Philip St. John Basil Rathbone MC was a South African-born English actor, he rose to prominence in the United Kingdom as a Shakespearean stage actor and went on to appear in more than 70 films costume dramas and horror films. Rathbone portrayed suave villains or morally ambiguous characters, such as Mr. Murdstone in David Copperfield and Sir Guy of Gisbourne in The Adventures of Robin Hood, his most famous role, was heroic—that of Sherlock Holmes in fourteen Hollywood films made between 1939 and 1946 and in a radio series. His career included roles on Broadway, as well as self-ironic film and television work, he received a Tony Award in 1948 as Best Actor in a Play. He was nominated for two Academy Awards and was honored with three stars on the Hollywood Walk of Fame. Rathbone was born in South Africa, to British parents, his mother, Anna Barbara, was a violinist, his father, Edgar Philip Rathbone, was a mining engineer and scion of the Liverpool Rathbone family. He had two older half-brothers and Horace, as well as two younger siblings and John.
Basil was the great-grandson of the noted Victorian philanthropist, William Rathbone V, thus a descendant of William Rathbone II. The Rathbones fled to Britain when Basil was three years old after his father was accused by the Boers of being a spy after the Jameson Raid, he was a distant cousin of Major Henry Rathbone, present at the assassination of Abraham Lincoln, was wounded trying to stop John Wilkes Booth. Rathbone attended Repton School in Derbyshire from 1906–1910, where he excelled at sports and given the nickname "Ratters" by schoolmates. Thereafter, he was employed by the Liverpool and Globe Insurance Companies, to appease his father's wish for him to have a conventional career. On 22 April 1911, Rathbone made his first appearance on stage at the Theatre Royal, Suffolk, as Hortensio in The Taming of the Shrew, with his cousin Sir Frank Benson's No. 2 Company, under the direction of Henry Herbert. In October 1912, he went to the United States with Benson's company, playing such parts as Paris in Romeo and Juliet, Fenton in The Merry Wives of Windsor, Silvius in As You Like It.
Returning to Britain, he made his first appearance in London at the Savoy Theatre on 9 July 1914, as Finch in The Sin of David. That December, he appeared at the Shaftesbury Theatre as the Dauphin in Henry V. During 1915, he toured with Benson and appeared with him at London's Court Theatre in December as Lysander in A Midsummer Night's Dream. During the First World War, Rathbone was called up in 1915 via the Derby Scheme into the British Army as a private with the London Scottish Regiment, joining a regiment that counted in its ranks his future professional acting contemporaries Claude Rains, Herbert Marshall and Ronald Colman at different points through the conflict. After basic training with the London Scots in early 1916 he received a commission as a lieutenant in the 2/10th Battalion of the King's Liverpool Regiment, where he served as an intelligence officer and attained the rank of captain. Rathbone's younger brother John was killed in action on 4 June 1918. In 2012 two letters Rathbone wrote to his family.
One reveals the anguish and anger he felt following the death of his brother, John: I want to tell him to mind his place. I think of his ridiculous belief that everything would always be well, his ever-hopeful smile, I want to cuff him for a little fool, he had no business to let it happen and it maddens me that I shall never be able to tell him so, or change it or bring him back. I can’t think of him without being consumed with anger at him for being dead and beyond anything I can do to him. Following his brother's death, Rathbone appears to have become unconcerned about the dangers of serving at the front. Author Richard Van Emden in Famous 1914-18 speculates that his extreme bravery may have been a form of guilt or need for vengeance, he persuaded his superiors to allow him to scout enemy positions during daylight rather than at night, as was the usual practice to minimise the chance of detection. Rathbone wore a special camouflage suit that resembled a tree with a wreath of freshly plucked foliage on his head with burnt cork applied to his hands and face.
As a result of these dangerous daylight reconnaissance missions in September 1918, he was awarded the Military Cross for "conspicuous daring and resource on patrol". During the Summer Festival of 1919, he appeared at Stratford-upon-Avon with the New Shakespeare Company playing Romeo, Ferdinand in The Tempest and Florizel in The Winter's Tale. During the 1920s, Rathbone appeared in Shakespearean and other roles on the British stage, he began to travel and appeared at the Cort Theatre, New York, in October 1923 in a production of The Swan opposite Eva Le Gallienne, which made him a star on Broadway. He toured in the United States in 1925, appearing in San Francisco in May and the Lyceum Theatre, New York, in October, he was in the US again in 1927 and 1930 and again in 1931, when he appeared on stage with Ethel Barrymore. He continued his stage career in Britain, returning late in 1934 to the US, where he appeared with Katharine Cornell in several plays. Rathbone was once arrested in 1926 along with every other member of the cast of The Captive, a play in which his character's wife left him for another woman.
Though the charges were dropped, Rathbone was angry abo
Werewolf of London
Werewolf of London is a 1935 horror film directed by Stuart Walker and starring Henry Hull as the titular werewolf. It was produced by Universal Pictures. Jack Pierce's werewolf make-up was simpler than his version six years for Lon Chaney, Jr. in The Wolf Man. Werewolf of London was the first Hollywood mainstream film to feature a werewolf; the film's supporting cast features Warner Oland, Valerie Hobson, Lester Matthews, Spring Byington. Wilfred Glendon is a wealthy and world-renowned English botanist who journeys to Tibet in search of the elusive mariphasa plant. While there, he is attacked and bitten by a creature revealed to be a werewolf, although he succeeds in acquiring a specimen of the mariphasa. Once back home in London he is approached by a fellow botanist, Dr. Yogami, who claims to have met him in Tibet while seeking the mariphasa. Yogami warns Glendon that the bite of a werewolf would cause him to become a werewolf as well, adding that the mariphasa is a temporary antidote for the disease.
Glendon does not believe the mysterious Yogami. That is, not until he begins to experience the first pangs of lycanthropy, first when his hand grows fur beneath the rays of his moon lamp, that night during the first full moon; the first time, Glendon is able to use a blossom from the mariphasa to stop his transformation. His wife Lisa is away at her aunt Ettie's party with her friend, former childhood sweetheart Paul Ames, allowing the swiftly transforming Glendon to make his way unhindered to his at-home laboratory, in the hopes of acquiring the mariphasa's flowers to quell his lycanthropy a second time. Dr. Yogami, revealed to be a werewolf, sneaks into the lab ahead of his rival and steals the only two blossoms; as the third has not bloomed, Glendon is out of luck. Driven by an instinctive desire to hunt and kill, he dons his hat and coat and ventures out into the dark city, killing an innocent girl. Burdened by remorse, Glendon begins neglecting Lisa, makes numerous futile attempts to lock himself up far away from home, including renting a room at an inn.
However, whenever he transforms into the werewolf he kills again. After a time, the third blossom of the mariphasa blooms, but much to Glendon's horror, it is stolen by Yogami, sneaking into the lab while Glendon's back is turned. Catching Yogami in the act, Glendon realizes that Yogami was the werewolf that attacked him in Tibet. After turning into the werewolf yet again and slaying Yogami, Glendon goes to the house in search of Lisa, for the werewolf instinctively seeks to destroy that which it loves the most. After attacking Paul on the front lawn of Glendon Manor, but not killing him, Glendon breaks into the house and corners Lisa on the staircase and is about to move in for the kill when Paul's uncle, Col. Sir Thomas Forsythe of Scotland Yard, arriving with several police officers in tow, shoots Glendon once; as he lies dying at the bottom of the stairs, still in werewolf form, speaks: first to thank Col. Forsythe for the merciful bullet saying goodbye to Lisa, apologizing that he could not have made her happier.
Glendon dies, reverting to his human form in death. Jack Pierce's original werewolf design for Henry Hull was identical to the one used for Lon Chaney, Jr. in The Wolf Man, but it was rejected in favor of a minimalist approach, less obscuring to facial expressions. Although it has been reported that this was because Hull was unwilling to spend hours having makeup applied, or because he didn't want his face obscured because of vanity, the real reason, according to Hull's great-nephew Cortlandt Hull, who heard it from Hull himself, is that Hull—who was an accomplished makeup artist in his own right—argued that, according to the script, the werewolf had to be recognizable to the other characters as Dr. Glendon; this would not have been possible under the more extreme makeup. Pierce resisted the change, so Hull went over Pierce's head to the studio head, Carl Laemmle, who approved, much to Pierce's annoyance; the werewolf's howl was an audio blend of Hull and a recording of an actual timber wolf, an approach, never duplicated in any subsequent werewolf film.
At the beginning of the film, the supposed "Tibetan" spoken by villagers in the movie is Cantonese. On Rotten Tomatoes, the film holds an approval rating of 77% based on 13 reviews, with a weighted average rating of 6.4/10. Frank S. Nugent, reviewing in The New York Times what was the last film to appear in the Rialto Theatre before the theatre was torn down and rebuilt in 1935, called the film a "charming bit of lycanthropy". Granting that the central idea has been used before, the picture still rates the attention of action-and-horror enthusiasts, it is a fitting valedictory for the old Rialto, which has become melodrama's citadel among Times Square's picture houses. Film critic Leonard Maltin awarded the film two and a half out of a possible four stars, calling the film "dated but still effective", complimenting Oland's performance as Dr. Yogami; the movie was considered at the time as too similar to Dr. Jekyll and Mr. Hyde with Fredric March, released only a few years before, flopped at the box-office.
The film inspired at least five pop culture entries: Warren Zevon's 1978 hit son
Walking Tall (1973 film)
Walking Tall is a 1973 American action semi-biopic film of Sheriff Buford Pusser, a professional wrestler-turned-lawman in McNairy County, Tennessee. It stars Joe Don Baker as Pusser; the film was directed by Phil Karlson. Based on Pusser's life, it has become a cult classic with two direct sequels of its own, a TV movie, a brief TV series and a remake that had its own two sequels. Buford Pusser, at his wife Pauline's behest, retires from the professional wrestling ring and moves back to Tennessee to start a logging business with his father, Carl Pusser. With a friend, he visits a gambling and prostitution establishment, the Lucky Spot, is beaten up after catching the house cheating at craps. Pusser is injured with a knife and receives over 200 stitches, he complains to the sheriff but is ignored, soon becomes aware of the rampant corruption in McNairy County. Working at his father's lumber mill, Pusser makes a club out of a tree branch. Late one night, Pusser waits until after the Lucky Spot is closed and beats up the same thugs that left him for dead.
The next day, Pusser represents himself at trial. At one point, he shows the jury his scars, he informs them that "If you let them do this to me and get away with it you're giving them the eternal right to do the same damn thing to any one of you!" The jury finds Pusser not guilty, he decides to clean up the county and runs for sheriff. The campaign is contentious against the incumbent sheriff, killed trying to run Pusser off the road. Pusser is elected, becomes famous for being incorruptible, intolerant of crime, for his array of four-foot hickory clubs which he uses to great effect in dispatching criminals and destroying their clandestine gambling dens and illegal distilleries; some residents praise Pusser as an honest cop in a crooked town. Pusser is attacked several times, he and Pauline are ambushed in their car. Pauline is killed and Pusser is injured, he is admitted to the hospital after being shot and while still in a neck and face cast, attends his wife's funeral. Afterward he rams a sheriff cruiser through the front doors of the Lucky Spot, killing two of his would-be assassins.
As he leaves with two deputies, the townspeople arrive and begin throwing the gambling tables out into the parking lot. They light a bonfire; the original Walking Tall was a hit, but the sequels, Walking Tall Part 2, Walking Tall: Final Chapter, both starring Bo Svenson, were far less profitable. On December 9, 1978, CBS aired A Real American Hero, with Brian Dennehy as Buford Pusser. In 1978, CBS aired a television movie titled A Real American Hero: Buford Pusser, starring Brian Dennehy as the title character; the film is set in 1967 and focused on the real-life sheriff Buford Pusser who goes after a criminal who has killed young people with his illegal moonshine. In 2004, a remake starring professional wrestler Dwayne "The Rock" Johnson was made. Although it utilized many elements from Pusser's life and the original Walking Tall, many things were changed. Johnson's character's name was now Chris Vaughn, the sheriff is trying to stop the selling of illegal drugs instead of illegal moonshine, the film's setting became semi-rural Kitsap County, although it was filmed in Squamish, B.
C. Canada. Two sequels to the remake were produced, released in 2007: Walking Tall: The Payback and Walking Tall: Lone Justice, both made in Dallas and released directly to DVD; these sequels starred Kevin Sorbo as Nick Prescott, the son of the town's sheriff who takes the law into his own hands when his father is killed in a suspicious car accident. The film holds a 75% rating on review aggregation website Rotten Tomatoes. Walking Tall was a box office smash. Produced on a budget of $500,000, the film grossed $23 million domestically, earning an estimated $8.5 million in North American theatrical rentals in 1973. The film is recognized by American Film Institute in these lists: 2003: AFI's 100 Years...100 Heroes & Villains: Buford Pusser – Nominated Hero List of American films of 1973 Vigilante film Walking Tall on IMDb Walking Tall at AllMovie Walking Tall at the TCM Movie Database Walking Tall at the American Film Institute Catalog Walking Tall at Rotten Tomatoes
I Like It That Way
I Like It That Way is a 1934 American musical film directed by Harry Lachman and starring Gloria Stuart, Roger Pryor and Marian Marsh. Gloria Stuart as Anne Rogers Roger Pryor as Jack Anderson Marian Marsh as Joan Anderson Shirley Grey as Peggy Onslow Stevens as Harry Rogers Lucile Gleason as Mrs. Anderson Noel Madison as Jimmy Stuart Gloria Shea as Trixie Mae Busch as Elsie Merna Kennedy as Telephone Company Information Girl Mickey Rooney as Messenger Boy Clarence Wilson as The Professor Eddie Gribbon as Joe Virginia Sale as Old Maid Clifford McCarty. Film Composers in America: A Filmography, 1911-1970. Oxford University Press, 2000. I Like It That Way on IMDb
Samuel Goldwyn known as Samuel Goldfish, was a Polish-American film producer. He was most well known for being the founding contributor and executive of several motion picture studios in Hollywood, his awards include the 1973 Golden Globe Cecil B. DeMille Award, the Irving G. Thalberg Memorial Award in 1947, the Jean Hersholt Humanitarian Award in 1958. Goldwyn was born Szmuel Gelbfisz in Warsaw to Polish Jewish Hasidic parents, Aaron Dawid Gelbfisz, a peddler, his wife, Hanna Reban, he made his way for Hamburg. There he stayed with acquaintances of his family. On 26 November 1898 Goldwyn left Hamburg for Birmingham, where he remained with relatives for six weeks under the name Samuel Goldfish. On January 4, he sailed from Liverpool, arrived in Baltimore on 19 January 1899 and came to New York in late January 1899, he found work in New York in the bustling garment business. Soon his innate marketing skills made him a successful salesman at the Elite Glove Company. After four years, as vice-president of sales, he moved back to New York City and settled at 10 West 61st Street.
In 1913, along with his brother-in-law Jesse L. Lasky, Cecil B. DeMille, Arthur Friend formed a partnership, The Jesse L. Lasky Feature Play Company, to produce feature-length motion pictures. Film rights for a stage play, The Squaw Man, were purchased for $4,000 and Dustin Farnum was hired for the leading role. Shooting for the first feature film made in Hollywood began on December 29, 1913. In 1914, Paramount was a film exhibition corporation headed by W. W. Hodkinson. Looking for more movies to distribute, Paramount signed a contract with the Lasky Company on June 1, 1914 to supply 36 films per year. One of Paramount's other suppliers was Adolph Zukor's Famous Players Company; the two companies merged on June 1916 forming The Famous Players-Lasky Corporation. Zukor had been buying Paramount stock, two weeks prior to the merger, became president of Paramount Pictures Corporation and had Hodkinson replaced with Hiram Abrams, a Zukor associate. With the merger, Zukor became president of both Paramount and Famous Players-Lasky, with Goldfish being named chairman of the board of Famous Players-Lasky, Jesse Lasky first vice-president.
After a series of conflicts with Zukor, Goldfish resigned as chairman of the board, as member of the executive committee of the corporation on September 14, 1916. Goldfish was no longer an active member of management, although he still owned stock and was a member of the board of directors. Famous Players-Lasky would become part of Paramount Pictures Corporation, Paramount would become one of Hollywood's major studios. In 1916, Goldfish partnered with Broadway producers Edgar and Archibald Selwyn, using a combination of both names to call their film-making enterprise Goldwyn Pictures. Seeing an opportunity, he had his name changed to Samuel Goldwyn, which he used for the rest of his life. Goldwyn Pictures proved successful but it is their "Leo the Lion" trademark for which the organization is most famous. On April 10, 1924, Goldwyn Pictures was acquired by Marcus Loew and merged into his Metro Pictures Corporation. Despite the inclusion of his name, Goldwyn had no role in the management or production at Metro-Goldwyn-Mayer.
Before the sale and merger of Goldwyn Pictures in April 1924, Goldwyn had established Samuel Goldwyn Productions in 1923 as a production-only operation. Their first feature was Potash and Perlmutter, released in September 1923 through First National Pictures; some of the early productions named for Goldwyn's wife, Frances. For 35 years, Goldwyn built a reputation in filmmaking and developed an eye for finding the talent for making films. William Wyler directed many of his most celebrated productions, he hired writers such as Ben Hecht, Sidney Howard, Dorothy Parker, Lillian Hellman. During that time, Goldwyn made numerous films and reigned as the most successful independent producer in the US. Many of his films were forgettable. William Wyler was responsible for most of Goldwyn's lauded films, with Best Picture Oscar nominations for Dodsworth, Dead End, Wuthering Heights, The Little Foxes and The Best Years of Our Lives. Leading actors in several of Goldwyn films those directed by Wyler, were Oscar-nominated for their performances.
Throughout the 1930s, he released all his films through United Artists, but beginning in 1941, continuing through the end of his career, Goldwyn released his films through RKO Radio Pictures. In 1946, the year he was honored by the Academy of Motion Picture Arts and Sciences with the Irving G. Thalberg Memorial Award, Goldwyn's drama, The Best Years of Our Lives, starring Myrna Loy, Fredric March, Teresa Wright and Dana Andrews, won the Academy Award for Best Picture. In the 1950s Samuel Goldwyn turned to making a number of musicals including the 1952 hit Hans Christian Andersen, the 1955 hit Guys and Dolls starring Marlon Brando, Jean Simmons, Frank Sinatra, Vivian Blaine, based on the successful Broadway musical; this was the only independent f
Arthur Lubin was an American film director and producer who directed several Abbott & Costello films, Phantom of the Opera, the Francis the Talking Mule series and created the talking-horse TV series Mister Ed. A prominent director for Universal Pictures in the 1940s and 1950s, he is best known today as the man who gave Clint Eastwood his first contract in film. Arthur William Lubovsky was born in Los Angeles in 1898, his father, William Lubovsky, had come to the US from Poland in 1889. Lubovsky became a salesman, his family moved to Arizona when Arthur was five. He was interested in acting at an early age, appearing in local Sunday school productions, with the encouragement of his mother, who died when Lubin was six, his father remarried and the family moved from Jerome to San Diego. He managed the music and drama clubs at high school and said a key influence was playing the title role in The Vicar of Wakefield, he joined the San Diego Stock Company at $12 a week. As a child he volunteered for circuses.
He served in the navy in World War One and attended Page Military Academy and Carnegie Tech, where he studied drama and made money by shifting scenery and props. On graduation from college in 1922 he decided to become an actor, he worked as a drama coach at Canadian Steel Mills before following one of his college drama teachers, B. Iden Payne, to New York. In New York Lubin managed to get work on stage in such plays as The Red Poppy, Anything Might Happen and My Aunt from Ypsilanti. None of these plays were successful so he moved to Hollywood, where he succeeded in getting roles in some films such as His People, he acted in stage, notably at the Potboiler Act Theatre. In 1925, the Los Angeles Times called Lubin "one of this year's juvenile screen sensations." He began directing shows for the Hollywood Writers Club. As an actor, he specialized in heavy melodrama, in sharp contrast with his work as a film director, he appeared in Lillion. In 1925 he and some friends were charged with obscenity by the Los Angeles police for putting on a production of Eugene O'Neill's Desire Under the Elms.
He worked on Broadway, including Jealousy, where he replaced John Halliday opposite Fay Bainter. A 1926 profile described him as a "genius" actor, down to earth: "When I met him, it was if I were meeting a young banker or a matter of fact businessman... human and charming... not only good but awfully good looking."His films as an actor included The Woman on the Jury, His People, Bardelys the Magnificent with John Gilbert for King Vidor, Afraid to Love, The Wedding March, The Bushranger, Eyes of the Underworld and Times Square, an early talking picture. Over time Lubin's interests leant towards directing. "On the stage I had a personality I never had in pictures," he said. "That's one of the reasons I got the hell out of acting.""Every director should have acting experience," he said. "You can talk their language. You know the problems. You know. Too many directors are former writers, they have the scene in their mind but they don't know what the actor has to do to interpret it." Lubin went back to New York where he got a job directing with the film of Crosby Selwyn.
They wanted to try out summer shows in Greenwich New York and he directed two plays there. He went out to California and returned to acting in Pasadena decided to stick with directing, he tried out two plays at the Pasadena Playhouse which he produced and directed in New York with the financial help of Lee Schubert. He produced When the Bough Breaks with Pauline Frederick, One Man with Paul Muni and another play with Lenore Ulric, he worked for the Ray-Minor Company, a subsidiary of Paramount, which brought him to the attention of that studio's chief, B. P. Schulberg. In June 1932, Lubin returned to Hollywood to work for William Le Baron at Paramount as an associate producer, his contract included the right to return to New York in the first six months to produce and direct a play. Lubin began directing Little Theatre in his spare time, including productions of Lilliom, got reputation for doing "outstanding work", he was fired from Paramount as part of an economy drive. Lubin's went to Monogram, it was followed by Great God Honeymoon Limited.
Lubin moved over to Republic Pictures. In May 1935 he signed a contract with Republic for a year to make six pictures starting with Two Black Sheep which became Two Sinners, he made an experimental film, Journey by Train, He made Frisco Waterfront and The House of a Thousand Candles. In 1936 he signed a contract with Universal starting 15 April, his first film for them was Yellowstone. It was followed by Mysterious Crossing a series of films with a young John Wayne: California Crossing, I Cover the War, Idol of the Crowds and Adventure's End. "No one thought that Duke would amount to anything," recalled Lubin. After Midnight Intruder with Louis Hayward, Lubin went over to Warner Bros for The Beloved Brat returned to Universal: Prison Break, Secrets of a Nurse, Newsboys' Home, Risky Business, Big Town Czar, Mickey the Kid, Call a Messenger (with The Little Tough Guys, The Big Guy. A more prestigious project was Black Friday, with Boris Karloff a
The Phenix City Story
The Phenix City Story is a 1955 American film noir crime film directed by Phil Karlson for Allied Artists, written by Daniel Mainwaring and Crane Wilbur and starring John McIntire, Richard Kiley and Kathryn Grant. It had an unusual "triple premiere" held on July 19, 1955 in Phenix City and Chicago. In a corrupt Alabama town, the law can do little to stop the criminal activities of Rhett Tanner in the wide-open "red-light district" area. Most of the police do not try, being on Tanner's payroll. Albert "Pat" Patterson is urged to run for office and clean up Phenix City, but he wants no part of a thankless, impossible job, he is content to welcome home his son John from military service. However, soon violence breaks out, John getting caught in the middle when Clem Wilson, a thug who works for Tanner, others assault innocent citizens. Patterson agrees to get involved in reforming the town, but as soon as he is elected he is killed, it is up to John to avenge his father. The film depicts the real-life 1954 assassination of Albert Patterson, who had just been nominated as the Democratic candidate for Alabama Attorney General on a platform of cleaning up Phenix City, a city controlled by organized crime.
Patterson was murdered in Phenix City, the subsequent outcry resulted in the imposition of martial law by the state government. Some prints of the film include a 13-minute newsreel-style preface including newsman Clete Roberts interviewing many of the actual participants; when the film was released in 1955, Bosley Crowther, film critic for The New York Times, gave it a positive review, writing, "In a style of dramatic documentation, as sharp and sure as was that of On the Waterfront--or, for a more appropriate comparison, that of the memorable All the King's Men--scriptwriters Crane Wilbur and Dan Mainwaring and director Phil Karlson expose the raw tissue of corruption and terrorism in an American city, steeped in vice. They catch in slashing, searching glimpses the shrewd chicanery of evil men, the callousness and baseness of their puppets and the dread and silence of local citizens. And, through a series of excellent performances, topped by that of John McIntyre as the martyred crusader, they show the sinew and the bone of those who strive for decent things."Film critic Bruce Eder wrote, "One of the most violent and realistic crime films of the 1950s, The Phenix City Story pulses with the bracing energy of actual life captured on the screen in its establishing shots and key scenes, punctuates that background with explosively filmed action scenes.
Director Phil Karlson showed just how good he was at merging well-told screen drama with vivid verisimilitude and leaving no seams to show where they joined. Filmed on location in Alabama with a documentary-like look, the movie captured the ambiance and tenor of its Deep South setting better than any other fact-based movie of its era."Ray Jenkins, one of the two reporters who covered the Phenix City story for the Columbus Ledger, coverage which won the 1955 Pulitzer Prize for Meritorious Public Service, has contended that the film departed from reality. Jenkins writes, "For starters, the film was a rush job intended to capture public interest while the story was still unfolding; as a result, the film leaves the impression that the local mafia that ran the vice industry in Phenix City killed Albert Patterson. Subsequent indictments and trials demonstrated beyond doubt that the assassination was politically motivated; the film depicts an inflammatory scene in which the mob kills a young black girl and tosses the body onto the lawn of the Patterson home as a warning.
Nothing remotely like this episode happened." Warner Bros. released the film on DVD on July 13, 2010, in its Film Noir Classic Collection, Vol. 5. List of American films of 1955 The Phenix City Story on IMDb The Phenix City Story at AllMovie The Phenix City Story at the TCM Movie Database The Phenix City Story film clip on YouTube