where he became a stage manager and assistant director at NBC. Within months, he became an alternating director of the anthology series, The Philco Television Playhouse. Between 1949 and 1955, Mann directed more than 100 live television dramas, but after turning to films, he returned to television and directed productions for Playhouse 90, Ford Star Jubilee and other dramatic television anthology series.
He directed more than two dozen films for television from the late 1960s to the early 1990s, including Heidi, David Copperfield, Jane Eyre and All Quiet on the Western Front. In addition to Marty, other films directed by Mann include The Bachelor Party, Desire Under the Elms, Separate Tables, Middle of the Night, The Dark at the Top of the Stairs, The Outsider, That Touch of Mink, A Gathering of Eagles, Dear Heart, Fitzwilly and Night Crossing. Mann was married to Ann Caroline Gillespie from 1942 until her death by Alzheimer's disease in 2001, they had four children: Fred, David and Susan. Susan died in a car accident in 1976. During the 1980s and 1990s, Mann served on the advisory board of the National Student Film Institute, he served as honorary chairman of the institute for a one-year term. On November 11, 2007, Mann died of pneumonia at the Cedars-Sinai Medical Center, he was 87. Delbert Mann on IMDb Hollywood Reporter: Director Delbert Mann dies at 87 Archive of American Television Interview With Delbert Mann
Nehemiah Persoff is a retired actor. He appeared in more than 200 television series and plays in his career spanning 52 years. Born in Jerusalem, Persoff emigrated with his family to the United States in 1929 and graduated from the Hebrew Technical Institute in 1937. After serving in the United States Army during World War II, he worked as a subway electrician, maintaining signals while he began to pursue his acting career in the New York theater. In 1947, he was accepted into the Actors Studio, was one of the 26 members of the beginners' class taught by Elia Kazan, along with James Whitmore and Julie Harris, he began his acting career in 1948. One of his first notable roles was as the gangster boss "Little Bonaparte", a parody of Benito Mussolini in Billy Wilder's film classic Some Like It Hot, he appeared in supporting roles in films such as The Greatest Story Ever Told and The Comancheros. In the film Yentl, Persoff portrayed the father of Barbra Streisand's character, he appeared in the comedy film Twins, in the American Tail animated-film series as Papa Mousekewitz.
His last movie was 4 Faces, the last film to be directed by Ted Post. His many television credits include Five Fingers, The Big Valley, Alfred Hitchcock Presents, The Twilight Zone, The Untouchables, Naked City, Route 66, The Legend of Jesse James, Voyage to the Bottom of the Sea, Gilligan's Island, The Wild Wild West, The High Chaparral, Hawaii Five-O, Ellery Queen, Mission: Impossible, Adam-12, The Mod Squad and Barney Miller. In the mid-1980s, when health problems decreased his acting workload, Persoff pursued painting, specializing in watercolor, he devoted full time to his painting. He lives with his wife, Thia, in Cambria, California, they have four children. Nehemiah Persoff on IMDb Nehemiah Persoff at the Internet Broadway Database Nehemiah Persoff Paintings
The Goddess (1958 film)
The Goddess is a 1958 American drama film directed by John Cromwell and starring Kim Stanley and Lloyd Bridges. Written by Paddy Chayefsky, the film is an in-depth character study about the life of a troubled, lonely girl who becomes a movie star, adored by millions but miserable in her private life; the movie was nominated for an Academy Award for Best Original Screenplay. Emily Ann Faulkner is born into poverty in The South, has no father, no friends, is unloved by her indifferent mother, who does not want to be tied down by a child; when Emily Ann becomes a teenager, she remains a loner but has a sensual sexuality that attracts boys. She leaves her first husband, a world-weary GI, John Tower, for Hollywood, she becomes an actress and is soon transformed by Hollywood into the glamorous superstar sex goddess, Rita Shawn. Though she has attained fame and wealth, she is still a loner in the depths of despair; when her elderly mother, who has turned from immorality to religion bordering on fanaticism, comes to visit, Rita is thrilled and clings to her.
She has a couple in to visit. As the guests are leaving, Rita's mother thanks them for being such good friends to her daughter, she is told that they do not know her daughter, having just met her. Rita wants her mother to stay on; when she is leaving the house, Rita becomes enraged and screams from the doorway that she hates her and wishes her dead. When her mother dies, Rita is sedated and miserable at the funeral, she now lives under the constant attention of a, stern secretary/nurse Harding, who takes control of the self-destructive actress. The story is said to be based loosely on Marilyn Monroe. According to an article at tcm.com, "Some critics have conjectured that The Goddess was based on the career of Ava Gardner, but most think its primary model was Marilyn Monroe, who studied at the Actors Studio at the same time Stanley did."The Goddess was filmed, in part, in Ellicott City, which serves as the childhood home of Rita and provides the backdrop for the closing scene. The interior scenes were filmed at the Bronx, New York.
Kim Stanley as Emily Ann Faulkner Lloyd Bridges as Dutch Seymour Steven Hill as John Tower Betty Lou Holland as Mrs. Laureen Faulkner Burt Brinckerhoff as The Boy Bert Freed as Lester Brackman Gerald Hiken as George Elizabeth Wilson as Harding Joan Copeland as Alice Marie Joyce Van Patten as Hillary Joanne Linville as Joanna Donald Mckee as R. M. Lucas John Lawrence as Soldier Curt Conway as The Writer Fred Herrick as The Elder Patty Duke as Emily Ann Faulkner, age 8 Linda Soma as Bridesmaid Kris Flanagan as Himself Geroge Petrarca as The Minister Roy Shuman as Soldier Gail Haworth as Emily's Daughter Bosley Crowther of The New York Times called The Goddess "a shattering but potent film, in which a lot of characters are groping for the fulfillment they cannot seem to find." Crowther argued that scriptwriter Chayefsky "has studied his subject thoughtfully, for the meshing of human contacts and emotional relations is clear and sound. Furthermore, he has conveyed them in finely written scenes and dialogue."
In the book The Immortal Marilyn, scholars De John Vito and Frank Tropea praised Chayefsky's writing as "masterful" and wrote that Stanley "pulled out all the stops hitting every single note of Chayefsky's complex, lyrical arias." Conversely, in an article for TCM, authors Mikita Brottman and David Sterritt criticize the work as having "a stilted pace, underwritten minor characters, a mood that's much too solemn". In 2013, director John Mossman adapted the screenplay for a stage production at Chicago's The Artistic Home, receiving a Jeff Award for New Adaptation and marking the first screen-to-stage adaptation of a Chayefsky screenplay; the Goddess on IMDb The Goddess at AllMovie The Artistic Home
Middle of the Night
Middle of the Night is a 1959 American drama film directed by Delbert Mann, released by Columbia Pictures. It was entered into the 1959 Cannes Film Festival, it stars Kim Novak. The screenplay was adapted by Paddy Chayefsky from his Broadway play of the same name. A 24-year-old divorcee, Betty Preisser, a receptionist for a clothing manufacturer, takes some office work home which her boss, widower Jerry Kingsley, a man of 56, drops by to pick up. Professional rather than personal acquaintances, Betty tells Jerry of her loveless marriage to George, a musician. Jerry has a married daughter, about her age, a spinster sister, protective of him. Jerry works up the nerve to invite Betty to dinner, he meets Betty's mother, Mrs. Mueller, sister Alice, who share the apartment with Betty, their relationship grows. Jerry wonders if their age difference is behind this reluctance. Despite this, a May–December relationship between them develops. Female family members of both of them disapprove. Mrs. Mueller calls him a "dirty old man," while Jerry's sister calls Betty a "fortune hunter" and him a fool, although Lillian's husband Jack offers his congratulations, earning scorn from his wife and causing them to quarrel.
A colleague, Walter Lockman, trapped in a long and unhappy marriage, urges Jerry to do whatever it takes to find true happiness. George tries to persuade Betty to return to him. In a moment of weakness, they have a romantic tryst. Betty regrets it and explains to Jerry that it meant nothing to her but he feels humiliated, his sister observes. At his lowest ebb, he learns that Walter has taken an overdose of pills in a suicide attempt. Jerry sees it as a sign to seize the joy in life, he returns to Betty's waiting arms. The story appeared as an episode of The Philco-Goodyear Television Playhouse. Future Oscar winners Martin Balsam and Lee Grant star in this film, mildly controversial in its day, it was a stage play starring Edward G. Robinson; some of the stage cast were in the film. Palme d'Or, Cannes Film Festival - nominated Best Actor Golden Globe - nominated Top Ten Films of the Year, National Board of Review Middle of the Night on IMDb Middle of the Night at the TCM Movie Database Middle of the Night at AllMovie
Kinescope, shortened to kine known as telerecording in Britain, is a recording of a television program on motion picture film, directly through a lens focused on the screen of a video monitor. The process was pioneered during the 1940s for the preservation, re-broadcasting and sale of television programmes before the use of commercial broadcast-quality videotape became prevalent for these purposes; the term can refer to the process itself, the equipment used for the procedure, or a film made using the process. Kinescopes were the only practical way to preserve live television broadcasts prior to the introduction of videotape in 1956. A small number of theatrically released feature films have been produced as kinescopes; the term kinescope referred to the cathode ray tube used in television receivers, as named by inventor Vladimir K. Zworykin in 1929. Hence, the recordings were known in kinescope recordings. RCA was granted a trademark for the term in 1932; the General Electric laboratories in Schenectady, New York experimented with making still and motion picture records of television images in 1931.
There is some evidence to suggest that the BBC experimented with filming the output of the television monitor before its television service was suspended in 1939 due to the outbreak of World War II. A BBC executive, Cecil Madden recalled filming a production of The Scarlet Pimpernel in this way, only for film director Alexander Korda to order the burning of the negative as he owned the film rights to the book, which he felt had been infringed. However, the evidence for this is purely anecdotal, indeed there is no written record of any BBC Television production of The Scarlet Pimpernel during the 1936–1939 period; the incident is, dramatised in Jack Rosenthal's 1986 television play The Fools on the Hill. Some of the surviving live transmissions of the Nazi German television station Fernsehsender Paul Nipkow, dating as far back as the 1930s, were recorded by pointing a 35mm camera to a receiver's screen, although most surviving Nazi live television programs such as the 1936 Summer Olympics, a number of Nuremberg Rallies, or official state visits were shot directly on 35mm instead and transmitted over the air as a television signal, with only a two minutes' delay from the original event, by means of the so-called Zwischenfilmverfahren from an early outside broadcast van on the site.
According to a 1949 film produced by RCA, silent films had been made of early experimental telecasts during the 1930s. The films were produced by aiming a camera at television monitors - at a speed of eight frames per second, resulting in somewhat jerky reproductions of the images. By the mid-1940s, RCA and NBC were including sound. By early 1946, television cameras were being attached to American guided missiles to aid in their remote steering. Films were made of the television images they transmitted for further evaluation of the target and the missile's performance; the first known surviving example of the telerecording process in Britain is from October 1947, showing the singer Adelaide Hall performing at the RadiOlympia event. Hall sings "Chi-Baba, Chi-Baba" and "I Can't Give You Anything But Love", as well as accompanying herself on ukulele and dancing; when the show was broadcast on BBC TV it was 60 minutes in length and included performances from Winifred Atwell, Evelyn Dove, Cyril Blake and his Calypso Band, Edric Connor and Mable Lee, was produced by Eric Fawcett.
The six-minute footage of Miss Hall is all. From the following month, the wedding of Princess Elizabeth to Prince Philip survives, as do various early 1950s productions such as It is Midnight, Dr Schweitzer, The Lady from the Sea and the opening two episodes of The Quatermass Experiment, although in varying degrees of quality. A complete 7-hour set of telerecordings of Queen Elizabeth II's 1953 coronation exists. In the era before satellite communications, kinescopes were used to distribute live events such as a royal wedding as as possible to other countries of the Commonwealth that had started a television service. A Royal Air Force aircraft would fly the telerecording from the UK to Canada, where it would be broadcast over the whole North American network. After the introduction of videotape, the BBC and the ITV companies made black and white kinescopes of selected programs for international sales, continued to do so until the early 1970s by which time programs were being videotaped in color.
Most, if not all, videotapes from the 405-line era have long since been wiped as have many from the introduction of 625-line video to the early days of color. The majority of British shows that still exist before the introduction of color, a number thereafter, do so in the form of these telerecordings. A handful of shows, including some episodes of Doctor Who and most of the first series of Adam Adamant Lives!, were deliberately telerecorded for ease of editing rather than being videotaped. In September 1947, Eastman Kodak introduced the Eastman Television Recording Camera, in cooperation with DuMont Laboratories, Inc. and NBC, for recording images from a television screen under the trademark "Kinephoto". Prior to the introduction of videotape in 1956, kinescopes were the only way to record television broadca