Howard Freeman was an American stage actor of the early 20th century, film and television actor of the 1940s through the 1960s. Freeman was born in Helena and began working as a stage actor in his 20s, he did not enter the film industry until he was over 40, in 1942, when he played a small uncredited role in Inflation. Despite his late start in film acting, Freeman would build himself a substantial career in that field that would last over twenty three years. From 1943 onward he worked on a regular basis, sometimes in uncredited roles, but more than not in small but credited bit or supporting parts, he appeared in ten films in 1943, another eighteen from 1944 through 1945. In 1946 Freeman would appear in twelve films, the most notable of, his first film of that year, Abilene Town, starring Randolph Scott and Lloyd Bridges, California, starring Barbara Stanwyck and Ray Milland. From 1947 through 1950 Freeman appeared in twenty films, in 1951 he began appearing on numerous television series, which would be his main acting roles for the remainder of his career, lasting into 1965.
He appeared in three episodes of Studio One, along with many other TV series, including Car 54, Where Are You? and Route 66. He retired from film and television acting in 1965, settled into retirement in New York City, where he was living at the time of his death on December 11, 1967; the Star-Wagon as Apfel Knickerbocker Holiday as Schermerhorn The Unconquered as Karp Morozov Liliom as policeman and as the richly dressed man Howard Freeman on IMDb Howard Freeman at the Internet Broadway Database
Marvel Marilyn Maxwell was an American actress and entertainer. A sex symbol of the 1940s and 1950s, she appeared in several films and radio programs, entertained the troops during World War II and the Korean War on USO tours with Bob Hope. Maxwell was a native of Iowa. During the 1930s, she worked as an usher in Fort Wayne, Indiana at the Rialto Theater located at 2616 South Calhoun Street, she started her professional entertaining career as a radio singer while still a teenager, before signing with Metro-Goldwyn-Mayer in 1942 as a contract player. Among the programs in which she appeared were Beat the Band and The Abbott and Costello Show; the head of MGM, Louis B. Mayer, insisted, she kept the middle one. Some of her film roles included Lost in a Harem, The Lemon Drop Kid, Rock-A-Bye Baby; the song "Silver Bells" made its debut in The Lemon Drop Kid, sung by Hope. Maxwell appeared twice as a singer in the second season of NBC's The Jimmy Durante Show. On May 16, 1957, she guest-starred on NBC's Starring Tennessee Ernie Ford.
In the 1961–62 television season, Maxwell played Grace Sherwood, owner of the diner on ABC's 26-episode Bus Stop, a drama about travelers passing through the fictitious town of Sunrise, Colorado. She left the series after 13 episodes, saying, "There was nothing for me to do but pour a second cup of coffee and point the way to the men's room." Maxwell married three times. In September 1944, she married actor John Conte, her second marriage, to restaurateur Anders McIntyre, lasted just over a year, from January 1, 1950 until March 23, 1951. Maxwell's six-year marriage to writer/producer Jerry Davis ended in 1960, her only child, was born to Maxwell and Davis in 1956. According to Arthur Marx's Bob Hope biography The Secret Life of Bob Hope, Maxwell's long-term affair with Hope was so open that the Hollywood community referred to her as "Mrs. Bob Hope". Maxwell had a multi-year affair with Frank Sinatra, as detailed in Alex Gibney's 2015 documentary on Sinatra for HBO, All or Nothing At All. On March 20, 1972, at age 50, Maxwell was found dead in her home by her 15-year-old son, who had arrived home from school.
The cause was an apparent heart attack. Bob Hope, Bing Crosby, Frank Sinatra, Jack Benny were honorary pallbearers at her funeral. Screen Snapshots: Hollywood Goes to Bat - Herself Brooklyn Goes to Las Vegas - Herself Terrace, Vincent. Radio Programs, 1924–1984. McFarland. ISBN 0-7864-0351-9. Marilyn Maxwell on IMDb Marilyn Maxwell at Find a Grave Marilyn Maxwell obituary Beat the Band April 7, 1940 episode Maxwell appears as Marvel Maxwell
Pilot No. 5
Pilot #5 is a 1943 black-and-white World War Two propaganda film from Metro-Goldwyn-Mayer, produced by B. P. Fineman, directed by George Sidney, that stars Franchot Tone, Marsha Hunt, Gene Kelly, Van Johnson. Pilot #5 marked Gene Kelly's dramatic film debut. In May 1942, an Allied base on Java is bombed by Japanese aircraft, with another attack expected the next day. With only one working fighter and five American pilots who all volunteer to fly it, Dutch commander Major Eichel chooses George Collins because he has come up with a daring plan: attach a bomb rack to the fighter to bomb the Japanese aircraft carrier from which the attack came. After George takes off, Eichel asks the other pilots to tell him about George. Flashbacks stories of his civilian life before the war are interleaved with radio broadcasts from George. Four years earlier, George is at the top of his class, he takes Freddie Andrews to an empty lot in the country, where he proposes and tells her that he has bought the land to build their home.
She accepts. At first, they are happy, but his friend and fellow lawyer Vito S. Alessandro invites him to join his law firm after graduation. Vito's firm works for corrupt state governor Hank Durban. Despite Freddie's concerns, George takes the job, he ends up evicting poor farmers to make way for an irrigation project which will benefit Durban and his cronies. Meanwhile, Vito's brother Nikola arrives from Italy. A member of the resistance to Benito Mussolini's regime, he had been imprisoned, but managed to escape; when he sees a portrait of the Italian dictator hanging in Vito's office, he becomes enraged and tears it down. The prison ordeal has taken its toll on Nikola's health, he commits suicide. Freddie divorces George because, while she still loves him, she does not like him anymore. George becomes sickened when a mentally disabled girl dies accidentally during the eviction of her family, he provides information that brings about the downfall of Governor Durban, but the residents of his town ostracize him, unaware of his pivotal role in the downfall.
Freddie, knows that he has redeemed himself, they get back together. Back in the present, George locates the Japanese carrier and dives on it, but the 500-pound bomb fails to release properly. After shooting down a couple of enemy fighters, George makes a fateful decision and deliberately crashes his fighter into the carrier; the explosion rocks the ship and fires spread rapidly. The carrier's battle ensign, now afire, is the last thing seen; the California facilities at Cal-Aero Aviation Training School were used for the wartime sequence. A Republic P-43 Lancer was prominently featured as the sole remaining fighter aircraft in Java. Although a minor production, a great number of MGM players who achieved fame were used in the film, but their scenes may have been lost in final editing Studio records and casting call lists indicate Hobart Cavanaugh, Jim Davis, Marilyn Maxwell, Marie Windsor and Frances Rafferty as cast members. Ava Gardner has been listed in a modern source as uncredited. Not given any major promotion and considered a "B" feature on the MGM lot, Pilot #5 was considered a forgettable flagwaver, typical of the WWII period.
It was not received favorably by critics. More recent reviews have noted it provides a historical context, but it remains a curio. Leonard Maltin described the film more favorably, "Good cast uplifts so-so curio. Watch for Peter Lawford at the opening, see if you can spot Ava Gardner. According to MGM records, Pilot #5 earned $669,000 in the U. S. and Canada and $300,000 elsewhere resulting in a profit of $174,000. Notes Bibliography Monder, Eric. George Sidney:a Bio-Bibliography. Greenwood Press. ISBN 9780313284571. Pilot #5 at the American Film Institute Catalog Pilot No. 5 on IMDb Pilot No. 5 at the TCM Movie Database Pilot No. 5 at AllMovie
The Harvey Girls
The Harvey Girls is a 1946 American musical film produced by Metro-Goldwyn-Mayer based on the 1942 novel of the same name by Samuel Hopkins Adams, about Fred Harvey's famous Harvey House waitresses. Directed by George Sidney, the film stars Judy Garland and features John Hodiak, Ray Bolger, Angela Lansbury, as well as Preston Foster, Virginia O'Brien, Kenny Baker, Marjorie Main and Chill Wills. Future star Cyd Charisse appears in her first film speaking role on film; the Harvey Girls won an Academy Award for Best Original Song for "On the Atchison and the Santa Fe", written by Harry Warren and Johnny Mercer. The film was a production of the Arthur Freed unit at MGM. In the 1880s, a group of "Harvey Girls" – new waitresses for Fred Harvey's pioneering chain of Harvey House restaurants – travels on the Atchison, Topeka & Santa Fe Railway to the western town of Sandrock, Arizona. On the trip they meet Susan Bradley, who travels to the same town to marry the man whose beautiful letters she received when she answered a "lonely-hearts" ad.
When she arrives, the man turns out to be an "old coot" who does not at all meet her expectations – and he wants not to get married as much as she wants not to marry him, so they agree to call it off. When she learns that someone else, the owner of the local saloon, Ned Trent, wrote the letters as a joke, she confronts him and tells him off, in the process endearing herself to him. Susan joins the Harvey Girls, she soon becomes their leader in fighting against the attempts by Trent's business associate, Judge Sam Purvis, to scare them off – and against the animosity of the euphemistically called "dance-hall girls" led by Em, in love with Trent, who sees Susan as a rival. Trent visits to see the value of the Harvey House and other trappings of civilization he tells Purvis to leave them alone, but Purvis continues with his campaign of intimidation burning down the restaurant. Trent offers his saloon as a replacement, Em and the dance-hall girls leave town. Susan, thinking that Trent too is leaving, gets on the train, but Em, seeing that Susan loves Trent so much that she is willing to give up everything for him, stops the train and points out Trent, riding toward them on his horse.
They are wedded in the desert, surrounded by the Harvey Girls. Judy Garland as Susan Bradley John Hodiak as Ned Trent Ray Bolger as Chris Maule Angela Lansbury as Em Preston Foster as Judge Sam Purvis Virginia O'Brien as Alma Kenny Baker as Terry O'Hara Marjorie Main as Sonora Cassidy Chill Wills as H. H. Hartsey Selena Royle as Miss Bliss Cyd Charisse as Deborah Andrews Ruth Brady as Ethel Jack Lambert as Marty Peters Edward Earle as Jed Adams Morris Ankrum as Reverend Claggett Stephen McNally as "Goldust" McClean Virginia Rees as singing voice for Angela Lansbury Marion Doenges as singing voice for Cyd CharisseCast notes: The role of "Em" was intended to be played by Ann Sothern, but because of her personal problems, it went instead to Angela Lansbury, her fourth film role. Despite Lansbury having a good voice – she became the star of the Broadway musicals Mame and Sweeney Todd – her voice was dubbed by Virginia Rees; this is the first speaking role of Cyd Charisse in a feature film. Byron Harvey Jr. the grandson of Fred Harvey of the Fred Harvey Company, has an uncredited role as a train conductor.
The Harvey Girls marked the first reunion on film of Ray Bolger and Judy Garland since The Wizard of Oz in 1939. The Harvey Girls was conceived by MGM as a dramatic vehicle for Lana Turner, but Roger Edens, of the Arthur Freed unit, decided after seeing the musical Oklahoma! that the story should be reworked as MGM's western musical with Judy Garland as its star. Garland wanted to work with Fred Astaire on Yolanda and the Thief, directed by fiance Vincente Minnelli. Edens convinced her that the part in Yolanda was not large enough for her, he promised that The Harvey Girls would be created to showcase her talents. Ann Sothern and Lucille Ball were slated to have roles in the film, Edward Arnold was scheduled to play the role of Judge Purvis; the Harvey Girls filmed from January 12 through a long production period. Studio filming was at MGM's Culver City studios, location shooting took place in Victorville, California. Although Angela Lansbury was a fine singer, her voice was considered unsuitable for her character, a low-class saloon singer.
Virginia Rees provided Lansbury's singing voice. Cyd Charisse, who had her first speaking role in the film had her singing dubbed by Marion Doenges. Virginia O'Brien, a comic actress known for her deadpan style of singing, was pregnant while The Harvey Girls was filmed. Several scenes with Ray Bolger were never filmed due to the difficulty in hiding her pregnancy; this accounts for O'Brien's character disappearing after O'Brien sings "Wild Wild West". The Harvey Girls was released in the U. S. on January 18, 1946. Production credits: The songs in The Harvey Girls were all written by Harry Warren and Johnny Mercer: "In the Valley" – Judy Garland "Wait and See" – Angela Lansbury "On the Atchison and the Santa Fe" – Ben Carter, Marjorie Main, Ray Bolger, Judy Garland and chorus "The Train Must Be Fed" – Edward Earle, Selena Royle, Marjorie Main, Judy Garland and chorus "Oh, You Kid" – Angela Lansbury "Wait and See – Kenny Baker "It's a Great Big World" – Judy Garland, Virginia O'Brien, Cyd Charisse "The Wild, Wild West" – Virginia O'Brien "Wait and See – Kenny Baker, Cyd Charisse
Free and Easy (1941 film)
Free and Easy is a 1941 film directed by George Sidney, starring Robert Cummings and Ruth Hussey. The film is a remake of MGM's But the Flesh Is Weak with Robert Montgomery and C. Aubrey Smith as the son-and-father team. Both films are based on the 1928 play The Truth Game by Ivor Novello. Robert Cummings as Max Clemington Ruth Hussey as Martha Gray Judith Anderson as Lady Joan Culver C. Aubrey Smith as Duke Colver Nigel Bruce as Florian Clemington Charles Coleman as Powers, Culver's butler Reginald Owen as Sir Kelvin Teresa Maxwell-Conover as Lady Ridgeway Max and his father are both looking to marry wealthy women, which would be easier if either one of them had any money of their own. Max decides on Martha. So she changes her mind by the next day; when Florian tries to win money gambling for Max's wedding, he loses a bundle. When Max finds out about the debt, he decides to marry the wealthy Lady Joan to keep Florian out of jail, it was George Sidney's first feature as director. He had directed Robert Cummings in a screen test in 1935.
Cummings was borrowed from Universal. Filming started in late December 1940. According to MGM records the film earned $205,000 in the US and Canada and $128,000 elsewhere resulting in a loss of $33,000. Free and Easy on IMDb
Eugene Curran Kelly was an American dancer, actor of film and television, film director and choreographer. He was known for his energetic and athletic dancing style, his good looks, the likable characters that he played on screen. Best known today for his performances in films such as An American in Paris, Anchors Aweigh — for which he was nominated for the Academy Award for Best Actor—and Singin' in the Rain, he starred in musical films until they fell out of fashion in the late 1950s, he starred in, choreographed, or co-directed some of the most well-regarded musicals of the 1940s and 1950s, debuting with Judy Garland in For Me and My Gal, followed by Du Barry Was a Lady, Thousands Cheer, The Pirate, On the Town, It's Always Fair Weather, among others. He starred in two films outside the musical genre: Inherit the Wind and What a Way to Go!. Kelly directed films without a collaborator, including Hello, Dolly!, nominated for the Academy Award for Best Picture. His many innovations transformed the Hollywood musical, he is credited with single-handedly making the ballet form commercially acceptable to film audiences.
Kelly received an Academy Honorary Award in 1952 for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. He received lifetime achievement awards in the Kennedy Center Honors, from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema. Kelly was born in the East Liberty neighborhood of Pittsburgh, he was the third son of James Patrick Joseph Kelly, a phonograph salesman, his wife, Harriet Catherine Curran. His father was born in Peterborough, Canada, to an Irish Canadian family, his maternal grandfather was an immigrant from Derry and his maternal grandmother was of German ancestry. When he was eight, Kelly's mother enrolled his brother James in dance classes; as Kelly recalled, they both rebelled: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies... I didn't dance again until I was 15."
At one time, his childhood dream was to play shortstop for the hometown Pittsburgh Pirates. By the time he decided to dance, he was an accomplished able to defend himself, he attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16, he entered the Pennsylvania State College as a journalism major, but the 1929 crash forced him to work to help his family. He created dance routines with his younger brother Fred to earn prize money in local talent contests, they performed in local nightclubs. In 1931, Kelly enrolled at the University of Pittsburgh to study economics, joining the Phi Kappa Theta fraternity, he became involved in the university's Gown Club, which staged original musical productions. After graduating in 1933, he continued to be active with the Cap and Gown Club, serving as the director from 1934 to 1938. Kelly was admitted to the University of Pittsburgh Law School, his family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh.
In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his law-student years at Pitt. In 1931, he was approached by the Beth Shalom Synagogue in Pittsburgh to teach dance, to stage the annual Kermesse; the venture proved Kelly being retained for seven years until his departure for New York. Kelly decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months, he increased his focus on performing and claimed: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, once the girls reached 16, the dropout rate was high." In 1937, having managed and developed the family's dance-school business, he did move to New York City in search of work as a choreographer. Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street, by 1940, worked as a theatrical actor.
After a fruitless search for work in New York, Kelly returned to Pittsburgh to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April 1938. Kelly appeared in six of the sketches, one of which, La cumparsita, became the basis of an extended Spanish number in the film Anchors Aweigh eight years later, his first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me!—as the American ambassador's secretary who supports Mary Martin while she sings "My Heart Belongs to Daddy". He had been hired by Robert Alton, who had staged a show at the Pittsburgh Playhouse where he was impressed by Kelly's teaching skills; when Alton moved on to choreograph the musical One for the Money, he hired Kelly to act and dance in eight routines. In 1939, he was selected for a musical revue, One for the Money, produced by the actress Katharine Cornell, known for finding and hiring talented young actors. Kelly's first big breakthrough was in the Pulitzer Prize–winning The Time of Your Life, which opened on October 25, 1939—in which, for the first time on Broadway, he danced to his own choreography.
In the same year, he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. He began dating a cast member, Betsy Blair, they got married on Octo
Propaganda is information, not objective and is used to influence an audience and further an agenda by presenting facts selectively to encourage a particular synthesis or perception, or using loaded language to produce an emotional rather than a rational response to the information, presented. Propaganda is associated with material prepared by governments, but activist groups, religious organizations and the media can produce propaganda. In the twentieth century, the term propaganda has been associated with a manipulative approach, but propaganda was a neutral descriptive term. A wide range of materials and media are used for conveying propaganda messages, which changed as new technologies were invented, including paintings, posters, films, radio shows, TV shows, websites. More the digital age has given rise to new ways of disseminating propaganda, for example, through the use of bots and algorithms to create computational propaganda and spread fake or biased news using social media. In a 1929 literary debate with Edward Bernays, Everett Dean Martin argues that, "Propaganda is making puppets of us.
We are moved by hidden strings which the propagandist manipulates." Propaganda is a modern Latin word, the gerundive form of propagare, meaning to spread or to propagate, thus propaganda means that, to be propagated. This word derived from a new administrative body of the Catholic church created in 1622 as part of the Counter-Reformation, called the Congregatio de Propaganda Fide, or informally Propaganda, its activity was aimed at "propagating" the Catholic faith in non-Catholic countries. From the 1790s, the term began being used to refer to propaganda in secular activities; the term began taking a pejorative or negative connotation in the mid-19th century, when it was used in the political sphere. Primitive forms of propaganda have been a human activity as far back as reliable recorded evidence exists; the Behistun Inscription detailing the rise of Darius I to the Persian throne is viewed by most historians as an early example of propaganda. Another striking example of propaganda during Ancient History is the last Roman civil wars during which Octavian and Mark Antony blame each other for obscure and degrading origins, cowardice and literary incompetence, luxury and other slanders.
This defamation took the form of uituperatio, decisive for shaping the Roman public opinion at this time. Propaganda during the Reformation, helped by the spread of the printing press throughout Europe, in particular within Germany, caused new ideas and doctrine to be made available to the public in ways that had never been seen before the 16th century. During the era of the American Revolution, the American colonies had a flourishing network of newspapers and printers who specialized in the topic on behalf of the Patriots; the first large-scale and organised propagation of government propaganda was occasioned by the outbreak of war in 1914. After the defeat of Germany in the First World War, military officials such as Erich Ludendorff suggested that British propaganda had been instrumental in their defeat. Adolf Hitler came to echo this view, believing that it had been a primary cause of the collapse of morale and the revolts in the German home front and Navy in 1918. In Mein Kampf Hitler expounded his theory of propaganda, which provided a powerful base for his rise to power in 1933.
Historian Robert Ensor explains. Most propaganda in Nazi Germany was produced by the Ministry of Public Enlightenment and Propaganda under Joseph Goebbels. World War II saw continued use of propaganda as a weapon of war, building on the experience of WWI, by Goebbels and the British Political Warfare Executive, as well as the United States Office of War Information. In the early 20th century, the invention of motion pictures gave propaganda-creators a powerful tool for advancing political and military interests when it came to reaching a broad segment of the population and creating consent or encouraging rejection of the real or imagined enemy. In the years following the October Revolution of 1917, the Soviet government sponsored the Russian film industry with the purpose of making propaganda films In WWII, Nazi filmmakers produced emotional films to create popular support for occupying the Sudetenland and attacking Poland; the 1930s and 1940s, which saw the rise of totalitarian states and the Second World War, are arguably the "Golden Age of Propaganda".
Leni Riefenstahl, a filmmaker working in Nazi Germany, created one of the best-known propaganda movies, Triumph of the Will. In the US, animation became popular for winning over youthful audiences and aiding the U. S. war effort, e.g. Der Fuehrer's Face, which ridicules Hitler and advocates the value of freedom. US war films in the early 1940s were designed to create a patriotic mindset and convince viewers that sacrifices needed to be made to defeat the Axis Powers. Polish filmmakers in Great Britain created anti-nazi color film Calling mr. Smith about current nazi crimes in occupied Europe and about lies of nazi propaganda; the West and the Soviet Union both used propaganda extensively during the Cold War. Both sides used film, and