Michael Curtiz was a Hungarian-born American film director, recognized as one of the most prolific directors in history. He directed classic films from the silent era and numerous others during Hollywood's Golden Age, when the studio system was prevalent. Curtiz was a well-known director in Europe when Warner Bros. invited him to Hollywood in 1926, when he was 39 years of age. He had directed 64 films in Europe, soon helped Warner Bros. become the fastest-growing movie studio. He directed 102 films during his Hollywood career at Warners, where he directed ten actors to Oscar nominations. James Cagney and Joan Crawford won their only Academy Awards under Curtiz's direction, he put Doris Day and John Garfield on screen for the first time, he made stars of Errol Flynn, Olivia de Havilland, Bette Davis. He himself was nominated five times and won twice, once for Best Short Subject for Sons of Liberty and once as Best Director for Casablanca. Curtiz was among those who introduced to Hollywood a visual style using artistic lighting and fluid camera movement, high crane shots, unusual camera angles.

He was versatile and could handle any kind of picture: melodrama, love story, film noir, war story, Western, or historical epic. He always paid attention to the human-interest aspect of every story, stating that the "human and fundamental problems of real people" were the basis of all good drama. Curtiz helped popularize the classic swashbuckler with films such as Captain Blood and The Adventures of Robin Hood, he directed many dramas which today are considered classics, Angels with Dirty Faces, The Sea Wolf and Mildred Pierce. He directed leading musicals, including Yankee Doodle Dandy, This Is the Army, White Christmas, he made comedies with Life With Father and We're No Angels. Curtiz was born Manó Kaminer to a Jewish family in Budapest, Austria-Hungary, in 1886, where his father was a carpenter and his mother an opera singer. In 1905, he Hungaricised his name to Mihály Kertész. Curtiz had a lower to middle-class upbringing, he recalled during an interview that his family's home was a cramped apartment, where he had to share a small room with his two brothers and a sister.

"Many times we are hungry", he added. After graduating from high school, he studied at Markoszy University, followed by the Royal Academy of Theater and Art, in Budapest, before beginning his career. Curtiz became attracted to the theater, he built a little theater in the cellar of his family home when he was 8 years old, where he and five of his friends re-enacted plays. They set up the stage, with scenery and props, Curtiz directed them. After he graduated from college at age 19, he took a job as an actor with a traveling theater company, where he began working as one their traveling players. From that job, he became a pantomimist with a circus for a while, but returned to join another group of traveling players for a few more years, they played Ibsen and Shakespeare depending on in what country they were. They performed throughout Europe, including France, Hungary and Germany, he learned five languages, he had various responsibilities: We had to do everything—make bill posters, print programs, set scenery, mend wardrobe, sometimes arrange chairs in the auditoriums.

Sometimes we traveled in trains, sometimes in stage coaches, sometimes on horseback. Sometimes we played in town halls, sometimes in little restaurants with no scenery at all. Sometimes we gave shows out of doors; those strolling actors were the kindest-hearted people I have known. They would do anything for each other, he worked as Mihály Kertész at the National Hungarian Theater in 1912. and was a member of the Hungarian fencing team at the Olympic Games in Stockholm. Kertész directed Hungary's first feature film and Tomorrow, in which he had a leading role, he followed that with The Last Bohemian. Curtiz began living in various cities in Europe to work on silent films in 1913, he first went to study at Nordisk studio in Denmark, which led to work as an actor and assistant director to August Blom on Denmark's first multireel feature film, Atlantis. After World War I began in 1914, he returned to Hungary, where he served in the army for a year, before he was wounded fighting on the Russian front.

Curtiz wrote of that period: The intoxicating joy of life was interrupted, the world had gone mad... We were taught to kill. I was drafted into the Emperor's Army... After that, many things happened: destruction, thousands forever silenced, crippled or sent to anonymous graves. Came the collapse. Fate had spared me, he was assigned to make fund-raising documentaries for the Red Cross in Hungary. In 1917, he was made director of production at Phoenix Films, the leading studio in Budapest, where he remained until he left Hungary. However, none of the films he directed there survive intact, most are lost. By 1918, he had become one of Hungary's most important directors, having by directed about 45 films. However, following the end of the war, in 1919, the new communist government nationalized the film industry, so he decided to return to Vienna to direct films there. Curtiz worked at UFA GmbH, a German film company, where he learned to direct large groups of costumed extras, along with using complicated plots, rapid pacing, romantic themes.

His career started due to his work for Count Alexander Kolowrat, with whom he made at least 21 films for the count's film studio, Sascha Films. Curtiz late

In grammar, the term weak is used in opposition to the term strong to designate a conjugation or declension when a language has two parallel systems. The only constant feature in all the grammatical usages of the word "weak" is that it forms a polarity with "strong"; this terminology seems to have been used first in relation to Germanic verbs. In this context, "strong" indicates those verbs that form their past tenses by ablaut, "weak" those that need the addition of a dental suffix, it is only in this context. By extension, the terminology was applied to Germanic nouns. Here too, the weak noun was the consonantal declension, such as the German nouns that form their genitive in -n. Examples: standard noun: der Mann, des Mannes - "man". Weak noun: der Junge, des Jungen - "boy". Although the term "weak noun" is useful in German grammar to describe this small and distinctive group, the term "strong noun" is less heard, since it would have to include many other noun types that should not be grouped together.

Some of these have umlaut plurals. There are strong and weak declensions of German adjectives; this differs from the situation in nouns and verbs in that every adjective can be declined using either the strong or the weak declension. As with the nouns, weak in this case means the declension in -n. In this context, the terms "strong" and "weak" seem appropriate, since the strong declension carries more information about case and gender, while the weak declension is used in situations where the definite article provides this information. Examples: strong: guter Wein guten Wein gutem Wein - adjectives signal case with unambiguous inflections. Weak: der gute Wein den guten Wein dem guten Wein - articles signal case, so adjectives need less inflectional specificity. In other languages the strong-weak polarity is used to express distinctions that may or may not be analogous. In Hebrew, most verbs have three consonants known as radicals; these can be weak. Verbs with a weak radical are termed weak verbs, form regular exceptions to the normal conjugation rule.

The consonants he, nun are among those to make a verb weak. The terms "weak" and "strong" overlap with the idea of "regular" and "irregular", it is true that most English or German weak verbs are regular, whereas Germanic strong verbs, despite the regularity of the system, are taught as irregular verbs. In the case of the German noun, the strong noun is the norm, while the weak noun is taught as the anomalous form, though in fact it has its own regularity. In the German adjective, both systems are regular and common. Strong inflection Wiktionary appendix: Irregular English verbs, for information on which English verbs belong to the various classes of strong and irregular weak verb

Jacob Broom was an American Party member of the U. S. House of Representatives from Pennsylvania. Jacob Broom was born in Maryland, he moved to Philadelphia with his parents in 1819. He was admitted to the bar in 1832 and started practicing in Philadelphia, he was appointed deputy auditor of the State in 1840, clerk of the Philadelphia Orphans’ Court from 1848 to 1852. In 1852 Broom ran for President of the United States under unusual circumstances for the Native American Party known as the American Party and known as the Know Nothings. Broom presided over the party's national convention, which nominated Daniel Webster as its presidential candidate; when Webster died nine days before the election, Broom was hurriedly named as his replacement, with Reynell Coates of New Jersey as his running mate. Broom received 2,566 popular votes, finishing a poor fifth behind Webster, nominated by the Union Party of Georgia. Neither Webster nor Broom received any electoral votes. Broom was elected as a candidate of the American Party to the Thirty-fourth Congress in 1854.

He served as chairman of the House Committee on Revolutionary Pensions during the Thirty-fourth Congress. He was an unsuccessful candidate for renomination in 1856 and for election to the Thirty-sixth Congress in 1858, he died in Washington, D. C. in 1864. Interment in Congressional Cemetery. United States Congress. "Jacob Broom". Biographical Directory of the United States Congress; the Political Graveyard Convention details Election results Race details Jacob Broom at Find a Grave