Florence Marly was a Czech-born French film actress. During World War II, Marly moved to neutral Argentina with her Jewish husband, film director Pierre Chenal, where she appeared in several films, she acted in two of her husband's films while they were in Chile. She played a major role in René Clément's Les Maudits, a fictionalized account showing the fate of Nazi refugees. After moving to Hollywood, she acted in Paramount's Sealed Verdict opposite Ray Milland. Next year, she starred in Stuart Heisler's Tokyo Joe alongside Humphrey Bogart. In it she played Bogart's wife, whom he divorces after she moves to the US from Japan during World War II; the film met with mixed responses from critics. Clive Hirschhorn wrote in his book, The Columbia Story, that it was "a little more than a Bogart parody". Marly's acting in the espionage film Tokyo File 212 brought her appreciations. Robert J. Lentz wrote in Korean War Filmography, it was Hollywood's first feature film to be shot in Japan. In 1962 she appeared in a small role as a gangster's girlfriend in the Twilight Zone episode Dead Man's Shoes.
She had the eponymous role of a blood-thirsty vampire queen in Curtis Harrington-directed science fiction horror film Queen of Blood, based on a novel by Charles Nuetzel. It met with positive reviews. Paul Meehan wrote in Saucer Movies. Marly made a 16 mm sequel to Queen of Blood titled Space Boy!. At a dinner, director Fritz Lang bit Marly's hand. During the early years of her acting career, the U. S. Consulate mistook her for the Russian-born, left-inclined and songwriter Anna Marly, she was subsequently blacklisted in Hollywood by the House Un-American Activities Committee. After she was cleared from the blacklist, at a Hollywood party Jack L. Warner "turned his back on ". Noël Coward, in a letter, called her a "rather sweet" "beautiful Czech lady", she was married to Chenal from 1937 to 1955. In 1956 she divorced the same year; the Alibi - La maitresse de Gordon The Lafarge Case - Emma Pontier Café de Paris - Estelle Sirocco - Diana Savage Brigade - Isa Ostrowski Le Dernier Tournant - Madge, la dompteuse La piel de Zapa - Fedora End of the Night Viaje sin regreso The Damned - Hilde Garosi Krakatit - Princess Wilhelmina Hagen Sealed Verdict - Themis DeLisle Tokyo Joe - Trina Pechinkov Landis Tokyo File 212 - Steffi Novak Gobs and Gals - Soyna DuBois El ídolo - Cristina Arnaud Confession at Dawn Undersea Girl - Leila Graham - Gang Moll Queen of Blood - Alien Queen Games - Baroness, Party Guest Doctor Death: Seeker of Souls - Tana Space Boy The Astrologer - Diana Blair Florence Marly on IMDb "Worldly-Wise Star".
Screenland. 55: 651. November 1950
The Perfect Marriage
The Perfect Marriage is a 1947 American comedy film directed by Lewis Allen and written by Leonard Spigelgass. The film stars Loretta Young, David Niven, Eddie Albert, Charlie Ruggles, Virginia Field, Rita Johnson; the film was released on February 1947, by Paramount Pictures. Loretta Young as Maggie Williams David Niven as Dale Williams Eddie Albert as Gil Cummins Charlie Ruggles as Dale Williams, Sr. Virginia Field as Gloria Rita Johnson as Mabel Manning ZaSu Pitts as Rosa Nona Griffith as Cookie Williams Nana Bryant as Corinne Williams Jerome Cowan as Addison Manning Luella Gear as Dolly Haggerty Howard Freeman as Peter Haggerty T. M. P. of The New York Times said, "Whatever it was about The Perfect Marriage which convinced Producer Hal Wallis that this Samson Raphaelson-play was worth the trouble and expense of filming just doesn't come through on the screen. For the new potpourri of comedy and drama, which opened yesterday at the Paramount Theatre, is a singularly shapeless and unrewarding entertainment.
Not being acquainted with the play, we wouldn't know whether Leonard Spigelgass, the scenarist, tampered to any great extent with the original. But it is quite evident that Mr. Spigelgass didn't contribute any improvements, he wrote an abundance of dialogue, to be sure, but most of it is witless." The Perfect Marriage on IMDb
War film is a film genre concerned with warfare about naval, air, or land battles, with combat scenes central to the drama. It has been associated with the 20th century; the fateful nature of battle scenes means that war films end with them. Themes explored include combat and escape, camaraderie between soldiers, the futility and inhumanity of battle, the effects of war on society, the moral and human issues raised by war. War films are categorized by their milieu, such as the Korean War; the stories told may be historical drama, or biographical. Critics have noted similarities between the war film. Nations such as China, Indonesia and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance. Subgenres, not distinct, include anti-war, animated and documentary. There are subgenres of the war film in specific theatres such as the western desert, the Pacific in the Second World War, or Vietnam.
The war film genre is not tightly defined: the American Film Institute, for example, speaks of "films to grapple with the Great War" without attempting to classify these. However, some directors and critics have offered at least tentative definitions; the director Sam Fuller defined the genre by saying that "a war film’s objective, no matter how personal or emotional, is to make a viewer feel war." John Belton identified four narrative elements of the war film within the context of Hollywood production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, d) depiction of the reintegration of veterans. The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are those about war being waged in the 20th century, with combat scenes central to the drama. However, Neale notes, films set in the American Civil War or the American Indian Wars of the 19th century were called war films in the time before the First World War.
The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the Western, but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing. The film scholar Kathryn Kane points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace and savagery. War films frame World War II as a conflict between "good" and "evil" as represented by the Allied forces and Nazi Germany whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples. James Clarke notes the similarity between a Western like Sam Peckinpah's The Wild Bunch and "war-movie escapades" like The Dirty Dozen. Film historian Jeanine Basinger states that she began with a preconception of what the war film genre would be, namely that What I knew in advance was what every member of our culture would know about World War II combat films—that they contained a hero, a group of mixed types, a military objective of some sort.
They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air. They contain many repeated events, such as mail call, all presented visually with appropriate uniforms and iconography of battle. Further, Basinger considers Bataan to provide a definition-by-example of "the World War II combat film", in which a diverse and unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity", she argues. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that lie on the margins of being war films. However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, soldiers in any of the aspects of war" Neale points out that genres overlap, with combat scenes for different purposes in other types of film, suggests that war films are characterised by combat which "determines the fate of the principal characters".
This in turn pushes combat scenes to the climactic ends of war films. Not all critics agree, that war films must be about 20th-century wars. James Clarke includes Edward Zwick's Oscar-winning Glory among the war films he discusses in detail; the military historian Antony Beevor "despair" at how film-makers from America and Britain "play fast and loose with the facts", yet imply that "their version is as good as the truth." For example, he calls the 2000 American film U-571 a "shameless deception" for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war. He is critical of Christopher Nolan's 2017 film Dunkirk with its unhistorically empty beaches, low-level air combat over the sea, res
Ray Milland was a Welsh-American actor and film director. His screen career ran from 1929 to 1985, he is best remembered for his Academy Award-winning portrayal of an alcoholic writer in The Lost Weekend, a sophisticated leading man opposite a corrupt John Wayne in Reap the Wild Wind, the murder-plotting husband in Dial M for Murder, directed by Alfred Hitchcock, as Oliver Barrett III in Love Story. Before becoming an actor, Milland served in the Household Cavalry of the British Army, becoming a proficient marksman and aeroplane pilot, he left the army to follow a career in acting and appeared as an extra in several British productions before getting his first major role in The Flying Scotsman. This led to a nine-month contract with MGM, he moved to the United States, where he appeared as a stock actor. After being released by MGM, he was picked up by Paramount, which used Milland in a range of lesser speaking parts as an English character, he was lent to Universal for a film called Three Smart Girls, its success had Milland given a lead role in The Jungle Princess alongside new starlet Dorothy Lamour.
The film catapulted both to stardom. Milland remained with Paramount for 20 years, in addition to his Oscar-winning role in The Lost Weekend, he is remembered for the films The Major and the Minor, The Big Clock, The Thief, the last of which had him nominated for his second Golden Globe. After leaving Paramount, he began directing, ended his career moving into television. Milland, at one time Paramount Pictures' highest-paid actor, co-starred alongside many of the most popular actresses of the time, including Gene Tierney, Grace Kelly, Lana Turner, Marlene Dietrich, Ginger Rogers, Jane Wyman, Loretta Young, Veronica Lake. Milland was born on 3 January 1907 in Neath, the son of Elizabeth Annie and Alfred Jones, a steel mill superintendent. Commenting about his parents' personalities, Milland wrote in his 1974 autobiography Wide-Eyed in Babylon: My father was not a cruel or harsh man. Just a quiet one. I think he was an incurable romantic and a little afraid of his emotions and ashamed of them... he had been a young hussar in the Boer War and had been present at the relief of Mafeking.
He never held long conversations with anyone, except with me because I was the only other male in our family. The household consisted of my mother, a rather flighty and coquettish woman much concerned with propriety and what the neighbours thought; the young Milland was schooled independently before attending the private King's College School in Cardiff. He worked at his uncle's horse-breeding farm before leaving home at the age of 21. Prior to becoming an actor, Milland served in the Household Cavalry. An expert shot, he became a member of his company's rifle team, winning many prestigious competitions, including the Bisley Match in England. While stationed in London, Milland met dancer Margot St. Leger, through her was introduced to American actress Estelle Brody. Brody queried Milland's commitment to an army career, which led to Milland buying himself out of the forces in 1928 in the hope of becoming an actor, his first appearance on film was as an uncredited extra on the E. A. Dupont film Piccadilly.
After some unproductive extra work, which never reached the screen, he signed with a talent agent named Frank Zeitlin on the recommendation of fellow actor Jack Raine. His prowess as a marksman earned him work as an extra at the British International Pictures studio on Arthur Robison's production of The Informer, the first screen version of the Liam O'Flaherty novel. While he was working on The Informer, he was asked to test for a production being shot on a neighbouring stage. Milland made a favourable impression with director Castleton Knight, was hired for his first acting role as Jim Edwards in The Flying Scotsman. In his autobiography, Milland recalls that on this film set, he was suggested to adopt a stage name, he chose Milland from the "mill lands" area of his Welsh home town of Neath, his work on The Flying Scotsman resulted in him being granted a six-month contract, in which Milland starred in two more Knight-directed films, The Lady from the Sea and The Plaything. Believing that his acting was poor, that he had won his film roles through his looks alone, Milland decided to gain some stage work to improve his art.
After hearing that club owner Bobby Page was financing a touring company, Milland approached him in hope of work. He was given the role of second lead, in a production of Sam Shipman and Max Marcin's The Woman in Room 13. Despite being released from the play after five weeks, Milland felt that he had gained valuable acting experience. In between stage work, Milland was approached by MGM vice-president Robert Rubin, who had seen the film The Flying Scotsman. MGM offered Milland a nine-month contract, based in Hollywood, he accepted, leaving the United Kingdom in August 1930. MGM started Milland out as a'stock' player, selecting him for small speaking parts in mainstream productions. Milland's first introduction to a Hollywood film resulted in a humiliating scene on the set of Son of India, when the film's director Jacques Feyder berated Milland's acting in front of the entire crew. Despite this setback, the studio executives talked Milland into staying in Hollywood, in 1930, he appeared in his first US film Passion Flower.
Over the next two years, Milland appeared in minor parts for MGM, as well as a few films lent to Warner Bros. uncredited. His largest role during this period was as Charles Laughton's nephew in
John Hoyt was an American film and television actor. Hoyt was born John McArthur Hoysradt in Bronxville, New York, the son of Warren J. Hoysradt, an investment banker, his wife, Ethel Hoysradt, née Wolf, he attended the Hotchkiss School and Yale University, where he served on the editorial board of campus humor magazine The Yale Record. He received a master's degree from Yale, he worked as a history instructor at the Groton School for two years. Hoyt made his Broadway debut in 1931 in William Bolitho's play Overture; some of his other Broadway credits in the early 1930s include Miracle at Verdun, Lean Harvest, Clear All Wires. He performed with several regional theater groups, before joining Orson Welles's Mercury Theatre in 1937. Hoyt would continue to perform in more Broadway productions throughout the remainder of the 1930s and into the 1940s. In that period he was cast in a broad range of plays, such as Valley Forge, Ziegfeld Follies of 1936, The Masque of Kings, Storm Over Patsy and Caesar.
He worked as a standup nightclub comedian, sometimes both acting and doing comedy on the same day. His impersonation of Noël Coward was so remarkable that he was hired for the original cast of the Broadway comedy The Man Who Came to Dinner, in which he played Beverley Carlton. Hoyt shortened his surname in 1945, the year before his film debut in O. S. S, he played the strict Principal Warneke in the 1955 film Blackboard Jungle. He played an industrialist in the 1951 film. Hoyt appeared in one Shakespearean film, MGM's Julius Caesar, reprising the role of Decius Brutus, whom he had played in the 1937 Mercury Theatre production. In 1952 he played Cato in the Lion. In 1953, he portrayed Elijah in the biblical film Sins of Jezebel. Hoyt played Colonel Barker in The Adventures of Rin Tin Tin, Grandpa Stanley Kanisky, Dolph Sweet's onscreen father, in Gimme a Break!,:393 J. L. Patterson in Hey, Mulligan.:456 Martin Peyton in Return to Peyton Place,:890 and Dr. Kievoy in Tom and Mary.:1092 On the western television series Gunsmoke, in a 1957 episode titled "Bureaucrat", Hoyt played the part of Rex Propter, a government agent sent to Dodge City, Kansas, to determine why the town had such a bad reputation for gun violence.
Hoyt made five guest appearances on CBS's Perry Mason, including in the role of defendant Joseph Harrison in the 1958 episode "The Case of the Prodigal Parent", as C. Philip Reynolds in the 1958 episode " The Case of the Curious Bride", as the title character and defendant William Harper Caine in the 1961 episode "The Case of the Resolute Reformer," and as Darwin Norland in the 1963 episode "The Case of the Libelous Locket." He guest-starred as well on the religion anthology series Crossroads. Hoyt in 1958 was cast as a rancher, Clete Barron, in the episode "Trouble in Paradise Valley" of the syndicated western series Frontier Doctor. In 1958 and 1959 he performed in two episodes of the CBS crime drama Richard Diamond, Private Detective, appearing as Burnison in "The George Dale Case" and as Harding, Sr. in "Murder at the Mansion". In 1959, on NBC's Laramie western series, Hoyt portrayed a mentally troubled military officer, Colonel Brandon, in "The General Must Die"; that same year he was cast as Antoine Rigaud in the episode "About Roger Mowbray" on another NBC western series, Riverboat.
In 1959, Hoyt was cast as John Cavanagh in "The Mourning Cloak", an episode of the ABC/Warner Brothers crime drama Bourbon Street Beat. About this time, he guest-starred too on the ABC/WB western series The Alaskans and in Grant Sullivan's syndicated western series Pony Express. In 1959, Hoyt was cast in an episode of The Rifleman, playing the character Gus Fremont, the cruel uncle of Johnny Clover. In 1960 and 1961, he appeared in the episodes "Burnett's Woman" and "The Salvation of Killer McFadden" of another ABC-WB dramatic series, The Roaring 20s. Hoyt appeared on The Untouchables in the 1960 episode "The Big Squeeze". Hoyt guest-starred on at least three CBS sitcoms, Bringing Up Buddy, Hogan's Heroes, Petticoat Junction, he was cast as Dr. Philip Boyce in the pilot episode of NBC's Star Trek, he performed as the KAOS agent Conrad Bunny in the Get Smart episode "Our Man in Toyland", as General Beeker in ABC's Voyage to the Bottom of the Sea episode "Hail to the Chief," and as Dr. Mendoza on NBC's The Monkees, in the series' episode "I Was a Teenage Monster."
He guest-starred as Colonel Hollis in the 1965 episode "Military School" on The Beverly Hillbillies. In 1964, Hoyt appeared in an episode of The Outer Limits, "The Bellero Shield", he played the role of an extraterrestrial with large eyes who says, "In all the universes, in all the unities beyond the universes, all who have eyes have eyes that speak." Less than two weeks after that episode's broadcast, alleged alien abductees Betty and Barney Hill provided a description of their alien abductors. Skeptic Martin Kottmeyer notes that the description is notably similar to Hoyt's appearance as the extraterrestrial on the show, he was a guest player in "The 14-Karat Gold Trombone" episode of The George Burns and Gracie Allen Show on CBS. Because of his stern demeanor, the writers had him play opposite to the befuddled way strangers reacted to Gracie Allen'
Suddenly (1954 film)
Is a 1954 American film noir crime film directed by Lewis Allen with a screenplay written by Richard Sale. The drama stars Frank Sinatra and Sterling Hayden, features James Gleason and Nancy Gates, among others; the story concerns a small California town whose tranquility is shattered when the train of the President of the United States is scheduled to pass through the town, a hired assassin and his henchmen take over a home as a perfect location to assassinate the president. In post-war America the President of the United States is scheduled to journey through the small town of Suddenly, California. Claiming to be checking up on security prior to his arrival, a group of FBI agents arrive at the home of the Bensons, on top of a hill that looks down upon the station where the presidential train is scheduled to stop. However, they soon turn out to be assassins led by the ruthless John Baron, who take over the house and hold the family hostage. Sheriff Tod Shaw arrives with Dan Carney, a Secret Service agent in charge of the president's security detail.
When he does and his gangsters shoot Carney and a bullet fractures Shaw's arm. Baron sends one of his two henchmen to double-check on the president's schedule but he is killed in a shootout with the police. Jud, a television repairman, shows up at the house and becomes a hostage. Pidge goes to his grandfather's dresser to fetch some medication and notices a loaded revolver which he replaces with his toy cap gun. Baron is confronted by the sheriff on the risks and meaning of killing the President and Baron's remaining henchman begins showing some reluctance. For Baron, these are the least of his concerns and it soon becomes clear that he is a psychopath whose pleasure comes from killing – who and why he kills being of little importance to him. A sniper's rifle has been mounted on a metal table by a window. Jud discreetly hooks the table up to the 5000-volt plate output of the family television. Pop Benson spills a cup of water on the floor beneath the table. Although the hope is that Baron will be shocked and killed in this way, his remaining henchman touches the table first and is electrocuted, reflexively firing the rifle and attracting the attention of police at the train station.
Baron shoots and kills Jud, disconnects the electrical hook-up and aims the rifle as the President's train arrives at the station, but to his surprise it passes straight through. Ellen Benson shoots Baron in the abdomen and Shaw shoots him again. Baron's dying words are: "No…don't…no…please no…no…no…" Suddenly marked the first time that Frank Sinatra had played a "heavy" in a dramatic film. Actor Paul Frees, who plays one of Sinatra's henchmen, is best known for his voiceover work, such as for the character Boris Badunov in the Rocky and Bullwinkle cartoons. Writer Richard Sale got the idea for the short story, the basis of the film after he read stories in the news about President Dwight D. Eisenhower traveling to and from Palm Springs, California by train. There were differences between the story and the film, the most thematically important being that the mother in the story was not bitter about her husband's death in World War II, and, in fact, was not present during the assassination attempt, so never had to make the choice the mother in the film has to make: whether to shoot and kill the assassin when the opportunity arises.
The exterior scenes for Suddenly were filmed in California. The production company, Libra Productions, was producer Robert Brassler's company, Suddenly was his first independent film. Brassler had worked for Twentieth Century Fox; when the film was released, Bosley Crowther, the film critic for The New York Times, liked the direction of the film and the acting, writing, "Yet such is the role that Mr. Sinatra plays in Suddenly!, a taut little melodrama that... shapes up as one of the slickest recent items in the minor movie league... we have several people to thank—particularly Richard Sale for a good script, which tells a straight story credibly, Mr. Allen for direction that makes both excitement and sense, Mr. Bassler for a production that gets the feel of a small town and the cast which includes Sterling Hayden, James Gleason and Nancy Gates." Crowther liked Sinatra's performance. He wrote, "Mr. Sinatra deserves a special chunk of praise... In Suddenly! he proves it in a melodramatic tour de force."The staff reviewer at Variety magazine gave the film a good review and praised the acting.
They wrote, " inserts plenty of menace into a psycho character, never too done, gets good backing from his costar, Sterling Hayden, as sheriff, in a less showy role but just as authoritatively handled. Lewis Allen's direction manages a smart piece where static treatment could have prevailed."The reviewer for Newsweek wrote about Sinatra's performance that he "superbly refutes the idea that the straight-role potentialities which earned an Academy Award for him in From Here to Eternity were one-shot stuff. In Suddenly, the happy-go-lucky soldier of Eternity becomes one of the most repellent killers in American screen history."Film critic Carl Mazek makes the case that the "Machiavellian attitude" of John Baron links the picture with the brutal films noir of the 1950s like The Big Night and Kiss Me Deadly. Moreover, he wrote in Film Noir: An Encyclopedic Reference to the American Style: The sense of claustrophobia and despair unleashed by the assassins in Suddenly is amoral, opposite of the style of harassment found in such non-noir redemptive films as The Desperate Hours....
There are no reasons given, or asked fo
Ludwig Donath, was an Austrian actor who appeared in many American films. Born to a Jewish family Donath graduated from Vienna's Academy of Dramatic Art and became a prominent actor on the stage in Berlin; when Hitler came to power in 1933, he returned to Vienna and was active there in theater and film until the Anschluss in 1938. He began his American film career with Lady from Chungking and went on to appear in dozens of films, including Gilda, The Jolson Story, Jolson Sings Again, The Great Caruso, My Pal Gus and Torn Curtain. Donath played the father of entertainer Al Jolson in the two biopics The Jolson Story and Jolson Sings Again, although he was less than 15 years older than Parks as Jolson, he appeared on television and on Broadway. He died of leukemia in 1967. Decoy: "The Gentle Gun-Man" - "Knish" Bonanza: "The Way of Aaron" – Aaron Kaufman The Twilight Zone: "He's Alive" – Ernst Ganz Branded: "A Proud Town" - Julius Perrin The Fugitive: "Blessings of Liberty" – Dr. Josef Karac Ludwig Donath on IMDb Ludwig Donath at the Internet Broadway Database Ludwig Donath at the Internet Off-Broadway Database